September 5, 1912. John Milton Cage born in Los Angeles, California, Good Samaritan Hospital. His grandfather, Gustavus Adolphus Williamson Cage, was a Methodist Episcopal preacher; his father, also John Milton Cage (Los Angeles, March 11, 1886-1964), was an electrical engineer and inventor; his mother, Lucretia (“Crete”) Harvey (1885-1968), was active in women’s study clubs and wrote columns for the Los Angeles Times. They married in 1907 or 1908. Two elder brothers had died before Cage was born: Gustavus Adolphus Williamson III Cage at birth, John Milton Cage after two weeks. Cage’s early childhood was spent in Long Beach, California, which became a summer home when the family moved to Detroit (Cage/Cope 1980, 22; Peyser 1976, 55; Revill 1992, 19; Tomkins 1965a, 76).

1916-1921. When Cage’s father worked at the University of Michigan, the family moved to Detroit, Michigan, followed by a brief sojourn in Ford City, Ontario. Cage began kindergarten in Ann Arbor, Michigan. He had a tutor at home until he entered elementary school, beginning with the third grade, in Detroit Public Schools (September 1918; the family then lived at 907, Second Avenue); in 1920, the family lived in the Stevenson (20 Davenport Avenue), a residence hotel (Cage 1987-1988c; Cage 1987-1988f; Snyder, E.J. 1970a, 36).

1920. Cage family returned to California (Glendale, Long Beach, Ocean Park, Santa Monica, Eagle Rock). Took piano lessons, first with a neighborhood teacher, later with his maternal aunt Phoebe James, who taught him sight-reading and who introduced him to the music of Moritz Moszkowski and Edvard Grieg (Cage 1961h, 88, 115, 263; Cage 1991c; Cage/Reynolds 1962/1962, 45; Campana 1985, 8; Tomkins 1965a, 76-77).

September 1922. Entered Los Angeles High School; focused on languages (English, French, Greek, perhaps Latin); took piano lessons with Fannie Charles Dillon (1881-1947), a pianist and composer at the music faculty (Campana 1985, 8; Hendrick 1972; Stevenson, Robert 1982, 5-7).

Circa 1924. Not qualified to participate in Los Angeles High School Glee Club (Cage 1973h, 98; Cage/Boenders 1980, 217).

Circa 1924. Played violin sonatas by Ludwig van Beethoven with unidentified violinist (Yates 1967, 303).

1924. Los Angeles, California. Began weekly radio show at KNX (for two years).

September 8, 1925. Re-entered Los Angeles High School (four-year Junior High curriculum). Took courses: English Literature, English Oral Expression, English Composition, French, Greek, Mathematics, Science, Drawing (first semester), Typewriting (second year, first semester), History, Vocal Music (second year, fist semester), Physical Training and Hygiene, Military.

Fall 1926. Became contributing editor of the school’s monthly French newspaper, Le Flambeau.

Prior to May 27, 1927. Wrote Other People Think [text].

May 27, 1927. Los Angeles, California. Representing Los Angeles High School, entered Southern California Oratical Contest with Other People Think (Cage 1970j; Kostelanetz 1970d, 45n).

Spring 1928. Los Angeles, California, Hollywood Bowl (2301 North Highland Avenue). Representing Los Angeles High School, won Southern California Oratical Contest with presentation of Other People Think (Cage 1970j; Kostelanetz 1970d, 45n).

June 29, 1928. Graduated from Los Angeles High School, where he was class valedictorian; valedictorian address: International Patriotism (Hendrick 1972; Snyder, E.J. 1970a, 36).

July 1928. Camping trip (Barnes, R. 1966).

August 1928. Worked at beach (Barnes, R. 1966).

