Performing Arts  

American writer, composer, artist, and philosopher John Cage (1912-92) is best known for his experimental composition 4'33", a musical score in which the performer does not play an instrument during the duration of the piece. The purpose, Cage said, was for the audience to listen to the sounds of the environment around them while the piece was performed. Groundbreaking pieces such as 4'33", as well as Sonatas and Interludes, not only established Cage as a leading figure in the postwar avant-garde movement, but also cemented the enduring controversy surrounding his work.

In this new biography, Rob Haskins explores Cage's radical approach to art and aesthetics and his belief that everyday life and art are one and the same. Scrutinizing Cage's emphasis on chance over intention, which rejected traditional artistic methods and caused an uproar among his peers, Haskins elucidates the ideas that lay behind these pillars of Cage's work. Haskins also demystifies the influence of Eastern cultures, particularly Zen Buddhism, on Cage, including his use of the Chinese text I Ching as his standard composition tool in all his work after 1951. Adding to our understanding of the art, music, and ideas of the twentieth century, this book provides an engaging look at a man who continues to challenge and inspire artists worldwide.

"I now stand at the gateway to my fortune," Mozart wrote in a letter of 1790. He had entered into the service of Emperor Joseph II of Austria two years earlier as Imperial-Royal Chamber Composer-a salaried appointment with a distinguished title and few obligations. His extraordinary subsequent output, beginning with the three final great symphonies from the summer of 1788, invites a reassessment of this entire period of his life. Readers will gain a new appreciation and understanding of the composer's works from that time without the usual emphasis on his imminent death. The author discusses the major biographical and musical implications of the royal appointment and explores Mozart's "imperial style" on the basis of his major compositions-keyboard,chamber, orchestral, operatic, and sacred-and focuses on the large, unfamiliar works he left incomplete. This new perspective points to an energetic, fresh beginning for the composer and a promising creative and financial future.