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CAGE — Suite for Toy Piano

John Cage: Suite for Toy Piano Zitong Wang, toy piano Previously broadcast live on Sunday, January 3, 2016 Gould Rehearsal Hall, Curtis Institute of Music, Philadelphia Paired together in this performance from the Curtis 20/21 Ensemble’s celebration of music from the year 1948, John Cage and Olivier Messiaen had very different compositional styles, but each of their work reflected a uniquely modern interest in the underlying structure of music. Famous for his musical experiments, many of John Cage’s best known works make use of mathematical systems to generate a complex musical structure. In contrast, the Suite for Toy Piano is an experiment in simplicity. The entire work makes use of just nine pitches, while two movements contracting that range even further, to just five. With its whimsical character, the Suite is intended to be humorous, but still displays Cage’s experimental spirit—the tinny sound of the toy piano recalls the distorted sounds created in his famous works for prepared piano, while Cage balances the melodic simplicity with his technique of generating of rhythmic structure by dividing the music into a pattern of sections based on a predetermined mathematical proportions. Like many of Cage’s innovations, this balance of simplicity and complexity foreshadowed the future of musical development: in the coming decades, minimalism would become a full-fledged artistic movement, especially in Cage’s New York City, in response to the complexity of the Darmstadt School. Across the Atlantic Ocean, Olivier Messiaen was also interested in the structure and organization of music—and like Cage, Messiaen was hugely influential on the development of music in the 20th century. Among his many interests, Messiaen was fascinated by relationships of time and rhythm in music, and developed a number of techniques to organize rhythmic motives in the same way that composers organized pitch through the use of scales or tone rows. “Mode de valeurs et d'intensités,” from Messiaen’s Quatre études de rythme (Four Rhythmic Studies), is notable as the first work by a European composer to use a mathematical system to organize not just the pitches of a work, but also the durations of each pitch, the dynamic level, and the timbre of attack. This technique would be expanded upon by composers such as Pierre Boulez and Karlheinz Stockhausen, who recognized that by treating the different elements of music individually, they could compose complex works that departed from the traditional dominance of melody as the primary focus of the work.