September 21, 1928-June 1930. Claremont, California. Matriculated Pomona College (freshman and sophomore classes); studied Liberal Arts (courses first year: History, Mathematics, English, German, French, Physical Education [Hygiene, Gymnastics, Sports], Music [Choir], Religion [Orientation]; second year: German [Advanced], Philosophy [Introduction to Logics], Music [Choir], English [Short Story Writing, 19th-Century Literature, Types of Drama], French [17th-Century Prose], Aesthetics, Physical Education [Gymnastics, Sport], Honors Hours); occupational outlook: ministry, church membership: Methodist Episcopal; through his roommate, the later printer Gregg Anderson, became interested in typography; during his studies, won the Jennings English Contest; dropped out (June 1930) (Anonymous 1975JOHN; Barnes, R. 1966; Cage 1961h, x; Cage 1967c, 15; Martin, L. 1930; Morin and Dawson 1929; Snyder, E.J. 1970a, 36; Stevenson, Robert 1982, 7-8).

April 1929 or earlier. Wrote “Song Ghosts” [text] for Manuscript, published by Scribblers Society, a student group at Pomona College with contributions from Scripps College.

Before December 1929. Wrote The Immaculate Medawewing [text].

1930. Lived with his parents at 2708 Moss Avenue, Los Angeles, California.

June 1930. Claremont, California. Dropped out of Pomona College (note to the College Registrar June 2) and sailed to Paris; briefly studied architecture with Ernö Goldfinger; with a letter of introduction by the Comtesse de Constant, for whom he played a slow movement of a Beethoven sonata, took two piano lessons with Lazare-Lévy (1882-1964) at the Conservatoire, who made him discover the music of Bach, whereas attendance of a recital by pianist John Kirkpatrick (Stravinsky, Serenade, Scriabin, Preludes) made him become interested in modern music; played Hindemith, Stravinsky, Scriabin, Bach. In Paris he also became acquainted with the music of Erik Satie, which was to become a lifelong source of inspiration (Barnes, R. 1966; Cage 1934; Cage 1961h, 261; Cage 1967o, 114; Cage/Kostelanetz 1968/1970, 33; Snyder, E.J. 1970a, 36; Tomkins 1965a, 79).

Summer 1930-1931. Began wandering Europe. On Capri he met Don Sample (Donald St. Paul), an American poet and painter, with whom he had his first lasting sexual relationship, and who became his mentor. Together they traveled to Biskra in Algeria, where they spent the winter of 1930-1931; wrote poetry, painted (Cage/Brumel 1982, 66; Snyder, E.J. 1970a, 36; Tomkins 1965a, 80).

August 8-September 13, 1931. Sóller, Majorca. Composed his first composition, [Untitled]. Contrary to Cage’s repeated claim to the contrary, most his early works survives (Cage 1961h, 234-235; Cage 1991c, 56; Cage/Duckworth 1989, 16).

Fall 1931. Madrid (Snyder, E.J. 1970a, 36).

Fall 1931. With Don Sample, travelled from Sevilla to Berlin and then back to Spain, to return to California in December via Cuba and Florida (Cage 1970i, 115-116; Cage 1991c; Tomkins 1964, 80).

December 1931. Returned to California, lived with his parents in the Pacific Palisades, continued writing, painting and composing, supporting himself by checking out patents for his father, until 1933 (Barnes, R. 1966; Cage 1961h, 273; Snyder, E.J. 1970a, 36).

1931-1934. In California, where he first lived at his parents home in the Pacific Palisades, later in Santa Monica, still later in Carmel, Cage held a variety of jobs.

1931 or 1932. Composed Etudes for piano.

1932. Moved to Santa Monica, California. Worked as a gardener in an auto court in and as a local lecturer on modern painting and music to housewives, until 1933 (Cage 1961h, 273; Cage/White, R. 1978, 3; Snyder, E.J. 1970a, 36; Tomkins 1965a, 80-81)

1932-1934 or -1935. Took informal lessons in composition with the pianist Richard Bühlig (Buhlig, 1880-1952) in Los Angeles (Cage 1961h, 273; Cage/Schindler 1996, 8; Campana 1985, 9-10).

1932. Cage and Sample met Harry Hay (1912-2002), who sang Cage’s early songs in several small public concerts (Cage 1991c).

Prior to October 1932. Composed Greek Ode and third of Three Songs.

Fall 1932. Composed The Preacher.

