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more information – www.cambridge.org/9781107014329 John Cage and David Tudor JohnCageisbestknownforhisindeterminatemusic,whichleavesasignificantlevel ofcreativedecision-makinginthehandsoftheperformer.Buthowmuchlicense didCageallow?MartinIddon’sbookisthefirstvolumetocollectthecomplete extantcorrespondencebetweenthecomposerandthepianistDavidTudor,oneof Cage’smostprovocativeandsignificantmusicalcollaborators.Thebookpresents theirpartnershipfromworkingtogetherinNewYorkintheearly1950s,through periodsontourinEurope,untilthelatestagesoftheirworkfromthe1960s onwards,carriedoutalmostexclusivelywithintheframeoftheMerceCunningham DanceCompany.TacklingthequestionofhowmuchcreativeflexibilityTudorwas granted,IddonincludesdetailedexamplesofthewaysinwhichTudorrealized Cage’swork,especiallyfocusingonMusicofChangestoVariationsII,toshowhow composerandpianistinfluencedoneanother’smethodsandstyles. MARTIN IDDON isAssociateProfessorofMusicattheUniversityofLeeds.He previouslylecturedatUniversityCollegeCorkandLancasterUniversity,and studiedcompositionandmusicologyattheuniversitiesofDurhamandCambridge. Hismusicologicalresearchlargelyfocusesonpost-warmusicinGermanyandthe UnitedStatesofAmerica,andhasbeenpublishedinnumerousleadingjournals, includingMusicalQuarterly,twentieth-centurymusic,andContemporaryMusic Review.HismusichasbeenperformedinEurope,NorthAmerica,andAustralasia, andhasbeenfeaturedonBBCRadio3,RadioNewZealand,andthe ÖsterreichischerRundfunk. Music Since 1900 general editor ArnoldWhittall Thisseries–formerlyMusicintheTwentiethCentury–offersawideperspectiveon musicandmusicallifesincetheendofthenineteenthcentury.Booksincluded rangefromhistoricalandbiographicalstudiesconcentratingparticularlyonthe contextandcircumstancesinwhichcomposerswerewriting,toanalyticaland criticalstudiesconcernedwiththenatureofmusicallanguageandquestionsof compositionalprocess.Theimportancegiventocontextisalsoreflectedinstudies dealingwith,forexample,thepatronage,publishing,andpromotionofnewmusic, andinaccountsofthemusicallifeofparticularcountries. Titlesintheseries JonathanCross TheStravinskyLegacy MichaelNyman ExperimentalMusic:CageandBeyond JenniferDoctor TheBBCandUltra-ModernMusic,1922–1936 RobertAdlington TheMusicofHarrisonBirtwistle KeithPotter FourMusicalMinimalists:LaMonteYoung,TerryRiley,SteveReich,PhilipGlass CarloCaballero FauréandFrenchMusicalAesthetics PeterBurt TheMusicofToruTakemitsu DavidClarke TheMusicandThoughtofMichaelTippett:ModernTimesandMetaphysics M.J.Grant SerialMusic,SerialAesthetics:CompositionalTheoryinPost-WarEurope PhilipRupprecht Britten’sMusicalLanguage MarkCarroll MusicandIdeologyinColdWarEurope AdrianThomas PolishMusicsinceSzymanowski J.P.E.Harper-Scott EdwardElgar,Modernist YayoiUnoEverett TheMusicofLouisAndriessen EthanHaimo Schoenberg’sTransformationofMusicalLanguage RachelBecklesWillson Ligeti,Kurtág,andHungarianMusicduringtheColdWar MichaelCherlin Schoenberg’sMusicalImagination JosephN.Straus Twelve-ToneMusicinAmerica DavidMetzer MusicalModernismattheTurnoftheTwenty-FirstCentury EdwardCampbell Boulez,MusicandPhilosophy JonathanGoldman