John Cage, Music for Three by Premysl Vojta | Florence Millet

John Cage

Premysl Vojta | Florence Millet | Ye Wu

John Cage, Music for Three

Price: € 19.95
Format: CD
Label: CAvi
UPC: 4260085535323
Catnr: AVI 8553532
Release date: 26 January 2024
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Label
CAvi

UPC
4260085535323

Catalogue number
AVI 8553532

Release date
26 January 2024

Album

Artist(s)

Composer(s)

About the album

CAGE . MUSIC FOR…...THREE

John Cage (1912-1992) holds his own special place amidst this stylistic pluralism. Although Cage did not specifically write a trio for horn, violin, and piano, his work Music For (1984) can be easily fleshed out in this instrumental lineup. Music For is a bundle of 17 parts that can be randomly associated with one another. Each possible combination represents an entirely valid version of the piece – ranging from a solo performance to piano duet, string quartet, or ensemble with voice. The version for horn trio is called Music For Three, and this version also allows for several performance alternatives:

YE WU: …...Cage was truly trying out a lot of different things. I find that horn, piano, and violin, with their differing timbres, offer the perfect lineup for this music……..We’re also dealing with a kind of freedom when such moments emerge quasi-spontaneously from our playing without having to plan them together beforehand. ”

Přemysl Vojta: …...John Cage’s Music For Three allows us such freedoms and possibilities. That is why this music emerges so fresh and turns out differently every time it is performed on stage or in the recording studio. For me, it’s been a thrilling experience, this way of dealing with time and the position we occupy within it – thanks to a score that always allows us to find that standpoint and interpret it anew.….

Florence Millet: IWe’re allowed to set in for the first time whenever we want within the first 35 seconds. That is already the first freedom this piece allows us. As soon as we hear one of our colleague’s notes, or the breath inhale that precedes it, we can react to what is going on. We feel a pulse – perhaps it’s the rhythm of the planets, or the pulse of our lives – as if life was just one long inhalation and exhalation. What comes before it? Another inhalation and exhalation. That is what we discover in this piece.

At many points, you have shorter rhythm or pulse values. For instance, I am pulling the bowhairs along the strings. That comes from a movement in my body. I need to pay close attention to the kind of sound this produces, including which harmonics, and whether Přemysl or Ye are playing while I am carrying this out. All of a sudden, I realize: this is the point where the next note should come. It is a recognition that emerges from a simultaneous interplay of body, movement, and instinct, almost like dancing a waltz….(Zitate aus dem Booklettext von Johannes Zink)

CAGE . MUSIC FOR…...THREE

Inmitten dieser stilistischen Pluralität kann auch John Cage (1912-1992) seinen Platz beanspruchen. Zwar hat Cage kein explizites Horntrio geschrieben, aber seine Music For von 1984 lässt sich ohne Weiteres in dieser Besetzung realisieren. Music For ist ein Konvolut von 17 Stimmen, die in beliebiger Besetzung zusammengestellt werden können, wobei jede mögliche Kombination eine vollgültige Version des Stücks ist, vom Solo über Klavierduo, Streichquartett bis Ensemble plus Singstimme. Die Ausführung als Horntrio heißt Music For Three und gestattet gleich mehrere Aufführungsvarianten:

YE WU: …...Cage hat da wirklich vieles probiert. Ich finde, Horn, Klavier und Geige sind mit ihren verschiedenen Farben eine perfekte Besetzung für diese Musik.

Přemysl Vojta:…Als wir über das Stück gesprochen haben, ist oft das Wort „meditativ“ gefallen, was meiner Ansicht nach ausgezeichnet zu diesem sehr ruhigen Stück passt. Die Hornstimme hat grundsätzlich einen sehr langsamen Duktus. Die dynamischen Abstufungen spielen dabei eine entscheidende Rolle,…

Florence Millet: Ich bin verliebt in dieses Trio, für mich funktioniert es genauso gut wie Abrahamsen oder Ligeti oder Brahms. Es gibt mit dem Horn und der Violine zwei gesanglich-melodische Instrumente, gleichzeitig bietet der Flügel weiten Raum für Resonanzen und Harmonien. Das Klavier kann auch zwischen zwei verschiedenen Parts wählen. Ich habe mich für „Klavier eins“ entschieden, nachdem wir genau beobachtet haben, wo die Ruhepunkte liegen und welche Tessitura das Klavier hat.

