Composer: John Cage
Works: Voice and Piano: Four Walls, A Flower, Experiences II, She is asleep, The Wonderful Widow of Eighteen Springs, Nowth upon Nacht
Performers: Anna Clementi (voice), Steffen Schleiermacher (piano)
Recording: Fürstliche Reitbahn Bad Arolsen, November 20th-22nd, 2000 [DDD]
Label: Dabringhaus und Grimm – SZENE MDG613 1076-2 [76.47]
John Cage remains one of the most innovative and enigmatic figures in 20th-century music, challenging conventions with works that often explore the interplay of silence and sound. This recording, featuring Anna Clementi and Steffen Schleiermacher, focuses on Cage’s compositions for voice and piano, presenting a compelling portrait of the composer’s unique aesthetic. The selection includes not only the substantial Four Walls, composed for a Merce Cunningham choreography, but also shorter, yet equally potent pieces that encapsulate Cage’s radical approach to vocal and instrumental interplay.
Steffen Schleiermacher’s performance of Four Walls is particularly striking. Spanning nearly an hour, this work is marked by its use of repetition and minimalism, a nod to Erik Satie’s influence. Schleiermacher’s technique shines through, as he adeptly navigates the limitations imposed by Cage’s specific instructions—primarily utilizing the white keys of the piano. His approach to the silences, which are equally integral to Cage’s lexicon, heightens the tension throughout the piece. The pianist’s ability to maintain a compelling narrative within seemingly simple phrases demonstrates a profound understanding of Cage’s intentions. The climactic Scene XII reveals a thrilling exploration of registral extremes, executed with a finesse that draws the listener into the depths of Cage’s sound world.
Clementi’s contributions are equally noteworthy, showcasing her versatility and sensitivity across the varied demands of Cage’s vocal writing. In A Flower, she engages in a playful dialogue with the piano lid, mimicking percussive effects that evoke both the natural and the abstract. Her ability to produce nuanced quacking noises adds a layer of whimsy, while simultaneously creating a meditative atmosphere reminiscent of Eastern influences. This piece, while wordless, reveals a profound beauty in its meandering vocal lines, which Clementi executes with a delicate touch that hints at a folk-like quality.
The stark contrast of the visceral Nowth upon Nacht, with its half-shouted declamation of Joyce’s text, exemplifies Cage’s gesturalism. While Clementi’s delivery may not fully capture the raw intensity Cage envisioned, her interpretation is earnest and compelling, effectively conveying the emotional weight of the piece. The piano’s slamming sounds punctuate the work with an almost theatrical flair, showcasing both performers’ ability to engage dynamically with Cage’s innovative score.
The recording quality from Dabringhaus und Grimm is commendable, providing a clear, detailed sound that captures the nuances of both voice and piano. The engineering allows the listener to appreciate the subtleties of Schleiermacher’s phrasing as well as the intricacies of Clementi’s vocal techniques. This clarity is essential for works that thrive on the delicate balance of silence and sound, ensuring that each whisper of the piano and each inflection of the voice resonates with significance.
This disc serves as an exceptional introduction to Cage’s vocal works, meticulously curated to highlight the composer’s innovative spirit. The combination of Clementi and Schleiermacher’s interpretations offers a rewarding listening experience that invites repeated exploration. Their artistry not only honors Cage’s legacy but also illuminates the vast potential of music as a medium for expression beyond conventional boundaries, making this recording unhesitatingly recommended for those seeking to delve deeper into Cage’s remarkable oeuvre.
