John Zorn’s compositions presented at The Cloisters contained a bonanza of musical ideas, rolling in unnervingly peculiar waves and presented in clumps and clusters like audio versions of found art.
Cage hoped that the change from “pinch-penny mental attitudes to courageous wastefulness” would become as prevalent in the arts as it is in nature. Along those lines, his late choral music is spare, seemingly simple: quiet, almost fragile sounds scattered over silences.
