Page 32

The Palo Alto Art Center, Bay Area Glass Institute, and the Palo Alto Art Center Foundation present

no sales during exhibition


Saturday & Sunday September 29 & 30 10 a.m.-5 p.m.

Event Location Rinconada Park 777 Embarcadero Road Palo Alto, CA

Free Admission Children always welcome. Live torchworking demonstration on exhibition days only. For more information call 650.329.2366 or visit

NOTICE OF A PUBLIC MEETING of the Palo Alto Planning & Transportation Commission Please be advised the Planning and Transportation Commission (P&TC) shall conduct a public meeting at 6:00 PM, Wednesday, October 10, 2012 in the Council Chambers, Ground Floor, Civic Center, Palo Alto, California. Any interested persons may appear and be heard on these items. Staff reports for agendized items are available via the City’s main website at and also at the Planning Division Front Desk, 5th Floor, City Hall, after 2:00 PM on the Friday preceding the meeting date. Copies will be made available at the Development Center should City Hall be closed on the 9/80 Friday. NEW BUSINESS. Study Session 1. Comprehensive Plan Amendment: Overview of the accomplishments and next steps for the Comprehensive Plan Amendment project. 2. Rinconada Park Long Range Plan: Review the proposed designs for the Rinconada Park Long Range Plan Questions. For any questions regarding the above items, please contact the Planning Department at (650) 329-2441. The ďŹ les relating to these items are available for inspection weekdays between the hours of 8:00 AM to 5:00 PM. This public meeting is televised live on Government Access Channel 26. ADA. The City of Palo Alto does not discriminate against individuals with disabilities. To request accommodations to access City facilities, services or programs, to participate at public meetings, or to learn more about the City’s compliance with the Americans with Disabilities Act of 1990 (ADA), please contact the City’s ADA Coordinator at 650.329.2550 (voice) or by e-mailing Curtis Williams, Director of Planning and Community Environment

Support Palo Alto Weekly’s print and online coverage of our community. Join today: Page 32ĂŠUĂŠ-iÂŤĂŒi“LiÀÊÓn]ÊÓä£ÓÊUĂŠ*>Â?ÂœĂŠÂ?ĂŒÂœĂŠ7iiÂŽÂ?ÞÊUĂŠĂœĂœĂœÂ°*>Â?ÂœÂ?ĂŒÂœ"˜Â?ˆ˜i°Vœ“

Veronica Weber


Pumpkin Sales Glass pumpkin by Johnny Glass. Pumpkin photograph by Drew Loden, Laguna Beach, CA


September 24-27 10 a.m.-7 p.m. September 28 10 a.m.-5 p.m.


Arts & Entertainment

Exhibition Only

A close-up look at some of the intricate chords of John Cage’s “Etudes Australes.� tain “Palais de Mari� (1986) by Cage contemporary Morton Feldman, the (continued from previous page) labor tribute “Winnsboro Cotton Cage, of course, is known for si- Mill Blues� (1979) by Frederic Rzelence. Whether you’re intimately fa- wski, and “Near and Dear� (2012) miliar with his 20th-century musical by Hyo-shin Na, Schultz’s wife. Schultz will also play two short explorations or you sometimes mix him up with the unrelated character pieces by Christian Wolff and Walter of the same name on TV’s “Ally Mc- Zimmermann, two Cage colleagues Beal,� you’ve probably heard of his who will also take part in a panel 1952 piece “4’33�,� which consists discussion on Cage at Stanford on of four minutes and 33 seconds of Oct. 12. The panel has no set topic, the performer not playing his instru- merely aiming to paint a broad and ment. Both musician and audience interesting picture of Cage with the are meant to listen to the sounds of help of many people who knew him, the surrounding environment, and Schultz said. Also on the panel are: Kathan Brown, director of Crown nothing else. Some have called it genius; others, Point Press in San Francisco, where ridiculous. In his 2007 book “The Cage worked with her on his visual Rest is Noise: Listening to the Twen- art; and Laura Kuhn, who directs the tieth Century,� New Yorker music John Cage Trust at Bard College in critic Alex Ross called the piece “at New York. Following the panel, Schultz will once a head-spinning philosophical statement and a Zen-like ritual of perform a chamber concert with trombonist James Fulkerson, viocontemplation.� Ross added, “It was a piece that linist Geoff Nuttall and the Wooden anyone could have written, as skep- Fish Ensemble, with compositions tics never failed to point out, but, as by Cage, Wolff, Zimmerman and Cage seldom failed to respond, no Anton Webern. All events are free and held in one else ever did.� Whether you think of him as Campbell Recital Hall in the Braun avant-garde, genius or impenetrable, Music Center on campus. Schultz’s connection with Cage Cage (1912-1992) without question made his mark on both the mid- goes back many years. When he was century New York sound scene and in graduate school at the California music as a whole. The Los Angeles Institute of the Arts in 1977, Cage native deconstructed classical music did a residency there. Then, in 1992, and put it back together again, with Schultz gave a recital of Cage’s muthe help of unusual manufactured sic in San Francisco. The composer instruments such as his “prepared attended. After the performance, he piano� (which had bolts and coins in gave the younger pianist some tips with the strings). He at times used about playing his music, and recomsystems of chance to compose, and mended other composers for him to sometimes let the performer choose listen to, Schultz says. “He was a kind man, very generous and rather the next note. And he loved noise. Overall, Allan Kozinn wrote in gentle in his suggestions.� Recalling this interaction while Cage’s New York Times obituary, “He started a revolution by propos- standing in his Stanford office, ing that composers could jettison the Schultz smiles. Once, Schultz and musical language that had evolved his wife went to visit Cage when he over the last seven centuries, and was living in San Francisco. “He was in doing so he opened the door to in the kitchen making a big salad,� Minimalism, performance art and Schultz says, gesturing expansively virtually every other branch of the with his pianist’s hands. One gets the idea that even a bowl of lettuce musical avant-garde.� This year, Cage would have could be made into art by Cage. The composer was also part of turned 100. Spearheaded by Thomas Schultz, a Stanford senior lecturer in Schultz’s thesis topic while the young piano, the university’s music depart- pianist was earning a musical-arts ment will pay a two-day tribute to doctorate at the University of Colorado at Boulder. Part of the thesis the experimental icon next month. On Oct. 11, Schultz will perform focused on the “indeterminacy� in a solo concert of works by Cage Cage’s music: “the elements of the including “Two Pieces for Piano,� music that he was writing that were “Swinging� (1989) and “Dream� left open,� as Schultz puts it. As an example, Schultz picks up (1948). The program will also con-

