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SOUNDS LIKE SILENCE – Cage\/4’33″\/Stille – 1912\u20131952\u20132012<\/strong><\/p>\n Various Artists<\/p>\n By Inke Arns and Dieter Daniels<\/p>\n English<\/em> | Deutsch<\/a><\/p>\n Gruen 116 | Audio CD > [order<\/a>] part of the CD text is in German <\/p>\n <\/p>\n SOUNDS LIKE SILENCE<\/p>\n In 2012 the world celebrates not only the centenary of John Cage\u2019s birth, but also the sixtieth anniversary of the premiere of his \u203asilent piece\u2039 4′ 33″ (four minutes, thirty-three seconds) on August 29, 1952. This composition in three movements without intentional sounds is the composer\u2019s best-known work today. As an \u203aart without work\u2039 (John Cage), it takes up and renews the impulses of the avant-gardes of the early twentieth century, notably Marcel Duchamp\u2019s readymades, which the artist himself termed \u203aworks without art.\u2039<\/p>\n <\/p>\n SILENCE ON CD? The seemingly trivial act of recording 4′ 33″ thus hides a formidable complexity. The musician Ulrich Krieger writes: \u203aIn the case of 4\u201933\u2019\u2019 and especially of a recording, a performer has to face the following question: What do I want to represent?\u2039 Is the outcome the result of a recording in a silent situation (microphone silence) or an actual technical silence (absence of signal)? Is the piece to be recorded with or without musicians, and if the former applies, which category of instruments should take part? Should the musicians indicate the beginning and the end of the three movements, and if so, how?<\/p>\n Although recording 4′ 33″ runs counter to Cage\u2019s emphasis on the here and now of sounds, an estimated 54 recordings have been consigned to CD, vinyl or digital media to this day (see the discography in the publication Sounds Like Silence, Spector Books, Leipzig 2012). And, indeed, each of them is noticeably different, reflecting the place and context of the recording. Taken together, these recordings are therefore also an acknowledgment of Cage\u2019s famous observation that \u203athere is no such thing as silence.\u2039<\/p>\n <\/p>\n SILENCE ON THE RADIO? The CD Sounds Like Silence is based on the eponymous radio show broadcast in the framework of the Sound Art program on Deutschland-radio Kultur. Together with the radio broadcast it forms part of the exhibition Sounds Like Silence organized by the Hartware MedienKunstVerein at Dortmunder U from August 25, 2012 to January 6, 2013. Silence is announced, performed, broadcast, recorded, and recycled, and inscribes itself in media and bodies. The six chapters on this CD comprise amusing, strange, rare and illuminating recordings on and around silence.<\/p>\n Historically, silence formed an integral part of radio, as up until the late fifties stations commonly stopped broadcasting in the evening. Similarly, live broadcasts were frequently interrupted by moments of silence in the form of unintentional pauses due to technical or human errors. Walter Benjamin famously recounted this phenomenon in \u203aOn the Minute,\u2039 a dramatized account based on his own experience as a writer for radio.<\/p>\n In his short story Murke\u2019s Collected Silences (1955) Heinrich B\u00f6ll describes how silence is insidiously eradicated from radio, particularly in the wake of the switch from live programs to tape recordings which can be subsequently edited. Murke collects the silences which have been edited out and takes them home, where he listens to them ceremoniously.<\/p>\n Interestingly, Cage\u2019s first sketch for a \u203asilent piece\u2039 refers explicitly to radio. In a lecture held in 1948 the composer stated his intentions to compose a piece called Silent Prayer, which would consist of four and a half minutes of silence to be used as muzak (background music in shopping malls, elevators, work places, etc.). As early as 1931 the leader of the Italian futurists Filippo Tommaso Marinetti had drafted a concept for a radio program of sounds and interruptions of up to forty seconds of silence (I silenzi parlano fra di loro), which aimed to make the elements of sound editing become more noticeable.<\/p>\n <\/p>\n SILENCE AS A CHALLENGE<\/p>\n Cage\u2019s observation that \u203athere is no such thing as silence\u2039 finds a disturbing echo in today\u2019s world, where issues of \u203aacoustic ecology\u2039 are playing an ever-increasing role, notably in town and transport planning, architecture, and product design. Beyond our \u203aobjective\u2039 acoustic environment, it would appear that our \u203asubjective\u2039 perception of sound has also changed, as demonstrate the controversial debates about the ubiquity of sound diffusion in private and public spaces, enabled by modern technology.<\/p>\n <\/p>\n What do we hear when there is nothing to hear?<\/p>\n To what extent do we long for silence?<\/p>\n And with how much silence can we cope provided it even exists?