(Zitate aus dem Booklettext von Johannes Zink)

Backkatalog: Moderne Horntrios (Abrahamsen, Ligeti, Cage, Koechlin), Ye Wu, Violine; Florence Millet, Klavier; Přemysl Vojta, Horn (CAvi8553522; DIG 8553532D)

Artist(s)

Premysl Vojta (horn)

Pˇremysl Vojta, horn, winner of the „International ARD Music Competition“ 2010, tours worldwide as a soloist with orchestras such as the Bavarian Radio Symphony Orchestra, the Camerata Salzburg, the Academy of St Martin in the Fields, the Prague Philharmonia and the Kanagawa Symphony Orchestra. After his successful debut at the Beethoven Festival in Bonn, Pˇremysl was awarded the prestigious Beethoven Ring, past recipients of which include artists such as Igor Levit, Lisa Batiashvili and Gustavo Dudamel. Pˇremysl Vojta has received much international acclaim for his exceptional album productions, including one complete recording of the horn concertos by Joseph and Michael Haydn, and his album Metamorphosis, which was recorded using three different types of horns. In October 2021, Pˇremysl Vojta was appointed as a professor of horn at Folkwang...

Pˇremysl Vojta, horn, winner of the „International ARD Music Competition“ 2010, tours worldwide as a soloist with orchestras such as the Bavarian Radio Symphony Orchestra, the Camerata Salzburg, the Academy of St Martin in the Fields, the Prague Philharmonia and the Kanagawa Symphony Orchestra.
After his successful debut at the Beethoven Festival in Bonn, Pˇremysl was awarded the prestigious Beethoven Ring, past recipients of which include artists such as Igor Levit, Lisa Batiashvili and Gustavo Dudamel. Pˇremysl Vojta has received much international acclaim for his exceptional album productions, including one complete recording of the horn concertos by Joseph and Michael Haydn, and his album Metamorphosis, which was recorded using three different types of horns.
In October 2021, Pˇremysl Vojta was appointed as a professor of horn at Folkwang University of the Arts in Essen to succeed the horn legends Hermann Baumann and Frank Lloyd. In the past, he has also taught at Berlin University of the Arts and the Cologne University of Music and Dance.
At the age of 10, Pˇremysl Vojta received his first horn education from Olga Voldánová at the Brno Music School. A talented competitive swimmer at the time, Vojta had to choose between sports and music, but soon enough, his heart was set on the instrument. Later, he pursed his studies at the Prague Conservatory under the mentorship of Bedˇrich Tylšar (1998-2004) and at Berlin University of the Arts under Christian-Friedrich Dallmann (2004-2010). While he was a student, Pˇremysl Vojta had already started his career as a principal hornist at the Berlin Konzerthaus Orchestra, and continued holding the same position at the WDR Symphony Orchestra in Cologne until 2019.
Vojta is a member of the Carousel Ensemble, PhilHarmonia Octets, Breeze Quintets and Dispar Trios.
His chamber music partners include Tobias Koch, Annelien van Wauwe, Fabrice Millischer, Oliver Triendl, the Pražák Quartet and the Armida Quartet.
Pˇremysl Vojta plays a Mod. 3 double horn from Klaus Fehr Horns, natural horns from Jungwirth and Curtois Paris and the F horn by Daniel Fuchs Vienna.
www.premyslvojta.com

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Florence Millet (piano)

Florence Millet, of Franco-German descent, performs with orchestra, in recitals and ensembles in venues across Europe, Asia and the Americas. Conductors she worked with are Charles Dutoit, Robert Kapilow, Pascal Verrot, Simon Blech, Heinz Holliger, Julia Jones, Elena Schwartz, Jonathan Darlington. She is a founding member of the Lions Gate Trio, since 1988. Residencies include Tanglewood Festival, Universities of North-Carolina-Greensboro, Yale, W. Hartford and the Fairfield Library, CT. A professor at the Hochschule für Musik und Tanz Köln, she was Chair of the Piano Department from 2018 and was elected Executive Director of its Wuppertal Campus in 2021. She has worked worked closely with renowned composers: Luciano Berio, Elliott Carter, Pierre Boulez, George Crumb, Johannes Schöllhorn, Jörg Widmann, Hans Werner Henze, Hans Abrahamsen. She played with the Ensemble Intercontemporain...

