Herbert Schultz’s review of John Cage’s Concert for Piano and Orchestra features an involved description of the boisterous and humorous sounds produced by David Tudor on piano and the small orchestra accompanying him. Schultz also acknowledges that Cage’s experimentalism has displaced the authority of tones as the building blocks of music as they were traditionally defined. But instead of crediting his chance procedures as a profound meditation on nature, Zen, or impersonality, he bemusedly casts them as theatrical—a grotesken Kabarett-Ulk (grotesque cabaret-joke).
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| Title | “Nicht mehr der Ton macht die Musik,” Der Mittag |
| Maker | Herbert Schultz |
| Date | 23 September 1958 |
| Type | press clipping |
| Location | Getty Research Institute, David Tudor Papers, 980039, box 62, folder 13 |
Cite
Schultz, Herbert. “Nicht mehr der Ton macht die
Musik,” Der Mittag, 23 September 1958. Getty
Research Institute, David Tudor Papers, 980039, box
62, folder 13. In
The Scores Project: Experimental Notation in Music,
Art, Poetry, and Dance, 1950–1975, ed. Michael Gallope, Natilee Harren, and John
Hicks. Los Angeles: Getty Research Institute, 2025.
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