<\/p>\n <\/p>\n <\/p>\n A SILENT PLAYLIST<\/strong><\/p>\n This CD is an \u203aanthology of silence\u2039 which spans a large spectrum of historic and contemporary works of art. Its selection of tracks evidences that silence never sounds like silence: while some\u00a0 of the pieces are indeed very quiet, others will seem rather \u203aloud.\u2039 Attentive listeners will be rewarded as they gradually make out the subtle yet far-ranging differences in the various sound atmospheres.<\/p>\n <\/p>\n The exhibition Sounds Like Silence is organized by the Hartware MedienKunstVerein (HMKV) at Dortmunder U in Dortmund, Germany, from August 25, 2012 to January 6, 2013. It is curated by Inke Arns and Dieter Daniels.<\/p>\n <\/p>\n The exhibition is accompanied by an extensive publication. Sounds Like Silence (ed. by Dieter Daniels and Inke Arns, Leipzig: Spector Books, 2012, ISBN: 978-3-940064-41-7) comprises\u00a0 essays by Inke Arns, Brandon LaBelle, Dieter Daniels, David Toop, D\u00f6rte Schmidt, Julia H. Schr\u00f6der, and Jan Thoben, an anthology of texts by Hans-Friedrich Bormann, John Cage, William Fetterman, Kyle Gann, Branden W. Joseph, Douglas Kahn, Jonathan David Katz, Irwin Kremen, Liz Kotz, Julia Robinson, Simon Shaw Miller, and James Pritchett as well as critical notes on the participating artists.<\/p>\n <\/p>\n The CD contains the radio feature which was broadcast on August 24, 2012 between 00:05 and 01:00 a.m. in the Sound Art program of Deutschlandradio Kultur.<\/p>\n <\/p>\n Sounds Like Silence <\/p>\n Radiophonic opening of the exhibition at Hartware MedienKunstVerein at the Dortmunder U, Dortmund, Germany www.dortmunder-u.de<\/a><\/p>\n <\/p>\n Speakers: Meriam Abbas, Shaun Lawton and Gilles Chevalier Artwork: www.laborb.de<\/a><\/p>\n <\/p>\n Sound Art Series by Gruenrekorder <\/p>\n <\/p>\n <\/p>\n <\/a>Tracklist<\/strong><\/p>\n 6 Tracks (48\u203250\u2033) <\/p>\n SOUNDS LIKE SILENCE<\/p>\n 01 | FIRST ROOM: SILENCE ANNOUNCED<\/strong> <\/p>\n Introduction of the studio recording of 4′ 33″, Cage against the Machine, Cage Against The Machine, Video, 2010, 7:31 Min. (extract 0:49 Min.), Courtesy Dave Hillard<\/p>\n <\/p>\n John Cage, 4′ 33″, Cologne 1986 (Curator Wulf Herzogenrath asks for silence (\u203aSilence, please, thanks!\u2039) before the performance), Video documentation by Klaus vom Bruch of John Cage\u2019s performances of 4′ 33″ at K\u00f6lnischer Kunstverein, Cologne 1986, 1986 \/ 2012, 6:17 Min. (extract 0:15 Min.), Courtesy the artist<\/p>\n <\/p>\n John Cage (\u203aThis is the kind of music that anybody can make. You just have to open your ears and listen.\u2039), in: Nam June Paik, A Tribute to John Cage, Video, 1973, 60:00 Min. (extract 0:08 Min.), Courtesy Electronic Arts Intermix, NY<\/p>\n <\/p>\n <\/p>\n MP3<\/a><\/p>\n 02 | SECOND ROOM: SILENT PERFORMANCES<\/strong><\/p>\n John Cage, 4′ 33″, New York City 1972 (Performance of 4′ 33″ and commentary about the I Ging-based choice of the performance location \u203aThis is the kind of music that anybody can make. You just have to open your ears and listen\u2039 (John Cage), in: Nam June Paik, A Tribute to John Cage, Video, 1973, 60:00 Min. (extract 4:26 Min.), Courtesy Electronic Arts Intermix, NY<\/p>\n <\/p>\n John Cage, 4′ 33″, Cologne 1986, Video documentation by Klaus vom Bruch of John Cage\u2019s performances of 4′ 33″ at K\u00f6lnischer Kunstverein, Cologne 1986, 1986 \/ 2012, 6:17 Min. (extract 1:02 Min.), Courtesy the artist<\/p>\n <\/p>\n <\/p>\n 03 | THIRD ROOM: SILENCE ON THE AIR<\/strong> <\/p>\n Jonty Semper, Kenotaphion, Double CD, Locus+, 2001 (Armistice Day \/ Remembrance Sunday 1929, 1:11 Min.), Courtesy the artist<\/p>\n <\/p>\n Jonty Semper, Kenotaphion, Double CD, Locus+, 2001 (Armistice Day \/ Remembrance Sunday 1945, 1:04 Min.), Courtesy the artist<\/p>\n <\/p>\n Jonty Semper, Kenotaphion, Double CD, Locus+, 2001 (Armistice Day \/ Remembrance Sunday 1948, 0:28 Min.), Courtesy the artist<\/p>\n <\/p>\n Matt Rogalsky, Two Minutes Fifty Seconds Silence (for the USA), Audio work, 2003, 2:50 Min., published in: Nicolas Collins: A Call for Silence (CD), 2004, (extract 0:49 Min.), Courtesy the artist<\/p>\n <\/p>\n Martin Conrads, Dr. M\u2019s gesammeltes Schweigen (Augsburg Mix) [Dr. M\u2019s collected silence], Audio work, 2010, 3:00 Min. (extract 0:32 Min.), Courtesy the artist<\/p>\n <\/p>\n <\/p>\n MP3<\/a><\/p>\n 04 | FOURTH ROOM: SILENT RECORDINGS<\/strong> <\/p>\n John Cage, 4′ 33″ (open window version), First movement, 0:33 Min., in: Ulrich Krieger: The Complete John Cage Edition, Volume 42: A Cage of Saxophones, Vol. 3 and\u00a0 Vol. 4 (Indeterminacy 1 & 2); \u00a9 2010 mode records, mode 222 \/ 23, Published by Henmar Press \/ C. F. Peters Corp.<\/p>\n <\/p>\n Christopher DeLaurenti, Favorite Intermissions: Music Before and Between Beethoven, Stravinsky, Holst, 2002\u20132007, Audio work, GD Stereo (CD), 2010, 68:03 Min., Titel: GD 019-3 SF Variations, 4:35 Min. (extract 0:49 Min.), Courtesy Collection Corette Jepeson; SF Variations courtesy of GD Stereo<\/p>\n <\/p>\n Dave Allen, Silent Recording, Hansa Studios Berlin, Audio work, 2001, 26:00 Min. (extract 0:33 Min.), Courtesy Elastic, Malm\u00f6<\/p>\n <\/p>\n Jacob Kirkegaard, Speculum Speculi, Production: Deutschlandradio Kultur, 2009, 44:44 Min. (extract 0:49 Min.)