Item #433

 Curl up next to your woodstove with this luxurious 100% merino wool woven throw. Shades of chartreuse and periwinkle will brighten up your winter day. Made in Italy. Donated by The Anichini Company Store, in the Powerhouse, West Lebanon, NH.

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Ada ada ah Ah air Akhirnya akhirnya aktifitas Aku Akulah alat aman ambil angka antara apa apalagi Artikel asam atau awalnya Awalnya bagaimana bagi bagiku bahkan Bahkan bahwa baik ban bangunan banyak barang baterai batu baut bayangkan beberapa bekas beli berangkat berapa Berarti berat berbeda berjalan berpendapat berpikir berserakan berubah berusaha beserakan besi biasanya biaya bisa Bu Bukankah bulan Bumi butuh cari Coba curiga dalam dan Dan dapat dari dengan Desember di diantaranya dibawah dibelinya diberikan diberikannya dibongkar didalam diinternet dijalan dikiranya diluar disaat disebabkan disekitar diselenggarkan ditawar ditempat ditengah Ditulis Dua duri enam es fotokopi gelar Gengsi gengsi gumamku guna Guru hal hampir hanya hanyalah harga harganya hari harus hasil hasilnya haus hausnya he hina hingga hitam ibadah Ibu Ide iklan ikut IM3 informasi ini iseng itu iyalah jadi Jadi Jadilah jalan Jalan jawab jerih juga kaget kaki kalau kantong kapan karena Karena kata kawat ke keberuntungan kecelakaan kecil kedalam Kegiatan kelancaran Keluarga keluarga Kemudian kemudian kenangan kenapa kendaraan kepada keperluan kesibukan ketahuan keteledoran khusus kilo kiloan kira Kita kliping kolong Kompas Kompetisi kulakukan kumasukkan lah lain Lain lainnya lakukan layak lebih lima lomba lumayan lupa lupakan Maaf maaf macam Malam malu Malu manfaat mantap Manusia masak masih mau Medoho melaksanakan melakukan melakukannya meletus melihat memang membahayakan memberikan memberikannya membongkar membuat membungkuk membutuhkan mempunyai menawar mencarinya mencoba mencolok mendapat mendapatkan mendekat mendekati mendengarkan Menemukan mengambil mengemasi mengembalikan mengganggu menghadapinya mengingat mengumpulkan mengumpulkannya mengurangi menjawab menjualnya menolong menunggu menyimpan Menyingkirkan menyingkirkan merasa mereka merupakan minggunya minta misalnya mobil motifasi motor MuDA mudah mudahan mulai Mungkin mungkin mur Nah naik Namun namun nasehat nasibku ngumpulin nyawa Oh Oleh oleh Orang orang pahala pakai paku paling payahku pecah pelebaran pemasangan pemilik Pemulung penasaran pengangkutan pengecatan pengepul perbuatan percakapan peristiwa Peristiwa perjalanan perjalanannya perkilo perkilonya Permisi Perosok petugas pinggir plastik Plewan pokoknya pompa pulang puluh rasa rata ratus ribu Rp rugi rumah rumahku Sahabat saja saku sampah sampai Santi satu Saya Sebagian sebelumnya Sebenarnya sebenarnya sebesar sebuah secara sedang segala segera sehari sehingga seingat sejenak sekali sekarang sekolah Sekolah sekolahku selain selalu selama Semarang sembuh Semua semua sendirinya sengaja seorang Seorang sepanjang sepeda seperti sepuluh seragam Seringkali serta sesama sesuatu setahun setara setengah setiap sewaktu Sewaktu Si sibuk sih sisa situ spanduk Sudah sudah Sulistiyowati tahu tahun tambahan tanah tanya tanyaku Tapi target tas tawar Teman teman tempat tentu Tentunya terdapat terdiam terhadapku Terjatuh terjatuh terkadang terkumpul termasuk ternyata tersebar tertancap tetangga Tetanggaku tiba tidak tidur tiga tinggal Toh total tua tugas turun tutup uang Untuk untuk Untung urat wah Walau Website www.susahnyaedittaghtmlalawebmaster.blogspot.com www.akulahsahabatbumi.blogspot.com www.mudaers.com Ya ya yaitu yang Yang 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 23 204 205 206 207 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Ada ada ah Ah air Akhirnya akhirnya aktifitas Aku Akulah alat aman ambil angka antara apa apalagi Artikel asam atau awalnya Awalnya bagaimana bagi bagiku bahkan Bahkan