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Legion. An amalgamated journal.

Chance albums

In New York, when I was setting out to write the orchestral parts of my Concert for Piano and Orchestra which was performed September 19, 1958, in Cologne, I visited each player, found out what he could do with his instrument, discovered with him other possibilities, and then subjected all these findings to chance operations, ending up with a part that was quite indeterminate of its performance. After a general rehearsal, during which the musicians heard the result of their several actions, some of them — not all — introduced in the actual performance sounds of a nature not found in my notations, characterized for the most part by their intentions which had become foolish and unprofessional. In Cologne, hoping to avoid this unfortunate state of affairs, I worked with each musician individually and in general rehearsal was silent. I should let you know that the conductor has no score but has only his own part, so that, though he affects the other performers, he does not control them. Well, anyway, the result was in some cases just as unprofessional in Cologne as in New York. I must find a way to let people be free without their becoming foolish. So that their freedom will make them noble. How will I do this? That is the question.

John Cage, Indeterminacy, Story 17

With that, I would like to introduce my latest alt-rock masterpiece, hailed by critics as “a bold and emotional call in the darkness of the adult alternative mainstream”:

Garrett Dash Nelson

February 21st, 2009 at 1:01 pm

But perhaps you disagree

No responses so far

The room is, as yet, filled with smoke and apprehension.