A piece of music lasting 639 years

As the performance started, there wasn’t much to see or hear, because it began with a 17-month-long rest.

On 5 October at 4pm, I will be standing in a German church, bearing witness to a remarkable act of faith. Faith not in an eternal, higher power but in something much more precarious: a future in which one man’s playful idea can be carried to sublime, ridiculous lengths.
 
The church of Sankt Burchardi, in the small town of Halberstadt, Germany, is – at this very moment – playing host to an extraordinary musical performance. And if the faith of its organisers proves well founded, you will be able to reread that last sentence at any point in your life and it will still be true.
 
The performance is being given on a purpose-built pipe organ, and it isn’t due to finish until well into the 27th century.
 
Electric bellows will keep the air moving through the organ during the intervening years as small white sandbags depress wooden keys for decades on end. The concert has been designed to progress so slowly that whole lives will be lived in the space of a single note.
 
The piece of music that is being granted such unhurried attention is the enigmatic ORGAN2/ASLSP by John Cage, one of the most influential and infamous composers of the 20th century. He wrote 4’33 – a piece consisting of just over four and a half minutes of silence. It has since been recorded by Frank Zappa, played by the BBC Symphony Orchestra, and in 2010 became the subject of an internet campaign to make it the Christmastime number one instead of the X-Factor winner’s song.
 
In 1985, Cage wrote ASLSP, a composition for piano whose title also serves as a rough acronym for the intended pace of performance: As SLowaS Possible. (It usually lasts between 20 and 70 minutes.)
 
Two years later, he adapted his piece for an instrument better suited to the intended tempo, and ORGAN2/ASLSP was born. Because of the way an organ works, each note can, in theory, last for an infinite moment.
 
Taking advantage of this, a group of composers, organists, musicologists and philosophers – including a number of Cage’s former collaborators – developed, over the course of 1997 and 1998, the notion at the heart of the current performance, namely, that to present the piece as Cage instructed, it should be played over an instrument’s entire natural lifespan.
 
In Halberstadt, the group found the ideal venue for their idea, the abandoned St Burchardi Church. The next question was: how slowly should the piece be played?
 
The answer came from a quirk of history. The first organ known to feature a modern, 12- tone keyboard was completed in Halberstadt’s cathedral in 1361, 639 years before the end of the second millennium.
 
To mirror this, the John Cage Organ Project’s version of ORGAN2 /ASLSP will last for 639 years. It began on 5 September 2001 –what would have been Cage’s 89th birthday – and is scheduled to end on 5 September 2640.
 
As the performance started, there wasn’t much to see or hear, because it began with a 17-month-long rest.
 
Since then, notes have been added to or subtracted from the organ’s powerful drone 12 times.
 
Each change now draws thousands to Halberstadt. Visitors stand inside the bare old walls of the church and experience the fleeting moment when the project’s faith in future generations is resoundingly restated.
 
Next month’s change will see a D-sharp, an A-sharp and an E sing out above the organ’s currently thrumming bass notes.
 
If you want to experience a sound change for yourself, try to be there that Saturday. The next change isn’t due for another seven years and that’s quite a long wait.
Caged music: visitors listen to the organ at St Burchadi Church, Halberstadt. Oliver Hartung/ New York Times/ Contrasto

This article first appeared in the 30 September 2013 issue of the New Statesman, The Tory Game of Thrones

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How power shifted dramatically in this week’s Game of Thrones

The best-laid plans of Mothers and men often go awry.

Last week’s Game of Thrones was absolutely full of maps. It had more maps than a Paper Towns/Moonrise Kingdom crossover. More maps than an Ordnance Survey walking tour of a cartographer’s convention. More maps than your average week on CityMetric.

So imagine the cheers of delight when this week’s episode, “Stormborn”, opened with – yes, a map! Enter Daenerys, casting her eyes over her carved table map (Ikea’s Västeross range, I believe), deciding whether to take King’s Landing and the iron throne from Cersei or a different path. After some sassy debates with Varys over loyalty, more members of her court enter to point angrily at different grooves in the table as Dany and Tyrion move their minature armies around the board.

