Credo in Us (1942, 2 versions) or percussion quartet (including piano and radio or phonograph)
1) with LP recording of Shostakovich: Symphony No.5
2) with 78-rpm recordings of Beethoven, Tchaikovsky, Wagner & von Suppe
Imaginary Landscape No.1 (1939)
for 2 variable-speed turntables, frequency recordings, muted piano & cymbal, to be performed as a recording or broadcast
Imaginary Landscape No.2 (1942) for percussion quintet
Imaginary Landscape No.3 (1942) for percussion sextet
Imaginary Landscape No.4 (1951) for 12 radios
Imaginary Landscape No.5 (1952, 2 versions)
for any 42 recordings, score to be realised as a magnetic tape, realisation by Michael Barnhart:
1) using period jazz records
2) using recordings of Cage's music
CCM Percussion Ensemble, James Culley
Usually despatched in 3 - 4 working days.
CAGE ON ORIGINAL INSTRUMENTS!
The first modern recording to utilise Cage’s specified 78-rpm test tone records played on variable-speed phono turntables and 78-rpm records Cage’s percussion works are among his most historically important. After 42 Volumes in Mode’s Cage Edition, Mode is releasing the first volume dedicated to his percussion music.
Percussion Group Cincinnati is particularly respected for its knowledge of and experience with the entire range of Cage’s music, having made tours and festival appearances with him on a number of occasions in Europe and in America, and having had pieces created by Cage especially for the Group.
Volume 1 consists of the complete Imaginary Landscapes 1-5 (1939-52) and Credo in Us (1942). Some of these works’ revolutionary features include the use of radios and phonograph recordings — anticipating the concept of sampling. The actual records and turntable specified in the score were located and used for this recording.
Awards Issue 2011
“I'd argue that no other Cage percussion disc reconnects us with the shock of how Cage questioned every cliche about music, and why people should want to create it, as powerfully.”
28th July 2011
“The realisations of these pieces by the Cincinatti Percussion Group are both imaginative and often distinctly tongue-in-cheek; there are two versions of No 5 here, for instance, one using jazz recordings from the early 1950s, when the piece was written, the other using only recordings of Cage's own music.”
28th July 2011
“Despite the title, this 43rd volume of Mode's John Cage Edition focuses more on his early experiments with radios, tape and turntables...The results are, literally, hit and miss, but absorbing.”
Click on any of the works listed above for alternative recordings.