| Category: | Musical composition |
| Dated: | 1984-1987 |
| Instrumentation: | parts for voice, flute, oboe, clarinet (B), trumpet (C), horn (F), trombone, percussion (4 parts), piano (2 parts). violin (2 parts), viola, cello |
| Duration: | 30' or shorter |
| Premiere and performer(s): | |
| Dedicated to: | |
| Choreography: | Merce Cunningham: Views on Stage (2004) and Views on Camera/ Views for Video (2004) |
| Published: | Edition Peters 67040 © 1984, 85, 87 by Henmar Press |
| Manuscript: | Worksheets and incomplete draft (12 lvs. Mentioned in van Emmerik. Folder number unknown); Worksheets (computer print-outs with holographic annotations in pencil and ink - 53 lvs. Folder 663); Sketches (holograph in pencil and ink - 10 lvs. Folder 1049); Worksheets and sketches (holograph in ink - 143 lvs. Folder 1050); 12 parts, incomplete (galley proof with holographic annotations in ink - 85 p. Folder 1051), all in New York Public Library |
| Seventeen parts for voice and instruments without overall score. The title is to be completed by adding the number of performers, eg.
Music for Five. Each part consists of "pieces" and "interludes". The parts are notated on two systems and use flexible time-brackets. Part of the "pieces" are made up of single held tones, preceded and followed by silence, can be repeated any number of times and are to be played softly. Others consist of sequences of tones with various pitches, notated proportionally. These tones are not to be repeated and have various dynamics, timbres and durations. The "Interludes", lasting 5, 10 or 15 seconds, are to be played freely with respect to dynamics and durations of single notes, and played normally with respect to timbre. The work uses microtonal pitches. The piano is played by bowing the strings with fishing line or horse hair. The percussionists have fifty instruments each, to be chosen by the performer. Selected instruments must be able to produce held tones. The string parts follow the notation of Freeman Etudes. The players may decide on the amount of pieces and interludes to be performed, resulting in a maximum duration of thirty minutes. Sources: Martin Erdmann: Chronologisches Verzeichnis der musikalischen Kompositionen, Schriften, Gespräche, Hörspiele, Bilder, Objekte und Filme. In: Musik-Konzepte Sonderband - John Cage II; David Revill: The Roaring Silence; New York Public Library online catalog; Paul van Emmerik: Thema's en Variaties; Richard Kostelanetz: John Cage writer - Previously uncollected pieces |