Re: Cage electronica

Hello Eric,

> Cage advocated the use of "electronic" instruments as early as  
> 1937, yet he never composed for the devices (Theremin, ondes  
> Martenot) that were, by the mid-thirties, fairly well established.  
> Instead, he relied on "found" instruments - frequency test records  
> played on variable-speed turntables, most significantly - in a  
> quest to produce new and unexpected sounds.
>
> Does anyone have thoughts on why Cage moved away from  
> experimentation with electronic instruments, returning to this only  
> much later?
>
> Eric Levin

 From my studies, Cage was very interested in making sure what he  
composed was performed. Imaginary Landscape No. 1, as you allude to,  
was composed and performed in weeks after opportunity and inception.  
The loan of the two frequency records by Bonnie Bird's husband, the  
access to the Cornish School radio studio, and the opportunity to  
compose and perform a new work, all came together so that Imaginary  
Landscape No. 1 could actually be heard.

I often contrast Cage with Varese, who with his grandiose ideas,  
waited for years for some of his music to be performed, if ever.  
Cage's insistence that a work is not complete until performed may  
have something to do with it. Also, his denigration of Thereministes  
in The Future of Music: Credo (1937), who "do their utmost to make  
the instrument sound like some old instrument" is telling of his  
youthful attitude about that form of instrument.

He may never of had access to a Theremin or Ondes Martenot (most  
likely not at that time as an impoverished composer). His approach  
seems eminently practical: wow, some frequency records and a  
turntable, now what could I do with that?

And of course, his desire to "do what was necessary"; others were  
using Theremins and Ondes Martinots; but he was the first to use  
turntables as instruments.

Great question. I hope to hear other points of view.

Best regards,

Thomas Gaudynski