John Cage, Inventor of Genius: on Third ear (Radio program), BBC Radio 3, 1989-12-12Additional title: Third ear (Radio program : BBC Radio 3)
NamesMerce Cunningham Dance Company (Associated name)Cage, John (Interviewee)Cheevers, Anthony (Radio producer)Dickinson, Peter, 1925-1961 (Host)Brown, Earle, 1926-2002 (Commentator)Cunningham, Merce (Commentator)Lederman, Minna (Commentator)Mac Low, Jackson (Commentator)Rockwell, John, 1940- (Commentator)Stockhausen, Karlheinz, 1928-2007 (Commentator)Thomson, Virgil, 1896-1989 (Commentator)Tomkins, Calvin, 1925- (Commentator)Tudor, David, 1926-1996 (Commentator)BBC Radio 3 (Broadcaster)
Merce Cunningham Dance Foundation Collection. Audio materials
Dates / OriginDate Created: 1989-12-12
Library locationsRodgers and Hammerstein Archives of Recorded SoundShelf locator: *LTC-A 1475
TopicsCage, JohnCage, John. 4'33", no. 1.no. 1
no. 1Cage, John. Atlas eclipticalisCage, John. Music of changesAleatory musicMusic -- 20th century -- Philosophy and aesthetics
NotesContent: Contains a radio program on John Cage with host Peter Dickinson for broadcast on December 12, 1989 by BBC Radio 3, produced by Anthony Cheevers. Commentators include: Merce Cunningham, Virgil Thomson, Minna Lederman, Earle Brown, Jackson Mac Low, David Tudor, John Rockwell, Calvin Tomkins, and Karlheinz Stockhausen.Content: Title, date and location provided by cataloger based on typed and handwritten notes on original cassette and container, and audition.Content: Typed note on original container: "Inventor of Genius - John Cage ; Presenter Peter Dickinson, Producer Anthony Cheevers ; BBC R3". Handwritten note on original cassette: "CLN95089YY0317 ; The Inventor of Genius". Handwritten paper insert: "Tape no: SCN 946 89BF 0499 ; Title: Inventor of Genius ; cassette no: CLN950/89YY0317 ; Side: 1+2 ; Date: 12/12/89".Venue: Broadcast in, London, England, 1989 December 12.Acquisition: Gift; Merce Cunningham Dance Foundation, 2011-2012.Citation/reference: Forms part of the Merce Cunningham Dance Foundation Collection.
Physical DescriptionAudiocassetteExtent: 1 audiocassette (60 minutes) : analogSound quality is good.
Streaming file 1, side a: Clip of John Cage speaking about musicians and sounds; Cage speaks about an experience of hearing his own body sounds in the late 1940's that impacted his philosophy of composition; host Peter Dickinson introduces Cage and gives his early biography; Cage speaks about becoming a student of Arnold Schoenberg; the different views of musical harmony between himself and Schoenberg; creating percussion music for an experimental film by Oskar Fischinger that led him to further work with percussion; an anecdote about writing music and the open minded reception he received from dancers and visual artists; Dickinson describes Cage's meeting of Merce Cunningham while playing for dance classes of teacher Bonnie Bird in Seattle, Washington; Merce Cunningham briefly speaks about Cage's early compositions for dance; Dickinson briefly describes Cage's process to create the first prepared piano composition, as well as Cage's move to New York in 1942; Virgil Thomson briefly describes the circumstances around Cage's first concert in New York; Minna Lederman speaks about Cage's first concert, especially his use of percussion and non-musical instruments, and the early reception of his music; Cage speaks about the period around his divorce with Xenia [Cage], his artistic crises at that time, and his brief experience with Jungian psychoanalysis; Earle Brown tells an anecdote about Cage's acceptance of Zen Buddhism as a philosophy and how this impacted Cage's compositions; Jackson Mac Low speaks about attending D.T. [Daisetz Teitaro] Suzuki's classes on Zen with Cage; David Tudor speaks about the influence of Pierre Boulez's music on Cage; Cage speaks about reasons for his use of chance operations in composition; being introduced to the I-Ching [Yi jing] by Lou Harrison, and, later, receiving a copy of it from Christian Wolff by which he began to compose the Music of changes (1952); they speak about Morton Feldman's response to Music of changes; John Rockwell speaks about Cage's idiosyncratic use of chance within structure; Dickinson briefly describes Cage's use of magnetic tape and performance explorations at Black Mountain College; Cunningham speaks about Cage's first "happening" at Black Mountain College in 1952; Tudor speaks about how 4'33" (1952) was derived from Cage's experience composing Music of changes with the I-Ching; Cage briefly speaks about writing on silence in his unpublished text, A composer's confessions, but not composing for silence until seeing Bob's [Robert Rauschenberg's] White paintings; Calvin Tomkins speaks about Rauschenberg's White paintings and how Cage encouraged Rauschenberg artistically; Cage explains why he favors 4'33"; Karlheinz Stockhausen speaks about being introduced to Cage through Boulez and Tudor; Tudor speaks about his impression of how Stockhausen received Cage; Kirch [unidentified?]'s impression of Cage's music after attending performances at Darmstadt [University] for the "Neue musik" audience; Dickinson introduces the 25-year retrospective concert of the music of John Cage, given in 1958 at Town Hall, New York.
Streaming file 2, side b: Merce Cunningham speaks about the 25-year retrospective concert of the music of John Cage, given in 1958 at Town Hall, New York; John Cage speaks about the audience's disruptive reception of the 25-year concert and how he was seen as controversial at the time; Cunningham speaks about Cage's interest in new directions and possibilites in sound; [unidentified speaker] describes how musicians worked with Cage's early scores; Earle Brown speaks about his concern that Cage did not give enough "information" to the musicians in his orchestral scores; Brown speaks about the New York Philharmonic Orchestra performance of Atlas elipticalis (1961-62) and the reactions of the musicians to this score; Peter Dickinson and Cage speak about some of the difficulties that Cage faced within the music industry; Cage speaks briefly about his use of magnetic tape in composition and how his notation became graphic; Dickinson speaks about Cage's use of mesostics, his interest in James Joyce's Finnegan's wake, and other literary influences on Cage; Cage tells an anecdote about Hawaiian history that he learned while living there and mentions the writings of Marshall McLuhan and Buckminster Fuller; Cage speaks about Mao Zedong's writings; he speaks about observing daily reality as a "poetic experience"; Brown speaks about one of his last debates with Cage about musical composition; Virgil Thomson speaks about the influence of Marcel Duchamp on Cage, especially his idea of planned chaos; Karlheinz Stockhausen speaks about how Cage is a great designer rather than a composer; Jackson Mac Low speaks about Cage's works in the context of the literary realm; [unidentified speaker] speaks about Cage as a writer and philosopher; John Rockwell speaks about Cage's influence as a writer and philosopher; [unidentified speaker] speaks about the influence of Cage's thinking on modern music; [Stockhausen?] speaks about Cage as an example to many artists; Cage speaks about his interest in sounds that are unintentional because they are "more useful"; they speak about Cage's charismatic personality and Cage's desire to distance his personality from his works.
Type of ResourceSound recording
IdentifiersRLIN/OCLC: 932895619NYPL catalog ID (B-number): b20861318Universal Unique Identifier (UUID): bbc95ea0-b949-0133-9b75-3c07547a230f
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