Fifty years before John Cage 4'33'' (1952), the funeral
march composed for the funeral of a great deaf man is a
blank page composition, because "the great sorrows are
dumb" according Alphonse Allais.
The reconciliation between Alphonse Allais and John
Cage comes mainly through the association between
silence and white: White Paintings (1951) Rauschenberg,
white canvases whose influence was, according to John
Cage, decisive for the project to maturity of 4 '33'',
are a facetious history in th...(+)
Fifty years before John Cage 4'33'' (1952), the funeral
march composed for the funeral of a great deaf man is a
blank page composition, because "the great sorrows are
dumb" according Alphonse Allais.
The reconciliation between Alphonse Allais and John
Cage comes mainly through the association between
silence and white: White Paintings (1951) Rauschenberg,
white canvases whose influence was, according to John
Cage, decisive for the project to maturity of 4 '33'',
are a facetious history in the First Communion of young
chlorotic girls with a time of snow White image of the
series of monochrome accompanying the “Funeral March
in the primary avrilesque” Alphonse Allais
Album.
SHEET MUSIC