By Peter Dickinson
John Cage used to be one in all America's most famous composers from the Forties until eventually his demise in 1992. yet he used to be additionally a much-admired author and artist, and a uniquely beautiful character capable of current his principles engagingly anywhere he went. As an interview topic he used to be a consummate professional.
The major resource of CageTalk: Dialogues with and approximately John Cage is a panoply of shiny and compulsively readable interviews given to Peter Dickinson within the past due Eighties for a BBC Radio three documentary. the unique BBC software lasted an hour, however the complete discussions with Cage and plenty of of the most figures hooked up with him weren't released till the 1st version of this book.
CageTalk additionally contains prior BBC interviews with Cage, together with ones through the well known literary critic Frank Kermode and artwork critic David Sylvester. And Dickinson, the editor of this quantity, contributes little-known resource fabric approximately Cage's Musicircus and Roaratorio in addition to a considerable advent exploring the a number of roles that Cage's various and hard output performed in the course of a lot of the 20th century and maintains to play within the early twenty-first.
Apart from the lengthy interview with Cage himself, there are discussions with Bonnie chicken, Earle Brown, Merce Cunningham, Minna Lederman, Otto Luening, Jackson Mac Low, Peadar Mercier, Pauline Oliveros, John Rockwell, Kurt Schwertsik, Karlheinz Stockhausen, Virgil Thomson, David Tudor, los angeles Monte younger, and Paul Zukovsky. many of the interviews got to Peter Dickinson yet there are others concerning Rebecca Boyle, Anthony Cheevers, Michael Oliver, and Roger Smalley.
Peter Dickinson, British composer and pianist, is Emeritus Professor, college of Keele and college of London, and has written or edited numerous books approximately twentieth-century track, together with Copland Connotations [Boydell Press, 2002] and The track of Lennox Berkeley [Boydell Press, 2003].
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Additional info for CageTalk: Dialogues with and about John Cage (Eastman Studies in Music)
Bob was driving an antique Datsun that was, let’s face it, a lump of junk. I was always amazed it ever made it anywhere. Its noises were too numerous to describe. Everything inside rattled and squeaked, while the engine produced an inspiring array of percussive sounds. At one point, there was such a loud ‘chunk’ under the hood, I looked at Bob and he let out a nervous chuckle. When we thankfully reached Bob’s place, I wondered what our guest thought of his limo. ’ After that, we called it the Cage Mobile.
Later on, Cage visited him twice in Japan. See Silence, 40, 46, 262; “An Autobiographical Statement (1989),” in Kostelanetz, John Cage: Writer, 241; also David W. , The Cambridge Companion to John Cage (Cambridge: Cambridge University Press, 2002), 41–62. qxd 37 anything. And so he stopped. It was at that point when he stopped his work that he wrote to me, and I wrote back almost in a hurry—he said my letter came very quickly—and I told him that there were two forms of the ox-herding pictures. The first form ends in an empty circle in which you do indeed do nothing.
Kostelanetz, Conversing with Cage, 55. “In these pictures the path of selfdiscipline that leads to enlightened knowledge is compared to the gradual taming of an ox. ” James Pritchett, The Music of John Cage (Cambridge: Cambridge University Press, 1993), 60. 34. Roaratorio was given at the BBC Promenade Concerts, The Royal Albert Hall, London, on July 19, 1987, with the Merce Cunningham Dance Company. See chapter 20. 35. This is now an artistic umbrella organization at the Bath House in Dallas, helping young artists and producing multimedia events.