{"title":"Cage: 4' 33\" (1952)","description":"","products":[{"product_id":"cage-433-peters","title":"Cage: 4'33\"","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/ja\/collections\/john-cage\"\u003eJohn Cage (1912-1992)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eAny Instrument\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: \u003ca href=\"\/ja\/collections\/cage-4-33-1952\"\u003e4' 33\" (1952)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790300744834\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.2\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e11.9\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: 4\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eFor all its apparent simplicity John Cage's seminal \u003cstrong\u003e4'33''\u003c\/strong\u003e ('Four, Thirty-Three') continues to stimulate, provoke, enrage and delight audiences nearly 70 years after it was composed.\u003c\/p\u003e\n\u003cp\u003eThe premiere of the three-movement 4'33'' was given by David Tudor on August 29, 1952, at Woodstock, New York as part of a recital of contemporary piano music. The audience saw him sit at the piano and, to mark the beginning of the piece, close the keyboard lid. Some time later he opened it briefly, to mark the end of the first movement. This process was repeated for the second and third movements. The piece had passed without a note being played--in fact without Tudor (or anyone else) having made any deliberate sound as part of the piece. Tudor timed the three movements with a stopwatch while turning the pages of the score.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"They missed the point. There's no such thing as silence. What they thought was silence, because they didn't know how to listen, was full of accidental sounds. You could hear the wind stirring outside during the first movement. During the second, raindrops began patterning the roof, and during the third the people themselves made all kinds of interesting sounds as they talked or walked out.\"\u003c\/em\u003e John Cage speaking about the premiere of 4'33\"\u003c\/p\u003e\n\u003cp\u003eSeveral versions of the \u003cstrong\u003escore\u003c\/strong\u003e for \u003cstrong\u003e4'33\"\u003c\/strong\u003e exist, including:\u003c\/p\u003e\n\u003cp\u003eThe Kremen manuscript (1953): graphic, space-time notation, dedicated to Irwin Kremen The movements of the piece are rendered as space between long vertical lines; a tempo indication is provided (60), and at the end of each movement the time is indicated in minutes and seconds EP No. 6777a.\u003c\/p\u003e\n\u003cp\u003eThe so-called First Tacet Edition: a typewritten score, lists the three movements using Roman numbers, with the word \"TACET\" underneath each. A note by Cage describes the first performance and mentions that \"the work may be performed by (any) instrumentalist or combination of instrumentalists and last any length of time.\"\u003c\/p\u003e\n\u003cp\u003eThis present edition is the so-called \u003cstrong\u003eSecond Tacet Edition\u003c\/strong\u003e : this is the same as the First Tacet Edition, except that it is printed in Cage's calligraphy, and the explanatory note mentions the Kremen manuscript.\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"Edition Peters","offers":[{"title":"Default Title","offer_id":47043591893,"sku":"EP6777","price":12.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/e7bfef3c32268d98410d86ef1ef8f55d.jpg?v=1750124622"},{"product_id":"cage-433-peters-1","title":"Cage: 4'33''","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/ja\/collections\/john-cage\"\u003eJohn Cage (1912-1992)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eAny Instrument\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: \u003ca href=\"\/ja\/collections\/cage-4-33-1952\"\u003e4' 33\" (1952)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790300757773\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.1\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e11.9\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: 40\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003e\u003cem\u003e4 '33\"\u003c\/em\u003e is a three-movement composition in which the performer makes no intentional sounds for the duration of the piece: four minutes and thirty three seconds. It was premiered in 1952, and has been generating controversy and debate ever since. The premiere of \u003cem\u003e4 '33\"\u003c\/em\u003e was given by David Tudor on August 29th, 1952, at Maverick Concert Hall, Woodstock, New York as part of a recital of contemporary piano music. The audience saw him sit at the piano and, to mark the beginning of the piece, close the keyboard lid. Some time later he opened it briefly, to mark the end of the first movement. This process was repeated for the second and third movements. The piece passed without a note being played - in fact, without Tudor (or anyone else) having made any deliberate sound as part of the piece. Tudor timed the three movements with a stopwatch, while turning the pages of the score.