bahwa baik ban bangunan banyak barang baterai batu baut bayangkan beberapa bekas beli berangkat berapa Berarti berat berbeda berjalan berpendapat berpikir berserakan berubah berusaha beserakan besi biasanya biaya bisa Bu Bukankah bulan Bumi butuh cari Coba curiga dalam dan Dan dapat dari dengan Desember di diantaranya dibawah dibelinya diberikan diberikannya dibongkar didalam diinternet dijalan dikiranya diluar disaat disebabkan disekitar diselenggarkan ditawar ditempat ditengah Ditulis Dua duri enam es fotokopi gelar Gengsi gengsi gumamku guna Guru hal hampir hanya hanyalah harga harganya hari harus hasil hasilnya haus hausnya he hina hingga hitam ibadah Ibu Ide iklan ikut IM3 informasi ini iseng itu iyalah jadi Jadi Jadilah jalan Jalan jawab jerih juga kaget kaki kalau kantong kapan karena Karena kata kawat ke keberuntungan kecelakaan kecil kedalam Kegiatan kelancaran Keluarga keluarga Kemudian kemudian kenangan kenapa kendaraan kepada keperluan kesibukan ketahuan keteledoran khusus kilo kiloan kira Kita kliping kolong Kompas Kompetisi kulakukan kumasukkan lah lain Lain lainnya lakukan layak lebih lima lomba lumayan lupa lupakan Maaf maaf macam Malam malu Malu manfaat mantap Manusia masak masih mau Medoho melaksanakan melakukan melakukannya meletus melihat memang membahayakan memberikan memberikannya membongkar membuat membungkuk membutuhkan mempunyai menawar mencarinya mencoba mencolok mendapat mendapatkan mendekat mendekati mendengarkan Menemukan mengambil mengemasi mengembalikan mengganggu menghadapinya mengingat mengumpulkan mengumpulkannya mengurangi menjawab menjualnya menolong menunggu menyimpan Menyingkirkan menyingkirkan merasa mereka merupakan minggunya minta misalnya mobil motifasi motor MuDA mudah mudahan mulai Mungkin mungkin mur Nah naik Namun namun nasehat nasibku ngumpulin nyawa Oh Oleh oleh Orang orang pahala pakai paku paling payahku pecah pelebaran pemasangan pemilik Pemulung penasaran pengangkutan pengecatan pengepul perbuatan percakapan peristiwa Peristiwa perjalanan perjalanannya perkilo perkilonya Permisi Perosok petugas pinggir plastik Plewan pokoknya pompa pulang puluh rasa rata ratus ribu Rp rugi rumah rumahku Sahabat saja saku sampah sampai Santi satu Saya Sebagian sebelumnya Sebenarnya sebenarnya sebesar sebuah secara sedang segala segera sehari sehingga seingat sejenak sekali sekarang sekolah Sekolah sekolahku selain selalu selama Semarang sembuh Semua semua sendirinya sengaja seorang Seorang sepanjang sepeda seperti sepuluh seragam Seringkali serta sesama sesuatu setahun setara setengah setiap sewaktu Sewaktu Si sibuk sih sisa situ spanduk Sudah sudah Sulistiyowati tahu tahun tambahan tanah tanya tanyaku Tapi target tas tawar Teman teman tempat tentu Tentunya terdapat terdiam terhadapku Terjatuh terjatuh terkadang terkumpul termasuk ternyata tersebar tertancap tetangga Tetanggaku tiba tidak tidur tiga tinggal Toh total tua tugas turun tutup uang Untuk untuk Untung urat wah Walau Website www.susahnyaedittaghtmlalawebmaster.blogspot.com www.akulahsahabatbumi.blogspot.com www.mudaers.com Ya ya yaitu yang Yang 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 23 204 205 206 207 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958 959 960 961 962 963 964 965 966 967 968 969 970 971 972 973 974 975 976 977 978 979 980 981 982 983 984 985 986 987 988 989 990 991 992 993 994 995 996 997 998 999 1000 1001 1002 1003 1004 1005 1006 1007 1008 1009 1010 1011 2007 3000 27000

To many, John Cage was one of the most influential American composers of the 20th Century; many critics have described him as being a pioneer of the post-war avant-garde. His landmark work in the field of electronic music, his deviation in the use of musical instruments and his use of chance to compose music led him to become one of the most controversial and polarising composers of recent years.

