043

This review appeared for a 1956 recital David Tudor gave in Vienna that featured works by Morton Feldman, John Cage, Earle Brown, Christian Wolff, Karlheinz Stockhausen, and Bo Nilsson. It describes the sheer complexity of the scores, Tudor’s use of the prepared piano, and other extended techniques as a “sound experiment” (Klangexperiment) that lies outside the boundaries of what Germans referred to under the concept of “New Music” (Neue Musik), a term first coined by music critic Paul Bekker in 1919 to account for the emergence of atonality associated with Arnold Schoenberg.