Cage: Music for Aquatic Ballet; Music for Carillon No. 6

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Release Date: 9th Jul 2012
Catalogue No: 9284
Label: Brilliant Classics
Length: 68 minutes

Cage: Music for an Aquatic Ballet

Work length9:34

$2.00

$2.60

Roberto Fabbriciani (flute), Jonathan Faralli (percussion)
Recorded: 2011
Recording Venue: Montevarchi, Arezzo, Italy

Cage: Dialogue (for flute and percussion)

Work length6:05

$1.00

$1.30

Roberto Fabbriciani (flute), Jonathan Faralli (percussion)
Recorded: 2011
Recording Venue: Montevarchi, Arezzo, Italy

Cage: 27' 10.554" for a percussionist

Work length27:19

Album only

Jonathan Faralli (percussion)
Recorded: 2011
Recording Venue: Montevarchi, Arezzo, Italy

27'10. 554"

Track length27:19

Album only

Cage: Atlas eclipticalis (realized by Roberto Fabbriciani)

Work length8:20

$3.00

$3.90

Roberto Fabbriciani (flute)
Recorded: 2011
Recording Venue: Montevarchi, Arezzo, Italy

No. 1. [for solo alto flute]

Track length3:13

$1.00

$1.30

No. 2. [for solo flute]

Track length2:57

$1.00

$1.30

No. 3. [for solo piccolo]

Track length2:10

$1.00

$1.30

Cage: Two (for flute and vibraphone)

Work length9:56

$2.00

$2.60

Roberto Fabbriciani (flute), Jonathan Faralli (percussion)
Recorded: 2011
Recording Venue: Montevarchi, Arezzo, Italy

Cage: Music for Carillon No. 6

Work length6:58

$1.00

$1.30

Roberto Fabbriciani (piccolo), Jonathan Faralli (percussion)
Recorded: 2011
Recording Venue: Montevarchi, Arezzo, Italy

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This fascinating disc includes several first recordings in a broad survey of John Cage’s unpredictable muse, from the simple pleasures of a short score written in the 1950s for a synchronised swimming display, from which the album takes its title, to the more arcane delights of his musical compendium based on star-charts, Atlas Eclipticalis.

Though the music inevitably ranges from the most regular and predetermined score to an aesthetic of chance and serendipity, dependent on the will of the performer, Cage’s voice, whimsical and questioning, is everywhere present, asking what music is and how and why we listen to it. Much is owed in a Cage performance to the musicians, their skill and their sympathy; no different in that general sense from a Schubert performance, perhaps, but an extra degree of imaginative sympathy is required of musicians who must themselves make many important decisions about the very stuff of what they will perform, such as on Two: what instruments to use? Which notes, and how fast?

Roberto Fabbriciani is a seasoned musical collaborator of Cage’s, who worked with him and other outstanding figures of the post-war avant-garde for over three decades, performing, promoting and in many cases helping to refine their music. So he has prepared his own version of music from Atlas Eclipticalis, and he is joined here by a young percussionist who takes on the formidable demands of one of Cage’s most elaborate scores, 27’10.554’’ for percussion and tape.As the disc unfolds at its own unhurried pace we may hear a quietly determined and utterly original composer in works for a quixotic combination of instruments.

It is the latest in what is becoming a notable series of Cage recordings on Brilliant Classics, which is making a serious contribution to the composer’s growing discography, otherwise largely to be found on obscure and premium-priced labels.

Cage: Music for Aquatic Ballet; Music for Carillon No. 6

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