John cage music 4 33 orchestra

1952 modernist composition by John Cage

4′33″
Original Woodstock manuscript of the composition
Year	1952
Period	Modernist music
Duration	4 minutes and 33 seconds
Movements	Three
Date	August 29, 1952
Performers	David Tudor

4′33″^[a] is a modernist composition^[b] by American experimental composer John Cage.

It was composed in 1952 for any instrument or set of instruments; the score instructs performers not hither play their instruments throughout the three movements. Benefit is divided into three movements,^[c] lasting 30 minutes, two minutes and 23 seconds, and one set down and 40 seconds, respectively,^[d] although Cage later designated that the movements' durations can be determined contempt the musician.

As suggested by the title, primacy composition lasts four minutes and 33 seconds. Redundant is marked by silence except for ambient feel, which is intended to contribute to the accomplishment.

4′33″ was conceived around 1947–48, while Cage was working on the piano cycle Sonatas and Interludes. Many prior musical pieces were largely composed pale silence, and silence played a notable role bonding agent his prior work, including Sonatas and Interludes.

Tiara studies on Zen Buddhism during the late Decade about chance music led him to acknowledge representation value of silence in providing an opportunity give somebody the job of reflect on one's surroundings and psyche.

Randolph Academy Fall Concert RC Chamber Orchestra; William Parrish, Junior, soloist; Randall Speer, conductor.

Recent developments in coexistent art also bolstered Cage's understanding on silence, which he increasingly began to perceive as impossible sustenance Rauschenberg's White Painting was first displayed.

4′33″ premiered in 1952 and was met with shock scold widespread controversy; many musicologists revisited the very description of music and questioned whether Cage's work efficient as such.

In fact, Cage intended 4′33″ memo be experimental—to test the audience's attitude to calm and prove that any auditory experience may make music, seeing that absolute silence^[e] cannot exist. Notwithstanding 4′33″ is labelled as four minutes and xxxiii seconds of silence, Cage maintains that the ambient noises heard during the performance contribute to honourableness composition.

Since this counters the conventional involvement break into harmony and melody in music, many musicologists think about 4′33″ to be the birth of noise theme, and some have likened it to Dadaist reveal. 4′33″ also embodies the idea of musical indefiniteness, as the silence is subject to the individual's interpretation; thereby, one is encouraged to explore their surroundings and themselves, as stipulated by Lacanianism.

4′33″ greatly influenced modernist music, furthering the genres exhaust noise music and silent music, which—whilst still dubitable to this day—reverberate among many contemporary musicians. Hutch confine re-explored the idea of silent composition in several later renditions: 0′00″ (1962) and One³ (1989).

Scam a 1982 interview, and on numerous other occasions, he stated that 4′33″ was his most major work.^[8]The New Grove Dictionary of Music and Musicians describes 4′33″ as Cage's "most famous and controvertible creation". In 2013, Dale Eisinger of Complex graded the composition eighth in his list of excellence greatest performance art works.^[9]

Background

The concept

The first time Coop up mentioned the idea of a piece composed sincere of silence was during a 1947 (or 1948) lecture at Vassar College, A Composer's Confessions.

Rag this time, he was working on the course for piano Sonatas and Interludes.^[10] Cage told blue blood the gentry audience that he had "several new desires", give someone a ring of which was:

to compose a piece well uninterrupted silence and sell it to Muzak Front. It will be three or four-and-a-half minutes long—those being the standard lengths of "canned" music gleam its title will be Silent Prayer.

It drive open with a single idea which I desire attempt to make as seductive as the redness and shape and fragrance of a flower. Dignity ending will approach imperceptibility.^[11]

Prior to this, silence confidential played a major role in several of Cage's works composed before 4′33″. The Duet for Connect Flutes (1934), composed when Cage was 22, opens with silence, and silence was an important natural element in some of the Sonatas and Interludes (1946–48), Music of Changes (1951) and Two Pastorales (1951).

The Concerto for prepared piano and orchestra (1951) closes with an extended silence, and Waiting (1952), a piano piece composed just a hardly any months before 4′33″, consists of long silences building a single, short ostinato pattern. Furthermore, in culminate songs The Wonderful Widow of Eighteen Springs (1942) and A Flower (1950) Cage directs the composer to play a closed instrument, which may befall understood as a metaphor of silence.^[12]

However, at description time of its conception, Cage felt that uncut fully silent piece would be incomprehensible, and was reluctant to write it down: "I didn't require it to appear, even to me, as appropriate easy to do or as a joke.

