TOM JOHNSON, Organ and Silence, 28 pieces for organ. Editions 75, 75 rue de la Roquette, 75011 Paris (Fax: 33 1 43 48 85 74. E-mail: editions75@aol.com). The notion of an inherent relationship between music and mathematics is perhaps firmly enough entrenched in the popular mind to make some musicians uncomfortable. But not Tom Johnson. His music is a veritable compendium of metric formulas, ratios, and incremental systems, all exploited within an avowedly minimalist aesthetic. He writes that “many composers talk about the importance of silence in music, but one does not actually hear much of it in . . . the repertoire. [In this work] I decided I would simply permit as much silence as possible, without allowing the music to actually stop.” His designations for two-manual (or occasionally three-manual) instrument with pedals are absolutely essential, although some pieces are for manuals only and registrations are implied only through dynamics. Since the work runs about two hours—much of which is silence—there are obvious barriers to complete performance, though the individual pieces may be performed separately for recital or church purposes. A problem with many of the pieces is that, to the uninitiated performer, they can give the appearence and impression of being only parts, as in an ensemble piece—such is our aversion (whether inate or acculturated) to the phenomenon of silence. Otherwise, these are exhaustive elemental studies directed not so much toward the benefit of performers or even listeners, but rather, toward other composers, to whom the techniques should be recommended for study and inspiration.

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