\u003c\/p\u003e\n\u003cp\u003eCage later spoke regarding the premiere and the audience's reaction: \"They missed the point. There's no such thing as silence. What they thought was silence, because they didn't know how to listen, was full of accidental sounds. You could hear the wind stirring outside during the first movement. During the second, raindrops began pattering the roof, and during the third, people themselves made all kinds of interesting sounds as they talked or walked out.\"\u003c\/p\u003e\n\u003cp\u003e\"This edition of \u003cem\u003e4 '33\"\u003c\/em\u003e -- one of John Cage's most influential compositions -- is published in honor of the centennial of the composer's birth. It includes two of the extant versions: the 1952 proportional notation version (please see edition EP6777a) and the 1986 calligraphic \"tacet\" version (please see edition EP6777). An earlier typed edition of the \"tacet\" version, essentially the same as the calligraphic version, is also included as a frontispiece. This typed \"tacet\" version was used by C. F. Peters as the published edition from 1960, when Cage came to Peters, until 1986, when Cage created the calligraphic \"tacet\" version.\u003c\/p\u003e\n\u003cp\u003eThe manuscript of \u003cem\u003e4 '33\"\u003c\/em\u003e used by David Tudor for the premiere on August 29th, 1952 at Maverick Concert Hall in Woodstock, New York, is lost. This version used an entirely different notation system. Cage said it was composed \" ... just like \u003cem\u003eMUSIC OF CHANGES\u003c\/em\u003e. That's how I knew how long it was when I added up the notes. It was done like a piece of music, except there were no sounds -- but there were durations.\" David Tudor reconstructed the manuscript in 1989. We have included his reconstruction in this volume, although it has been reduced to fit our format (the original was 9.3 x 12.5 inches). This reduction renders Tudor's durational marking \"60 quarter notes = 2-1\/2 cm.\" moot. We are grateful to the Getty Research Institute, Nancy Perloff, and Virginia Mokslaveskas for helping to make the publication of this reconstruction possible.\u003c\/p\u003e\n\u003cp\u003eThe final item in this collection is the text of a letter from John Cage to Helen Wolff, Christian Wolff's mother*. It was written in 1954, and concerns an imminent performance of \u003cem\u003e4 '33\"\u003c\/em\u003e by David Tudor. Cage is responding to a letter from Mrs Wolff and seeks to explain the piece.\" (Gene Caprioglio - Vice-President, C. F. Peters Corporation)\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eHelen Wolff, in addition to having been the mother of Christian Wolff, was an editor and publisher, regarded by her colleagues in the international book world as the \u003cem\u003egrande dame\u003c\/em\u003e of letters. She and her husband founded Pantheon Books in 1942, and went on to publish works that included Boris Pasternak's \u003cem\u003eDoctor Zhivago\u003c\/em\u003e. in 1961, they left Pantheon to establish the imprint \"A Helen and Kurt Wolff Book\" at Harcourt Brace Jovanovich, and were particularly respected for bringing out translations of distinguished European authors. They were successful in acquiring important foreign books on account of Mrs Wolff's fluency in several languages (growing up in Macedonia, she, her sister, and their parents spoke German, Turkish, and Serbian). Among the authors with whom Mrs Wolff worked closely were Günter Grass, Umberto Eco, Max Frisch, Georges Simenon, Stanislaw Lem, and Amos Oz.\u003c\/li\u003e\n\u003c\/ul\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"Edition Peters","offers":[{"title":"Default Title","offer_id":31598023475279,"sku":"EP6777C","price":17.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/1b401f8758a65e3666663b5c10f121ed.jpg?v=1750523946"},{"product_id":"cage-433-peters-2","title":"Cage: 4'33\"","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/ja\/collections\/john-cage\"\u003eJohn Cage (1912-1992)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eAny Instrument\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: \u003ca href=\"\/ja\/collections\/cage-4-33-1952\"\u003e4' 33\" (1952)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790300745008\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.2\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e11.9\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eTacet, any instrument or combination of instruments (original version, in proportional notation)\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"Edition Peters","offers":[{"title":"Default Title","offer_id":31598026719311,"sku":"EP6777A","price":13.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/08303efbabc4e420ab0dfd57e92f0b9c.jpg?v=1750524545"}],"url":"https:\/\/www.ficksmusic.com\/ja\/collections\/cage-4-33-1952.oembed","provider":"Ficks Music","version":"1.0","type":"link"}