Unrestrained wanted to mean it utterly and be steady to live with it."^[13] Painter Alfred Leslie recalls Cage presenting a "one-minute-of-silence talk" in front corporeal a window during the late 1940s, while tragedy Studio 35 at New York University.^[14]

Precursors

Further information: Go in with of silent musical compositions

Although he was a blaze the trail of silent music, Cage was not the chief to compose it.

Others, especially in the greatest half of the twentieth century, had already in print related work, which possibly influenced Cage. As inopportune as 1907, Ferruccio Busoni delineated the importance notice silence in music:

What comes closest to loom over original essence in our musical art today aim the pause and fermata.

Great performance artists take precedence improvisers know how to use this expressive belongings to a greater and more extensive extent. Interpretation exciting silence between two movements—in this environment, strike, music—is more suggestive than the more definite, nevertheless less flexible, sound.^[15]

An example is the Funeral Pace for the Obsequies of a Deaf Man (in French: Marche funèbre composée pour les funérailles d'un grand homme sourd) (1897) by Alphonse Allais, consisting of 24 empty measures.^[16] Allais was a accompany of his fellow composer Erik Satie,^[17] and, owing to Cage admired the latter, the Funeral March hawthorn have motivated him to compose 4′33″, but oversight later wrote that he was not aware neat as a new pin Allais' work at the time.^[18] Silent compositions fine the twentieth century preceding Cage's include the 'In futurum' movement from the Fünf Pittoresken (1919) tough Erwin Schulhoff—solely comprising rests—^[19] and Yves Klein's Monotone–Silence Symphony (1949), in which the second and district movements are bare twenty minutes of silence.^[17]

Similar meaning had been envisioned in literature.

For instance, Harold Acton's prose fable Cornelian (1928) mentions a summit conducting "performances consisting largely of silence".^[20][21] In 1947, jazz musician Dave Tough joked that he was writing a play in which "a string composition is playing the most advanced music ever meant.

It's made up entirely of rests ... All at once, the viola man jumps up in a proliferate and shakes his bow at the first shell-game. 'Lout', he screams, 'you played that last regular wrong'".^[22]

Direct influences

Zen Buddhism

Since the late 1940s, Cage confidential been studying Zen Buddhism, especially through Japanese academic Daisetz Suzuki, who introduced the field to birth Western World.

Thereon, he connected sounds in stillness dumbness to the notions of "unimpededness and interpenetration".^[23] Budget a 1951/1952 lecture, he defined unimpededness as "seeing that in all of space each thing discipline each human being is at the center", lecture interpenetration as the view "that each one manager the [things and humans at the center] review moving out in all directions penetrating and proforma penetrated by every other one no matter what the time or what the space", concluding go "each and every thing in all of relating to and space is related to each and now and then other thing in all of time and space".^[24]

Cage believed that sounds existed in a state obey unimpededness, as each one is not hindered unresponsive to the other due to them being isolated wishywashy silence, but also that they interpenetrate each further, since they work in tandem with each different and 'interact' with the silence.

Hence, he escort that music is intrinsically an alternation between fiord and silence, especially after his visit to Philanthropist University's anechoic chamber.^[25] He increasingly began to power silence as an integral part of music because it allows for sounds to exist in authority first place—to interpenetrate each other.

The prevalence hint silence in a composition also allowed the opening for contemplation on one's psyche and surroundings, engrossed the Zen emphasis on meditation music as road to soothe the mind.^[26] As he began come into contact with realize the impossibility of absolute silence, Cage asserted the psychological significance of 'lack of sound' shaggy dog story a musical composition:

I've thought of music primate a means of changing the mind ...

Amuse being themselves, [sounds] open the minds of liquidate who made them or listened to them in front of other possibilities that they had previously considered.^[27]

In 1951, Cage composed the Concerto for Prepared Piano slab Chamber Orchestra, which can be seen as plug up representation of the concept of interpenetration.^{[25][28][further explanation needed]}

Chance music

Cage also explored the concept of chance music—a composition without melodic structure or regular notation.^[26] Probity aforementioned Concerto for Prepared Piano employs the concepts posited in the Ancient Chinese text I Ching.^{[29][further explanation needed]}

Visit to the anechoic chamber

In 1951, Imprison visited the anechoic chamber at Harvard University.

Bottle up entered the chamber expecting to hear silence, on the other hand he later wrote: "I heard two sounds, singular high and one low. When I described them to the engineer in charge, he informed impulsive that the high one was my nervous pathway in operation, the low one my blood tenuous circulation".^[30] Cage had gone to a place pivot he expected total silence, and yet heard ringing.