A century of Cage

the music for the piece “Swinging� from a pile of papers on top of the piano. In one place is written “Any one of these six notes.� The performer chooses, then plays the corresponding note two octaves above. Is that freedom enjoyable for the performer? Schultz considers this. “With freedom comes obligation. You have to pick notes that will work.� Cage’s scores themselves are works of art, with intricate clumps of black chords. In one place, a large “5� simply denotes five measures of silence. The composer also pursued visual art, regularly studying printmaking with Kathan Brown in San Francisco and painting surprisingly tranquil images in watercolor. Stanford’s Cantor Arts Center is currently exhibiting some of Cage’s early graphic works: “plexigrams� made from Plexiglas panels silkscreened with words and images. The composer was also greatly influential in the modern-dance world, often collaborating with his life partner, the renowned choreographer Merce Cunningham. From time to time, they would both incorporate chance into their creations, using the I Ching, the Chinese way of divination, to determine the order of notes or steps. The two men didn’t often speak publicly about their connection, and Schultz remembers the moment at a 1989 panel discussion in Berkeley when an audience member brusquely asked the composer about their relationship. After a tense pause, Cage responded, “I do the cooking, and Merce does the dishes.� He was a man, Schultz says, who certainly knew how to think on his feet. After all these years of studying the music and the man, Schultz is clearly still fascinated by John Cage. If any performer knows how to approach those famous silences, one would imagine, he does. So what does the pianist think about during the long rests, when he’s on stage and the quiet is growing? In the back of his mind, of course, he’s keeping time, as he always does. But the joy of Cage’s silences is that they also let the musician’s mind breathe, let it stop and listen for a measure, or five, to the surrounding environment. “I’m trying to listen to it as if I’m an audience member,� Schultz says. “That’s the best you can do.� N What: The Stanford music department presents “John Cage: 100 Years,� a symposium and two concerts honoring the 100th anniversary of the influential experimental composer’s birth. Where: Campbell Recital Hall, Braun Music Center, Stanford University When: Faculty pianist Thomas Schultz will perform a solo concert at 8 p.m. Oct. 11. The following day, composers Christian Wolff and Walter Zimmerman will take part in a panel discussion about Cage at 7 p.m. A chamber concert with Schultz, trombonist James Fulkerson, violinist Geoff Nuttall and the Wooden Fish Ensemble follows at 8 p.m. Cost: Free Info: Go to In addition, eight of John Cage’s “plexigrams� are on exhibit through Nov. 11 at the Cantor Arts Center at Stanford University. Admission is free. For details, go to

Palo Alto Weekly 09.28.2012 - Section 1  

Section 1 of the September 28, 2012 edition of the Palo Alto Weekly

Palo Alto Weekly 09.28.2012 - Section 1  

Section 1 of the September 28, 2012 edition of the Palo Alto Weekly