With permission of Live Music Project, here's Ken Karnofski's recent interview with Jesse Myers about performing John Cage’s "Sonatas and Interludes" for prepared piano. This Cornish Presents concert will take place at PONCHO on February 17 at 8:00 p.m.
“It transforms the piano into something not recognizable as a piano,” says pianist Jesse Myers, as we peer into his Steinway.
In 1940, while a faculty member at The Cornish School, John Cage devised methods of converting the piano into, as he described, “a percussion ensemble under the control of a single player.”
Originally aimed at a dance accompaniment, his innovation was to insert objects – screws, nuts and bolts, pieces of rubber – between certain piano strings, in specific locations. The foreign objects create unfamiliar timbres that result in sounds more like a wood block than a piano.
On Friday, 17 February, at the same Cornish where it all began, Jesse will be performing Cage’s Sonatas and Interludes for prepared piano. Jesse played some for me.
It sounds like a small ensemble of instruments, mostly percussion, with one piano, playing a song together. Instead of each instrument playing its own track, one instrument plays a note, then another instrument plays a note, and then another instrument plays a note, and so on. Sometimes one instrument plays a bar or two. Thus, there is a disruptive continuity, as so many small parts are rhythmically tied together.
I find the result to be pleasing and coherent, yet challenging. (I’ve been trying to count how many instruments I’m listening to, and understand what all of them are.) The piece will arrive at a nice spree of notes, then something fittingly discordant, followed by a short melody, then a clock striking 1 o’clock. Begin again.
“Do you think Cage was a genius?” I assured Jesse that I do not frequently use this term. (People are generally familiar with others tagged with the “genius” label – Beethoven, Einstein – but Cage is out there in the cold obscurity.)
Jesse pondered, “You can’t talk about music over the past 50 years without talking about John Cage. He completely changed how we think about contemporary music. So, yes, I would have to say he was a genius.”
Cage claimed that music consisted of combinations of different sounds, and therefore if you were making noises, you were making music.
I keep wondering, if Cage was a genius, why is he not more prominent in today’s performance spaces? Cage claimed that music consisted of combinations of different sounds, and therefore if you were making noises, you were making music. This assertion gave him space to innovate without rules or interference, and his fertile mind deserved the space.
Cage can be challenging, and sometimes (in my experience) unlistenable. I think this is a show where people not familiar with Cage’s work could invite him in from the cold. Jesse and I agreed that an audience should find this evening, these works, to be quite enjoyable.
“I just want the audience to relax,” Jesse tells me. “This is beautiful music, and people should be able to sit back and enjoy the sounds. If we could throw a couple of bean bags on the floor for people, I’d be all for that.”
The reader can get a preview from Jesse’s SoundCloud; here is Sonata V. Advance tickets for the Cornish Presents concert on February 17 are available from Brown Paper Tickets here. Tickets are $10 at the door for Cornish students, alumni, and staff with ID. For everyone else, tickets are $20 for general admission, $15 for seniors, and $10 for students with ID.
Learn more about Live Music Project at their website.