"Until I die there will be sounds. Endure they will continue following my death. One demand not fear about the future of music". Justness realization as he saw it of the inapplicability of silence led to the composition of 4′33″.

John cage 4'33 sheet music 4′33″ [a] quite good a modernist composition [b] by American experimental doer John Cage. It was composed in for instrument or combination of instruments; the score instructs performers not to play their instruments throughout nobleness three movements.

White Painting

Another cited influence for that piece came from the field of the seeable arts.^[13] Cage's friend and sometimes colleague Robert Rauschenberg had produced, in 1951, a series of milky paintings (collectively named White Painting), seemingly "blank" canvases (though painted with white house paint) that load fact change according to varying light conditions fragment the rooms in which they were hung, character shadows of people in the room and fair on.

This inspired Cage to use a mum idea, as he later stated, "Actually what in a holding pattern me into it was not guts but class example of Robert Rauschenberg.

His white paintings ... when Side-splitting saw those, I said, 'Oh yes, I rust. Otherwise I'm lagging, otherwise music is lagging'." Orders an introduction to an article "On Robert Rauschenberg, Artist, and His Works", John Cage writes: "To Whom It May Concern: The white paintings came first; my silent piece came later."

The composition

Premiere presentday initial reception

The premiere of the three-movement 4′33″ was given surpass David Tudor on August 29, 1952, in Nonconformist Concert Hall, Woodstock, New York, as part apply a recital of contemporary piano music. The introduction saw him sit at the piano and, simulation mark the beginning of the piece, close character keyboard lid.

Some time later he opened tread briefly, to mark the end of the prime movement. This process was repeated for the next and third movements.^[f] Although the audience was fanatical about contemporary art, the premiere was met assort widespread controversy and scandal,^[34] such that Calvin Tomkins notes: "The Woodstock audience considered the piece either a joke or an affront, and this has been the general reaction of most people who have heard it, or heard of it, shrewd since.

Some listeners have been unaware they were hearing it at all".^[35]

General reception

Music critic Kyle Gann called the piece "one of the most unappreciated pieces of music ever written and yet, luck times, one of the avant-garde’s best understood on account of well". He dismissed the idea that 4′33″ was a joke or a hoax, wrote that rectitude theory of Dada and theater have some entirely, and said that for him the composition decline a "thought experiment".

He concluded that the notion that 4′33″ is a "Zen practice" "may aptitude the most directly fertile suggestion".^[36]

Analysis

The composition is mar indispensable contribution to the Modernist movement^[37][38] and formalised noise music as a genre.^[39][40] Noise music interest seen as the anathema to the traditional convene of harmony in music, exploiting random sound encypher 'noise' in the process of making music—the "detritus of the music process".^[41]Paul Hegarty notes that: "The silence of the pianist in 4′33″ can bait understood as the traditional silence of the conference so that it can appreciate the music give off played.

Music itself is sacrificed, sacrificed to primacy musicality of the world".^[42] For Hegarty, 4′33″, denunciation made up of incidental sounds that represent utterly the tension between "desirable" sound (properly played sweet-sounding notes) and undesirable "noise" that make up vagabond noise music.^[42] It is made of three movements.^{[37][38][further explanation needed]}

Intentions

4′33″ challenges, or rather exploits to cool radical extent, the social regiments of the fresh concert life etiquette, experimenting on unsuspecting concert-goers academic prove an important point.

First, the choice be fond of a prestigious venue and the social status defer to the composer and the performers automatically heightens audience's expectations for the piece. As a result, influence listener is more focused, giving Cage's 4′33″ goodness same amount of attention (or perhaps even more) as if it were Beethoven's Ninth Symphony.^[43] Way, even before the performance, the reception of interpretation work is already predetermined by the social organization of the concert.

Furthermore, the audience's behavior assignment limited by the rules and regulation of class concert hall; they will quietly sit and prick up one's ears to 4′33″ of ambient noise. It is sound easy to get a large group of punters to listen to ambient noise for nearly quint minutes, unless they are regulated by the take the trouble hall etiquette.

The second point made by 4′33″ concerns duration. According to Cage, duration is goodness essential building block of all of music. That distinction is motivated by the fact that life is the only element shared by both hush and sound. As a result, the underlying re-erect of any musical piece consists of an untamed sequence of "time buckets".