In fact, this whole episode had a sense of model parts slotting pleasingly into place. Melisandre finally moved down the board from Winterfell to Dragonstone to initiate the series’ most inevitable meeting, between The King of the North and the Mother of Dragons. Jon is hot on her heels. Arya crossed paths with old friends Hot Pie and Nymeria, and the right word spoken at the right time saw her readjust her course to at last head home to the North. Tyrion seamlessly anticipated a move from Cersei and changed Dany’s tack accordingly. There was less exposition than last week, but the episode was starting to feel like an elegant opening to a long game of chess.

All this made the episode’s action-filled denouement all the more shocking. As Yara, Theon and Ellaria dutifully took their place in Dany’s carefully mapped out plans, they were ambushed by their mad uncle Euron (a character increasingly resembling Blackbeard-as-played-by-Jared-Leto). We should have known: just minutes before, Yara and Ellaria started to get it on, and as TV law dictates, things can never end well for lesbians. As the Sand Snakes were mown down one by one, Euron captured Yara and dared poor Theon to try to save her. As Theon stared at Yara’s desperate face and tried to build up the courage to save her, we saw the old ghost of Reek quiver across his face, and he threw himself overboard. It’s an interesting decision from a show that has recently so enjoyed showing its most abused characters (particularly women) delight in showy, violent acts of revenge. Theon reminds us that the sad reality of trauma is that it can make people behave in ways that are not brave, or redemptive, or even kind.

So Euron’s surprise attack on the rest of the Greyjoy fleet essentially knocked all the pieces off the board, to remind us that the best-laid plans of Mothers and men often go awry. Even when you’ve laid them on a map.

But now for the real question. Who WAS the baddest bitch of this week’s Game of Thrones?

Bad bitch points are awarded as follows:

  • Varys delivering an extremely sassy speech about serving the people. +19.
  • Missandei correcting Dany’s High Valerian was Extremely Bold, and I, for one, applaud her. +7.
  • The prophecy that hinges on a gender-based misinterpretation of the word “man” or “prince” has been old since Macbeth, but we will give Dany, like, two points for her “I am not a prince” chat purely out of feminist obligation. +2.
  • Cersei having to resort to racist rhetoric to try and persuade her own soldiers to fight for her. This is a weak look, Cersei. -13.
  • Samwell just casually chatting back to his Maester on ancient medicine even though he’s been there for like, a week, and has read a total of one (1) book on greyscale. +5. He seems pretty wrong, but we’re giving points for sheer audacity.
  • Cersei thinking she can destroy Dany’s dragon army with one (1) big crossbow. -15. Harold, they’re dragons.
  • “I’ve known a great many clever men. I’ve outlived them all. You know why? I ignored them.” Olenna is the queen of my LIFE. +71 for this one (1) comment.
  • Grey Worm taking a risk and being (literally) naked around someone he loves. +33. He’s cool with rabid dogs, dizzying heights and tumultuous oceans, but clearly this was really scary for him. It’s important and good to be vulnerable!! All the pats on the back for Grey Worm. He really did that.
  • Sam just fully going for it and chopping off all of Jorah’s skin (even though he literally… just read a book that said dragonglass can cure greyscale??). +14. What is this bold motherfucker doing.
  • Jorah letting him. +11.
  • “You’ve been making pies?” “One or two.” Blatant fan service from psycho killer Arya, but I fully loved it. +25.
  • Jon making Sansa temporary Queen in the North. +7.
  • Sansa – queen of my heart and now Queen in the North!!! +17.
  • Jon choking Littlefinger for perving over Sansa. +19. This would just be weird and patriarchal, but Littlefinger is an unholy cunt and Sansa has been horrifically abused by 60 per cent of the men who have ever touched her.
  • Nymeria staring down the woman who once possessed her in a delicious reversal of fortune. +13. Yes, she’s a wolf but she did not consent to being owned by a strangely aggressive child.
  • Euron had a big win. So, regrettably, +10.

​That means this week’s bad bitch is Olenna Tyrell, because who even comes close? This week’s loser is Cersei. But, as always, with the caveat that when Cersei is really losing – she strikes hard. Plus, Qyburn’s comment about the dragon skeletons under King’s Landing, “Curious that King Robert did not have them destroyed”, coupled with his previous penchant for re-animated dead bodies, makes me nervous, and worry that – in light of Cersei’s lack of heir – we’re moving towards a Cersei-Qyburn-White Walkers alliance. So do watch out.

Anna Leszkiewicz is a pop culture writer at the New Statesman.