John Cage

John Cage - Bird Cage (2000) {Electronic Music Foundation EMF CD 013}

John Cage - Bird Cage (2000) {Electronic Music Foundation EMF CD 013}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 318 Mb | MP3 @320 -> 142 Mb
Full Artwork @ 300 dpi (jpg) -> 26 Mb | 5% repair rar
© 2000 Electronic Music Foundation | EMF CD 013
Contemporary Classical / Electronic / Experimental / Avant-Garde

In 1972, John Cage, accompanied by a film crew from Germany, went to upstate New York to work for 3 days in the State University of New York at Albany's electronic music studio. He carried with him three piles of tapes: (1) sounds of birds in aviaries that he had made in the prior two weeks, (2) recordings of himself singing his 'Mureau', and (3) ambient sounds. While listening to tapes of himself singing Mureau, he commented, "It makes the birds seem less ridiculous." The result was 'Birdcage', a complex, exuberant, and joyful fabric of juxtapositions of all of the sounds, to be played back in a space in which, as Cage put it, people were free to move and birds to fly.

John Cage - John Cage Shock, Vol. 1-3 (2012) 3CD [Re-Up]  Music

Posted by Designol at May 30, 2021
John Cage - John Cage Shock, Vol. 1-3 (2012) 3CD [Re-Up]

John Cage - John Cage Shock, Vol. 1-3 (2012) 3CD
EAC | FLAC | Tracks (Cue&Log) ~ 606 Mb | Mp3 (CBR320) ~ 341 Mb | Scans included
Label: EM/Edition Omega Point | # EM1104CD-EM1106CD, OP-0008~0010 | 02:01:54
Contemporary Classical, Avant-Garde, Experimental

In October 1962, John Cage and David Tudor went to Japan to present a series of historic concerts. Sensation. These are invaluable recordings, since they aren’t of a selected repertoire reconsidered in tranquility but capture the atmosphere of a time when all this was new and highly radical. And it’s a fine programme, played by the best exponents.
John Cage, Sun Ra - John Cage Meets Sun Ra (The Complete Concert, June 8, 1986, Coney Island, NY) (Reissue) (2016)

John Cage, Sun Ra - John Cage Meets Sun Ra (The Complete Concert, June 8, 1986, Coney Island, NY) (Reissue) (2016)
EAC Rip | FLAC (tracks+.cue, log) ~ 246.30 Mb | 1:10:01 | Cover
Avant-garde Jazz, Free Jazz | Country: USA | Label: Modern Harmonic (MHCD-20)

This live album documents the meeting of two avant-garde legends, but it is not exactly a "super duo." The curious chemistry these two share is subtler and possibly more rewarding than that. John Cage was a quotable artist. On the subject of albums, he once remarked that “records ruin the landscape.” Elsewhere, in a treatise collected in his 1961 book Silence, the composer offered some opinions about jazz. The genre “derives from serious music,” he wrote, “and when serious music derives from it, the situation becomes rather silly.” Given those harsh judgments, it makes sense to venture an opening question about Cage’s one-off appearance alongside swing-and-improv icon Sun Ra. If Cage himself thought jazz unsuited for “serious” contexts and recordings lame, why should this document of their 1986 shared bill be anything other than a curiosity?
Margaret Leng Tan, American Composers Orchestra, Dennis Russell Davies - John Cage: The Seasons, etc (2000) [Re-Up]

John Cage - The Seasons (2000)
Margaret Leng Tan, prepered piano, toy piano;
American Composers Orchestra; Dennis Russell Davies, conductor

EAC | FLAC | Image (Cue&Log) ~ 252 Mb | Mp3 (CBR320) ~ 174 Mb | Scans ~ 86 Mb
Classical, Avant-Garde | Label: ECM Records | # 465 140-2 | Time: 01:15:59

This is an enchanting CD, every item a sheer delight. Margaret Leng Tan worked with Cage in the last decade of his life and her earlier recordings (1/92; 7/95) show a special sympathy for the magical world of Cage's keyboard music. The second of her New Albion CDs included the piano solo version of The Seasons, and Cage was honest enough to admit to her that he had help from Virgil Thomson and Lou Harrison in making the orchestral version recorded here. The result is recognisably Cage at his most poetic, evoking each of the four seasons in lovely changing colours. There are two realisations of one of the last of what are called Cage's 'Number Pieces', Seventy-Four, written specially for the American Composers Orchestra a few months before his death in 1992. Several hearings have confirmed for me that this seamless garment of sustained sound in two overlapping parts is an immensely moving document from a unique human being at the very end of his life.
John Cage - Early Music - Edwin Alexander Buchholz, Joanna Becker (2007) {Edition Wandelweiser Records ‎EWR 0711}

John Cage - Early Music - Edwin Alexander Buchholz, Joanna Becker (2007) {Edition Wandelweiser Records ‎EWR 0711}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 268 Mb | MP3 @320 -> 117 Mb
Full Artwork @ 300 dpi (png) -> 10 Mb | 5% repair rar
© 2007 Edition Wandelweiser Records | ‎EWR 0711
Classical / Avant-Garde / Modern Classical / Minimalism

An enchanting suite of ‘Early Music’ composed by John Cage and performed by Edwin Alexander Buchholz (accordion) and Joanna Becker (violin), including: ‘Dream’ [1948]; ‘In A Landscape’ [1948]; ‘Six Melodies’ [1950]; and ‘Souvenir’ [1983]. Serving to upend preconceptions of Cage being more valued for his concepts than his music, this set holds some truly magickal sound organisation that requires no prior knowledge of the artist or his ideas in order for it to be enjoyed.
Bruce Brubaker - Glass Cage: Music for piano by Philip Glass and John Cage (2000) [Re-Up]