Born in 1912 in Los Angeles, California to an inventor father and a journalist mother, Cage began playing the piano in the fourth grade, although it had been noted that from even an early age he had little regard for the accepted institutions of music, apparently paying little attention to composition. Such traits would become more apparent later in his life, when many of his compositions developed from his desire to create work that digressed away from traditional artistic forms to embrace a new and original way.

Disillusioned with the academic pursuit of writing Cage travelled to Europe, believing it to be of more use to him than education. While travelling, Cage managed to try his hand at various forms of art, such as architecture, painting, poetry and music; he eventually decided to dedicate his life to music as ‘the people who heard my music had better things to say about it than the people who looked at my paintings had to say about my paintings.’ Under the tutelage of Arnold Schoenberg, who later described Cage as ‘an inventor – of genius’, Cage learned not only about the art of composing music but also how to live life as a composer. After two years, Cage parted ways with his mentor, more determined than ever to write music.

In 1942 Cage moved to New York, staying with the painter Max Ernst and Peggy Guggenheim. Through them he was introduced several luminaries of the art world, such as Marcel Duchamp, Piet Mondrian and Andre Breton. Duchamp in particular represents a major Minimalist influence not just for Cage, who is himself considered a precedent for the Minimalist movement, but for the artform as a whole. Duchamp’s ‘readymades’, pieces consisting of found objects slightly altered in some way, represented the most extreme form of Minimalist art at the time; they featured the least amount of physical interaction between the artist and the work itself.

The Cagean representation of this is his appropriation of chance to compose music. Through correspondence with Gita Sarabhai, an Indian musician who had come to America to study Western music, Cage learned about the I Ching, or Book of Changes; more commonly used for divination purposes, this Chinese classic text was used by Cage to decide the arrangement of his compositions for nearly every piece after 1951.

Cage also began to look to everyday objects for musical merit; Oskar Fischinger, an abstract film-maker and animator, told Cage that all things have an inherent ‘spirit’ that can be released through its sound, an idea that lead Cage to experiment with everyday objects as musical instruments and, later, to adapt proper musical instruments to achieve different effects. Cage’s experimentations with music became less concerned with conventions of notation, structure or rhythm, and more to do with an appreciation of sound itself.

To Cage, the conveyance of a particular message or emotion through music was irrelevant and redundant: ‘When I hear what we call music, it seems to me that someone is talking… I love the activity of sound… I don’t need sound to talk to me.’

On 29th August 1952, in Woodstock, New York, pianist David Tudor performed a piece entitled ‘4’33”’, written earlier that year by Cage. The piece caused uproar – not due to its content, more due to its perceived lack of it. In possibly the most overt example of Minimalist composing ever made, the score for ‘4’33”’ instructs the performer to sit at the piano for four minutes, thirty-three seconds and play nothing. The concept behind this ‘silent song’ is that the sound comes not from the performers, but more from the ambient environmental sounds that the audience hear in their immediate surroundings.

This bridge into such avant-garde thinking proved to be a significant factor in Cage’s career, though not necessarily a positive one. Many members of the music press, even those who were fans of Cage’s earlier works, disliked his newer material and ignored it, resulting in Cage’s effective exclusion from the musical community. He suffered a similar fate at the hands of many of his peers, who disagreed with his use of chance in composition.

In later life Cage worked on mixed-media pieces – the most conspicuous of which was 1969’s ‘HPSCHD’, which ran for over five hours and included recorded music, slideshows comprised of thousands of images and over forty projected films. Cage’s youth experiences of travelling around Europe informed this new multimedia attitude towards performance, particularly a theatre visit in Seville that showed Cage the beauty of both visual and audible stimulation combined together in one piece.

The late Sixties and Seventies also heralded a return to conventional notated work and also the recording of a piece entitled ‘Cheap Imitation’; Cage never liked making recordings of his work, meaning that this piece marked yet another landmark shift in his career direction. John Cage, through his influence of fine art and sculpture, re-defined how music could be created and understood by its audience.

