Oeuvres (in)sonores et mesostic - John Cage, Pierre Soulages

 

Pour une œuvre insonore/insensée

Pour deux œuvres sonores/sonnées

Pour un mesostic animé en musique

 

Triptyque, Pierre Soulages
http://www.mba-lyon.fr/mba/sections/fr/collections-musee/vie-des-collections/acquisition-soulages/

 

 

Pour une œuvre insonore/insensée

 

Quatre minutes trente trois - John Cage

 

Version orchestre

https://www.youtube.com/watch?v=zY7UK-6aaNA

 

Version piano

https://www.youtube.com/watch?v=JTEFKFiXSx4

 

Partition

http://www.knovart.fr/index3.html

 

 

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Pour deux œuvres sonores/sonnées

Water Walk - John Cage

 

Interview télévisée, 1960

https://www.youtube.com/watch?v=SSulycqZH-U&index=2&list=RDzY7UK-6aaNA

 

 

Sonatas & Interludes

 

Avec partition, années 1940, à rapprocher de la citation plus bas

https://www.youtube.com/watch?v=8fPSz-o4zzY&index=6&list=RDzY7UK-6aaNA

https://www.youtube.com/watch?v=pUTXNxFvjDw&list=RDzY7UK-6aaNA&index=10

 

 

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Source : http://johncage.org/autobiographical_statement.html

When I wish as now to tell of critical incidents, persons, and events that have influenced my life and work, the true answer is all of the incidents were critical, all of the people influenced me, everything that happened and that is still happening influences me.

My father was an inventor. He was able to find solutions for problems of various kinds, in the fields of electrical engineering, medicine, submarine travel, seeing through fog, and travel in space without the use of fuel. He told me that if someone says "can't" that shows you what to do. He also told me that my mother was always right even when she was wrong.

My mother had a sense of society. She was the founder of the Lincoln Study Club, first in Detroit, then in Los Angeles. She became the Women's Club editor for the Los Angeles Times. She was never happy. When after Dad's death I said, "Why don't you visit the family in Los Angeles? You'll have a good time," she replied, "Now, John, you know perfectly well I've never enjoyed having a good time." When we would go for a Sunday drive, she'd always regret that we hadn't brought so‑and‑so with us.[...]

When I was young and still writing an unstructured music, albeit methodical and not improvised, one of my teachers, Adolph Weiss, used to complain that no sooner had I started a piece than I brought it to an end. I introduced silence. I was a ground, so to speak, in which emptiness could grow. [...]

I don't know when it began. But at Edwin Denby's loft on 21st Street, not at the time but about the place, I wrote my first mesostic. It was a regular paragraph with the letters of his name capitalized. Since then I have written them as poems, the capitals going down the middle, to celebrate whatever, to support whatever, to fulfill requests, to initiate my thinking or my nonthinking [...]. I have found a variety of ways of writing mesostics: Writings through a source: Rengas (a mix of a plurality of source mesostics), autokus, mesostics limited to the words of the mesostic itself, and "globally," letting the words come from here and there through chance operations in a source text. [...]

 

Pour un mesostic animé en musique

 

http://movingpoems.com/2013/09/mesostic-dancersuchands-by-john-cage/