amusedFriends, I believe we have just become witness to "1:24" -- the premiere performance of the long-lost second sequel to John Cage's "4:33."
And I must admit, it is a masterful performance. (mp3 file, 366kb)
In the first movement, the conductor gives continuous emphasis to the winds of transmission (provided in a guest appearance by the AT&T orchestra). Subtle volume modulation resolves to a slight crescendo, sweeping the section to an urgent, unsettled conclusion that can't fail to reward the hyperattentive listener. The second movement builds dramatic tension via the sustained/restrained attack of the brass section, while introducing percussion in a far-off, ghostly vibrato that evokes the processor-intensive Search for Extra-Terrestrial Intelligence -- proving the composer has indeed kept up with the changing times.
But it is in the third movement, at approximately 1:13, that the true daring of this piece is revealed. For in this piece the composer has finally introduced the most brilliant innovation of American artistry -- lyrics.
In a lush, occult soprano, the leading diva (provided in a guest appearance by one of our customers) advances the daring, edgy refrain transcribed below:
"no,
nothing in there
maybe I have to have the telephone
hung up
for that to work"
Then the piece explodes into a frenzied climax, finishing with the click of a phone disconnection - a poignant reminder of all music's transitory nature and a philosophical meditation on the greater purpose of life.
I hope we get no repeat performances - it would be a shame to hog this brilliant piece all to ourselves.