Composer

:

John Cage

Genre

:

Orchestral

Style

:

Open Form

Compose Date

:

1961

Average_duration

:

46:03

'Atlas Eclipticalis' is a composition by John Cage, which was composed in 1961. The piece was premiered on May 16, 1962, at the Town Hall in New York City. The composition is divided into two movements, and it is characterized by its use of chance operations and indeterminacy. The first movement of 'Atlas Eclipticalis' consists of 86 individual parts, each of which is a graphic representation of a star chart. These charts were taken from the Atlas Eclipticalis, a catalog of stars compiled by the French astronomer Jérôme Lalande in the 18th century. Cage used these charts as a basis for his composition, assigning each star to a specific pitch and duration. The second movement of 'Atlas Eclipticalis' is a realization of a score by the Dutch composer Cornelius Cardew. The score consists of a series of 193 individual parts, each of which is a graphic representation of a specific sound. Cage used chance operations to determine the order in which these parts would be played, as well as the duration and dynamics of each part. One of the most notable characteristics of 'Atlas Eclipticalis' is its use of indeterminacy. Cage believed that music should be free from the composer's intentions and that chance operations could be used to create a more democratic and egalitarian form of music. In 'Atlas Eclipticalis', Cage used chance operations to determine the order in which the individual parts would be played, as well as the duration and dynamics of each part. This resulted in a highly unpredictable and constantly changing piece of music. Another characteristic of 'Atlas Eclipticalis' is its use of non-traditional instruments. Cage used a variety of instruments in the composition, including radios, whistles, and sirens. He also used a prepared piano, which is a piano that has had its sound altered by placing objects on or between the strings. Overall, 'Atlas Eclipticalis' is a groundbreaking composition that pushed the boundaries of what was considered music at the time. Its use of chance operations and indeterminacy challenged traditional notions of composition and paved the way for future experimental music.

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