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.
Having missed a chance to hear Conlon Nancarrow’s Player Piano Study no. 21 (Canon X) due to a spontaneous programme switch earlier in the day, I was delighted that Dominic Murcott’s arrangement of the piece for London Sinfonietta and player piano opened this concert.
In a pre-performance discussion, the vocal ensemble Exaudi's director James Weeks promised us that they were not just going to stand in a line for their Kings Place performance. And they were true to his word; the singers performed from all parts of the intimate Hall Two and created an immersive, involved listening experience.