Bruce Brubaker - Glass Cage: Music for piano by Philip Glass and John Cage (2000)
EAC | FLAC | Image (Cue&Log) ~ 243 Mb | Mp3 (CBR320) ~ 191 Mb | Scans included
Classical, Minimalism | Label: Arabesque | # Z6744 | Time: 01:03:35

Though he may not be a piano superstar, Bruce Brubaker is clearly a musician to watch. On this recording of solo piano works by Philip Glass and John Cage, Brubaker somehow shifts between these two very different modernist composers to create a seamless disc of mesmerizing keyboard music. While Glass's own playing is often precise and austere, Brubaker is a different beast altogether. With him, we get a hint of Impressionism and a sense of contemplation with each note. The five parts of Metamorphosis are given shades of melancholy, along with frenzy; on the expansive "Mad Rush," Brubaker goes wild where he has to, but always returns to the piece's calming, sweet center. The piano music of John Cage is limited to just two cuts–"A Room" and "Dream"–but they, too, are hauntingly beautiful (especially the latter, longer piece).
John Cage - Piano Concerto; Credo in Us; Imaginary Landscape No.1; Rozart Mix; Music for Carillon (2008)

John Cage: Piano Concerto; Credo in Us; Imaginary Landscape No.1; Rozart Mix; Music for Carillon (2008)
Burkhard Wissemann, Michael Dietz; Johann-Nikolaus Matthes; Bell Imhoff, Doris Sandrock
Christoph Keller; Hermann Danuser, Ensemble Musica Negativa, Rainer Riehn

EAC | FLAC | Image (Cue&Log) ~ 352 Mb | Mp3 (CBR320) ~ 166 Mb | Scans included
Classical, Avant-Garde, Electronic | Label: EMI | # 50999 2 34454 2 0 | Time: 01:11:15

John Cage (1912-1992) was one of the most controversial composers of the 20th century. He is best known for his 1952 work 4'33" which involves not a single note of music being played. This selection of Cage's music provides a rare opportunity to get to know a range of works that were written between the years 1939-65, which were some of the composer's most productive years.
Nicholas Isherwood - Aria: Nicholas Isherwood Performs John Cage (2015)

Nicholas Isherwood - Aria: Nicholas Isherwood Performs John Cage (2015)
EAC | FLAC | Image (Cue&Log) ~ 159 Mb | Mp3 (CBR320) ~ 104 Mb | Scans included
Classical, Avant-Garde, Vocal | Label: BIS | # BIS-SACD-2149 | Time: 00:44:53

Nicholas Isherwood made his début as Lucifer in Stockhausen’s Donnerstag aus Licht at Covent Garden, at the age of 25, and has since collaborated closely with composers such as George Crumb, Hans Werner Henze, György Kurtág and Iannis Xenakis. His relationship with John Cage soon developed into what he in his liner notes to the disc calls ‘a love affair’. The composer Sylvano Bussotti has remarked that ‘since the passing of Cathy Berberian, Nicholas Isherwood is the singer who best understands the spirit of the music of John Cage’. On ARIA, Isherwood presents most of Cage’s music for solo voice that is not included in the composer’s Song Books, and most pieces are here recorded for the first time by a male singer. The programme covers 43 years, from A Chant with Claps from the early 1940s to Ryoanji and Sonnekus2 of the 1980s, and includes the celebrated Aria, here performed with a new multi-channel tape realization of Cage’s Fontana Mix, by the Italian composer Gianluca Verlingieri.
John Cage & Marcel Duchamp - Reunion (1968) {LP Takeyoshi Miyazawa} (Released on VINYL but not CD)

John Cage & Marcel Duchamp - Reunion (1968) {LP Takeyoshi Miyazawa} (Released on VINYL but not CD)
FLAC (tracks) - 16bit/44.1kHz - VINYL RIP -> 57 Mb | MP3 @320 -> 38 Mb
Complete Art Book @ 600 dpi (jpg) -> 808 Mb | 5% repair rar
© 1968 Takeyoshi Miyazawa | [none]
Electronic / Non-Music / Fluxus / Avant-Garde / Spoken Word

The year 2008 marked the fortieth anniversary of Reunion, a performance in which games of chess determined the form and acoustical ambience of a musical event. The concert – held at the Ryerson Theatre in Toronto, Canada – began shortly after 8:30 on the evening of March 5, 1968, and concluded at approximately 1:00 a.m. the next morning. Principal players were John Cage, who conceived (but did not actually “compose”) the work; Marcel Duchamp and his wife Alexina (Teeny); and composers David Behrman, Gordon Mumma, David Tudor, and Lowell Cross. Except for a brief curtain call with Merce Cunningham and Dance Company in Buffalo, NY five days later (March 10, 1968), Duchamp made his last public stage appearance – in the role of chess master – in Reunion.
Darragh Morgan & John Tilbury - Morton Feldman - For John Cage (2020)

Darragh Morgan & John Tilbury - Morton Feldman - For John Cage (2020)
EAC Rip | FLAC (tracks+log+.cue) - 247 Mb | MP3 CBR 320 kbps - 216 Mb | Scans included | 01:23:59
Avant-Garde Classical | Label: Diatribe Records

The story of how Morton Feldman and John Cage first met has now become elevated to the status of legendary musical folklore. During a 1950 New York Philharmonic performance of Webern’s Symphony Op. 21, Feldman decided to leave the concert at the interval. In the lobby he met Cage. As Cage says, “we both walked out of a Philharmonic concert in which Webern had just been played, and we shared the desire not to hear anything else because we had been so deeply moved.” It was the beginning of a deep friendship that was to influence both their respective creative spirits. Morton Feldman became a friend, flatmate and student of John Cage.