translation for the birds

Dear all,

I am writing to you because I have a request. I am looking for the  
official english translation of 3 short sentences in John Cage, "For  
the birds. In Conversation with Daniel Charles". If someone has this  
book and can take time to check these sentences and send them to me, I  
would be very very grateful to you.

1) in the end of 5th interview:

« elle peut être jouée n’importe quand […] elle ne prend vie que  
lorsque vous la jouez. Et chaque fois que vous l’exécutez, c’est une  
expérience prodigieusement vivante ! » (French edition, p. 183-184,  
about 4'33'')

The translation would be something like that: "it can be played any  
time [...] and only comes to life when you play it. And every time you  
perform it, it's a prodigiously lively experience!"

2) in the very end of 5th interview:

« [...] qui consiste à refuser certaines expériences au nom d’un  
certain discours. Cela signifie simplement qu’on s’enferme dans un  
discours, pour ne pas aller au concert ou pour ne pas faire de  
peinture au sens classique ou au sens moderne » (French edition, p.  
185, about conceptual art)

The translation would be something like that: "[...] consists of  
refusing certain experiences in the name of a certain discourse. This  
simply means that we lock ourselves into a discourse in order not to  
go to a concert or not to paint in the classic sense or modern sense."

3) In the 6th interview:

« L’une des dernières œuvres qui me soient parvenues est un projet  
musical de Marcel Duchamp. Il m’a été donné par Teeny Duchamp et part  
de l’hypothèse d’un train de marchandises dont plusieurs wagons  
passent sous un tunnel ; le train ne reçoit pas de fret, ou de  
liquide, mais des notes. Cela permet une distribution de notes sur  
différentes octaves, et la production de gammes nouvelles de sons  
musicaux » (French edition, p. 195)

The translation would be something like that: "One of the last works  
to have arrived in my hands is a musical project by Marcel Duchamp. It  
was given to me by Teeny Duchamp, and it starts with the hypothesis of  
a goods train, with several of its wagon passing through a tunnel. The  
train receives never goods, nor liquids, but notes. This enables a  
distribution of notes on different octaves, and the production of new  
ranges of musical sounds."

Thank you for your help.
Kind regards,
Matthieu Saladin

Matthieu Saladin
Chercheur associé à l'IDEAT
Université Paris 1 Panthéon-Sorbonne/CNRS