Klarinet Archive - Posting 000688.txt from 2001/09

From: Bilwright@-----.net (William Wright)
Subj: Re: [kl] Silence is Golden - for Bill W.
Date: Thu, 20 Sep 2001 13:22:27 -0400

<><> Tony Wakefield wrote:
Why do we associate 4.33 with music, as there is no sound to tell us
what we are listening to.

I think this raises another issue that hasn't been addressed yet ---
broken promises, because every performance includes an implied promise
by the performer.

(isn't it interesting that I, who have often stated that I'm not a
performer at heart, feel the need to talk so much about performance?)

Suppose that you purchased tickets for a revival of your favorite
Broadway show. When the lights go down, someone walks out onto the
stage and announces:

"Ladies and Gentlemen, since all of you appreciate music, you will be
glad to learn that after the intermission, the renowned soprano
Mademoiselle Pomfrit von Spudbottom will sing four coloratura variations
of a famous Mozart aria, and then we will conclude with the final act of
tonight's performance of West Side Story. We hope you enjoy the
evening of music."

Assuming that you happen to be a great fan of Mademoiselle von
Spudbottom, nevertheless will you be offended that the continuity of the
show's mood is destroyed in this manner? You came to hear and see West
Side Story, and the promise has been broken.

Isn't Cage doing the same thing? 4'33" depends on catching the
audience off guard. The intent of the 'piece' is to break a promise.
The audience came to hear music, not to be taunted with something that
involves sound, but is not music, no matter if it may be instructive.
The fact that 4'33" may contain meaning (thanks to the silent performers
on stage) does not remedy the breaking of a promise --- and without the
broken promise, 4'33" would probably have been forgotten long ago.

The Concerto for 100 Metronomes, on the other hand, clearly promises
something unusual and is not guilty of breaking its promise.

Cheers,
-Bill

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