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This is one of a group of reviews for David Tudor’s European premiere of John Cage’s Concert for Piano and Orchestra in Cologne. As was common in German music criticism, the reviewer labels Cage as “American,” recognizes his existing notoriety, and associates him with chance procedures, games, and unusual extended techniques and preparations. Though unlike a 1956 reviewer who categorized his work as a “sound experiment,” here, the reviewer marginalizes him an “enfant terrible” of the German tradition of Neue Musik (New Music). Though the reviewer misidentifies Karlheinz Stockhausen’s Klavierstück XI as Klavierstück IX, they correctly describe the indeterminate elements of Stockhausen’s score: wherever Tudor’s eye falls on the page of this oversize score, he is to play the notation he finds.