A list of sources for anyone interested in John Cage’s Concert for Piano and Orchestra.


John Cage Collection, Northwestern University Library

John Cage Manuscript Collection, New York Public Library


George Avakian, ‘About the Concert’, liner notes, The 25-Year Retrospective Concert of the Music of John Cage (Wergo, WER 6247-2, 1994 [1958])

David Bernstein and Christopher Hatch (eds.), Writings Through John Cage’s Music, Poetry, + Art (Chicago, IL: University of Chicago Press, 2001)

Carolyn Brown, Chance and Circumstance (New York, NY: Knopf, 2007)

John Cage, Silence (London: Calder and Boyars, 1968)

John Cage et al., liner notes, The 25-Year Retrospective Concert of the Music of John Cage (Wergo, WER 6247-2, 1994 [1958]) (also in John Cage and Richard Kostelanetz (eds.), John Cage: An Anthology (New York, NY: Da Capo, 1991), 127–131)

John Cage and Daniel Charles, For the Birds (London: Marion Boyars, 1981)

John Cage and Joan Retallack, MUSICAGE (Hanover, NH: Wesleyan University Press, 1996)

Stuart Dempster, The Modern Trombone: A Definition of its Idioms (Berkeley, CA: University of California Press, 1979)

_____, ‘Working with David Tudor and the Merce Cunningham Dance Company’, Musicworks, vol. 73 (Spring 1999), 14–19

_____, ‘Interview with Thomas M. Welsh’, The San Francisco Tape Music Center: 1960s Counterculture and the Avant-garde, ed. David W. Bernstein (Berkeley, CA: University of California Press, 2008), 252–64

Peter Dickinson (ed.), CageTalk: Dialogues with and about John Cage (New York, NY: University of Rochester Press, 2006)

Ryan Dohoney, ‘John Cage, Julius Eastman, and the Homosexual Ego’, Tomorrow is the Question: New Directions in Experimental Music Studies, ed. Benjamin Piekut (Ann Arbor, MI: University of Michigan Press, 2014), 39–62

Stephen Drury, liner notes, John Cage: The Piano Concertos (Mode, mode 57, 1997 [1992])

William Duckworth, ‘Anything I Say Will Be Misunderstood: An Interview with John Cage’,  John Cage at Seventy-Five, eds. Richard Fleming and William Duckworth (London: Associated University Press, 1989), 15–33

Robert Dunn (ed.), John Cage (New York, NY: Edition Peters, 1962)

Tom Everett, ‘An Interview with Frank Rehak’, International Trombone Association Journal, vol. 15, no. 2 (Spring, 1987), 36–45

Jonni Falk, ‘Mel Broiles and his Magic Trumpet’, Journal of the International Trumpet Guild, vol. 11, no. 4 (May 1987), 21–22

Sabine Feisst, ‘John Cage and Improvisation: An Unresolved Relationship’, Musical Improvisation: Art, Education, and Society, eds. Gabriel Solis and Bruno Nettl (Champaign, IL: University of Illinois Press, 2009), 38–51

William Fetterman, ‘Merce Cunningham and John Cage: Choreographic Cross-currents’, Contemporary Music Review, vol. 18, no. 1, 121–42

_____, John Cage’s Theatre Pieces: Notations and performances (Amsterdam: Harwood, 1996)

Richard Fleming and William Duckworth (eds.), John Cage at Seventy-Five (London: Associated University Press, 1989)

Pascal Gallois, The Techniques of Bassoon Playing (Kassel: Bärenreiter, 2009)

Friedrich Gauwerky, ‘Befehlsempfänger? Mitschöpfer! John Cages Vielschichtiges Verhältnis zum Interpreten’, Neue Zeitschrift für Musik, vol. 173, no. 5 (Jan 2012), 46–49

_____, Masterclass for John Cage’s Concert for Piano and Orchestra, 6 April 2012

Peter Gena and Jonathan Brent (eds.), A John Cage Reader: A Celebration of His 70th Birthday (New York, NY: Edition Peters, 1982)

Nicasio Gradaille, ‘David Tudor y su interpretación del Solo for Piano de John Cage’, Quodlibet: revista de especialización musical, no. 54 (September–December 2013), 29–52