Rather than being the representation of one person’s feelings, thoughts or beliefs, Cage reminded the world that sound is organic and therefore is at its best when untouched and un-manipulated. His work with electronic music and the ideas it put forth indirectly informed the dance music scene of the Nineties through its use of repetitive instrumental structure; in many ways, Cage’s work has said more than most composers ever will, even if some of it was silence.

James

John Cage (Los Angeles, California)
4′33″
1952

My review is whatever you see below:

P.S. I know if we’re being nitpicky that I’ve heard this album an infinite number of times, but I don’t think that counts because for some reason I can never remember it.

Oct. 28 IHRIM Webinar Demonstrates how to Improve Business Value

Workforce Management & HR Technology Go “Lean”

BURLINGTON, Mass. – Does your company need to better understand proven concepts behind “lean” workforce management and how time-tested practices can help control business expenses, such as personnel?

During the Oct. 28 webinar held by the International Association for Human Resource Information Management (IHRIM) – Workforce Management & HR Technology Go “Lean” – participants will learn how organizations can embark upon lean initiatives that focus resources on improving business and customer value. As a result, they are able to do more with less, while controlling costs, remaining competitive and increasing efficiencies.

Presenters include Daniel Huber, vice president of Sales for CyberShift, Inc. and Marc Miller, president and founder, Marc S. Miller Associates. Huber leads CyberShift’s direct sales efforts with responsibility for the strategic and tactical management of its global sales organization. Miller is a frequent lecturer and nationally recognized thought leader, independent consultant and early champion of HR technology issues.

Sponsored by and presented by CyberShift, the webinar is complimentary for all registrants, who also will receive CyberShift’s white paper, Applying Lean Manufacturing Initiatives to Workforce & Expense Management. Register today at by visiting www.IHRIM.org and clicking on the “Education” link.

When:
Wed., Oct. 28
9-10 a.m. PST
11-12 p.m. CST
12-1 p.m. EST

About IHRIM
Since 1980, the International Association for Human Resource Information Management (IHRIM), the world’s leading HRIM clearinghouse, has been uniting a dynamic group of practitioners, vendors, consultants, students and faculty to share best practices and the latest technological trends. Through membership, educational programming, listservs, CORE, certification, networking forums and IHRIM’s annual conference, HRIM professionals can receive valuable knowledge that will enhance both their own careers and their companies’ success.

About CyberShift
CyberShift, Inc. is a leading provider of workforce and expense management software and services focused on helping mid-sized to large, complex organizations improve organizational performance and profitability. Through its integrated Workforce Management 3G™ suite, which includes time and attendance, advanced scheduling and reporting and analytics, companies can more effectively plan, manage and deploy their workforces, reduce costs and improve processes across business operations.

CyberShift Expense™ automates the processing and facilitates the management of employee business expenses such as travel and entertainment and helps companies improve compliance, enforce expense policies and procedures and increase visibility into operations. Offered in both traditional license fee and Software-as-a-Service (SaaS) delivery models, CyberShift’s innovative solutions have been awarded U.S. and Canadian patents. CyberShift is the first enterprise-class workforce and expense management solution provider to enable support for the BlackBerry® platform.

Carduelis psaltria  Chardonneret mineur  /  Lesser Goldfinch  

Icterus galbula  Oriole à ailes blanches ou Oriole du Nord  /  Northern Oriole

Seiurus noveboracensis  Paruline des ruisseaux  /  Northern Waterthrush

Ixoreus nævius  Grive à collier  /  Varied Thrush  

The Lesser Goldfinch and the Northern Oriole are found all year round in the United States, in the South and the Midwest for the former, and all over the country for the Northern Oriole. They are common in dry, scrubby fields, in clear wooded areas and in watered copses. As for the Northern Waterthrush and the Varied Thrush, both inhabit the humid environments found in shrubbery, lakes, peat bogs and conifer woods. While the Northern Waterthrush is found throughout Québec and the Maritimes, the Varied Thrush is found more commonly in the North-American West and, during the winter, in the eastern United States. An insect-eater, the Northern Waterthrush feeds on insects, worms and snails. The length of the Lesser Goldfinch is 11 cm, the Northern Oriole’s is 22 cm, the Northern Waterthrush is 13 to 15 cm in length, and the length of the Varied Thrush is 24 cm.

