2. John Cage: Concert for Piano and Orchestra (1958)

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On 15 May 1958, the pianist David Tudor, accompanied by a small orchestra of eight players, performed a compendium of John Cage’s inventive, chance-derived musical notations in front of an audience of hundreds at New York’s Town Hall. To prepare for his performance—one that critics associated with insanity, violence, and grotesque comedy—Tudor devised a customized system that translated Cage’s notations into a fastidiously detailed score.

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Thirty horizontal rectangular cream pages, each with black hand-drawn graphic notations made up of horizontal staff segments and circular musical notes. Notes are often connected by curving or straight lines to create shapes atop the staff. Graphics contain other musical notation symbols, numbers, and letters. Most pages contain at least three discreet graphics placed sparsely throughout the page. Most pages are less than 50 percent covered. Two pages are filled with four columns of handwritten text in English and one page filled with typewritten paragraphs in English. — David Tudor’s copy of John Cage’s Solo for Piano, from Concert for Piano and Orchestra (1957–58)

White page with typewritten text in English. “Conductor” at top left above two paragraphs of text that cover the top quarter of the page. Bottom three quarters of the page covered by six columns, each filled with numbers representing time measured in minutes or seconds, the lowest being zero seconds and the highest being two minutes. Few handwritten pencil notes throughout columns. — David Tudor’s copy of the conductor’s part for Concert for Piano and Orchestra (1957–58)

White page with black print text in English. Blank except for title, just below center of page, which reads “Solo for Bassoon and Baryton Saxophone Pages 145–156 of the orchestral parts of Concert for Piano and Orchestra (1957–58),” and copyright information at the bottom of the page. — Bassoon and baritone saxophone parts from Concert for Piano and Orchestra (1957–58)

White page with black printed text in English. Blank except for title just below center of page, which reads “Solo for Trumpets in E Flat, F, D, C and B Flat Pages 81–92 of the orchestral parts of Concert for Piano and Orchestra (1957–58),” and copyright information at the bottom of the page. — Trumpet part from Concert for Piano and Orchestra (1957–58)

Horizontal rectangular two-ring binder with black cover containing thirty-two cream pages, each with two hole punches at leftmost edge and printed on front and back with six horizontal staves. Pages are photographed in two-page spreads, with hole-punched ends connected at center to binder rings. Just under half of the pages are blank. Pages contain hand-drawn graphic notations in red, blue, or black ink and pencil. Most markings are either black circular musical notes connected by straight or curving line segments to create large shapes atop a staff or single red circular notes attached to red rectangular boxes filled with blue text by vertical lines. Any staff containing notation is marked with blue bar lines at either end. Generally, notations span the width of a staff when present. Five pages are sparsely populated with fewer than ten discrete notations. — First realization of John Cage’s Solo for Piano (1958)

Fifty-four loose leaf horizontal rectangular cream pages, each with two hole punches at leftmost edge and printed on front and back with six horizontal staves. Pages contain hand-drawn graphic notations in red, blue, or black ink and pencil. Most markings are either black circular musical notes connected by straight or curving line segments to create large shapes atop a staff or single red circular notes attached to red rectangular boxes filled with blue text by vertical lines. Any staff containing notation is marked with blue bar lines at either end. Each page contains a vertically oriented identifying string of letters and numbers at bottom left. Generally, notations span the width of a staff when present. Five pages are sparsely populated with fewer than ten discrete notations. — Supplementary score pages for the first realization of John Cage’s Solo for Piano (1958)

Eighty horizontal rectangular manuscript papers, each with six horizontal black printed staves and, in pencil, musical notation symbols, letters, numbers, and small polygons no larger than the height of the staff. Most musical notes are represented by small dots. Pages are sparsely populated by notation, with most containing six or fewer groupings with an average of five markings. Paginated 1–88 at top right in margin. Pages numbered 13, 14, 27, 28, 51, 52, 65, and 66 missing. — Pencil draft of the second realization of John Cage’s Solo for Piano (1958)

