John Cage (1912-1992) Violin solo from Concert for Piano and Orchestra. 1957/8 CAGE, John (1912-1992). Autograph music manuscript signed ('John Cage'), 'Solo for Violin (Concert for Piano and Orchesta): Sketch', n.p., n.d. [c.1957-1958]. Four staves, in pencil on tracing paper, on one page, 279 x 215mm, annotated '203-204 Vln' at upper right. In a card mount, title and signature on lower margin of mount. A sketch for one of Cage's most innovative and influential works. Cage's Concert for Piano and Orchestra is a seminal work within the context of twentieth-century music and techniques, highly innovative both in its notations (the piano part, for example, is an aggregate of 84 different kinds of notation on 63 pages) and in its form (comprising a set of highly detailed parts but no overarching score, allowing the parts to be performed in any combination, including with other works). The notation uses a system in which space is relative to time, and in performance the optional role of the conductor is to act as a time-piece, with the movement of his arms simulating the hands of a clock.
John Cage (1912-1992) Violin solo from Concert for Piano and Orchestra. 1957/8 CAGE, John (1912-1992). Autograph music manuscript signed ('John Cage'), 'Solo for Violin (Concert for Piano and Orchesta): Sketch', n.p., n.d. [c.1957-1958]. Four staves, in pencil on tracing paper, on one page, 279 x 215mm, annotated '203-204 Vln' at upper right. In a card mount, title and signature on lower margin of mount. A sketch for one of Cage's most innovative and influential works. Cage's Concert for Piano and Orchestra is a seminal work within the context of twentieth-century music and techniques, highly innovative both in its notations (the piano part, for example, is an aggregate of 84 different kinds of notation on 63 pages) and in its form (comprising a set of highly detailed parts but no overarching score, allowing the parts to be performed in any combination, including with other works). The notation uses a system in which space is relative to time, and in performance the optional role of the conductor is to act as a time-piece, with the movement of his arms simulating the hands of a clock.
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