Le chardonneret mineur et l’oriole à ailes blanches se rencontrent à l’année aux États-Unis, dans le sud et le Midwest pour le premier, et dans l’ensemble du pays pour le second. Ils sont communs dans les champs secs et broussailleux, les bois clairs et les boqueteaux arrosés. Quant à la paruline des ruisseaux et à la grive à collier, toutes deux fréquentent les milieux humides qu’offrent les buissons, les lacs, les tourbières et les bois de conifères. Alors que la première s’observe dans tout le Québec et dans les Maritimes, la seconde se rencontre davantage dans l’ouest de l’Amérique du Nord et, en hiver, dans l’est des États-Unis. Insectivore, la paruline se nourrit d’insectes, de vers et d’escargots. Le chardonneret mineur a une longueur de 11 cm, l’oriole à ailes blanches mesure 22 cm de longueur, la paruline des ruisseaux a une longueur qui varie entre 13 et 15 cm et la grive à collier a 24 cm de longueur.

The Western Wood-Pewee lives in the conifer forests and open environments of Alaska, the Yukon, the American Midwest and Central America. An insect-eater, it complements its diet with small fruits. The Black Phœbe and the Least Flycatcher are also insect-eaters. The Black Phœbe distinguishes itself from its cousin, however, by its marked taste for small fish. Both are common in clear wooded areas, parks and leafy forests. The Black Phœbe nests in the western United States, while the territory of the Least Flycatcher is in southern Québec and the eastern United States.

The Red-eyed Vireo and the Small-headed Flycatcher are insect-eaters that live in two different worlds. A nesting bird of the deciduous and mixed forest zones of southern Québec, the Maritimes and the United States, the Vireo is an untiring songbird. As for the Small-headed Flycatcher, according to Audubon it had been seen only in New Jersey, and nested only in marshes and calm places. Another insect-eater, the Blue-Mountain Warbler has been seen only very rarely. Even Audubon himself never observed it with his own eyes. It has been said that this bird was never properly identified and described. The length of the Western Wood-Pewee is 16 cm, the Black Phœbe’s length is 16 to 17 cm, the Least Flycatcher’s is 13 to 14 cm and the Red-eyed Vireo’s is 14 to 17 cm, while the Blue-Mountain Warbler is 12 cm in length. The length of the Small-headed Flycatcher is unknown.

Le pioui de l’Ouest habite les forêts de conifères et les milieux ouverts de l’Alaska, du Yukon, du Midwest américain et de l’Amérique Centrale. Insectivore, il complète son alimentation par de petits fruits. Le moucherolle noir et le moucherolle de tchébec sont également insectivores. Le moucherolle noir se démarque toutefois de sa cousine par son goût marqué pour les petits poissons. Communes toutes deux dans les bois clairs, les parcs et les forêts de feuillus, la première niche dans l’ouest des États-Unis, et la seconde a pour territoire le sud du Québec et l’est des États-Unis.

Le viréo aux yeux rouges et le gobemouche sont des insectivores qui habitent deux univers différents. Oiseau nicheur des forêts de zones décidues et mixtes du sud du Québec, des Maritimes et des États-Unis, le viréo est un chanteur infatigable. Le gobemouche, quant à lui, n’aurait été vu qu’au New Jersey, selon Audubon, et nicherait que dans les marais et les endroits calmes. Autre insectivore, le Blue-Mountain Warbler n’aurait été vu que très rarement. Même Audubon ne l’aurait jamais observé de ses propres yeux. On dit que cet oiseau n’aurait pas été identifié et décrit de façon satisfaisante. Le pioui de l’Ouest a une longueur de 16 cm, le moucherolle noire a une longueur de 16 à 17 cm, le moucherolle tchébec a une longueur de 13 à 14 cm, le viréo aux yeux rouges mesure entre 14 et 17 cm de longueur et le Blue-Mountain Warbler mesure 12 cm de longueur. Quant au gobemouche, on ne connaît pas sa longueur.

Solitary, plump and vigorous, the American Dipper is common in the North-American West. It lives and feeds in mountain torrents and along wood-bordering rivers. Its length is19 cm.

Solitaire, rondelet et vigoureux, le cincle d’Amérique est commun dans l’ouest de l’Amérique du Nord. Il habite et se nourrit dans les torrents montagneux et les rivières limitrophes aux forêts. Il a une longueur de 19 cm.