Rob Haskins, ‘John Cage and Recorded Sound: A Discographical Essay’, Notes, vol. 67, no. 2 (December 2010), 382–409

_____, John Cage (London: Reaktion, 2012)

Marv Hohman, ‘Frank Rehak’, DownBeat (5 May 1977), 36–37

John Holzaepfel, ‘Reminiscences of a Twentieth-Century Pianist: An Interview with David Tudor’, Musical Quarterly, vol. 78, no. 3 (Fall 1994), 626–36

_____, David Tudor and the Performance of American Experimental Music, 1950–1959 (unpublished doctoral thesis, City University of New York, 1994)

_____, ‘David Tudor and the Solo for Piano’, Writings Through John Cage’s Music, Poetry, + Art, eds. David Bernstein and Christopher Hatch (Chicago, IL: University of Chicago Press, 2001), 137–156

_____, ‘Cage and Tudor’, The Cambridge Companion to John Cage, ed. David Nicholls (Cambridge: Cambridge University Press, 2002), 169–185

_____, ‘Tudor Performs Cage’, Cage and Consequences, eds. Julia Schröder and Volker Straebel (Hofheim: Wolke, 2012), 111–24

Martin Iddon, John Cage and David Tudor: Correspondence on Interpretation and Performance (Cambridge: Cambridge University Press, 2013)

Steven Johnson (ed.), The New York Schools of Music and Visual Arts (Routledge: London, 2002)

Rebecca Y. Kim, ‘The Formalization of Indeterminacy in 1958: John Cage and Experimental Composition at the New School’, (2008), John Cage, ed. Julia Robinson (Cambridge, MA; The MIT Press, 2011), 141–170

_____,  ‘John Cage in Separate Togetherness with Jazz’, Contemporary Music Review, vol. 31, no. 1 (2012), 63–89

Petr Kotik, liner notes, John Cage: Concert for Piano and Orchestra/Atlas Eclipticalis (Wergo, WER 6216-2, 1993)

Joseph Kubera, ‘Interpreting Cage’s Solo for Piano’, Ostrava Days 2001 Report, eds. Dita Eibenová, Martina Perry, and Jeremy Novak (Ostrava: Ostrava Center for New Music, 2001), 55–60

Laura Kuhn (ed.), The Selected Letters of John Cage (Middletown, CT: Wesleyan, 2016)

Judy Lochhead, ‘Performance Practice in the Indeterminate Works of John Cage’, Performance Practice Review, vol. 7, no. 2 (Fall 1994), 233–241

_____, ‘Controlling Liberation: David Tudor and the “Experimental” Sound Ideal’, paper presented at ‘The Art of David Tudor’, Getty Research Institute, Los Angeles, CA (17–19 May 2001)

David P. Miller, ‘The Shapes of Indeterminacy: John Cage’s Variations I and II’, Frankfurter Zeitschrift für Musikwissenschaft, vol. 6 (2003), 18–45

_____, ‘Indeterminacy and Performance Practice in Cage’s Variations’, American Music, vol. 27, no. 1 (Spring 2009), 60­–86

Leta E. Miller, ‘Cage, Cunningham and Collaborators: The Odyssey of Variations V’, Musical Quarterly, vol. 85, no. 3 (2001), 547–67

David Nicholls (ed.), The Cambridge Companion to John Cage (Cambridge: Cambridge University Press, 2002)

Benjamin Piekut, Experimentalism Otherwise: The New York Avant-Garde and its Limits (Berkeley, CA: University of California Press, 2011)

James Pritchett, The Music of John Cage (Cambridge: Cambridge University Press, 1993)

_____, ‘David Tudor as Composer/Performer in Cage’s Variations II’, Leonardo Music Journal, vol. 14 (2004), 11–16

Frank Rehak, ‘A Call from Cage’, YLEM, Vol. 18, No. 10 (1998 [1979]), 4

Phillip Rehfeldt, New Directions for Clarinet, revised edition (Berkeley, CA: University of California Press, 1994 [1977])

David Revill, The Roaring Silence (London: Bloomsbury, 1992)