<\/p>\n <\/p>\n Lasse\u00ad-Marc Riek, judenbad, friedberg, germany (jewish bath), Location recording: 28. 2. 2009, 14:57 Min. (extract 0:49 Min.)<\/p>\n <\/p>\n Stephen Vitiello, World Trade Center Recordings: Winds After Hurricane Floyd, Audio work, 1999 \/ 2002, 8:37 Min. (extract 0:49 Min.), Courtesy the artist and American Contemporary, NYC<\/p>\n <\/p>\n \u00a0<\/em><\/p>\n 05 | FIFTH ROOM: INTERMEDIAL SILENCE<\/strong> <\/p>\n Matthieu Saladin, 4′ 33″ \/ 0′ 00″, Audio work, 2008, 4:33 Min., Maximum amplification of the first recording of 4′ 33″ (Cramps, 1974), performed by Gianni-Emilio Simonetti, Mini CD, Editions Provisoires, (extract 0:49 Min.), Courtesy the artist<\/p>\n <\/p>\n <\/p>\n MP3<\/a><\/p>\n 06 | SIXTH ROOM: SILENCE EMBODIED<\/strong><\/p>\n John Cage describes his hearing experience in the anechoic chamber in Harvard in 1951, in: Nam June Paik, Global Groove, WNET\u00adTV, US 1973, 30:00 Min. (extract 0:28 Min.)<\/p>\n <\/p>\n Brandon LaBelle, The Sonic Body, Production: Deutschlandradio Kultur \/ Studio f\u00fcr elektroakustische Musik der Akademie der K\u00fcnste 2009, 47:58 Min., (extract 2:19 Min.)<\/p>\n <\/p>\n People Like Us (Vicki Bennett), Cage Silenced, Audio work, 4:33 Min., published in: Nicolas Collins: A Call for Silence (CD), 2004 (extract 1:00 Min.), Courtesy the artist<\/p>\n <\/p>\n John Cage, in: Nam June Paik, A Tribute to John Cage, Video, 1973, 60:00 Min., \u203aI am here and there is nothing to say. If among you are those who wish to get somewhere, let them leave at any moment. What we require is silence. But what silence requires is that I go on on talking\u2039 (extract 0:59 Min.), Courtesy Electronic Arts Intermix, NYC<\/p>\n <\/p>\n Einst\u00fcrzende Neubauten, Silence is Sexy, im Album: Silence is Sexy, \u2117 + \u00a9 2011, POTOMAK (Indigo 957052), (extract 0:60 Min.), Courtesy the artists<\/p>\n <\/p>\n <\/p>\n <\/a>Reviews<\/strong><\/p>\n <\/p>\n Review | By PROGRESS REPORT<\/a><\/strong> <\/p>\n This notion, and indeed a very clear playing on it via the title itself, is what forms the basis of this collection of carefully selected pieces collected by curators Dieter Daniels and Inke Arns. Mostly formed around a radio play that\u2019s unfortunately (for me, at least) in German. Each part (or \u2018room\u2019 as they are here called) toys with different aspects of silence, its perception and its purported opposite in sound. Utilising interview snippets, concert recordings and the like that themselves include Cage, Dave Allen, Stephen Vitiello, Brandon LaBelle and Einsturzende Neubauten, amongst others. <\/p>\n Martin P\u00a0 | Musique Machine<\/a><\/strong> <\/p>\n I have, or rather had, a reasonable working knowledge of German: I can follow some of what the commentary is saying, but the vast bulk speeds by; realistically leaving me with just the sound recordings and spoken-English to digest. These sound recordings are largely unexciting, and often simply too short in duration for any reasonable listening. They include extracts from various recorded versions of 4.33 (some performed in the studio, others on the street – for example), field recordings from the World Trade Center, and a snippet from Einsturzende Neubauten – to name a few. Harsh Noise enthusiasts will be pleased to know, that a short extract from a track that subjects the first recording of 4.33 to maximum amplification, will disappoint them. The sound bites from Cage himself are of more interest, but still don’t amount to much listening.<\/p>\n <\/p>\n This is, what it is: a radio documentary, in German. Thus it is ultimately of most use to those who want a brief audio introduction to Cage’s 4.33, and can understand German. There’s not a lot more to be said. The extracts from recordings are irritatingly short – in the standard ‚radio documentary‘ style – and there isn’t even a full performance of the piece at any point. On the plus side, though, we do hear a recording of Cage describing his experience in an anechoic chamber – something of personal interest to me. So, this cd is unfortunately of very little use to me, given that I don’t fulfil the criteria I set out at the start of this paragraph; but would, I imagine, be of much more use to those who do.<\/p>\n link<\/a><\/p>\n <\/p>\n Curt Cuisine | skug – Journal f\u00fcr Musik<\/a><\/strong> link<\/a><\/p>\n <\/p>\n H\u00e9ctor Cabrero | Le son du grisli<\/a><\/strong> link<\/a><\/p>\n <\/p>\n Tina Manske | CULTurMAG<\/a><\/strong> <\/p>\n Die CD versteht sich als \u201eAnthologie der Stille\u201c. Der Titel \u201eSounds Like Silence\u201c benennt eine Doppeldeutigkeit: Stille kann ein Sound sein, aber Sounds ben\u00f6tigen auch die Stille als ihrem Gegenpart. Arns und Daniels teilen ihr H\u00f6rst\u00fcck in sechs akustische, thematisch geordnete R\u00e4ume ein. Sie betrachten dabei die Geschichte von Stille bei Auff\u00fchrungen, bei Ausstrahlungen im Rundfunk, bei der Aufnahme im Studio etc. Die Arbeit bietet damit einen kurzweiligen und reichlich informativen Einstieg in die musikalische Konzeption von silence.