muzycy:
Pi-Hsien Chen: piano
Ian Pace: piano

Editor's info:
[. . .] When the 1925-born Boulez met the 13-year-older John Cage from the New York avant-garde scene, he was just 24. At first glance it is almost inexplicable that what was to emerge out of this encounter was one of the most intense, mutually inspiring composer-friendships of the fifties, since Boulez stands paradigmatically for French "clarté" and "raison" of organisation down to the last parameter, whereas Cage represents an anarchic breach with tradition in the name of chance and unpredictability and hence enmity towards organisation. Nevertheless, Cage was just as thrilled about Boulez' Second Piano Sonata as Boulez for his part was about Cage's Sonatas and Interludes, which he considered to be a major piece of music of the future. [. . .]
by Nina Polaschegg

Editor's info:
[. . .] When the 1925-born Boulez met the 13-year-older John Cage from the New York avant-garde scene, he was just 24. At first glance it is almost inexplicable that what was to emerge out of this encounter was one of the most intense, mutually inspiring composer-friendships of the fifties, since Boulez stands paradigmatically for French "clarté" and "raison" of organisation down to the last parameter, whereas Cage represents an anarchic breach with tradition in the name of chance and unpredictability and hence enmity towards organisation. Nevertheless, Cage was just as thrilled about Boulez' Second Piano Sonata as Boulez for his part was about Cage's Sonatas and Interludes, which he considered to be a major piece of music of the future. [. . .]
by Nina Polaschegg