Sonata V (from Sonatas & Interludes)

Sonatas & Interludes is a collection of works for prepared piano, composed by John Cage (1912-1992)

in the modern era. It is one of Cage’s most iconic works, inspired by the shimmery sounds of a Javanese/Balinese gamelan orchestra, which includes metallophones, xylophones, gongs, drums, and singers. In this piece, the piano is specially prepared by the insertion of foreign objects such as screws, nuts, bolts, muting devices (such as leather strings & paper), and rubber bands. The entire process takes about 2 hrs to complete, which makes the piece rather inconvenient to play.

Regardless, it effectively captures the ethereal and mystical sounds of the gamelan with a combination with both pitched and percussive sonorities, creating a rich and colourful timbral fabric for the piece. It was written during Cage’s early years (1946), and is structured as sixteen sonatas arranged in groups consisting of four sonatas and four interludes that are interspersed. The work is dedicated to Maro Ajeman (1921-1978), who performed the complete cycle in Carnegie Hall on 12 January 1949. Sonata V, in particular, is in binary form (AABB), has a polyphonic texture, is in cut time (𝄵), and has a tempo marking of 𝅗𝅥 = 92 bpm. In his performance notes, Cage insists that there is no strict plan set in stone, and that each performers’ preparation will be different, resulting in different interpretations. He states that “If you enjoy playing Sonatas & Interludes then do it so that it seems right to you.” Section A comprises of two-voice counterpoint, mostly in the piano’s middle range, creates rhythmic drive (moto perpetuum). The material in the right hand is an inversion of the left-hand material played in augmentation. Irregular phrase lengths (4+5+4+5) are perceived as short, ostinato-like patterns. The una corda pedal is used throughout, resulting in a muted sound. This section is repeated. Section B features the left hand continuing in the same fashion as before, but now with the right hand holding long, sustained notes. Parallel octave motion, wide leaps, and frequent use of accents add to the textural variety. The una corda pedal is infused intermittently, imparting subtle nuances. A clangorous dissonance, played ff makes way to a hushed close. This section is also repeated much like the previous section. Overall, the piece, along with the other pieces in the collection, reveal the exotic sounds of non-Western music to both performers and listeners, and open doors to new sonic possibilities and a new, foreign musical landscape.