Horizontal rectangular two-ring binder with black cover containing forty cream pages with two hole punches at leftmost edge. White sticker with black handwritten text reading “Performance Score: Solo for Piano # 1-80” at top right of front cover. Pages are photographed in two-page spreads, with hole-punched ends connected at center to binder rings. Pages contain graphic notation in black pen and pencil. Each page contains four vertical line segments roughly the height of a staff, two each at left and right edge,s to create two horizontal bands of space across the page. Notations on pages in line with bands are either (1) dots attached to rectangular boxes with text by a vertical line, (2) a horizontal staff segment with at minimum one clef and one musical note, or (3) Y-shaped markings annotated with letters. Most pages contain five or fewer groupings of notations. Many notations are annotated with either text or numbers. Rightmost edges of pages are annotated in pencil with numbers. Paginated 1–90 at bottom right of each page. Final two pages contain a handwritten list of materials. — Final version of the second realization of John Cage’s Solo for Piano for the Indeterminacy recording (1958)

Animation of David Tudor’s realization of graph J of the Solo for Piano (1958)

Animation of David Tudor’s realization of graph K of the Solo for Piano (1958)

Animation of David Tudor’s realization of graph T of the Solo for Piano (1958)

Animation of David Tudor’s realization of graph AY of the Solo for Piano (1958)

Animation of David Tudor’s realization of graph CE of the Solo for Piano (1958)

Flipbook: David Tudor’s first realization of John Cage’s Concert for Piano and Orchestra (1958)

Live performance of the first realization of John Cage’s Concert for Piano and Orchestra at Town Hall (1958)

Studio recording of the second realization of John Cage’s Solo for Piano for Cage’s Indeterminacy stories (1959)

Animation of David Tudor’s realization of graph J of the Solo for Piano (1964)

Live performance of the first realization of John Cage’s Concert for Piano and Orchestra at Mills College (1964)

Performance of the second realization of John Cage’s Solo for Piano

Live performance of the Solo for Piano at the Philadelphia Museum of Art (11 September 1982)

Live performance of the Solo for Piano at the Almeida Theatre in London (13 June 1986)

Studio recording of David Tudor performing Concert for Piano and Orchestra (1993)

Highlights

White paper program with photograph and printed text in English. Title on top quarter of the page reads “TOWN HALL.” Below, covering the rest of the page, is a black-and-white photograph of a three-story building on a city block. It has a brick exterior and is flying an American flag and a flag printed with “NYU.” — Program for John Cage’s twenty-five-year retrospective concert at Town Hall (May 1958)

Landscape-oriented black-and-white waist-up photograph of a man at left seated at a piano just visible on the right, with an orchestra in the background. — David Tudor performing John Cage’s Concert for Piano and Orchestra (1958)

Photocopy of press clipping containing one page-long column of text titled “Art Review: Cage, Composer, Shows Calligraphy of Note” in large font followed by three sections of text, each separated by a single dot on an otherwise blank line. — “Cage, Composer, Shows Calligraphy of Note,” review of the Stable Gallery show, New York Times (6 May 1958)

White page with black typewritten text in English titled “XII An Affective Athleticism” at top center, followed by short double-spaced paragraphs that run the length of the page. — David Tudor’s typescript of M. C. Richards’s English translation of Antonin Artaud’s “An Affective Athleticism” (mid 1950s)

Graph sequence for the Town Hall rehearsal and premiere of John Cage’s Solo for Piano (15 May 1958)

Sketches and materials (18 items)

David Tudor’s sketches for individual graphs of the first realization of Cage’s Solo for Piano (May 1958)

Auxiliary sound inventory for the first realization of John Cage’s Solo for Piano (May 1958)

Graph sequence for the Antic Meet performance of John Cage’s Solo for Piano at the American Dance Festival (August 1958)

Graph sequence for the Antic Meet performance of John Cage’s Concert for Piano and Orchestra at the Phoenix Theatre, New York (16 February 1960)

Graph sequence for the Cologne performance of John Cage’s Solo for Piano (September 1958)

Graph sequence for the Town Hall rehearsal and premiere of John Cage’s Solo for Piano (15 May 1958)

Graph sequence for the Vienna performance of John Cage’s Solo for Piano (19 November 1959)

Graph sequence for the Village Vanguard performance of John Cage’s Solo for Piano (25 May 1958)

Grids and templates for the first realization of John Cage’s Solo for Piano (May 1958)

Index of graphs and pages from John Cage’s Solo for Piano (May 1958)

Map of graphs for the first realization of John Cage’s Solo for Piano (May 1958)