TheMusicalLanguageofPierreBoulez:WritingsandCompositions PieterC.vandenToornandJohnMcGinness StravinskyandtheRussianPeriod:SoundandLegacyofaMusicalIdiom DavidBeard HarrisonBirtwistle’sOperasandMusicTheatre HeatherWiebe Britten’sUnquietPasts:SoundandMemoryinPostwarReconstruction BeateKutschkeandBarleyNorton MusicandProtestin1968 GrahamGriffiths Stravinsky’sPiano:GenesisofaMusicalLanguage MartinIddon JohnCageandDavidTudor:CorrespondenceonInterpretationandPerformance John Cage and David Tudor Correspondence on Interpretation and Performance Martin Iddon CAMBRIDGE UNIVERSITY PRESS Cambridge,NewYork,Melbourne,Madrid,CapeTown, Singapore,SãoPaulo,Delhi,MexicoCity CambridgeUniversityPress TheEdinburghBuilding,CambridgeCB28RU,UK PublishedintheUnitedStatesofAmericabyCambridgeUniversityPress,NewYork www.cambridge.org Informationonthistitle:www.cambridge.org/9781107014329 ©MartinIddon2013 Thispublicationisincopyright.Subjecttostatutoryexception andtotheprovisionsofrelevantcollectivelicensingagreements, noreproductionofanypartmaytakeplacewithoutthewritten permissionofCambridgeUniversityPress. Firstpublished2013 PrintedandboundintheUnitedKingdombytheMPGBooksGroup AcataloguerecordforthispublicationisavailablefromtheBritishLibrary LibraryofCongressCataloguinginPublicationdata Iddon,Martin,1975– JohnCageandDavidTudor:correspondenceoninterpretationandperformance/MartinIddon. pages cm.–(Musicsince1900) Includesbibliographicalreferencesandindex. ISBN978-1-107-01432-9(alk.paper) 1. Cage,John–Criticismandinterpretation. 2. Tudor,David,1926–1996. 3. Cage,John– Performances. 4. Cage,John–Correspondence. 5. Tudor,David,1926–1996– Correspondence. 6. Composers–Correspondence. 7. Pianists–Correspondence. I. Cage,John. II. Tudor,David,1926–1996. III. Title. ML410.C24I33 2013 780.9202–dc23 2013000576 ISBN978-1-107-01432-9Hardback CambridgeUniversityPresshasnoresponsibilityforthepersistenceor accuracyofURLsforexternalorthird-partyinternetwebsitesreferredto inthispublication,anddoesnotguaranteethatanycontentonsuch websitesis,orwillremain,accurateorappropriate. Contents Listoffiguresandtable pageviii Preface ix 1 Themusicofchance 1 2 Correspondence,1951–1953 6 3 Determiningthedeterminate 36 4 Determiningtheindeterminate 56 5 Correspondence,1958–1962 95 6 (In)determiningtheindeterminate 138 7 Correspondence,1965–1989 188 8 ‘Late’realizations 196 9 Praxisandpoiesisinindeterminatemusic 213 Bibliography 216 Index 221 [vii] Figures and table Fig.3.1 Tudor’srealizationofMusicforPiano18 page52 Fig.3.2 Tudor’srenotationofMusicforPiano4,13,and7 54 Fig.4.1 Tudor’sreadingofCage’sInotationfrompage29ofthe SoloforPiano 68 Fig.4.2 Tudor’sreadingofCage’sBOnotationfrompages52–53ofthe SoloforPiano 69 Fig.4.3 Tudor’sreadingofCage’sTnotationfrompage12ofthe SoloforPiano 70 Fig.6.1 OneofTudor’sgridnotationsforMusicforAmplifiedToyPianos 163 Fig.6.2 ApagefromTudor’srealizationofCartridgeMusic 172 Fig.6.3 AstripofTudor’srealizationofVariationsII 182 Fig.8.1 Tudor’srealizationsheetforTelephonesandBirds,ForthWorth,TX, February19,1977 201 Table4.1 Tudor’stableofpointtypesinVariationsI 86 [viii]

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