John Cage Program Shows Music Forum's Strengths
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The sounds of Beethoven's Fifth Symphony filled the concert hall, only to be interrupted by the clanging of tin cans. Shocking or irreverent in most contexts, within the Contemporary Music Forum's all-John Cage program on Sunday evening at the National Gallery of Art, this feat was par for the course.
"Credo in Us" exemplifies Cage's music: inventive, full of personality and all-embracing. The work uses tin cans, muted gongs, an electric buzzer, tom-toms, a piano muted to resemble alternately a banjo and a marimba, and a radio or phonograph that simultaneously plays a Beethoven recording and Cage interviews. Though conceptual, the work is unpretentious -- as though one could grab a noisemaker and join in. Still, "Credo" is far from simple; rather, it is by turns jazzy and tribal, distinctly American in its free, celebratory nature, yet bearing Eastern influences. Pianist Lura Johnson skillfully and enthusiastically brought out its playful, extroverted character, and a strong sense of ensemble among the musicians gave repetitive, unison passages some ritualistic gravitas.
Cage's work often transcends gimmickry through unmistakably musical rhythmic drive highlighted by prominent percussion. The dancelike "Amores" came across as ideal music for a love scene. Percussionists Thomas Jones, William Richards and guest Michael Zell drummed softly with their hands and effectively conveyed a gentle but vital intimacy. They brought virility to the jungle sounds of "Third Construction," using cowbells and conches with equal abandon.
"Nocturne" featured poignant performances by Johnson and violinist Lina Bahn.
Throughout, the Contemporary Music Forum displayed uncommon scope and sensitivity and brought out the best of an important and still underappreciated composer.
-- Ronni Reich
