John Cage in Bangkok

Last Saturday at the Pridi Institute on Sukhumvit Soi 55, author, composer, and conductor Somtow Sucharitkul claimed another title: pianist. The program was devoted to works by John Cage, including 4'33'', Seven Haiku, A Dream, The Room for prepared piano, In a Landscape, ONE (2) for four pianos and one pianist, and to conclude, the infamous 4'33'' again. On his blog, Khun Somtow wrote about his motivation for taking to the piano with Cage's music. He believes that though Cage's ideas might seem borderline corny today, they need to be presented to new generations because there is infinite value in using music to search for greater truths about the world and who we are, an activity Somtow thinks more people were devoted to back in the day. And perhaps no other composer in the last century embarked on that search so boldly as Cage. 

At Bangkok Opera productions of any sort, there tends to be a communal, familiar atmosphere. Even at the massive Thailand Cultural Center in December, Somtow brought down the size with a "we're all in this together" sort of speech that lightened the mood before Die Walkure. Many audience members at smaller gatherings have personal or professional links to the maestro, which again brings a sort of casual feeling to the stage proceedings. This, I think, suits some occasions better than others. For instance, at the Israel Lotzano recital, the air was jovial to begin with, and the performer and hosts embraced this.  I am not sure this approach worked as well with the evening of John Cage. While Somtow's speeches from the stage before each piece included interesting information and ideas, the little talks always eventually revealed a tinge of the comedy-act. Though it was clear that Somtow believes deeply in the power of Cage's experiments, sometimes the monologues took away from the effect the music might have had if it hit the audience straight on. The tasks the music demands of the performer then created a steady stream of giggling throughout the performance because the audience had been, in a way, prepped to laugh: at the sight of Somtow miming pianistic gestures during 4'33'', at the running between pianos later on, at the props bouncing around in the prepared piano, etc. I only bring this up because there is something of a regular dialogue now on if, when, and how performers should break down the barrier between stage and audience. I'm typically for the more aggressive approach, but at this performance I sometimes felt the music would have communicated better in a more meditative setting. Anyway, I'm sort of starting to sound like the Grinch (no laughter!), plus I don't think Cage would approve of this type of analysis, so I'll move on!

4'33'' had, I think, the intended effect, both times. It is amazing what can happen during that piece. The listener almost feels obliged to think about the questions Cage is posing: what is sound? what is music? is there such thing as silence? The Room came off well, even with some modern "preparations" (like a USB cord) thrown in the piano, and ONE (2) in the second half was mesmerizing (see video here). All in all an extremely interesting night, can't complain about having the chance to hear a John Cage concert in Bangkok. I can however report that sales for the recital unfortunately appeared similar to those in the States for all-contemporary concerts.