<\/p>\n <\/p>\n Inke Arns und Dieter Daniels: Sounds Like Silence. Cage\/4\u201833\u2018\u2018\/Stille. 1912-1952-2012. Gruenrekorder. Radioer\u00f6ffnung der gleichnamigen Austtellung des Hartware MedienKunstVereins im Dortmunder U (noch bis 6. Januar 2013). Zur ausf\u00fchrlichen Beschreibung<\/a> bei gruenrekorder, inklusive einiger H\u00f6rproben. Direkt zum Ausstellungsf\u00fchrer<\/a>.<\/p>\n link<\/a><\/p>\n <\/p>\n maeror3 | livejournal<\/a><\/strong> <\/p>\n \u0412 \u0433\u043e\u0434 \u0441\u0442\u043e\u043b\u0435\u0442\u043d\u0435\u0433\u043e \u044e\u0431\u0438\u043b\u0435\u044f \u0430\u043c\u0435\u0440\u0438\u043a\u0430\u043d\u0441\u043a\u043e\u0433\u043e \u043a\u043e\u043c\u043f\u043e\u0437\u0438\u0442\u043e\u0440\u0430 \u0438 \u0448\u0435\u0441\u0442\u0438\u0434\u0435\u0441\u044f\u0442\u0438\u043b\u0435\u0442\u0438\u044f \u0441\u043e\u0437\u0434\u0430\u043d\u0438\u044f \u00ab4\u201933\u2019\u2019\u00bb \u043d\u0435\u043c\u0435\u0446\u043a\u0438\u0439 \u043b\u0435\u0439\u0431\u043b \u00abGruenrekorder\u00bb \u0438 \u00abDeutschlandradio Kultur\u00bb \u043f\u043e\u0434\u0433\u043e\u0442\u043e\u0432\u0438\u043b\u0438 \u0430\u043d\u0442\u043e\u043b\u043e\u0433\u0438\u044e \u00abSounds Like Silence\u00bb. \u0418\u0434\u0435\u044f \u043f\u043e\u043d\u0430\u0447\u0430\u043b\u0443 \u043a\u0430\u0436\u0435\u0442\u0441\u044f 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\u044d\u0442\u043e\u0439 \u043f\u044c\u0435\u0441\u044b. \u0421\u0443\u0449\u0435\u0441\u0442\u0432\u0443\u0435\u0442 \u043c\u043d\u043e\u0436\u0435\u0441\u0442\u0432\u043e \u0435\u0435 \u0432\u0435\u0440\u0441\u0438\u0439 \u2013 \u0435\u0435 \u00ab\u0438\u0441\u043f\u043e\u043b\u043d\u044f\u044e\u0442\u00bb \u0432 \u043a\u043e\u043d\u0446\u0435\u0440\u0442\u043d\u044b\u0445 \u0437\u0430\u043b\u0430\u0445, \u043d\u0430 \u0448\u0443\u043c\u043d\u044b\u0445 \u0443\u043b\u0438\u0446\u0430\u0445 \u041d\u044c\u044e-\u0419\u043e\u0440\u043a\u0430, \u0432 \u043f\u043e\u0434\u0437\u0435\u043c\u043a\u0435, \u0432\u043e\u0437\u043b\u0435 \u0438\u0437\u0432\u0435\u0441\u0442\u043d\u044b\u0445 \u0437\u0434\u0430\u043d\u0438\u0439 \u0432\u0440\u043e\u0434\u0435 \u0412\u0422\u0426, \u043d\u0435 \u0437\u0430\u0431\u044b\u0442\u043e \u043f\u0435\u0440\u0432\u043e\u0435 \u0438\u0441\u043f\u043e\u043b\u043d\u0435\u043d\u0438\u0435 \u0432 \u0412\u0443\u0434\u0441\u0442\u043e\u043a\u0435. \u0415\u0441\u043b\u0438 \u043f\u043e\u0441\u043c\u043e\u0442\u0440\u0435\u0442\u044c \u043d\u0430 \u0438\u043c\u0435\u043d\u0430 \u0438\u0441\u043f\u043e\u043b\u043d\u0438\u0442\u0435\u043b\u0435\u0439 \u0438 \u043f\u043e\u0441\u043b\u0443\u0448\u0430\u0442\u044c \u0431\u043e\u043b\u044c\u0448\u0443\u044e \u0447\u0430\u0441\u0442\u044c \u0440\u0430\u0431\u043e\u0442, \u043c\u043e\u0436\u043d\u043e \u0441\u0434\u0435\u043b\u0430\u0442\u044c \u0432\u044b\u0432\u043e\u0434, \u0447\u0442\u043e \u0432\u0441\u0435 \u0441\u043e\u0437\u0434\u0430\u0442\u0435\u043b\u0438 \u00ab\u043a\u043e\u043d\u043a\u0440\u0435\u0442\u043d\u043e\u0439 \u043c\u0443\u0437\u044b\u043a\u0438\u00bb \u0438 \u00ab\u043f\u043e\u043b\u0435\u0432\u044b\u0445 \u0437\u0430\u043f\u0438\u0441\u0435\u0439\u00bb, \u043f\u043e \u0441\u0443\u0442\u0438, \u0432\u0441\u0435 \u0432\u0440\u0435\u043c\u044f \u0438\u0433\u0440\u0430\u044e\u0442 \u041a\u0435\u0439\u0434\u0436\u0430, \u0437\u0430\u043f\u043e\u043b\u043d\u044f\u044f \u043a\u043e\u0440\u043e\u0442\u043a\u0438\u0439 \u0432\u0440\u0435\u043c\u0435\u043d\u043d\u043e\u0439 \u043e\u0442\u0440\u0435\u0437\u043e\u043a \u0433\u0443\u043b\u043e\u043c \u0438 \u0433\u0440\u043e\u0445\u043e\u0442\u043e\u043c \u043a\u043e\u043b\u043b\u0435\u043a\u0442\u043e\u0440\u0430, \u0448\u0443\u043c\u0430\u043c\u0438, \u0437\u0430\u043b\u0435\u0442\u0430\u044e\u0449\u0438\u043c\u0438 \u0432 \u043e\u0442\u043a\u0440\u044b\u0442\u043e\u0435 \u043e\u043a\u043d\u043e \u0438 \u0434\u0440\u0443\u0433\u0438\u043c\u0438 \u0444\u043e\u043d\u043e\u0432\u044b\u043c\u0438 \u0437\u0432\u0443\u043a\u0430\u043c\u0438, \u043a\u043e\u043c\u0431\u0438\u043d\u0430\u0446\u0438\u044f \u043a\u043e\u0442\u043e\u0440\u044b\u0445 \u043a\u0430\u0436\u0434\u044b\u0439 \u0440\u0430\u0437 \u043d\u0435\u043f\u043e\u0432\u0442\u043e\u0440\u0438\u043c\u0430. \u0421\u0440\u0435\u0434\u0438 \u0432\u0438\u0434\u043d\u044b\u0445 \u0438\u043c\u0435\u043d \u2013 \u0421\u0442\u0438\u0432\u0435\u043d \u0412\u0438\u0442\u0435\u043b\u043b\u043e, \u041b\u0430\u0441\u0441\u0435-\u041c\u0430\u0440\u0438 \u0420\u0438\u0435\u043a, \u0412\u0438\u043a\u0438 \u0411\u0435\u043d\u043d\u0435\u0442\u0442, \u0411\u0440\u0435\u043d\u0434\u043e\u043d \u041b\u0430\u0411\u0435\u043b\u043b\u044c, \u041a\u0440\u0438\u0441\u0442\u043e\u0444\u0435\u0440 \u0414\u0435\u041b\u0430\u0443\u0440\u0435\u043d\u0442\u0438 \u0438 \u0434\u0440\u0443\u0433\u0438\u0435, \u0442\u0435, \u043d\u0430 \u043a\u043e\u0442\u043e\u0440\u044b\u0435 \u0447\u0435\u0442\u044b\u0440\u0435 \u043c\u0438\u043d\u0443\u0442\u044b \u0442\u0440\u0438\u0434\u0446\u0430\u0442\u044c \u0442\u0440\u0438 \u0441\u0435\u043a\u0443\u043d\u0434\u044b \u0442\u0438\u0448\u0438\u043d\u044b \u043e\u043a\u0430\u0437\u0430\u043b\u0438 \u0441\u0438\u043b\u044c\u043d\u043e\u0435 \u0432\u043b\u0438\u044f\u043d\u0438\u0435 \u0438 \u043f\u043e\u0434\u0442\u043e\u043b\u043a\u043d\u0443\u043b\u0438 \u043a \u0442\u0432\u043e\u0440\u0447\u0435\u0441\u0442\u0432\u0443. \u041d\u0435 \u0437\u0430\u0431\u044b\u0442\u044b \u0434\u0430\u0436\u0435 \u00abEinsturzende Neubauten\u00bb – \u0430 \u0447\u0442\u043e, \u00abSilence in Sexy\u00bb \u0432\u043f\u043e\u043b\u043d\u0435 \u0432\u043f\u0438\u0441\u044b\u0432\u0430\u0435\u0442\u0441\u044f \u0432 \u043a\u043e\u043d\u0446\u0435\u043f\u0446\u0438\u044e \u0441\u0431\u043e\u0440\u043d\u0438\u043a\u0430. \u041d\u0430 \u043a\u043e\u0442\u043e\u0440\u043e\u043c, \u043a\u0441\u0442\u0430\u0442\u0438, \u0437\u0432\u0443\u0447\u0438\u0442 \u0433\u043e\u043b\u043e\u0441 \u0441\u0430\u043c\u043e\u0433\u043e \u041a\u0435\u0439\u0434\u0436\u0430, \u043a\u043e\u0442\u043e\u0440\u044b\u0439 \u043e\u0442\u043d\u043e\u0441\u0438\u0442\u0441\u044f \u043a \u0438\u043d\u0442\u0435\u0440\u0432\u044c\u044e, \u043d\u0430\u0434\u043e \u0437\u0430\u043c\u0435\u0442\u0438\u0442\u044c, \u043d\u0435 \u0431\u0435\u0437 \u0438\u0440\u043e\u043d\u0438\u0438, \u0433\u0440\u043e\u043c\u043a\u0438\u043c \u0448\u0435\u043f\u043e\u0442\u043e\u043c \u043f\u043e\u0432\u0435\u0441\u0442\u0432\u0443\u044f \u043e \u0441\u0432\u043e\u0435\u0439 \u0442\u0432\u043e\u0440\u0447\u0435\u0441\u043a\u043e\u0439 \u0444\u0438\u043b\u043e\u0441\u043e\u0444\u0438\u0438.<\/p>\n <\/p>\n \u00abSounds Like Silence\u00bb – \u043d\u0435 \u043f\u0440\u043e\u0441\u0442\u043e \u043a\u043e\u043c\u043f\u0438\u043b\u044f\u0446\u0438\u044f, \u0430 \u0441\u0435\u0440\u044c\u0435\u0437\u043d\u043e\u0435 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043e\u043b\u043e\u0433\u0438\u0447\u0435\u0441\u043a\u043e\u0435 \u0438\u0441\u0441\u043b\u0435\u0434\u043e\u0432\u0430\u043d\u0438\u0435, \u043f\u043e\u0441\u0432\u044f\u0449\u0435\u043d\u043d\u043e\u0435 \u043e\u0434\u043d\u043e\u043c\u0443 \u0438\u0437 \u0441\u0438\u043c\u0432\u043e\u043b\u043e\u0432 \u0441\u043e\u0432\u0440\u0435\u043c\u0435\u043d\u043d\u043e\u0433\u043e \u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u0430. \u041f\u043e\u0437\u043d\u0430\u0432\u0430\u0442\u0435\u043b\u044c\u043d\u043e, \u0435\u0441\u043b\u0438 \u043d\u0435 \u0431\u0440\u0430\u0442\u044c \u0432 \u0440\u0430\u0441\u0447\u0435\u0442 \u0442\u0440\u0443\u0434\u043d\u043e\u0441\u0442\u0438 \u043f\u0435\u0440\u0435\u0432\u043e\u0434\u0430.<\/p>\n link<\/a><\/p>\n <\/p>\n Idwal Fisher | IDWAL FISHER<\/a><\/strong><\/p>\n […] \u2018Sounds Like Silence\u2019 is a straight lift from a radio program broadcast via Deutschlandradio Kultur on the 24th of August this year. In case you were unaware 2012 sees the hundredth anniversary of John Cage\u2019s birth and there\u2019s been various performances, exhibitions and radio programs to help celebrate this fact [I spent last Saturday night catching up with the various Radio 3 broadcasts devoted to Cage and enjoyed pretty much all of it but discovered only after the fact that Nyoukis and Constance were part of the Proms tribute to the man – bugger].<\/p>\n <\/p>\n It goes without saying that Cage\u2019s 4\u201933\u2019\u2019 is one of the 20th centuries most important compositions and remains one of the few works with the ability to divide an audience like no other. Its a great litmus test too, ask someone what they think of Cage\u2019s 4\u201933\u2019\u2019 and if you get a dumb answer you can be pretty certain that the person you\u2019re addressing has no imagination at all and should be excluded from the next round. Barnsley poet Ian Macmillan recently included 4\u201933\u2019\u2019 as one of his Desert Island Discs and had to virtually beg the host to play just a bit of it, the BBC fearing, as it does, that even a smidgen of silence will lead bemused listeners to tune away to other channels. But as stated here, the two seconds of silence that follows the last bong of Big Ben that signals the start of the BBC 6 O\u2019Clock news is perhaps one of the most potent silences on the radio, the silence being heavy with portent.