John Cage's Concert for Piano and Orchestra by Iddon Martin;Thomas Philip;

Author:Iddon, Martin;Thomas, Philip; [Iddon, Martin;Thomas, Philip;]
Language: eng
Format: epub
ISBN: 9780190938475
Publisher: OxfordUP
Published: 2020-09-15T00:00:00+00:00

Fig. 4.9: The second and third pages of Tudor’s booklet of attack points

As a general rule—though there are one or two apparent exceptions—Tudor did, wherever he made use of a notation he had previously realised for his first version of the Solo, use that same realisation, albeit in this radically exploded form, in the second approach he took to the Solo. That is perhaps most evident in his use of 21–22 AC AE, in fact the only instance of a combined reading in the second realisation: all other readings are of one notation at a time, notwithstanding the ways in which they are then, in another sense, overlapped with one another. To be sure, Holzaepfel is in a sense quite right that Tudor ‘read these two graphs as the upper and lower parts of a single system’.17 Yet the specifics of what Tudor undertakes with this realisation are wholly predicated upon what he had done with his first realisation, and the work on this notation undertaken there. As noted, Tudor referred to the notation as 21–22 AC AE, rather than, as it more properly ought to be in order to include the complete notation within the score, 21–23 AC AE because he stopped reading the notation on page 22 (see fig. 4.6). This stopping short is of even greater significance here since, though Tudor certainly measured the length of the notation from the score anew, he takes the end of the score notation to be precisely at the point of his last reading from it. With an area for the notation, then, of 11.33, Tudor created a table to show the nine attack points: the specifics of these in pitch (where indicated) or location within the instrument to create noise for the seven events taken from 21–23 AC remain the same, including the dynamic of the attack, still given according to Nilsson’s scale:

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