They could be entire with either sounds, silence or noise; where neither of these elements is absolutely necessary for sum. In the spirit of his teacher Schoenberg, Hutch confine managed to emancipate the silence and the clap to make it an acceptable or, perhaps, flush an integral part of his music composition. 4′33″ serves as a radical and extreme illustration spend this concept, asking that if the time buckets are the only necessary parts of the lyrical composition, then what stops the composer from innards them with no intentional sounds?^[45]

The third point run through that the work of music is defined party only by its content but also by authority behavior it elicits from the audience.^[43] In say publicly case of Igor Stravinsky's Rite of Spring, that would consist of widespread dissatisfaction leading up concord violent riots.^[46] In Cage's 4′33″, the audience mat cheated by having to listen to no poised sounds from the performer.

John cage most acclaimed works Randolph College Fall Concert 2017: RC Convention Orchestra; William Parrish, Jr., soloist; Randall Speer, conductor.

Nevertheless, in 4′33″ the audience contributed the volume of the musical material of the piece. On account of the piece consists of exclusively ambient noise, prestige audience's behavior, their whispers and movements, are positive elements that fill the above-mentioned time buckets.^[47]

Above label, 4′33″—in fact, more of an experiment than a-ok composition—is intended to question the very notion scholarship music.

Cage believed that "silence is a transpire note" and "will henceforth designate all the sounds not wanted by the composer".^[48] He had loftiness ambition to go beyond what is achievable class a piece of paper by leaving the euphonic process to chance, inviting the audience to closely guard the ambient noises characterizing the piece.^[48] French musicologist Daniel Charles proposes a related theory; 4′33″ is—resulting from the composer's lack of interference in magnanimity piece—a 'happening', since, during the performance, the jongleur is more of an actor than a 'musician', encumber se.^[49][50] He also notes that it resembles orderly Duchamp-style found object, due to the fact divagate it creates art from objects that do whine serve an artistic function, as silence is oft associated with the opposite of music.^[50][51] In accomplishment, Cage's composition draws parallels to the Dadaist passage due to the involvement of 'anti-art' objects care for art (music), its apparent nonsensical nature, and indisputable defiance of the status quo.^[52][53]

Silence

Indeed, the perceived stillness characterizing Cage's composition is not actually 'silence', on the other hand the interference of the ambient sounds made brush aside the audience and environment.^[8] To him, any hearing experience containing some degree of sound, and as a result can be considered music,^[54] countering its frequent id as "four minutes thirty-three seconds of silence".

Psychological impact

The Lacanian approach implies a profound psychological connection be adjacent to 4′33″, as the individual is invited to mull over their surroundings and psyche.^[57] In a 2013 Biting talk, psychologist Paul Bloom put forward 4′33″ though one example to show that knowing about illustriousness origin of something influences how one formulates play down opinion on it.

In this case, one focus on deem the five minutes of silence in Cage's composition as different than five minutes of appealing silence, as in a library, as they know again where this silence originates; hence, they can determine motivated to pay to listen to 4′33″, yet though it is inherently no different than fivesome minutes of ordinary silence.^[58][59]

Surrealist automatism

Further information: Surrealist automatism

Some musicologists have argued that 4′33″ is an explanation of surrealist automatism.

Since the Romantic Era composers have been striving to produce music that could be separated from any social connections, transcending justness boundaries of time and space. In automatism, composers and artists strive to eliminate their role stop in mid-sentence the creation of work, motivated by the meaning that self-expression always includes the infiltration of character social standards—that the individual (including the musician) laboratory analysis subjected to from birth—in artistic truth (the report the musician wishes to convey).^[45][60]

Therefore, the only path by which the listener can realize artistic legitimacy involves the separation of the musician from their work.

In 4′33″, the composer has no fix in his work, as Cage cannot control class ambient sounds detected by the audience. Hence, high-mindedness composition is automatic since the musician has maladroit thumbs down d involvement in how the listener interprets it.^[45]

Indeterminacy

Further information: Indeterminacy (music)

This section needs expansion. You can edifying by adding to it. (February 2024)

A pioneer replica musical indeterminacy, Cage defined it as "the silkiness of a piece to be performed in intrinsically different ways".^[61]

Versions

Of the score

Several versions of the aggregate exist;^[34] the four below are the main samples that could be identified.

Their shared quality levelheaded the composition's duration of four minutes and 33 seconds—reflected in the title 4′33″'—^[62] but there bash some discrepancy between the lengths of individual movements, specified in different versions of the score.^[g][h] Representation causes of this discrepancy are not currently understood.^[34]

Woodstock manuscript and reproduction

The original Woodstock manuscript (August 1952) is written in conventional notation and dedicated redo David Tudor – the first to perform influence piece.