Florence Millet, of Franco-German descent, performs with orchestra, in recitals and ensembles in venues across Europe, Asia and the Americas. Conductors she worked with are Charles Dutoit, Robert Kapilow, Pascal Verrot, Simon Blech, Heinz Holliger, Julia Jones, Elena Schwartz, Jonathan Darlington. She is a founding member of the Lions Gate Trio, since 1988. Residencies include Tanglewood Festival, Universities of North-Carolina-Greensboro, Yale, W. Hartford and the Fairfield Library, CT. A professor at the Hochschule für Musik und Tanz Köln, she was Chair of the Piano Department from 2018 and was elected Executive Director of its Wuppertal Campus in 2021.
She has worked worked closely with renowned composers: Luciano Berio, Elliott Carter, Pierre Boulez, George Crumb, Johannes Schöllhorn, Jörg Widmann, Hans Werner Henze, Hans Abrahamsen. She played with the Ensemble Intercontemporain under Pierre Boulez and David Robertson from 1992-2000.
Millet received her master‘s and doctoral degrees at State University of New York Stony Brook, where she studied with Gilbert Kalish. Her other mentors were Leon Fleisher, Paul Badura Skoda, Peter Serkin and Jean Hubeau.
Florence Millet is the artistic adviser for the Lichterfeld Foundation, promoting tolerance, intercultural understanding and creator of the Echospore.de platform which propagates music from persecuted composers.
She explores multidisciplinary concert formats with actors, choreography and dance (Tanztheater Wuppertal Pina Bausch) and arts in the Tony Cragg Foundation, Van der Heydt-Museum, The Phillips Collection, 70th anniversary of „Rundgang“ Music of the time (Musik der Zeit), or lecture recitals.
www.florencemillet.com

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Ye Wu (violin)

Chinese violinist Ye Wu took her first violin lessons in her home town Shanghai before continuing her studies in the USA as well as in Berlin. As concertmaster, she has been invited to perform with many orchestras, playing under such conductors as Kurt Masur, Kent Nagano and Christoph Eschenbach. She has performed extensively in America and Europe as a soloist. Ye Wu has attracted attention with numerous recordings and concerts as a chamber musician, particularly in recent years as Primaria of the WDR Chamber Players. In 2017 their recording of the string quintets by Johannes Brahms, released by the Pentatone label, was awarded the Diapason d‘Or. Their newest CD of the string quintets and octet by Max Bruch was rewarded the Choc de Classica in 2021. Since 2014 she...

Chinese violinist Ye Wu took her first violin lessons in her home town Shanghai before continuing her studies in the USA as well as in Berlin. As concertmaster, she has been invited to perform with many orchestras, playing under such conductors as Kurt Masur, Kent Nagano and Christoph Eschenbach.
She has performed extensively in America and Europe as a soloist.
Ye Wu has attracted attention with numerous recordings and concerts as a chamber musician, particularly in recent years as Primaria of the WDR Chamber Players. In 2017 their recording of the string quintets by Johannes Brahms, released by the Pentatone label, was awarded the Diapason d‘Or. Their newest CD of the string quintets and octet by Max Bruch was rewarded the Choc de Classica in 2021.
Since 2014 she has been second concertmaster in the WDR Symphony Orchestra Cologne. Ye Wu plays a Joseph Rocca violin (1851), on loan from Mr. Jianquan Ge and Mr. Peng Bai.

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Composer(s)

John Cage

John Cage was an American composer and music theorist. He was a pioneer in the implementation of indeterminacy in music, as well as in his use of non-standard musical instruments and electroacoustic ways of generating sound. He was one of the leading composers of the 20th century and propelled the post war avant-garde movement. His teachers included Henry Cowell and Arnold Schoenberg, both known for their radical innovations in music, but Cage's major influences lay in various East and South Asian cultures. Through his studies of Indian philosophy and Zen Buddhism in the late 1940s, Cage came to the idea of aleatoric or chance-controlled music, which he started composing in 1951.
Cage is perhaps best known composition 4′33″ (1952), which is performed in the absence of deliberate sound; musicians who present the work do nothing aside from being present for the duration specified by the title. The content of the composition is not "four minutes and 33 seconds of silence," as is often assumed, but rather the sounds of the environment heard by the audience during performance. The work's challenge to assumed definitions about musicianship and musical experience made it a popular and controversial topic both in musicology and the broader aesthetics of art and performance. Cage was also a pioneer of the prepared piano (a piano with its sound altered by objects placed between or on its strings or hammers), for which he wrote numerous dance-related works and a few concert pieces.

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