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In Downtown Miami, our Focus On Puerto Rico residency program is in full swing. 

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Beyond Cage: Petr Kotik, Ursula Oppens & Christian Wolff



Now playing: an excerpt from the full interview in which Christian Worlff describes his relationship with Cage and dhis new work for orchestra. The full interview coming soon...

John Cage would be 100 this year and many events have been held to honor the man and his work. On the occasion of the Beyond Cage festival being held in New York this fall, David Weinstein spoke in the studio with composer, conductor and event producer Petr Kotik and pianist Ursula Oppens. They were joined by composer and Cage confidant Christian Wolff on the telephone. All three had strong and direct connections to John Cage and all three are providing work for the festival. Insights, anecdotes, technical secrets revealed, and musical illustrations including the rehearsal of the new Wolff orchestra piece.

The Beyond Cage festival is presented by the S.E.M. Ensemble in New York City froom Oct. 22 – Nov. 7, 2012. Highlights include large-scale works by Cage, including Atlas Eclipticalis, Winter Music, and his last orchestra work, 103, plus Freeman Etudes and Music of Changes; Morton Feldman's Violin and Orchestra and Flute and Orchestra; Christian Wolff's "individuals, collective"; works by Roscoe Mitchell, Alex Mincek, and Kate Soper, Salvatore Sciarrino, Earle Brown, Petr Kotik, Christian Marclay, Luigi Nono, Karlheinz Stockhausen, and James Tenney. Concerts take place at venues around the city. For a complete schedule go to semensemble.org.
 

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Experimental Composers

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The object of this series is to invite emerging and established innovators to share their work. These programs are usually a combination of an interview with a far-reaching perspective on the artist's career, some recordings illustrating this history, and something new. Open territory. The unfortunate and unintended messages that come attached to a title like Experimental Composers are many. Still it is one of the few labels to come out of the world of music that has not been co-opted by promoters, corporations, journalists, or lawyers. This one just seems to have anti-market goo on it. Hooray. It's also just bad English (as if to imply that these poor souls are themselves, in their flesh and blood, some kind of experiment and, perhaps, even expendable). And then there is the spectre of defying the wisdom of the great Edgar Varèse who said something like, "I do not write experimental music. My experimenting is done before I make the music. Afterwards it is the listener who must experiment."
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