The Complete John Cage Variations Project
Decibel have devised 'The Complete John Cage Variations Project', an hour long performance program featuring the eight 'Variations' (1958-76) composed by John Cage (USA, 1912 -92). The performances engage new software that automates many of the manual processes involved in creating the scores for these works, resulting in more accurate versions of the pieces that align more closely with Cage's artistic aims. Performances have taken place in Perth, Brisbane (Australia), Trieste, Turin, Venice, Naples and Palermo (Italy).
A recording of the set, together with an edited book on the Variations has been published on New York label Mode (Mode 342) , and will be available from April 2024. The software for generating the full set of Cage 'Variations' is for iPad, and published in conjunction with Cage's publisher Peters Edition va the Apple App Store.
"A thoughtful performance - an important contribution to this composers legacy"
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The ‘Variations’ by John Cage reflect the most productive years of his compositional life. They show the evolution of some of the early aleatoric, multimedia and spatial approaches to live music performance. Decibel perform these 8 Variations in their entirety in a single concert, and use their skills in electronic manipulation, performance and innovative digital scoring to re-present these works using contemporary possibilities.
Traditional musical instruments and period electronics are used alongside projections, photocells, Arduino boards, online messaging, shortwave radio, contemporary dance and custom DIY circuitry to present this incredible collection of works. Rare composer notes and missing parts were sourced from the John Cage Trust, the New York Public Library and the Langlois Foundation. Screenshots of these new, animated scores were featured in the CAGEWORKS visual art exhibition at the Canberra Contemporary Arts Space in 2022.
Decibel have created a John Cage Variations Score generator for the ipad in conjunction with Cage’s publisher, Peters Edition, available on the Apple store for any music group to use. Any one of Variations can be performed, or the score can be presented as a full concert.
The book, entitled “Actions | Remarks : John Cage’s Variations and the expansion of the score, sonic materials, space, and the environment” includes a CD recording by Decibel of the Complete Variations Project and is available via our Bandcamp page (Australia) or Mode (USA). The book includes articles by leading Cage scholars such as Leta E. Miller, James Pritchet, Atau Tanaka, Warren Burt, Paul Van Emmerik, David P. Miller, Thomas DeLio, Vincent Bonin and members of Decibel ensemble. The book has been supported by Monash University School of Music and Performance and WAAPA at Edith Cowan University.
Image credit: Rob Bogaerts / Anefo
Performances
Curatorial Approach
Decibel rework these pieces using a combination of contemporary technologies in conjunction with elements of the original analogue sound production required for the works. This involves new score materials that are projected for the audience, interactive devices, networked approaches, no-input systems and new choreography. You can find out more about the Score generator application we devised for iPad here.
Variations I (1958)
The score consists of transparent sheets of lines and points that are cut out and dropped onto a white sheet, then measured to determined events, durations, ptiches etc. We automate this process in the computer, and share the score on a projection for the audience. The work is performed as an instrumental trio.
Variations II (1961)
The score again consists of transparent sheets of lines and points yet develops the ideas in Variations I by giving the performers slightly more freedom in the way the arrangments are interpreted. Also arranged by the computer, this work is performed by a larger group of musicians including electronics as “sound producing means”.
Variations III (1962)
Variations III (1962) was often performed solo by Cage himself. The score consists of two sheets of transparent plastic: one is blank, the other has 42 identical circles on it which are to be cut out and dropped onto the blank page. The area where the most circles are linked is the score to be read. Again this is automated on the computer and the performer on solo snare and a.m. radio in this case – and keeps generating alternatives until they find one to settle on and perform.
Variations IV (1963)
This is often described as the pivotal work in the variations series, where Cage begins to discuss the distribution of sounds as well as suggesting that the performer do “other activities” in addition to music. This score consists of seven points and two circles on a transparent sheet which are to be used in conjunction with a map of the performance venue to determine positions of performers. During the performance, the computer generates the ”map” of performers and speakers onto a plan of the space.
Variations V (1965)
This work was created in collaboration with the Merce Cunningham Dance Company and a number of prominent electronic musicians of the time, and can be thought of as one of the first mixed media performance works. Sound sources for the first performance were short wave radios and pre recorded tapes distributed over six speakers in the hall.
Sound is triggered and manipulated by dancer movement using photocells, and the performance involved light shows as well as televisions. Decibel perform this piece with aa dancer and adapted electronics built by the ensemble, including proximity antennas and light sensitive devices, with attention given to the sonic detail of the original performance.
Variations VI (1966)
Variations VI (1966) is an electro-centric work for as many sound sources and speakers as are chosen to be available, and returns to the transparency method of scoring that Cage left aside in Variations V. Decibel perform this on bass and electric guitar. The original performance included an enormous collection of electronic circuitry, radios, tape and a television screens so here the Decibel approach is quite different and choices are made around the curation of the Variations as an entire series.
Variations VII (1967)
Variations VII (1967) returns to a text score that suggests an electro acoustic system in which performers are allowed to act in a free and unscripted manner, but using only sounds that are created during the performance in realtime. The movements of the performers trigger sounds, and Zoom/Skype are used to dial numbers as Cage did with telephones in the original versions. Geiger counters are also featured, as they were in the original. Decibel uusally collaboration with other artists in the performance of this, more ‘digital’ sounding version of Variations VII.
Variations VIII (1968)
The published score consists of 1 page of almost illegible handwriting and starts with the words “no music no recordings”. Lindsay Vickery performs this using his ‘no input bass clarinet feedback’ technique.
Gallery
Videos
John Cage “Variation VII”
Decibel Ensemble interpreta John Cage // Geografie del suono #4 Perth — Napoli
100 John Cage – Decibel Ensemble e Silvia Giuffrè
John Cage “Variations V”
Decibel rehearsing John Cage’s Variations V
The Complete John Cage Variations Application – a preview
Academic Publications
Hope, C. & Vickery, L. (eds) (2024). Actions | Remarks: Cage’s Variations and the expansion of score, sonic material, space and environment. New York: Mode 343. Book and CD.
Hope, C., Vickery, L., Wyatt, A., James, S. (2013). Mobilising John Cage: The Design and Generation of Score Creators for the Complete John Cage Variations I – VIII. Malaysian Music Journal. 2(1) p34-45.
Vickery, L., Hope, C. & James, S. (2012). Digital Adaptations of the Scores for Cage Variations I, II and III. Proceedings of the International Computer Music Conference, Slovenia.
Hope, C., James, S. & Vickery, L. (2012). New Digital Interactions with John Cage’s Variations IV, V and VI. Proceedings of the Australasian Computer Music Conference, The School of Music Griffith University, Brisbane.
The tour of this project to Europe in 2013 was supported by International Pathways, through the Australia Council.