Notes for tape A for the first realization of John Cage’s Solo for Piano (May 1958)

Notes for tape B for the first realization of John Cage’s Solo for Piano (May 1958)

Realization fragment for the first realization of John Cage’s Solo for Piano (May 1958)

Reverse sequence of John Cage’s Solo for Piano (May 1958)

Sketch of the graph sequence for the Cologne performance of John Cage’s Solo for Piano (September 1958)

Unidentified sequence sketch for the first realization of John Cage’s Solo for Piano (1958)

Unidentified sketches for the first realization of John Cage’s Solo for Piano (May 1958)

Programs and flyers (10 items)

Horizontal rectangular white paper flyer with black printed serif text in English. Flyer contains four short left-aligned sentences providing time, date, location, price of admission, and performance information for a John Cage retrospective concert. — Flyer for John Cage’s twenty-five-year retrospective concert at Town Hall (May 1958)

White page with black printed serif text in English. Top quarter contains contact information and one short paragraph providing event information. Bottom three-quarters lists program, including pieces to be performed at the John Cage retrospective concert. — Press release for John Cage’s twenty-five-year retrospective concert at Town Hall (May 1958)

White paper program with photograph and printed text in English. Title on top quarter of the page reads “TOWN HALL.” Below, covering the rest of the page, is a black-and-white photograph of a three-story building on a city block. It has a brick exterior and is flying an American flag and a flag printed with “NYU.” — Program for John Cage’s twenty-five-year retrospective concert at Town Hall (May 1958)

White page with black printed text in English. Title “Music of John Cage” at top center, followed by a five-point list of performers and pieces to be performed. Bottom half of page titled “Notes” at left and filled with paragraphs, each beginning with the title of a piece to be performed. — Program for Village Vanguard performance (1958)

White page with black typewritten text in English covering middle section of page; top and bottom blank. Top half of text contains time, date, and location of concert. Center reads “David Tudor and John Cage in a concert of New Music” followed by a long drooping line of typed asterisks. Bottom half of text lists the program of pieces to be performed. — Program for a concert by David Tudor and John Cage at Ann Arbor High School, Michigan, sponsored by the Dramatic Arts Center (16 May 1960)

Verso of white page program, with black text in German. Title at top left in large bold font reads “musik derzeit.” Majority of page bisected vertically at center, with composers on left and composition titles on right. Time, date, and location of performance at top of text on the right side of the page. — Program for Musik der Zeit, Westdeutscher Rundfunk Köln, Germany (19 September 1958)

White paper cover of concert program with the title “Eleventh American Dance Festival” in large black print at top left. Center right lists performance date, and bottom lists location and date. Center of page blank. — Program for Antic Meet performance of John Cage’s Concert for Piano and Orchestra, Eleventh American Dance Festival, Connecticut College (14 August 1958)

White paper cover of concert program with the title “Eleventh American Dance Festival” in large black print at top left. Center right lists performance date, and bottom lists location and date. Center of page blank. — Program for Antic Meet performance of John Cage’s Concert for Piano and Orchestra, Twelfth American Dance Festival, Connecticut College (13 August 1959)

White paper cover of concert program with the title “Cage Schwertstik Feldman Bussotti Brown Cardew Wolff” in large black font at top left. The title “Die Reihe III” appears at bottom right. Center of page blank. — Program for Die Reihe III [Third series], Musikalische Jugend Österreichs, Internationale Gesellschaft für Neue Musik (19 November 1959)

Two-page spread collage of photocopied newspaper clippings, photographs, scores, and other printed text in English. Two columns of text dominate the center of the left page along with “The Far-Out Pianist” in large type at the top of the page. The name “David Tudor” runs from left margin to rightmost edge of left column of text. Bottom quarter of page contains one paragraph of typed text. Right page features three scores across the top quarter of the page, four lines of large, bold, seemingly nonsense text at center, and two paragraphs of text at bottom. — Promotional collage of clippings and scores for a concert at the First Unitarian Society, Minneapolis, MN, printed in The Potboiler (January and February 1962) (22 January 1961)

Photographs (7 items)

:Square black-and-white photograph of a man, at center, seated at a grand piano and facing away from the camera and looking at a tall rectangular board filled with eighteen papers arranged in a grid. Each page contains different handwritten markings in black. A chalkboard with notes is to the man’s left. An open, light-filled window is at the right of the frame. — David Tudor performing John Cage’s Water Music at Darmstadt (1956)