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Full article and photos: http://www.mcq.org/audubon/catalogue/audubon_001.html

Note: The first edition of John James Audubon’s The Birds of America, used for this series of posts, contained 435 plates. The 145 posts (3 plates per post) of the series can be found in the category Birds of America.

This doesn’t have a thing to do with opera per se, but it does provide a useful point of departure for talking about and listening to the music of Philip Glass.

More about that in a subsequent post.

Ya masih iseng iseng siapa tahu beruntung dan mencoba untuk RUSLI ZAINAL SANG VISIONER bagi Sang Pemberi Komentar RUSLI ZAINAL SANG VISIONER Orang Susah dan untuk Pusat Komentar. RUSLI ZAINAL SANG VISIONER untuk Orang Susah dan RUSLI ZAINAL SANG VISIONER Zone CJ. Serta RUSLI ZAINAL SANG VISIONER AsmaaulHusnaa.

…wurde vom Komponisten John Cage geschrieben (Uraufführung 1952).

Das Stück trägt den inhaltsschweren Titel 4′33!

Die drei Sätze,  alle mit der Bezeichnung und gleichzeitigen Spielanweisung  “Tacet” überschriftet, bringen das Stück auf  eine Gesamtlänge von vier Minuten und dreiundreissig Sekunden.

Man braucht: ein Instrument, eine Stoppuhr, die Partitur und ein Publikum!

Für Piano:

Vom Komponisten, in einer Bielefelder Fußgängerzone, persönlich intoniert (Auszug):

Und jetzt ENDLICH (OMG!!!), die vollorchestrierte Version für SINFONIEORCHESTER!!! Mein Gott, it’s amazing!

Ich schliesse mich voll und und ganz einem Youtube Musik-Kritiker an, der schrob:

“They should play this on the radio more often.”

Hört, hört!

Those with sensitive stomachs complete with their own inner orchestras may find this one hell of an experience:

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My count suggests there were approximately 41 individual coughs, one sneeze, one full-house titter, one collective release of breath, and the sound of a spectacle being taken off. These sounds were made during the performance as well as between the spaces in the three movements. So these were, in effect, the ‘music’ of John Cage’s composition. The hanky bit, I think, was thought up by the conductor Lawrence Foster himself and resulted in some pleasant additions to the oeuvre. Cage would have smiled if he were alive.

Which brings me to the account by a tone deaf gentleman of Cage’s last performance in 1992:

The only composer I could ever tolerate was John Cage, whose 4’33’’ is a masterpiece of silence interspersed with the sounds the audience hears or makes in that period of time. In the summer of 1992, as a graduate student, I had the chance to see Cage perform in New York. Our company, beer bottles in hand, was engaged in animated conversation when 4’33’’ commenced. Suddenly, we felt the judging eyes of a few music lovers, who I am certain were passionate about opera, as they turned to shush us. Nothing could have been more of an outrage to the genius of Cage. A few weeks later, he was dead. I believe he was silenced.

Let me conclude this with a nice thought. What will happen if this composition is performed for paying public here in India? How will our jat brothers in Delhi and Haryana react? And the gentle Patna crowd? What kind of ‘music’ would be created in the silence of four minutes and thirty-three seconds? The mind is left reeling and drooling.

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(to watch the solemn Cage perform 4′33” on the road, surrounded by hugely curious onlookers, go here. He looks like Harrison Ford from certain angles.)