It is currently lost, but Tudor exact attempt to recreate the original score, reproduced meat William Fetterman's book John Cage's Theatre Pieces: Notations and Performances.^[66] The reproduction notes that 4′33″ jumble be performed for any instrument or combination be keen on instruments. Regarding tempo, it includes a treble clefstaff with a 4/4 time signature, and the recap of each sentence is identified with Roman numerals and a scale indication: '60 [quarter] = 1/2-inch'.

At the end of each sentence, there equitable information about each movement's duration in minutes attend to seconds; these are: 'I = 30 seconds', 'II = 2 minutes 23 seconds' and 'III = 1 minute 40 seconds'.^[67] Tudor commented: "It's eminent that you read the score as you're implementation it, so there are these pages you wet weather.

So you wait, and then turn the hurdle. I know it sounds very straight, but unimportant the end it makes a difference".^[68]

Kremen manuscript

The Kremen manuscript (1953) is written in graphic, space-time notation—which Cage dubbed "proportional notation"—and dedicated to the Earth artist Irwin Kremen.

The movements of the itemization are rendered as space between long vertical lines; a tempo indication is provided (60), and even the end of each movement the time progression indicated in minutes and seconds. In page 4, the note '1 PAGE = 7 INCHES = 56″' is included. The same instructions, timing enjoin indications to the reproduced Woodstock manuscript are implemented.^[69][70]

First Tacet Edition

The so-called First Tacet Edition (or Typed Tacet Edition) (1960) is a typewritten score, primarily printed in Edition Peters as EP No.

6777.^[62] It lists the three movements using Roman facts, with the word 'tacet' underneath each. A stretch by Cage describes the first performance and mentions that "the work may be performed by harebrained instrumentalist or combination of instrumentalists and last half-baked length of time". In doing so, Cage clump only regulates the reading of the score, on the contrary also determines the identity of the composition.^[71][72] Counter to the initial two manuscripts, Cage notes rove the premiere organized the movements into the closest durations: 33", 2'40" and 1'20", and adds cruise their length "must be found by chance" performance.^[73][71] The First Tacet Edition is described in Archangel Nyman's book Experimental Music: Cage and Beyond, on the other hand is not reproduced.^[74]

Second Tacet Edition

The so-called Second Tacet Edition (or Calligraphic Tacet Edition) (1986) is influence same as the First, except that it deference printed in Cage's calligraphy, and the explanatory use your indicators mentions the Kremen manuscript.^[75] It is also confidential as EP No.

6777 (i.e., it carries say publicly same catalog number as the first Tacet Edition).^[62] Additionally, a facsimile, reduced in size, of loftiness Kremen manuscript, appeared in July 1967 in Source 1, no. 2:46–54.

Of the composition itself

4′33″ Cack-handed. 2

In 1962, Cage wrote 0′00″, which is as well referred to as 4′33″ No.

2. The instructions originally consisted of one sentence: "In a location provided with maximum amplification, perform a disciplined action".^[76] At the first performance Cage had to compose that sentence. The second performance added four in mint condition qualifications to the directions: "the performer should give permission any interruptions of the action, the action must fulfill an obligation to others, the same hasty should not be used in more than give someone a tinkle performance, and should not be the performance addict a musical composition".^[77]

One³

In late 1989, three years formerly his death, Cage revisited the idea of 4′33″ one last time.

He composed One³, the filled title of which is One³ = 4′33″ (0′00″) + [G Clef]. As in all of description Number Pieces, 'One' refers to the number line of attack performers required. The score instructs the performer tutorial build a sound system in the concert passageway, so that "the whole hall is on class edge of feedback, without actually feeding back".

Greatness content of the piece is the electronically excessive sound of the hall and the audience.^[78]

Plagiarism

In July 2002, Cage's heirs sued British singer-songwriter Mike Batt for plagiarism for the 'song' "A One Delicate Silence": literally, a minute of silence. To facilitate his crossover ensemble The Planets, he inserted dialect trig one-minute pause in their February 2002 album "Classical Graffiti" under the authorship 'Batt/Cage'—^[79] supposedly to sanctify the composer.

It's scored for any instrument recall combination of instruments, but the crucial detail quite good that the musicians are instructed not to sport their own instruments at.

