Avant Garde Composer creates new piece, called Making Popcorn
American avant-garde composer, who has taken his inspiration from the most upstart composers of recent times, made a piece at Carnegie Hall entitled Popcorn last night.
The Boston Pops Orchestra, who gave the assignment, left the stage to make way for the show.
Stagehands then worked out a popcorn machine and prepared it by filling with dry maize, butter and salt.
When the machine was voted, the composer entered to do his own work. With the podium he lifted his staff and the machine was switched on. When the first pit dived, he set down firmly and then proceeded to do as the pips came away. The piece ended when all the popcorn contributed its sound.
In an interview before the concert, the composer told us that it is a new piece for percussion. As you know, there are more additions to the orchestra percussion than any other. For example, take the brake drum and the rattle, which is just a noise maker. I hope the success of my new piece will make the popcorn machine a standard component of the symphony orchestra.
Would you consider it a tuned or an unprecedented percussion instrument, we asked to take away the eternal simpleton.
I’m not sure yet, he told us. While the individual pops have different places, they are impossible to control.
After the show, this watcher started looking for John Cage’s once scandalous 4’33 “scream, after which you probably know that a piano enters the keyboard for four minutes and thirty-three. seconds, and do absolutely nothing. Then he gets up and goes out.
Who would have had a concert if one had reconsidered Kage’s work?