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BMOP/sound 1012
*Hybrid SACD
(1912-1992)
Sixteen Dances (1951)
No. 1 [Anger]
No. 2 [Interlude]
No. 3 [Humor]
No. 4 [Interlude]
No. 5 [Sorrow]
No. 6 [Interlude]
No. 7 [The Heroic]
No. 8 [Interlude]
No. 9 [The Odious]
No. 10 [Interlude]
No. 11 [The Wondrous]
No. 12 [Interlude]
No. 13 [Fear]
No. 14 [Interlude]
No. 15 [The Erotic]
No. 16 [Tranquility]
Boston Modern Orchestra Project
Gil Rose
Sound and rhythm have too long been submissive to the restrictions of nineteenth-century music. Today we are fighting for their emancipation. Tomorrow, with electronic music in our ears, we will hear freedom. Instead of giving us new sounds, the nineteenth-century composers have given us endless arrangements of the old sounds.... At the present stage of revolution, a healthy lawlessness is warranted.... The conscientious objectors to modern music will, of course, attempt everything in the way of counterrevolution.... But our common answer to every crticism must be to continue working and listening, making music with its materials, sound and rhythm, disregarding the cumbersome, top-heavy structure of musical prohibitions. These prohibitions removed, the choreographer will be quick to realize a great advantage to the modern dance: the simultaneous composition of both dance and music. The materials of dance, already including rhythm, require only the addition of sound to become a rich, complete vocabulary.... The form of the music-dance composition should be a necessary working together of all materials used. The music will then be more than accompaniment; it will be an integral part of the dance.
- John Cage, Silence ("Goal: New Music, New Dance")
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