I discussed the first two volumes of this series in detail (3/98, A/98), mentioned the third volume, consisting of 'Music of Changes' in brief, and now we have pieces from the decade 1950-60. Most of them are not notated conventionally but allow the performer into the process of creating the music. Schleiermacher, with typical thoroughness, explains his approach in detail in the CD booklet.
Winter Music can be played by anything from one to 20 pianists. Schleiermacher decided on a version for 10 pianos, making all the tracks himself, and the textural variety of this piece emerges recognisably. Water Music from 1952 (confusingly retitled here as Arolsen, February 8, 1998 - a permitted option) is an early classic of music theatre where the pianist uses various props such as a bowl of water and a radio in a strictly timed schedule. Music Walk has theatrical elements too as the player travels from one instrument to another and various noises are included.
Solo for Piano, from the same period, is the piano part of the Concert for Piano and Orchestra, premiered in the 1958 Cage Retrospective at New York Town Hall when it was recorded complete with audience protest. Schleiermacher's version lasts over half an hour in a fastidiously planned realisation that derives everything possible from carefully contrasted textures. The 21 tracks helpfully reflect the layout - for example the enchanting toy piano at track 12, which appears again at the end duetting
with the grown-up piano, and the subtle effects on the inside of the piano on track 14.
The drama initiated by Cage in these indeterminate pieces is comparable to the pacing in the plays of Samuel Beckett - seemingly unpredictable but, against all the odds, continuously engaging at the time.
Some pieces are completely notated - the Webernian Seven Haiku or the earlier Haiku, innocently diatonic almost in the manner of Satie. As before, Schleiermacher's wizardry gets the best out of everything and the recording is again excellent. Riches indeed and still moreto come.'