John Cage: One4, Four [All Versions], Twenty-Nine
 
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John Cage: One4, Four [All Versions], Twenty-Nine
by Christina Fong, Karen Krummel, Glenn Freeman, Michael Crawford
Price: $8.99
o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o

5.0 out of 5 stars  See all reviews (1 customer review)
  • Original Release Date: November 30, 2005
  • Format - Music: MP3
  • Compatible with MP3 Players (including with iPod®), iTunes, Windows Media Player
50 for $5
Find 50 great albums for just $5 each, including releases from Black Eyed Peas, Owl City, Jay-Z, David Bowie, and more.

MP3 Songs
Song TitleArtist Time Price
listen  1. One4 (1990)Glenn Freeman 6:59$0.99Buy Track
listen  2. Four (1989) AChristina Fong and Karen Krummel 5:04$0.99Buy Track
listen  3. Four (1989) BChristina Fong and Karen Krummel 5:04$0.99Buy Track
listen  4. Four (1989) CChristina Fong and Karen Krummel 5:04$0.99Buy Track
listen  5. Four (1989) AChristina Fong and Karen Krummel 5:04$0.99Buy Track
listen  6. Four (1989) BChristina Fong and Karen Krummel 5:04$0.99Buy Track
listen  7. Four (1989) CChristina Fong and Karen Krummel 5:04$0.99Buy Track
listen  8. Twenty-Nine (1991)Christina Fong, Karen Krummel, Michael Crawford, Glenn Freeman29:00Album Only

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2 of 2 people found the following review helpful:
5.0 out of 5 stars Single overlapping lines and thick foggy clouds of sound, January 14, 2005
By Sparky P. "jsparkyp" (composer, all around nice guy, yada yada yada) - See all my reviews
This review is from: One4, Four [all versions], Twenty-Nine (Audio CD)
This is the latest in OgreOgress' ongoing series of releases dedicated to John Cage's late period "Number Pieces". The first is for a single percussionist, the other two for string ensembles (Twenty-nine also includes percussion), and all employ Cage's `time-bracket notation'.

The earliest of the three is "Four", scored for standard string quartet. To achieve an "equality" of parts Cage designed it so that any player could play any part (to achieve this, Cage only used a limited range of tones, those that could be played by all instruments). All sounds are held out with a minimum of attack and very low dynamics and there aren't any pizzicato notes at all. The piece is divided into three five-minute sections, where then the players were instructed to switch parts and start back at the top. But he also made a provision that the piece could also last ten or twenty minutes, in addition to the full thirty minute performance, by means of omitting a section or two (a ten minute version would consist solely of section B and its repeat; twenty minute, A and C and their repeats). The producers of this disc have gone a step further: they split up each section with separate index points, two versions of each, to allow the home listener to design their own performances.

One4 is for a single percussionist playing a host of instruments. As with "Three2", "Six" and "Four4", percussion sounds are created mostly by means of prolonged rolls and shaking. Here percussionist Glenn Freeman plays a standard drum set while using a host of sticks and mallets.

"Twenty-nine" is scored for two timpanists, two percussionists, one pianist (bowed, with rosined string around the desired string, rather than played in its accustomed fashion), ten violists, eight `cellists and six contrabassists (all, of course, having their own part). Cage designed this so that it could be played alone, or combined with up to two other pieces, Twenty-six (all violins) and Twenty-eight (wind section). OgreOgress has also produced "Twenty-six", so you at home, if you already have this disc, can create a performance of "Twenty-nine" with "Twenty-six" in the comfort of your own room (using two machines; start with "29" first, then add "26" within three minutes later). With each string player having their own part that is different from the next, the result in each case is a continuously thick cloud of sound (there are no gaps of silence in either case). It is also interesting that each performance, despite the plethora of parts, was performed by only four people (Freeman; Christina Fong, violin and viola; Karen Krummel, `cello; and Michael Crawford, contrabass) through the wonders of overdubbing.

Again, this is late Cage, and when listening, you simply let things happen, accepting what is going on rather than trying to make some sense or form any sort of relationship of one part to another. On the other hand, when listening to the thick fog of "Twenty-nine", things start to come briefly into relief, then submerging into the mix, like a hidden object jutting out from underneath a large sheet of blank paper.
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