| Description |
xv, 385 pages, 15 pages of plates : facsimiles, portrait ; 26 cm. |
| Series |
Recent researches in American music ; volume 86
|
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Music of the United States of America ; volume 30A
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Recent researches in American music ; v. 86.
|
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Music of the United States of America ; 30A.
|
| Note |
Textual material to accompany David Tudor's second realization of the Solo for Piano from John Cage's Concerto for Piano and Orchestra. |
| Bibliography |
Includes bibliographical references: pages 381-385. |
| Contents |
John Cage, David Tudor, and the Solo for piano -- Plates -- Sources -- Editorial methods -- Critical commentary -- Appendix -- List of Tudor's performances of the Solo for piano -- Bibliography |
| 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 |
| Subject |
Tudor, David, 1926-1996 -- Criticism and interpretation.
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Tudor, David, 1926-1996. |
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Criticism and interpretation. |
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Tudor, David, 1926-1996 -- Friends and associates.
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Friends and associates. |
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Cage, John -- Friends and associates.
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Cage, John. |
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Cage, John -- Adaptations.
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| Genre/Form |
Adaptations.
|
| Subject |
Piano music -- Analysis, appreciation.
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Piano music -- Analysis, appreciation. |
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Aleatory music -- Analysis, appreciation.
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Aleatory music. |
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Friendship. |
| Genre/Form |
Criticism, interpretation, etc.
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Adaptations.
|
| Added Author |
Holzaepfel, John, editor.
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Tudor, David, 1926-1996, composer.
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Cage, John, composer.
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| Other Form: |
Online version Tudor, David, 1926-1996 Solo for piano by John Cage, second realization. Part 1, Essay and critical commentary. Middleton, Wisconsin : A-R Editions, Inc., 2020 9781987203035 |
| Related To |
Companion publication to (work) Tudor, David, 1926-1996 Solo for piano by John Cage, second realization. Part 2, music edition Middleton, Wisconsin : A-R Editions, Inc., 2020 9781987203042 |
| ISBN |
9781987203028 (paperback) |
|
198720302X (paperback) |
| Standard No. |
10.31022/A086 |
| Music No. |
A086 A-R Editions, Inc. |
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