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In this 1959 review of a performance of John Cage’s Concert for Piano and Orchestra, the reviewer notes a similar level of scandal that had met the European premiere a year earlier. Many audience members simply processed the “sensation” of a conductor turning arms like a clock and individual players having choices about when and what to play. This review is distinct in that it shows that by 1959, David Tudor’s realization had become far sparser and employed provocatively long silences (a sparseness that was much less present in the Town Hall premiere of 1958).