Cage, John. (1912–1992)
INSTRUCTIONS FOR DUPLICATING 'CONDUCTOR' - Signed Instructions to the Publisher
Typed document signed from the innovative and influential American composer, being his instructions for the printing of the CONDUCTOR instructions for his Concert for Piano and Orchestra. Signed in blue ink "John Cage / Stony Point, NY / June 30, 1960." 1 p. "INSTRUCTIONS FOR DUPLICATING CONDUCTOR / 2 unnumbered typewritten pages preceded by a title page. The page with CONDUCTOR at the top goes to the left, the other to the right. / Staple or stich and provide with a cover." Together with the printed score ("Using a stop-watch, the conductor changes clock-time to effective time....He may begin anywhere in the following table...") by Edition Peters (1960), 2 pages, adhering to the given directions provided by the composer. In fine condition, annotated in another hand in pencil at the foot "Printing Cost for One Set / 3 sheets / 24¢." 8.5 x 11 inches (21.6 x 28 cm).John Cage's Concert for Piano and Orchestra is one of the seminal works of the second half of the twentieth century, and the centerpiece of the middle period of Cage's output. Composed between 1957 and 1958 and premiered in New York, May 15, 1958, it is a culmination of Cage's work up to that point, incorporating notation techniques he had spent the past decade developing - techniques which remain radical to this day. The work has no score, but rather consists of highly detailed parts and the composition comprises 63 pages to be played, in whole or in part, in any sequence, involving 84 'types' of composition, in whole or in part, in any duration, with any number of the above performers, as a solo, chamber ensemble, symphony, concert for piano and orchestra, aria, etc. Should any performance not include all of the instruments, the title would be changed to reflect the chosen instrumentation, i.e. Solo for Piano.
The work was used as music for the choreographed piece by Merce Cunningham Antic Meet, with stage decors and costume design by Robert Rauschenberg. The notation of each part uses a system wherein space is relative to time. The amount of time is determined by the musician and then altered during performance, by the conductor, whose role is to act as a chronometer on the podium whose arms simulate the movement of the hands of a clock. (23252)
TLS Classical Music