This six-page feature on David Tudor by Harold Schonberg humanizes Tudor in a way that shorter reviews did not. Schonberg remarks that adjectives used to describe Tudor include “enigmatic,” “mystical,” “shy,” and “permanently concentrated.” Elsewhere he claims Tudor and his circle are surrounded by Zen Buddhism, mysticism, and mathematics. As with Ed Wallace’s review two months earlier, Schonberg’s article includes reproductions and detailed captions of graphs BB and O from John Cage’s Solo for Piano, as well as No. 1 from Sylvano Bussotti’s Five Pieces for David Tudor. The feature also emphasizes the great significance Cage and Tudor currently had on the visual arts. It is often noted that Cage and Morton Feldman spent more time with artists and dancers than they did with fellow composers and musicians. But Schonberg adds that the audiences for their performances were also dominated by the presence of artists and other non-musicians.
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| Title | “The Far-Out Pianist,” Harper’s Magazine, 49–54 |
| Maker | Harold C. Schonberg |
| Date | June 1960 |
| Type | press clipping |
| Location | Getty Research Institute, David Tudor Papers, 980039, box 63, folder 1 |
Cite
Schonberg, Harold C. “The Far-Out Pianist,” Harper’s Magazine, 49–54, June 1960. Getty Research Institute, David
Tudor Papers, 980039, box 63, folder 1. 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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