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Lyrics & Music John Cage - A Cage of Saxophones, Vols. 1 & 2 (2002/2006)

Posted on 2010-08-03




Name:Lyrics & Music John Cage - A Cage of Saxophones, Vols. 1 & 2 (2002/2006)
ASIN/ISBN:B00005YQLC
File size:279 Mb
File Size: 279 MB
Other Info: Vol. 1 - Avant-Garde; EAC (APE+CUE); Cover
   Lyrics & Music John Cage - A Cage of Saxophones, Vols. 1 & 2 (2002/2006)

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John Cage - A Cage of Saxophones, Vols. 1 & 2 (2002/2006)

Vol. 2 - Avant-Garde | EAC (APE+CUE) | 198 MB | Cover

Ulrich Krieger • Various performers

Ulrich Krieger spearheads the "A Cage of Saxophones" series for Mode, including works that Cage wrote specifically for the saxophone and also works of unspecified instrumentation that are suitable for it. Vol. 1 focuses mainly around late Cage, while Vol. 2 is mainly early Cage.

& 8220;Even though most of these works were composed for open instrumentation, saxophones suit Cage's music especially well, not only because of their clean tone quality, wide dynamic range, and exceptional variety of timbres, but also because of their interesting associations with jazz and modernism.

- Blair Sanderson, AMG
& 8221;


Vol. 1

I. Five (1988) 5:07

version for 2 saxophones, accordion & 2 pianos

II. Ryoanji (1984) 21:26

for saxophone, 3 prerecorded saxophones & percussion

III. Four^5 (1991) 12:02

for saxophone quartet

IV. Five^4 (1991) 5:01

for 2 saxophones & 3 percussions

V. Hymnkus (1986) 30:04

for 2 saxophones, accordion, 2 pianos & 2 percussions

& 8220;In many works, Cage sets sustained notes against very brief notes. Ryoanji, Hymnkus, Five^4, Two, and earlier works such as Atlas Eclipticalis should be mentioned in this context. One can speak of a reduction of rhythm to its basic values of short-long. In some later works, these brief tones represent merely one of several interpretative possibilities, which however do not have to be used (Four^5, for instance), or are no longer explicitly mentioned (Five). I believe that in these number pieces, Cage is interested mainly in static sounds and their immanent, sonic events, which become audible and perceivable only if the pitch durations are long enough. The silence is in the sound . . . In my instrumentation of Five and Four^5, the resulting new blended sound is especially notable, for it is often not clear which instruments are playing which note or producing which song . . . The resulting microtonality produces beating and combination tones, creating an iridescent static sound, which to some degree can already be heard in the tempered Five. All the works on this CD clear show one of John Cage's major concerns: a music which does not have an extra-musical, gestural, semantic (and therefore emotional) communicative expression - but instead, freed of this burden, can address the listener solely and directly through sound.& 8221;


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Vol. 2

I. Sonata for Two Voices (1933)

for soprano & tenor saxophones



  • I. Sonata (Allegro) 1:16

  • II. Fugato (Lento) 2:18

  • III. Rondo (Tempo Primo) 1:09



II. Atlas Eclipticalis (1961) 24:15

(From the pages 193-204 of the orchestral parts of 'Atlas Eclipticalis')

for 3 soprano saxophones & electronics


III. Composition for Three Voices (1934) 5:02

for soprano saxophone, accordion & cello

IV. Solo for Baritone Saxophone (1957-58) 12:08

(from the pages 145-156 of the orchestral parts of 'Concert for Piano and Orchestra')

for baritone saxophone


V. Solo with obbligato accompaniment of two voices in canon, and six short inventions on the subjects of the solo (1933)

for alto saxophone, Bb clarinet & english horn



  • Solo with obbligato accompaniment of two voices in canon (9:04)

  • Invention 1 (0:53)

  • Invention 2 (0:24)

  • Invention 3 (1:45)

  • Invention 4 (0:41)

  • Invention 5 (1:28)

  • Invention 6 (1:24)



VI. Two (1987) 10:05

for soprano saxophone & piano

& 8220;In Cage's work, constant through all creative periods, one can again and again observe in different ways a reduction to the simplest basic elements (short-long, dissonant-consonant, etc.). From this reduction he allows the development of the greatest possible complexity. It is about a multitude of sounds, a variety in the sounds and a variety of interactions between the sounds, which would be limited and minimized through too much structure and planning - his realization of a utopian-anarchic society. He draws on unlimited resources and wants to be surprised by his music time and again and to experience a new "coming into being" of the pieces in every performance, instead of a mere reproduction. His structures serve the free the sounds, and to create for them an individual space, in which they can exist and unfold. The listener immerses himself in the sound adventure, instead of being guided by a finished linear "narrative." All of this can already be seen in his early works on this CD, but it becomes clear why he very soon moved away from fixed, traditional structures. He always searched for the utopia of a free, self-reflective music for a free self-structuring, anarchic society.& 8221;


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