Cuatro: ilustración de Sam / www.musiclife.com.mx

Un hombre pierde la cordura después de 4 tragos; una mujer después de 4 besos

Henry Louis Mencke

Las cuatro con cuatro de la tarde. Una pertinaz lluvia anuncia la próxima llegada del verano. Ryuichi Sakamoto suena en el estudio. Uno de mis gatos reposa sobre el aparato de sonido al amparo del calor que desprende el amplificador y de la banda sonora de la película Tony Takitani. Mientras bebo el sorbo de un café casi frío, pongo punto final a la columna que escribo cada mes para Music Life Magazine. El texto versa sobre la recientemente anunciada reducción de personal en el sello británico Decca y los drásticos cambios que algunos vaticinan ocurrirán en la mermada industria discográfica. Imprimo el documento y lo reviso por última vez. Me deja satisfecho. Coloco las manos sobre la nuca y me estiro en la silla. Después de algunas horas de trabajo, no puedo evitar sentir cierto dejo de felicidad. Por primera vez en varios meses, logro terminar mi colaboración con un par de días de anticipación. Pienso qué haré con el tiempo que me quedará libre. Por fin podré terminar unos pendientes que llevo arrastrando por semanas. Quizá me tome la tarde y le quite el celofán a una novela de Murakami que lleva varios días varada sobre mi mesa de trabajo. Me dispongo a enviar el texto por correo electrónico, justo cuando recibo un mensaje en la bandeja de entrada, un mensaje de mi editor. Lo leo intrigado. Detengo la vista en una líneas que dicen: “Espero no cambiarles la jugada de manera abrupta. Quisiera pedirles como un favor especial que en esta ocasión, sus columnas fueran relacionadas de alguna manera con el número cuatro”. Digo adiós a mi tarde libre leyendo a Murakami y sospecho que esos pendientes continuarán en espera. Preparo más café. Y me vuelvo a sentar frente a la laptop.

Cinco con cuarenta. No he avanzado gran cosa. Pienso en el Concierto para corno No. 4 de Mozart, en el Concierto para piano No. 4 de Rachmaninov, en el Concierto para violín No. 4 de Paganini. La página sigue casi en blanco, excepto por el número cuatro instalado en el título. Pienso en los puntos cardinales, los jinetes del Apocalipsis, en Dumas y el cuarto de los mosqueteros, en los cuatro temperamentos y en los elementos esenciales. Quizá podría escribir sobre las Cuatro estaciones de Vivaldi, las de Haydn, las de Piazzolla; pero después de unos cuantos sorbos al café y algunos minutos con el cursor danzando monótonamente me doy cuenta que referirme al tiempo estacional no funciona en lo absoluto. En el aparato burlonamente suenan las Cuatro piezas para circo de Bloch.

Me levanto y voy directo a los anaqueles en los que reposan mis discos. Después de algunos instantes de recorrerlos decido tomar algunas de mis cuartas sinfonías favoritas. Tal vez no sea mala idea abordar aquella forma musical y hablar de su estructura clásica compuesta habitualmente por cuatro movimientos. Elijo las de Nielsen, Bruckner, Mahler y Sibelius. Escojo una al azar. Inserto el compacto en el equipo y vuelvo a sentarme frente a la computadora. Pienso que si se tratase del tercer aniversario de Music Life Magazine, entonces escribiría sobre la Sinfonía No. 3 de Beethoven, la Heroica, la que el compositor dedicó a Napoleón… Napoleón que decía que un periodista es un plañidero, un censor, un consejero, un regente de soberanos y un tutor de naciones… y que cuatro periódicos hostiles inspiran más miedo que mil bayonetas. Me pregunto si esa descripción también aplica para los periodistas musicales y si en los tiempos de Napoleón los editores también cambiaban la jugada de último minuto. La Cuarta sinfonía de Nielsen se acaba y la columna sigue atorada.

La tarde avanza. La hoja (virtual) sigue en blanco. La obertura de Otello de Rossini suena en el iTunes. Al compositor italiano le gustaba decir que escuchaba a Beethoven una vez por semana, a Haydn cuatro y a Mozart cada día. Recuerdo que este es el año en que se cumplen doscientos de la muerte del músico más importante para el desarrollo de las formas del periodo clásico. Después de todo no me parece mal referirme a Haydn… a sus 104 sinfonías, pero sobre todo a sus cuartetos, que se consolidarían como género a partir de su talento. Repaso algunos de mis favoritos, escucho un par de ellos. El teléfono suena. Un vendedor en algún lugar de Latinoamérica trata de convencerme de cambiar de proveedor de telefonía de larga distancia. Le explico que la primer larga distancia que tengo en meses es su llamada. Me lleva 40 segundos deshacerme de mi insistente interlocutor. Cuando por fin lo consigo, la idea de relacionar a Haydn con el número cuatro ha perdido intensidad. El café se terminó. Preparo más.