Landscape-oriented black-and-white waist-up photograph of a man at left seated at a piano just visible on the right, with an orchestra in the background. — David Tudor performing John Cage’s Concert for Piano and Orchestra (1958)

Landscape-oriented black-and-white photograph of a man, at center, with his face visible to the camera while he sits behind a table covered with staff sheets. The man’s hands are on table, one holding a pen, the other flipping through the sheets. — David Tudor preparing his second realization of John Cage’s Solo for Piano (1958)

Landscape-oriented black-and-white photograph of a man at left seated behind a grand piano, at right, with its lid removed. The man’s hands are in motion plucking the piano’s strings. Man and piano are surrounded by onlookers in the foreground and background — David Tudor performing at Galerie 22 in Düsseldorf, Germany (14 October 1958)

Portrait-oriented black-and-white photograph of two men under a pavilion. The man at right stands with his head inside a large bell, and the man at left moves to hit the bell with a mounted wood hammer. — John Cage and David Tudor in the Tôkei-ji Temple Garden (Kanazawa, Japan) (1962)

Square-shaped black-and-white photograph of a man on a stage turned away from the camera and conducting an orchestra. The photo was shot from the audience. — Merce Cunningham conducting John Cage’s Concert for Piano and Orchestra at Town Hall (15 May 1958)

John Cage, Merce Cunningham, and David Tudor at the Town Hall premiere of Concert for Piano and Orchestra (May 1958)

Press clippings (29 items)

Photocopy of press clipping containing one page-long column of text titled “Art Review: Cage, Composer, Shows Calligraphy of Note” in large font followed by three sections of text, each separated by a single dot on an otherwise blank line. — “Cage, Composer, Shows Calligraphy of Note,” review of the Stable Gallery show, New York Times (6 May 1958)

News clipping containing black-and-white photograph of two men in suits framed by the open lid of a grand piano. Left man hunches over the piano, hand resting on its side, while the other man stares past the camera, holding the center of a suspended slinky in his right hand and a soft mallet in his left. Photograph fills almost entire page. Caption below: “A whistle, a ‘slinky’ and a bunch of screws.” — “A Whistle, a ‘Slinky’ and a Bunch of Screws,” photograph by Sy Friedman, New York Times, X9 (11 May 1958)

Vertical rectangular press clipping containing three columns of text in English. Titled, in large text, “John Cage Retrospective Is Presented at Town Hall” above leftmost two columns. Four text and illustration ads in right bottom corner of page, covering approximately one-third of the clipping. — “John Cage Retrospective Is Presented at Town Hall,” New York Herald Tribune, 12 (16 May 1958)

Horizontal rectangular press clipping containing four columns of text in English. Title “Cage’s Music Still a Phenomenon” covers entire top of clipping in large font. — “Cage’s Music Still a Phenomenon,” New York Journal-American, 12 (16 May 1958)

“Music: Experimenter: Zounds! Sound by John Cage at Town Hall,” New York Times, 20 (16 May 1958)

Vertical rectangular press clipping containing two columns of text in English. Titled “John Cage Gives Review of Work” in large italicized font above both columns. — “John Cage Gives Review of Work,” New York World-Telegram and Sun, 25 (16 May 1958)

Clipping of almost one entire news page, with article titled “Modern American Dance in Connecticut” across four columns of text. Paragraphs in the first two columns address Cunningham and Cage. Printed Cage score at top of rightmost column features amorphous curving shape made from a connected line running atop a grand staff. — “Modern American Dance in Connecticut: Contrasting Styles Seen in Eleventh Annual,” Christian Science Monitor (23 August 1958)

Photocopy of press clipping containing three columns of text in German on white page. Title “In der Werkstatt der direktiven Freiheit” across top of all three columns in bold font. Photocopy covers three quarters of the page. — “In der Werkstatt der direktiven Freiheit,” Kölnische Rundschau (21 September 1958)

Photocopy of press clipping containing two columns of text in German on white page. Title “Ein Ding mit Pfiff” across top of both columns in bold font. Photocopy covers half of the page. — “Ein Ding mit Pfiff: Avantgardisten im ersten Abend ‘Musik der Zeit,’” Neue Rhein Zeitung (22 September 1958)