<\/p>\n <\/p>\n The CD is divided into six rooms, in each of which 4\u201933\u2019\u2019 is approached in a different manner. \u2018Room One\u2019 contains various versions of 4\u201933\u2019 as recorded by Cage and the introduction to the studio recording of Cage Against The Machine\u2019s anti-single. \u2018Room Three\u2019 contains silences as broadcast on the radio including an extract from Marinetti\u2019s \u2018I Silenzi Parlano Fra Di Loro\u2019 and the silences heard during various remembrance ceremonies. And so it goes, David Allen, Gruenrekorder\u2019s own Lasse-Marc Riek, People Like Us, Nam June Paik and Cage himself of course. The last track on \u2018Room Six\u2019 comes courtesy of Einst\u00fcrzende Neubauten and an excerpt of their track \u2018Silence is Sexy\u2019 which is all very arty and Teutonic and fitting which is probably why there\u2019s no sign of Simon and Garfunkel\u2019s mawkish \u2018Sounds of Silence\u2019 or The Tremeloes \u2018Silence is Golden\u2019. No sign here either of the two minutes silence as observed at Princess Diana\u2019s funeral which was later released as a seven inch single and my other two favorite \u2018silent\u2019 tracks, Whitehouse\u2019s \u2018Birthdeath Experience\u2019 and The New Blockaders \u2018Symphony in O Minor\u2019. All the tracks included are excerpts of course.<\/p>\n <\/p>\n The presenters of the show speak in both German and English but theres enough English included to make this but the smallest of stumbling blocks for non German speakers.<\/p>\n link<\/a><\/p>\n <\/p>\n Brian Olewnick | Just outside<\/a><\/strong><\/p>\n A quite crowded and noisy compilation of many performances of 4’33“.<\/p>\n It’s an odd melange, incorporating many announcements (from the radio, for the most part, I think), in German and English, about the piece. The first of the six tracks, indeed, consists of virtually nothing but these announcements, including contributions from Cage himself (once between 103rd and 104th Sts. at 3rd Avenue, an intersection I know pretty well) and a sarcastic news reporter at Harvard Square. The former includes commentary from passersby, over a faintly heard „Day by Day“ (that horrid song from „Godspell“), before moving to a brief (14-second) second movement near the river. It’s a fascinating listen, somehow much more alive than most field recordings I’ve heard these days…<\/p>\n <\/p>\n There’s much repetition here, in the spoken texts and certain sounds, but the works unspool in different directions. There are performances of 4’33 by, among others, Matt Rogalsky, Ulrich Krieger (a saxophone quartet version), Lasse-Marc Riek, Stephen Vitiello, Mathieu Saladin (the wonderful, full-volume rendition) and Einsturzende Neubaten („Silence Is Sexy“). As a kind of primer that, if nothing else, lists a number of approaches and to an extent, some amount of public reception, „Sounds Like Silence“ performs a small service. Personally, only the shards of Cage conversation (that live street piece, especially) were valuable. There’s no other attempt at explication to any substantial degree, presuming I’m not missing too much of the German text, which could be the case.<\/p>\n For completists only, I fear.<\/p>\n link<\/a><\/p>\n <\/p>\n Jochen Mei\u00dfner<\/strong> | FUNKKORRESPONDENZ<\/a><\/strong><\/p>\n Subversiv, kritisch und aufregend<\/p>\n Dieser Tage j\u00e4hren sich gleich drei Jubil\u00e4en: der 100. Geburtstag von John Cage am 5. September, sein 20. Todestag am 12. August und der 60. Jahrestag der Urauff\u00fchrung seiner ber\u00fchmtesten Komposition: der dreis\u00e4tzigen Generalpause \u201e4\u201933\u201c\u201c, die am 29. August 1952 ihre Premiere hatte. Mit ihrem Feature \u201eSounds like Silence\u201c haben die Kuratorin Inke Arns und der Medientheoretiker und Kunsthistoriker Dieter Daniels die von ihnen konzipierte gleichnamige Ausstellung im Hartware MedienKunstVerein Dortmund (HMKV) er\u00f6ffnet. Wohl auch deshalb ist ihre Sendung St\u00fcck in insgesamt sechs \u201eR\u00e4ume\u201c unterteilt.<\/p>\n <\/p>\n Der erste \u201eRaum\u201c, \u201eStille mit Ansage\u201c betitelt, beginnt mit dem sch\u00f6nen Satz: \u201eBezeichnen\u00acderweise wird die Auff\u00fchrung von Cages Komposition \u00bb4\u201933\u201c\u00ab oft mit viel L\u00e4rm angek\u00fcndigt.\u201c Denn Stille ist ein Differenzph\u00e4nomen oder, wie es Cage sp\u00e4ter selbst sagte: \u201eThere is no such thing as silence.\u201c Nicht einmal das digitale Nichts, das Rafael Jov\u00e9 in seinem H\u00f6rspiel \u201eDas Radio ist nicht Sibirien\u201c als Edelstille aus dem Gro\u00dfen Sendesaal des D\u00e4nischen Rundfunks in Kopenhagen ausgegeben hat (vgl. FK 21-22\/12), f\u00fcllte den H\u00f6rraum mit Stille, sondern hob nur die Ger\u00e4usche in der Umgebung des Radios hervor.<\/p>\n <\/p>\n Wie bedeutungsvoll Stille sein kann, wissen Leser und H\u00f6rspielh\u00f6rer aus Heinrich B\u00f6lls Erz\u00e4hlung \u201eDr. Murkes gesammeltes Schweigen\u201c (1955), in der sich Herr Dr. Murke von einer sch\u00f6nen Frau nur ein Band beschweigen l\u00e4sst \u2013 was die als beinahe unsittlichen Angriff betrachtet. Martin Conrads\u2019 St\u00fcck \u201eDr. M.s gesammeltes Schweigen\u201c (2010) hat ebenso mit Vorw\u00fcrfen der Unsittlichkeit zu tun. Aus einer Radiopredigt des umstrittenen Bischofs Dr. Walter Mixa zum Thema N\u00e4chstenliebe entfernte Conrads jeglichen gesprochenen Text \u2013 eine k\u00fcnstlerische Realisation und ein bissiger Kommentar auf jene \u201eZeit des Schweigens\u201c, die der Papst dem Augsburger Bischof nach dessen R\u00fccktritt auferlegt hatte. Ein \u00e4hnliches Verfahren hatte schon 2003 der amerikanische K\u00fcnstler Matt Rogalsky angewandt, als er die 13-min\u00fctige Rede, in der US-Pr\u00e4sident George W. Bush dem irakischen Diktator Saddam Hussein sein Ultimatum stellte, auf \u201eTwo Minutes Fifty Seconds Silence (for the USA)\u201c kondensierte. Inke Arns und Dieter Daniels nennen dieses St\u00fcck, das als Klangereignisse nur den dumpf-schlagenden Nachhall von Bushs Worten enth\u00e4lt, \u201eein Destillat\u201c seiner Rede.<\/p>\n [… excerpt – more at: funkkorrespondenz.kim-info.de<\/a>]<\/p>\n <\/p>\n