Seis y veinte. Weirdo de Miles Davis suena en el equipo de audio. Weirdo que forma parte de un disco llamado Four. No avanzo en lo absoluto. Me levanto y doy unos cuantos pasos por el estudio. Pienso en asesinar a mi editor. Después de todo es él quien me ha metido en este embrollo cuando ya había terminado mi columna sobre Decca y los cambios que se avecinan en la industria de la grabación. Recuerdo que Ambrose Bierce dice que además del homicidio criminal existen tres tipos más: el excusable, el justificable y aquel que es digno de elogios. Pero luego recuerdo que mi editor es antes que nada mi amigo y pienso en las tres o cuatro últimas entrañables juergas que hemos compartido. Así que desisto y me siento a escribir otra vez.

A mi mente vienen los Cuatro interludios marinos de Britten, las Cuatro últimas canciones de Strauss, la música para 4 manos y creo que la escritura de esta columna me parece una labor tan titánica como escuchar de corrido la Tetralogía del Anillo del nibelungo de Wagner. Pienso que el número cuatro no me cae tan bien. Después de todo, cuatro fueron los años que viví con mi ex mujer. A mi mente viene lo que Norman Mailer decía sobre las cuatro etapas del matrimonio: antes que nada la conquista, luego las nupcias, después los niños y, finalmente, aquella etapa sin la cual es imposible conocer a una mujer: el divorcio.

En el aparato suenan las Cuatro secciones (de la orquesta) de Steve Reich. Me pregunto que estarán escribiendo el resto de los columnistas, particularmente aquellos que son mis amigos. Casi sucumbo ante la tentación de tomar el teléfono y marcarles para averiguar de qué trata su texto. Después de todo, ellos siempre se han expresado en términos muy elogiosos  sobre los míos. ¿Pero si aquello que decía Blaise Pascal es en realidad cierto?… aquello  sobre que no habría cuatro amigos en el mundo entero si todos supiéramos lo que en verdad dicen los demás sobre nosotros.

Goethe escribió que todo lo que un ser humano desea puede ser dividido en cuatro categorías: amor, aventura, poder y fama. Yo lo único que quiero es terminar esta columna. Y con suerte aún tener unas cuantas horas para leer a Murakami.

Siete y veinticuatro. Pienso lo que Yogi Berra, el legendario entrenador de los Yankees haría en mi lugar y, proverbialmente, viene a mi mente una de las frases legendarias que el viejo beisbolista expresó para referirse al secreto de su éxito: “generalmente tomo una siesta de dos horas, de la una a las cuatro”. Es momento de desistir. Apago la computadora. Me dispongo a dormir un rato. Tal vez mañana las palabras vengan sin dificultad. Para acompañarme pongo en el aparato de sonido 4:33 de John Cage.

Columna publicada en la edición de junio de  Music Life Magazine

Man, I hate crowds, both in real life and having to draw them.

Whether deliberate or inadvertent, Allan Kozinn never fails to amuse me:

“A set of films by Justin Blome accompanied Mr. Broome’s performance, which ended with Cage’s “4’33”.” His version was oddly rushed: I clocked it at 4’20.”

And then, silence.

Das Stück 4′33” von John Cage ist leider eine viel zu selten aufgeführte Komposition. Daher konnte man gestern im Rahmen eines philosophischen Konzerts an der Uni Koblenz daran teilhaben.
Eine genauere Vorankündigung, welches Stück zu dieser Gelegenheit zu Aufführung kommen sollte wurde bewußt vermieden, da wir ein möglichst unvoreingenommenes Publikum um uns versammeln wollten. Doch dies wäre kaum notwendig gewesen.
Wie ich selbst erfahren konnte benötigt man das vorherige Unwissen nicht um das Stück in all seiner Originalität genießen zu können, selbst bei der Zugabe weiß die Komposition einen noch zu überraschen.
Ich selbst war Dirigentin des Orchesters und obwohl ich wußte was kommt, ich selbst den Startschuss gab, war ich doch überwältigt von der Wahrnehmung, dass es tatsächlich still war.
Ein leider viel zu selten aufgeführtes Stück und mehr Musik als vieles von dem Lärm, der einem sonst als Musik verkauft wird.

Aqui la actualizacion del manga

Capitulo 433
Capitulo 434
Capitulo 435
Capitulo 436
Capitulo 437

Resto de capitulos: AQUI

named for astronomer, businessman, American, Seth Carlo Chandler Jr., discovered in the late 1800s, it is a small change or motion in the Earth’s axis of rotation, a shift of approximately 15 meters, in periods of 433 days (or 14 months), a free nutation