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Summary:

"The collaboration of [John] Cage and [David] Tudor reached an apex in the Solo for Piano from Cage's Concert for Piano and Orchestra (1957-58). None of Cage's previous works had employed more than a single type of notation. In contrast, the Solo for Piano consists of eighty-four notational types, ranging from standard line-and-staff notation to extravagant musical graphics. The notational complexity of the Solo for Piano led Tudor to write out-or realize-a performance score, from which he played at the premiere of the Concert for Piano and Orchestra in May 1958. The next spring, when Cage requested music to complement his ninety-minute lecture "Indeterminacy," Tudor created a second realization, for which he devised a new temporal structure to implement Cage's notations. This edition of Tudor's second realization of the Solo for Piano presents Tudor's performance score in the spatial-temporal layout of its proportional notation. An introductory essay discusses the early collaborations of Cage and Tudor, as well as the genesis, creative process, and performance history of the Solo for Piano. The critical commentary examines each of Tudor's methods of realization; which notations from Cage's score Tudor selected and why; how Tudor interpreted Cage's often ambiguous performance instructions; how Tudor distributed the resulting sounds temporally; and the ways in which Tudor's realization fulfills, transcends, and sometimes contravenes the instructions of Cage's score"--Provided by publisher.

Table of Contents:

• John Cage, David Tudor, and the Solo for piano. First encounters ; Tudor's formative years ; Cage and his circle in the early 1950s ; Tudor and Cage collaborations, 1952-56 ; Performances abroad ; Concert for piano and orchestra: Solo for piano (1957-1958) ; Cunningham's "Antic meet" ; Tudor and the written realization ; Solo for piano, first realization ; Solo for piano, second realization ; Tudor as Cage's ear for music ; Conclusion
• Plates
• Sources. List of sources and sigla ; Source valuation ; Source descriptions
• Editorial methods. Reconstructing Tudor's process of realization ; Alternative performance timings ; Cage's compositional process ; Tudor's notational techniques ; General editorial methods
• Critical commentary. B1 ; B9 ; B23 ; B55 ; H4 ; H50 ; K8 ; K43 ; P9 ; T12 ; U16 ; AC+AE21 ; AC31 ; AE56 ; AI36 ; AK25 ; AK49 ; AR31 ; AS31 ; AT39 ; AV37 ; AX38 ; BA42 ; BB45 ; BB53 ; BD47 ; BI50 ; BJ50 ; BP51 ; BR51 ; BT54 ; BW53 ; BY54 ; BZ55 ; CA55 ; CC57 ; CD57 ; CE59 ; CF62
• Appendix
• List of Tudor's performances of the Solo for piano.

Contributors:

Holzaepfel, John , editor

Tudor, David, 1926-1996 , composer

Cage, John , composer

Languages:

English

Language Notes:

English text.

Other Related Resources:

Supplement to: Solo for piano by John Cage, second realization [by Tudor, D.] > Part 2, music edition (Middleton, Wisconsin : A-R Editions, Inc., 2020 — ISBN 9781987203042)

Related Series:

Recent researches in American music (Complete); v. 86

Music of the United States of America; 30A

Subjects:

Tudor, David, 1926-1996 — Criticism and interpretation

Tudor, David, 1926-1996 — Friends and associates

Cage, John — Friends and associates

Cage, John — Adaptations

Piano music — United States — 20th century — Analysis, appreciation

Aleatory music — 20th century — Analysis, appreciation

Tudor, David, 1926-1996

Cage, John

1900-1999

Criticism and interpretation

Piano music

Aleatory music

Friends and associates

United States

Genres:

Adaptations

General Notes:

Textual material to accompany David Tudor's second realization of the Solo for Piano from John Cage's Concerto for Piano and Orchestra.
Includes bibliographical references (pages 381-385).

Physical Description:

xv, 385 pages, 15 pages of plates : facsimiles, portrait ; 26 cm.

Physical Characteristics:

facsimile; plate; portrait

Call Numbers:

M2.3.U6 R4 v.86

ISBNs:

9781987203028 (paperback)
198720302X (paperback)

Other Standard Numbers:

Publisher Number, A-R Editions, Inc.: A086

OCLC Numbers:

1142969616