| Category: | Musical composition |
| Dated: | Milan, November 1958 |
| Instrumentation: | Parts to be prepared from the score for the production of any number of tracks of magnetic tape, or for any number of players, any kind and number of instruments |
| Duration: | Indeterminate |
| Premiere and performer(s): | |
| Dedicated to: | for Luciano and Cathy Berio [i.e. Cathy Berberian] |
| Choreography: | Merce Cunningham: Antic Meet (1958) |
| Published: | Edition Peters 6712 © 1960 by Henmar Press |
| Manuscript: | Sketches (holograph in ink - 1 p. Folder 234); Score (holograph, signed (photocopy): 12 transparencies and 10 drawings with curved lines - 12+10 lvs. Folder 235); Worksheets for realization of Cage's 2 tapes (holograph in ink with emendations in pencil. Various dates of splicing of tapes are mentioned - 180 lvs. Folders 236-244); Sketches (hologrpah in ink - 1 lf. Folder 245), all in New York Public Library |
| This is a composition indeterminate of its performance. It is derived from notation CC from
Concert for Piano and Orchestra.
The score consists of 10 sheets of paper and 12 tranparencies. The sheets of paper have drawings of 6 differentiated (in thickness and texture) curved lines. 10 of the transparencies have randomly distributed points (the amounts of points on the transparencies are 7, 12, 13, 17, 18, 19, 22, 26, 29 and 30). Another transparency has a grid, measuring two by ten inches, and the last one contains a straight line (10¾ inch). By superimposition the performer creates a structure from which a performance score can be made: One of the tranparencies with dots is placed over one of the sheets with curved lines. Over this one places the grid. A point enclosed in the grid is connected with a point outside, using the straight line transparency. Horizontal and vertical measurements of intersections of the straight line with the the grid and the curved line, create a time-bracket and actions to be made. Fontana Mix may be performed with or without parts written for the Concert for Piano and Orchestra, Aria, Solo for Voice 2 and/or Song Books. Tone-control may be regulated using Cage's composition WBAI. Cage composed other works using the material from Fontana Mix: Water Walk Sounds of Venice, Aria, Theatre Piece and WBAI. Cornelius Cardew composed his Solo for Guitar using the same material. In February 1959 Cage prepared a version for 2 tapes of the work at the Studio di Fonologia in Milan, with technical assistance of Mario Zucchen. The initial title of the work was Performance Mix, but during the preparation of the tapes Cage renamed it after his Milanese landlady, Signora Fontana. Sources: James Pritchett: The Music of John Cage; David Revill: The Roaring Silence; Martin Erdmann: Chronologisches Verzeichnis der musikalischen Kompositionen, Schriften, Gespräche, Hörspiele, Bilder, Objekte und Filme (in 'Musik-Konzepte: John Cage II', Ed. Heinz-Klaus Metzger, Rainer Riehn); C.F.Peters Catalog (1962); New York Public Library online catalog; William Fetterman: John Cage's theatre pieces: Notations and performances |