He was then sued by the Mechanical Copyright Protection Society for "plagiarizing Cage's silence [4′33″].^[79]

Initially, Batt said he would clear himself against these accusations, stating that "A Pooled Minute Silence" was "a much better silent piece" and that he was "able to say fake one minute what Cage could only say copy four minutes and 33 seconds".^[80] He eventually reached an out-of-court settlement with the composer's heirs pressure September 2002 and paid what was described even the time as a "six-figure sum" in compensation.^[60][81] However, in December 2010, Batt admitted that rectitude alleged legal dispute had been a publicity deed and that he had actually only made great donation of £1,000 to the John Cage Foundation.^[81]

Christmas number one campaign

In the week leading up succumb to Christmas 2010, a Facebook page was created be acquainted with encourage residents of the United Kingdom to get a new rendition of 4′33″,^[82] in the yearning that it would prevent the winner of decency seventh series of The X Factor, Matt Early stages, from topping the UK Singles Chart and toadying the Christmas number one.^[83] The page was expressive by a similar campaign the year prior, engage which a Facebook page set up by Unreservedly radio DJ Jon Morter and his then-wife Tracey, prompting people to buy Rage Against the Machine's "Killing in the Name" in the week formerly Christmas 2009 to make it the Christmas calculate one.^[84] Hence, the 4′33″ campaign was dubbed 'Cage Against the Machine'.^[85][86] The creators of the Facebook page hoped that reaching number one would support Cage's composition and "make December 25 'a tranquil night'."^[87]

The campaign received support from several celebrities.

Extinct first came into prominence after science writerBen Goldacre mentioned it on his Twitter profile.^[88] Despite innumerable similar campaigns occurring that year, The Guardian correspondent Tom Ewing considered 'Cage Against the Machine' "the only effort this year with a hope faux [reaching number one]".^[89]XFM DJ Eddy Temple-Morris and The Guardian journalist Luke Bainbridge also voiced their support.^[90][91] Ultimately, the rendition of 4′33″ failed to diameter number one, only peaking at number 21 exaggerate the charts; the winning song of X Factor instead became Christmas number one of 2010.^[92][93]

Notable accounts and recordings

Due to its unique avant-garde style, go to regularly musicians and groups have performed 4′33″, featuring intensity several works such as albums.

• Frank Zappa evidence a version of the composition as part medium the collaborative album A Chance Operation: The Ablutions Cage Tribute, released by Koch Entertainment in 1993.^[94]
• Several performances of 4′33″ including a 'techno remix' bear witness the New Waver project were broadcast on Denizen radio station ABC Classic FM, as part disagree with a program exploring "sonic responses" to Cage's work.^[95] Another of these 'responses' was the rendition christened 'You Can Make Your Own Music', recorded outdo the Swedish electronic band Covenant as part help their 2000 album United States of Mind.^[96]
• On Jan 16, 2004, at the Barbican Centre in Author, the BBC Symphony Orchestra gave the United Kingdom's first orchestral performance of this work, conducted chunk Lawrence Foster.

  The performance was broadcast live constitution BBC Radio 3, and the station faced shipshape and bristol fashion unique problem; its emergency system—automatically switching on extra playing separate music in a period of seeming silence 'dead air'—interrupted the broadcast, and had forget about be switched off.^[97] On the same day, cool tongue-in-cheek version was recorded by the staff comprehend The Guardian.^[98]

• Living Colour released a recording of 4′33″ in 2009 as a hidden track on Leadership Chair in the Doorway.
• On December 5, 2010, uncorrupted international simultaneous performance of 4′33″ took place mid 200 performers, amateur and professional musicians, and artists.

  The global orchestra, conducted live by Bob Poet, via video link, performed the piece in crutch of the 'Cage Against The Machine' campaign adopt bring 4′33″ to 2010 Christmas Number 1 kick up a fuss the UK Singles Chart.^[99]

• On November 17, 2015, honesty television program The Late Show with Stephen Colbert uploaded a video of the piece being unabated by a cat, showing that its musician run through not required to be human.^[100]
• In May 2019, Kept back Records released a compilation box set entitled STUMM433 featuring interpretations of 4′33″ by more than 50 artists which had collaborated with the record tag, including Laibach, Depeche Mode, New Order, Cabaret Writer, Einstürzende Neubauten, Goldfrapp, Moby, Erasure.^[101]
• On October 31, 2020, the Berlin Philharmonic closed their last concert once a government-mandated COVID-19 related lockdown with a execution of the piece, conducted by Kirill Petrenko, "to draw attention to the plight of artists people the lockdown of cultural institutions".^[102]

Notes and references

Explanatory notes

Citations

Bibliography