John Cage on Glenn Branca: "So That Each Person Is In Charge Of Himself" @thehouseofhiddenknowledge

Uploaded June 2026 | Updated September 2026, 2 weeks ago

In June 1982, two worlds of the musical avant-garde collided in Chicago. The legendary composer John Cage sat down with Belgian minimalist Wim Mertens for an interview that would become an iconic piece of music history.

The night before, Cage had attended a performance by Glenn Branca and his wall-of-sound electric guitar ensemble (which featured future members of Sonic Youth). Known for his philosophy of freedom and indeterminacy, Cage was deeply disturbed by Branca’s deafening, uniform control over his musicians.

In this rare recording, titled "So That Each Person Is In Charge Of Himself," Cage delivers a scathing critique, famously comparing Branca’s aggressive conducting and absolute musical conformity to a form of political dictatorship and fascism.

It remains one of the most famous and polarising debates in musical philosophy ever recorded.

John Cage on Glenn Branca: So That Each Person Is In Charge Of Himself

Morton Feldman Interviewed by Charles Shere, July, 1967

Marcel DUCHAMP: Erratum Musical (for three voices)

Alan Hovhaness: Speaking of Music, Part II (Oct 3, 1989)

John Cage Considered: An Introduction (March 22, 1965)

$Gustav Mahler: Symphony No. 9 Gustav Mahler’s Symphony No. 9, composed between 1908 and 1909, stands as his final completed symphonic work, serving as a deeply moving, bittersweet farewell to the world that directly confronts themes of mortality and heartbreak. Breaking traditional symphonic structure, it opens and closes with profound, expansive slow movements that transition from a fractured, irregular heartbeat rhythm in the first movement to a fading whisper of sound in the final Adagio. This emotional masterpiece is perfectly captured in the landmark 1969 Philips stereo recording by Bernard Haitink and the Royal Concertgebouw Orchestra, which avoids melodrama in favour of architectural clarity, structural precision, and emotional restraint. Serving as a cornerstone of Haitink’s first complete Mahler cycle, this performance permanently cemented the orchestra’s reputation as a premier voice in Mahlerian interpretation. The recording is further elevated by legendary Philips engineering, which showcases the warm, spacious acoustics of Amsterdams Concertgebouw hall, with a distinct analogue warmth carefully preserved for modern listeners in meticulous vinyl-to-digital transfers like the one by enthusiast Bob Varney. I. Andante comodo: A vast, tragic movement built around an irregular, halting rhythm that many musicologists interpret as Mahler’s own faltering heartbeat. II. Im Tempo eines gemächlichen Ländlers: A distorted, bitter take on a traditional Austrian rustic dance, symbolising the corruption of simple worldly pleasures. III. Rondo-Burleske: A defiant, chaotic, and technically dazzling contrapuntal movement showcasing furious anger and mockery before a sudden glimpse of transcendent beauty. IV. Adagio: A devastatingly beautiful, hymn-like finale. The music slowly fragments until the strings fade into complete silence, marked isterico and ersterbend (dying away).$