Cornish Presents: Jesse Myers
Friday, February 17, 2017 @ 8pm
PONCHO Concert Hall, Seattle
“It transforms the piano into something not recognizable as a piano,” says pianist Jesse Myers, as we peer into his Steinway.
In 1940, while a faculty member at The Cornish School, John Cage devised methods of converting the piano into, as he described, “a percussion ensemble under the control of a single player.”
Originally aimed at a dance accompaniment, his innovation was to insert objects – screws, nuts and bolts, pieces of rubber – between certain piano strings, in specific locations. The foreign objects create unfamiliar timbres that result in sounds more like a wood block than a piano.
On Friday, 17 February, at the same Cornish where it all began, Jesse will be performing Cage’s Sonatas and Interludes for prepared piano. Jesse played some for me.
It sounds like a small ensemble of instruments, mostly percussion, with one piano, playing a song together. Instead of each instrument playing its own track, one instrument plays a note, then another instrument plays a note, and then another instrument plays a note, and so on. Sometimes one instrument plays a bar or two. Thus, there is a disruptive continuity, as so many small parts are rhythmically tied together.
I find the result to be pleasing and coherent, yet challenging. (I’ve been trying to count how many instruments I’m listening to, and understand what all of them are.) The piece will arrive at a nice spree of notes, then something fittingly discordant, followed by a short melody, then a clock striking 1 o’clock. Begin again.
“Do you think Cage was a genius?” I assured Jesse that I do not frequently use this term. (People are generally familiar with others tagged with the “genius” label – Beethoven, Einstein – but Cage is out there in the cold obscurity.)
Cage claimed that music consisted of combinations of different sounds, and therefore if you were making noises, you were making music.
Jesse pondered, “You can’t talk about music over the past 50 years without talking about John Cage. He completely changed how we think about contemporary music. So, yes, I would have to say he was a genius.”
I keep wondering, if Cage was a genius, why is he not more prominent in today’s performance spaces? Cage claimed that music consisted of combinations of different sounds, and therefore if you were making noises, you were making music. This assertion gave him space to innovate without rules or interference, and his fertile mind deserved the space.
Cage can be challenging, and sometimes (in my experience) unlistenable. I think this is a show where people not familiar with Cage’s work could invite him in from the cold. Jesse and I agreed that an audience should find this evening, these works, to be quite enjoyable.
“I just want the audience to relax,” Jesse tells me. “This is beautiful music, and people should be able to sit back and enjoy the sounds. If we could throw a couple of bean bags on the floor for people, I’d be all for that.”
The reader can get a preview from Jesse’s SoundCloud; here is Sonata V.
Jesse Myers will perform on Friday, February 17, 2017 @ 8:00 pm at PONCHO Concert Hall at Cornish College of the arts. Full details are here.
Kent Karnofski has been a Seattleite most of his adult life. By day he is a research engineer at a local manufacturing firm, by night he is an extraordinary audiophile. In addition to his work with the Live Music Project, he is the curator and primary contributor at CommunityNoise.blog.