Photocopy of press clipping containing three columns of text in German and one photo on white page. Title “Nicht mehr der Ton macht die Musik” across top of leftmost two columns in bold font. Black-and-white photograph of a man in black, hands raised as if conducting, covers entire rightmost column. Captioned “K. H. Stockhausen dirigiert.” Photocopy covers half of the page. — “Nicht mehr der Ton macht die Musik,” Der Mittag (23 September 1958)

Photocopy of press clipping containing two columns of text in German on white page. Title “Musik der Zeit” above columns at top center. Photocopy covers three-quarters of the page. — “Musik der Zeit: Demonstration neuer Kompositionstechniken,” Rheinische Post (23 September 1958)

Photocopy of press clipping containing four columns of text in German on white page. Title “Im Klavierkonzert ging es absunderlich her” across top of all columns. Photocopy covers three-quarters of the page. — “Im Klavierkonzert ging es absunderlich her,” Westdeutsche Rundschau Wuppertal (23 September 1958)

Photocopy of press clipping containing three columns of text in German on white page. Title “Alibi für die Gestrigen” above columns at top center. Black-and-white illustrated ad at center of leftmost column. Photocopy covers half of the page. — “Alibi für die Gestrigen,” Kölner Stadt-Anzeiger (24 September 1958)

White page with black-and-white photocopy of a vertical rectangular German news clipping. Top third of page features date and time in typewritten text at left and a black ink stamp at center. Two columns of text, below the title “Mäßiger Auftakt in Köln: Drei Premieren, darunter eine mit Wäscheklammern,” cover the bottom three-quarters of the page. — “Mäßiger Auftakt in Köln: Drei Premieren, darunter eine mit Wäscheklammern,” Neue Rhein Zeitung (25 September 1958)

Photocopy of press clipping containing two columns of text in German on white page. Title “Was man hörte, war verwirrend” across top of both columns. Photocopy covers half of the page. — “Was man hörte, war verwirrend: Fragwürdiges Funk-Konzert aus Köln mit ‘Musik der Zeit,’” Die Welt (25 September 1958)

Photocopy of press clipping containing two columns of text in German on white page. Title “Avantgardistiche Musik am Abgrund” across top of both columns. A few lines underlined in second column. Photocopy covers half of the page. — “‘Avantgardistische Musik’ am Abgrund: Europäische Erstauffühurng von John Cage’s ‘Klavierkonzert’ in Köln,” Rhein Neckar-Azeitung (30 September 1958)

Black-and-white magazine page containing four columns of text. Article in right two columns titled “Sessions on Modern Music Held Near Darmstadt.” — “Sessions on Modern Music Held Near Darmstadt,” Musical America, 18–19, 34 (October 1958)

Broadsheet containing mostly text columns and one large illustrated ad at bottom right. Article titled “David Tudor Piano Recital” in leftmost column, beginning just above the fold and running the length of one page. — “David Tudor in Piano Recital,” New York Herald Tribune, 11 (20 March 1959)

Horizontal rectangular press clipping containing five columns of text titled “Little Think Like Mushroom Can Change Destiny” at top above all columns. Excerpt of dictionary entry for “mushroom” at top of third column. — “Little Thing Like Mushroom Can Change Destiny,” Oregon Journal (5 July 1959)

Black-and-white magazine page with three photographs. At top left, photo of male and female ballet dancers spotlighted on stage while performing. At center right, chest-up photo of a dancer wearing a sparkly costume in a crown. At bottom center, a chest-up photo of a dancer in a crown leaning against a wall. Paginated 31 at bottom right. — “The ‘Good Guys’ Versus the ‘Bad Guys’: Twelfth American Dance Festival,” Dance Magazine, 31–35, 82 (October 1959)

Magazine page with three columns of text that run the length of the page. Two black-and-white photographs, one at bottom left of violin player and one at top right of conductor. Paragraph titled “John Cage: Indeterminacy” in third column below photograph. — “John Cage: Indeterminacy,” Time, 65 (2 November 1959)

Press clipping containing three columns of text in German. Title “Tumulte im Mozard-Sall des Konzerthauses” at top above columns. First column twice as long as second and third. Three photos: one at bottom of first column showing seated violinist, one at bottom of second column showing conductor on stage with hands raised overhead, and one below third column of violinist sitting among indoor crowd while playing. — “Tumulte im Mozart-Saal des Konzerthauses,” Neues Österreich (21 November 1959)

