Why Do Composers Write Silent Pieces? @ClassicalNerd
Why Do Composers Write Silent Pieces?  @ClassicalNerd
Uploaded June 2022 | Updated September 2026, 2 weeks ago
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📚 SOURCES/FURTHER READING:
“Seeing the Sound of Silence in the Great War” by Esteban Buch (Musik in Konfrontation und Vermittlung. BeitrĂ€ge zur Jahrestagung der Gesellschaft fĂŒr Musikforschung 2018 in OsnabrĂŒck p.101–13, 2019): https://halshs.archives-ouvertes.fr/halshs-02943670/document
“’Unsilencing’ the Silence: Unacknowledged Silent Pieces” by Eder Wilker Borges Pena (Opus 26/3, p. 1–26): dx.doi.org/10.20504/opus2020c2617

0:00 Introduction
1:00 John Cage’s 4'33" (1952)
3:41 Erwin Schulhoff’s “In Futurum” from FĂŒnf Pittoresken (1919)
8:33 Alphonse Allais’ Funeral March (1897)
9:54 “Samuel’s” The Silence (1896)
11:09 Conclusion

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Classical Nerd is a video series covering music history, theoretical concepts, and techniques, hosted by composer, pianist, and music history aficionado Thomas Little.

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Music and Footage:

- Thomas Little: Dance! #2, performed by Rachel Fellows, Michael King, and Bruce Tippette
- John Cage: 4’33”, performed by William Marx [original upload: JTEFKFiXSx4]
- Erwin Schulhoff: “In Futurum” from 5 Pittoresken, performed in two different versions by Gerard Bouwhuis and “Barbaro Mr.” [original uploads: FBfOG0D39eo and 3c5lRRaW4Jw]

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Questions and comments can be directed to:
nerdofclassical [at] gmail.com

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instagram.com/the_classical_nerd

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All images and audio in this video are for educational purposes only and are not intended as copyright infringement. If you have a copyright concern, please contact me using the above information.

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This video was sponsored by Polygence.
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Classical Nerd |

Why Do Composers Write Silent Pieces?

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