Johanne Rivest, Le Concert for Piano and Orchestra de John Cage ou les limites de l’indétermination, (unpublished doctoral thesis, Université de Montréal, 1996)

_____, ‘John Cage’s Concert for Piano and Orchestra’, Perspectives on American Music since 1950, ed. James R. Heintze (New York, NY: Garland, 1999), 81–94

Eric Salzman, liner notes, John Cage: Concert for Piano and Orchestra/Atlas Eclipticalis (Wergo, WER 6216-2, 1993)

Steffen Schleiermacher, liner notes, John Cage: Complete Piano Music Vol. 4 (Dabringhaus und Grimm, MDG 613 0787-2, 1999)

Kenneth Silverman, Begin Again (New York, NY: Knopf, 2010)

Benny Sluchin and Mikhail Malt, ‘Interpretation and Computer Assistance in John Cage’s Concert for Piano and Orchestra (1957–58)’, paper presented at the 7th Sound and Music Computing Conference, Barcelona, Spain, (21–24 July 2010)

Volker Straebel, liner notes, John Cage: Complete Piano Music Vol. 4 (Dabringhaus und Grimm, MDG 613 0787-2, 1999)

Mike Svoboda and Michel Roth, The Techniques of Trombone Playing (Kassel: Bärenreiter, 2017)

Margaret Leng Tan, ‘John Cage Poses a Few Last Questions’, Musicworks, vol. 59 (Summer 1994 [1993]), 47–48

Philip Thomas, ‘Determining the Indeterminate’, Contemporary Music Review, vol. 26, no. 2 (2007), 129–140

_____, ‘Understanding Indeterminate Music through Performance: Cage’s Solo for Piano’, Twentieth-Century Music, vol. 10, no. 1 (2013), 91–113

David Tudor, ‘From Piano to Electronics’, Music and Musicians, vol. 20, no. 12 (August 1972), 24–26

Bertram Turetzky, The Contemporary Contrabass (Berkeley, CA: University of California Press, 1974)


Concert for Piano and Orchestra

Cage a FirenzeSolo for Voice 2 [with simultaneous performance of Solo for Piano. Giancarlo Cardini, piano; Francesca Della Monica, voice (Materiali Sonori, CAGE 493, 1993)

Cage/Tudor panel at ONCE Festival concert, 8 December 1963. Concert for flute, alto flute, piccolo, voice, violoncello and piano (unidentified performers) ([Cassette tape] Northwestern University Music Library, 6080-2021-0347 NUML, 1997)

Cage, Unlocked (Celebrating John Cage At 100). Vicky Chow, piano; Alejandro T. Acierto, clarinet; Nicole Camacho, flute; William Lang, trombone; Andrew Kozar, Trumpet; Victor Lowrie, Viola; Drew Blumberg, Violin; Gelsey Bell, Jeffrey Gavett, Voice [Recorded live, February 11, 2012 at the Avant Music Festival at Wild Project, New York City] (Avant Media Performance, Inc, AM03, 2012)

CC – John Cage: Concert for Piano and Orchestra / Christian Wolff: Resistance. Apartment House; Philip Thomas, piano; Jack Sheen, conductor (Huddersfield Contemporary Records HCR16CD, 2017)

David Tudor Plays Cage & Tudor. David Tudor, piano (Atonal, ACD 3027, 2000 [1982])

Ensemble Musica Negativa ‎– Music Before Revolution. Concert for Piano and Orchestra performed simultaneously with Solo for Voice 1 and 2. Ensemble Musica Negativa; Hermann Danuser, piano; Bell Imhoff, voice 1; Doris Sandrock, voice 2; Rainer Riehn, conductor (EMI Classics, 50999 2 34454 2 0, 2008 [1972])

John Cage – Concert for Piano and Orchestra / Atlas Eclipticalis. Joseph Kubera, piano; The Orchestra of S.E.M. ensemble; Petr Kotik, conductor (Wergo, WER 6216-2, 1992)

John Cage: Dream. Fabrizio Ottaviucci, piano; Mike Svoboda, trombone; Manuel Zurria, flute; Aldo Campagnari, violin; Giorgio Casati, cello; Dario Calderone, double bass; Nextime Ensemble, percussion, Stefano Scodanibbio, conductor (Wergo, WER 6713-2, 2009)