Horizontal rectangular press clipping containing two columns of text in English titled “John Cage in Story Hour for Some Friends” above both columns. — “John Cage in Story Hour for Some Friends,” New York Times (26 January 1960)

Magazine page with three columns of text in English that run the length of the page. Title “Cage Without Bars” above leftmost two columns. Paginated 35 at bottom right. — “Cage Without Bars,” The Reporter, 35, 37 (4 February 1960)

Vertical rectangular press clipping containing three paragraphs of text in English. Title “Cunningham Dance Group Gives Avant Garde Works” above leftmost two columns. — “Cunningham Dance Group Gives Avant Garde Works,” New York Herald Tribune, 19 (17 February 1960)

Broadsheet containing mostly text. Article in leftmost two columns titled “What Is Offered by Electronic Age” runs from top of sheet to just below horizontal fold. — “What Is Offered by Electronic Age?,” New York Herald Tribune, 6 (10 April 1960)

Black-and-white photocopy of press clipping and notebook paper. Clipping contains one column of text in English at center of rectangular page, almost spanning its length. The top third of notebook paper has the handwritten note “1961 – Minneapolis Newspaper” at top center and is black on the bottom third. — “Music to Hear—and Unhear,” Minneapolis Star (1961)

White page with black-and-white photocopy of a vertical rectangular news clipping in English. Clipping runs from top to bottom of the page with large left and right margins. Features two columns of text, the leftmost containing an article titled “Cage’s Electronic Music Amazes and Amuses.” Right column features photograph of a tuxedoed man at top, with ads filling the remaining space below. — “Cage’s Electronic Music Amazes and Amuses,” Seattle Times (27 September 1962)

White page with black-and-white photocopy of magazine page with printed text in English. Right two-thirds of the page contain two text columns, titled “Music” above, that run the length of the page. Inserted into the center of the right text column is a landscape-oriented photograph of a stage filled with a performing orchestra, a prepared piano at the far right of the frame. Left third features text ad for Northwestern Mutual than runs the length of the page. Paginated 79 at bottom right. — “Far-Out at the Philharmonic,” Time, 79–80 (14 February 1964)

Correspondence (3 items)

White page with handwritten English-language correspondence in pencil. Double-spaced lines of text cover three-quarters of the page. Bottom quarter of page contains generously spaced notes containing musical notation. Page has thin margins. — Letter from John Cage to David Tudor (1951)

White page with handwritten English-language correspondence in pencil. Double-spaced lines cover three-quarters of the page. Several corrections and stricken-through phrases in pencil throughout. Small diagram of horizontal lines vertically stacked into a band with a circle at center. Page has thin margins, and bottom quarter is blank. — Letter from John Cage to David Tudor (29 January 1958)

Photocopy of vertically oriented white page six horizontal staves and handwritten musical notation, and a handwritten note in top margin addressed to Tudor from Klosty. — Letter from James Klosty to David Tudor (1971)

Archival materials (4 items)

CD booklet cover containing allover black-and-white photograph of a man wearing a collared striped shirt looking to the camera. “INDETERMINANCY” in burgundy at top, and “John Cage David Tudor Reading Music” at left in a burgundy-and-white graphic to the left of the man’s head. — Liner notes for Indeterminacy recording (1959; reissued 1992)

White page with typewritten text in English. Title “Biographical Data – David Tudor” at center below top margin is followed by three paragraphs of text. Bottom quarter of page blank. — David Tudor’s press materials (1959?)

White page with typewritten text in English titled “Antonin Artaud: The Theater and Its Double” at top center and, stretching across the top, “A lecture given at The Living Theatre, NYC, 1959 by Mary Caroline Richards.” Page contains double- and single-spaced paragraphs that run the length of the page. Sparse pencil and typewritten corrections throughout. — Antonin Artaud lecture for the Living Theatre (1959)

White page with black typewritten text in English titled “XII An Affective Athleticism” at top center, followed by short double-spaced paragraphs that run the length of the page. — David Tudor’s typescript of M. C. Richards’s English translation of Antonin Artaud’s “An Affective Athleticism” (mid 1950s)