\nBook<\/a>
\nTracklist<\/a>
\nReviews<\/a><\/p>\n![\"SOUNDS](\"https:\/\/www.gruenrekorder.de\/Photos\/innen_gruen116.jpg\" "\\"SOUNDS")
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\nCage\u2019s conception of silence is intimately linked to questions of presence and liveness. Each recording of 4′ 33″ is essentially a paradox since it is far easier to perform than to record the piece! Cage wants us to listen to the sounds here and now; recordings of 4′ 33″ , however, allow for a wholly different experience, as we are effectively hearing sounds from a remote time and space, mingling with the live sounds of our environment at the time of listening.<\/p>\n
\nSilence has become something of a taboo in modern media. Radio stations, for instance, have implemented a technology that automatically switches to an emergency program when there is a prolonged period of silence. Moments of silence are also being suppressed in live broadcasts, as even the news and weather reports in so-called \u203aformat radio\u2039 can no longer dispense with sound effects.<\/p>\n
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\nJohn Cage \/ 4′ 33″ \/ Silence Today
\n1912\u20131952\u20132012
\nBy Inke Arns and Dieter Daniels<\/p>\n
\nwww.hmkv.de<\/a><\/p>\n
\nAssistance: Eva Raisig
\nSound: Lutz Pahl
\nDirected by: Inke Arns, Dieter Daniels
\nEditor: Marcus Gammel
\nProduction: Deutschlandradio Kultur 2012<\/p>\n
\nGermany \/ 2012 \/ Gruen 116 \/ LC 09488 \/ GEMA \/ EAN 4050486081365<\/p>\n![\"\"](\"https:\/\/www.gruenrekorder.de\/Photos\/hmkv-cag-logos-gruenrekorder.jpg\")
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\nCD (500 copies)<\/p>\n
\nJohn Cage, 4′ 33″, Cambridge, Mass. 1972 (A TV moderator announces John Cage\u2019s performance of 4’33“), in: Nam June Paik, A Tribute to John Cage, Video, 1973, 60:00 Min. (extract 0:57 Min.), Courtesy Electronic Arts Intermix, NYC<\/p>\n
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\nFilippo Tommaso Marinetti, Cinque Sintesi Radiofoniche, 1931 (13:07 Min.), performed by Daniele Lombardi in 1978, 13:07 Min. published in: Musica Futurista: The Art Of\u00a0 Noises, LTM Recordings, LTMCD 2401, 2004, (extract from: I silenzi parlano fra di loro, 2:21 Min.) Released by kind permission of LTM \/ Daniele Lombardi.<\/p>\n
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\nJohn Cage, 4′ 33″ (studio version), First movement, 0:38 Min., in: Ulrich Krieger: The Complete John Cage Edition, Volume 42: A Cage of Saxophones, Vol. 3 and Vol. 4 (Indeterminacy 1 & 2); \u00a9 2010 mode records, mode 222 \/ 23, Published by Henmar Press \/ C. F. Peters Corp. Ulrich Krieger has recorded two versions of 4′ 33″ for saxophone trio: one with closed window (studio version), one with open window.<\/p>\n
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\nJohn Cage, 4′ 33″ (No. 2) (0′ 00″), Peter Pfister (electronic realization), 4:38 Min., in: John Cage, Music For Five, CD, 1991, hat ART (hat ART CD 2\u00ad6070), Switzerland, Co\u00adProduktion: Hessischer Rundfunk, Frankfurt \/ Hat Hut Records Ltd, Therwil (extract 0:49 Min.)<\/p>\n
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\nFrom what I gather, this disc was released to coincide with an exhibition of the same name that ran for several months in Dortmund, Germany, until early 2013. Both, as one might suspect, honour(ed) John Cage\u2019s own \u2018silent\u2019 meisterwerk, \u20184:33\u2019, and indeed the very concept of \u2018silence\u2019 the piece was designed to explore. Silence, of course, does not exist, yet constantly remains a motivation for us (as John Gray illustrates all too clearly in his excellent book, The Silence of Animals). Cage himself proved this before \u20184:33\u2019, a piece inspired by his ongoing interest in Zen Buddhism and, more particularly, the anechoic chamber at Harvard University, which he visited in 1951 and understood after that despite the said chamber\u2019s ability to absorb sound, his own blood circulation and other bodily sounds could still be heard.<\/p>\n
\nThe segments in English, of course, make for an interesting listen, but so much is lost due to the German language. All the same, it serves as a great taster to what is both an intriguing concept and, indeed, an exhibition I\u2019m certain would be worth visiting anywhere. Silence, after all, at least translates in any language.
