After being introduced to George Brecht’s event scores by John Cage, David Tudor was the first to bring Brecht’s developing work to new music audiences in Europe, as these documents and photographs attest. In June 1960, Tudor included Brecht’s Card-Piece for Voice and Candle-Piece for Radios (both 1959) in a concert staged at the painter Mary Bauermeister’s atelier, a hub for experimental activity in Cologne, Germany. Featuring additional pieces by John Cage (Water Music and Variations), Sylvano Bussotti (Five Piano Pieces for David Tudor, among others), La Monte Young (Poem), and Nam June Paik (Hommage à John Cage), the evening was conceived as part of a “Contre-Festival” organized in opposition to the more conservative IGNM-Weltmusikfestes being held in the city at that time.
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| Title | Letter from David Tudor to George Brecht, reprinted in George Brecht—Notebooks, ed. Dieter Daniels and Hermann Braun, vol. 5 (Cologne: Walther König, 1998), 183 |
| Maker | David Tudor (American, 1926–96) |
| Date | 27 July 1960 |
| Type | correspondence |
| Location | Getty Research Institute, item 92-B17341, vol. 5 |
Related
Cite
Tudor, David. Letter from David Tudor to George
Brecht, reprinted in George Brecht—Notebooks,
ed. Dieter Daniels and Hermann Braun, vol. 5 (Cologne:
Walther König, 1998), 183, 27 July 1960. Getty
Research Institute, item 92-B17341, vol. 5. 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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