John Cage: Indeterminacy. Susanne Kessel, piano; Joachim Krol, voice [with Fontana Mix] (Oehms Classics, OC 855, 2012)

John Cage – Sylvano Bussotti. In A Landscape / Solo for Piano with Bassoon. Paolo Carlini, bassoon; Mauro Castellano, piano (Materiali Sonori, 90083, 1995)

John Cage – The Piano Concertos. David Tudor, piano; Ensemble Modern; Ingo Metzmacher, conductor [Live recording, Festival Anarchic Harmony, Frankfurt, 1992] (Mode, 57, 1997)

Music from the Tudorfest: San Francisco Tape Music Center 1964. Morton Subotnick, clarinet;  Ramon Sender, Conductor; Loren Rush, Double Bass; Ian Underwood, Flute, Piccolo Flute; Douglas Leedy, Horn; Pauline Oliveros, Horn, Tuba; David Tudor, Warner Jepson, Piano; Stuart Dempster, Trombone; Linn Subotnick, Viola; Robert Mackler, Viola, Viola d’Amore (New World Records, 80762-2 2014 [1964])

Ostravská Banda On Tour, Joseph Kubera, piano; Ostravská Banda; Petr Kotik, conductor (Mutable Music, 2011)

Rumori alla Rotonda. Franco Carabelli, flute; Pina Lercari, viola (Alga Marghen, VA 11NMN.031, 1999)

The 25-Year Retrospective Concert of the Music of John Cage. David Tudor, piano; Merce Cunningham, conductor [Live recording of the premiere at the Town Hall, New York City, 1958] (Wergo, WER 6247-2, 1994)

The Barton Workshop Plays John Cage. Barton Workshop; Marianne Schroeder, piano (Etcetera, KTC 3002, 1992)

Wirrnis der Klänge, Werner Bärtschi, piano (Recommended Records, ReCDec 24 LC 7981, 1991)

Solo for Piano

John Cage – Complete Piano Music Vol. 4. Steffen Schleiermacher, piano (Musikproduktion Dabringhaus und Grimm, MDG 613 0787-2, 1999)

John Cage – Early Piano Works. Steffen Schleiermacher, piano (ITM Media, 950008, 1993)

John Cage / David Tudor ‎– Indeterminacy: New Aspect of Form in Instrumental and Electronic Music. David Tudor, piano (Folkways FT 3704, 1992 [1959])

John Cage im Loft. Susanne Kessel, piano (Obst, CPC 10, 2010)

John Cage: Solo for Piano. Sabine Liebner, piano (Wergo, WER 6768-2, 2013)

John Cage: The Works for Piano 10. Thomas Schultz, piano (Mode, MOD-CD-304, 2018)

Solo instruments

A Chance Operation – The John Cage Tribute. Earl Brown, trumpet (Koch International Classics, 3-7238-2, 1993)

A Walk on the Wild Side: Perpetual Horizons. Bob Gillespie, trombone (South African Broadcasting Corporation, 2001)

Da Lontano. Mike Svoboda, trombone (Wergo, WER6744-2, 2012)

John Cage #4. Kumi Wakao, piano; Joëlle Léandre, double bass (Mesostics, MESCD-0013, 2004 [2000])

John Cage: Complete Works for Flute 2. Katrin Zenz, flute (Naxos 8.559774, 2015)

John Cage – Solo for ‘CelloFriedrich Gauwerky, cello (Wergo, WER 6693 2, 2007)

Music for Trombone. James Fulkerson, trombone (Etcetera KTC 1137, 1992)

The Complete John Cage Edition, Volume 35, A Cage of Saxophones 2. Ulrich Krieger, saxophone (Mode, 160, 2002)

The New York School. Eberhard Blum, flute (Hat Hut 6101, 1992 [1991])

The Solitary Trombone. Christian Lindberg, trombone (BIS, BISCD388, 1989)

Works for Cello; Lecture On Nothing. Frances Uitti, cello (Etcetera, KTC 2016, 1991)