This review of the Cologne premiere of the Concert for Piano and Orchestra echoes the others that regarded the performance as comical and entertaining, though somewhat boring in the end. Friedrich Berger calls it a “noise-circus” (Geräusch-Zirkus) and refers to the performers in the orchestra as “acrobats.” As with some of the other reviews of the Cologne concert, Berger wonders if extended applause for the Concert invites its own interpretation. Though John Cage seemed pleased with the response, Berger asks whether something was lost in translation.
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| Title | “Alibi für die Gestrigen,” Kölner Stadt-Anzeiger |
| Maker | Friedrich Berger |
| Date | 24 September 1958 |
| Type | press clipping |
| Location | Getty Research Institute, David Tudor Papers, 980039, box 62, folder 13 |
Cite
Berger, Friedrich. “Alibi für die Gestrigen,”
Kölner Stadt-Anzeiger, 24 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.
https://