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\nThis review will start with a disclaimer, and probably continue in that vein to the end. Put simply, there’s very slim pickings here if you don’t have a good understanding of German. The cd contains a radio broadcast from 2012, on Deutschlandradio Kultur; celebrating John Cage and in his particular his most famous work 4.33 (for the uninitiated, the piece requires the performer to make no intentional sounds for the duration). The broadcast combines recordings of the piece with soundbites from Cage, as well as further examples of ’silence‘ in sound works.<\/p>\n
\nDas Gruenrekorder-Label, sch\u00f6n langsam w\u00e4chst es mir ans Herz mit seinem radikalen Faible f\u00fcr field recordings. Unvergessen die CD, auf der man verschiedenen Schweizer Bergbahnen zuh\u00f6ren konnte. Unpackbar irgendwie, andererseits auch ganz sch\u00f6n kultig. Aber wie sagte John Cage einst: \u00bbSie m\u00fcssen es nicht f\u00fcr Musik halten, wenn dieser Ausdruck sie schockiert.\u00ab Und damit sind wir auch gleich beim Thema. \u00bbSounds like Silence\u00ab pr\u00e4sentiert eigentlich ein Radiofeature, das anl\u00e4sslich des 100. Geburtstags von Cage und des 60. Jahrestages der Auff\u00fchrung seines legend\u00e4ren St\u00fcckes 4’33“ ausgestrahlt wurde. 4’33“ ist eigentlich als Auff\u00fchrungsskandal in die Musikhistorie eingegangen. Damals trat Pianist David Tudor vor versammelten Publikum ans Klavier, wartete 4’33“, klappte zweimal den Klavierdeckel auf und zu (f\u00fcr die einzelnen S\u00e4tze) und ging dann wieder. Was das Publikum damals vor allem h\u00f6rte, war die eigene Erwartungshaltung – und die war offenbar unertr\u00e4glich. Aber Cage w\u00e4re nicht ein derart begnadet gelassener Provokateur gewesen, wenn es ihm nur um den Skandal gegangen w\u00fcrde. Cage wollte tats\u00e4chlich die Stille zu Auff\u00fchrung bringen. Weswegen er auch eine elektronische Version erzeugte, in dem er sich einfach mit dem Mikrofon in New York aufstellte (an zuf\u00e4lligen Orten) und die Stille, die nat\u00fcrlich keine Stille war, aufnahm. Unglaubliches, grandioses Detail daran: der ihn begleitende Nam June Paik schnappte sich nach einer Minute das Mikro und interviewte damit Passanten. Ein Lehrst\u00fcck in Sachen Urspr\u00fcnge, die nie das waren, was man sich meist von ihnen verspricht. Reine, unverf\u00e4lschte Momente … jedenfalls, um genau dieses Einfangen der Stille geht es in \u00bbSounds like Silence\u00ab, wof\u00fcr Inke Arns und Dieter Daniels gro\u00dfartige Beispiele aus der Musik- und Radiogeschichte zusammengetragen haben. Das ergibt ganz nebenbei auch einen schr\u00e4gen, aber umso erkenntnisreicheren Einstieg in ein ganzheitliches (ergo radikales) Musikverst\u00e4ndnis (nat\u00fcrlich ist Stille die vollkommene Musik, nat\u00fcrlich ist Harmonie L\u00e4rm und L\u00e4rm eigentlich Harmonie …). Und darum kann diese CD nur uneingeschr\u00e4nkt empfohlen werden, auch wenn es in formaler Hinsicht eben blo\u00df ein Radio-Feature ist.<\/p>\n
\nSounds Like Silence est un hommage \u00e0 la composition silencieuse de Cage, 4\u201933\u2019\u2019, rendu par des noms comme Nam June Paik, Brandon LaBelle, Ulrich Krieger, Einst\u00fcrzende Neubauten, Jacob Kierkegaard, Lasse-Marc Riek, Stephen Vitiello ou People Like Us. Sur les l\u00e8vres des artistes & musiciens (de documents en captations) on peut lire que si le silence n\u2019existe pas, rien ne vaut pourtant le silence. A m\u00e9diter ?<\/p>\n
\nEin H\u00f6rst\u00fcck von Inke Arns und Dieter Daniels widmet sich dem bekanntesten Werk von John Cage \u2013 seinem silent piece \u201e4\u201833\u2018\u2018\u201c, einer Komposition in drei S\u00e4tzen mit kompletter Stille. Es feiert in diesem Jahr ebenfalls einen runden Geburtstag. Bei der Urauff\u00fchrung im August 1952 markierte der Pianist David Tudor die Anf\u00e4nge und Endpunkte der S\u00e4tze mit dem Anheben und Schlie\u00dfen die Klavierdeckels. Seitdem haben unz\u00e4hlige Musiker und Orchester ihre eigene Interpretation des St\u00fcckes vorgelegt. Aber Cage war nicht der erste, der sich mit Stille als Sound besch\u00e4ftigte. Schon in den 1930er-Jahren legten K\u00fcnstler wie Marinetti \u00e4hnlich gelagerte Arbeiten vor. Und nat\u00fcrlich hatte Cage Nachfolger: So filterte Matt Rogalsky in seinem St\u00fcck \u201eTwo Minutes Fifty Seconds Silence (for the USA)\u201c aus dem Jahr 2003 alle T\u00f6ne aus George W. Bushs \u201eRede an die Welt\u201c, in der er Hussein ein Ultimatum f\u00fcr den Abzug aus Afghanistan stellt. Eine gespenstische Aufnahme \u2013 nur die Echos von Bushs Stimme im Wei\u00dfen Haus sind zu h\u00f6ren, und sie klingen wie Bombeneinschl\u00e4ge.<\/p>\n
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