November 1932. Santa Monica, California, Santa Monica Women’s Club. Performed with Harry Hay, basso cantante: Three Songs (third song, first performance); first performance of Greek Ode; The Preacher and Etudes.

1933. Completed Three Songs.

April 1933. Los Angeles, California, California Composers’ Soiree. Performed (piano) with Harry Hay, basso cantante: Greek Ode, The Preacher, Three Songs (third song only).

May 1933. Composed Three Easy Pieces.

September 3, 1933. Los Angeles, California. Completed first movement of Sonata for Clarinet; (1) completed on September 3 and (3) on September 5.

September 5, 1933. Los Angeles, California. Completed third movement of Sonata for Clarinet.

September 1933 or later. Failed attemps at getting Sonata for Clarinet performed (Cage/Kirby and Schechner 1965, 58-59).

Fall 1933-mid-April 1934. Through Richard Bühlig met Henry Cowell (1897-1965) and studied dissonant counterpoint and composition with him for a season (Cowell, H. 1952).

Late October-November 3, 1933. Santa Monica, California. Composed Sonata for Two Voices.

1933. Carmel, California. Became interested in mushroom hunting (Lyon 1965).

1933-1934. Carmel, California. Composed Solo with Obbligato Accompaniment of Two Voices in Canon, and Six Short Inventions on the Subjects of the Solo.

Late 1933 or early 1934. Made the acquaintance of Xenia Andreyevna Kashevaroff (August 15, 1913-September 26, 1995), an art student at Reed College in Portland, Oregon.

January 15, 1934. Ojai, California. Completed Composition for Three Voices, dedicated to Pauline Schindler (1893-1977), with whom Cage had an affair around the time. Part of their correspondence survives. Cage practiced the French horn in these days, until summer 1935 (Cage/Schindler 1996; Hines 1989; Hines 1994).

February 1934. Composed Music for Xenia.

After February 1934. Seattle, Washington. Music for Xenia first performed; performer unknown.

Prior to February 15, 1934. Wrote Counterpoint (text).

March 7, 1934. Carmel, California. Completed Solo with Obbligato Accompaniment of Two Voices in Canon from Solo with Obbligato Accompaniment of Two Voices in Canon, and Six Short Inventions on the Subjects of the Solo.

April 5, 1934. Carmel, California. Completed Six Short Inventions from Solo with Obbligato Accompaniment of Two Voices in Canon, and Six Short Inventions on the Subjects of the Solo.

After April 5-late December 1934 or later. At the recommendation of Henry Cowell, studied traditional harmony and composition privately with Adolph Weiss (1891-1971) in New York, at the same time attending Cowell’s courses in modern harmony, rhythm, survey of contemporary music and non-Western music (“Music of the World’s Peoples” or “Primitive and Folk Origins of Music”, twelve lectures) at the New School for Social Research (Fall). In December, returned to California with Cowell (Cage 1959NOTES/AVAKIAN/1970, 127; Cage 1970[NEW], 118; Cage 1973h, 132, 144; Cage/Schindler 1996, 3-4; Campana 1985, 20; Hicks 1990; Kopp 1981, 144-145; Snyder, E.J. 1970a, 36).

Spring-fall 1934. Brooklyn, New York, Young Women’s Christian Association. Took job as wall-washer (Cage 1961h, 268).

Late summer 1934. Composed Allemande under the tutelage of Adolph Weiss.

Fall 1934. Arnold Schoenberg (1874-1951), who had arrived in New York in November 1933, moved to California, where he was appointed at both the University of California in Los Angeles and the University of Southern California (Hicks 1990; Zam 1979-1980).

Late December 1934. Returned to California.

Circa 1935. Santa Monica, California. Composed Two Pieces for Piano (circa 1935).

1935. Santa Monica, California and Seattle, Washington. Composed Three Pieces for Flute Duet; second movement completed in March.

March 18, 1935-1937. Los Angeles, California. Studied analysis in small group sessions (with Bernice Shapiro and others) with Arnold Schoenberg at his home in Hollywood. Later also attended several of Schoenberg’s classes in composition, harmony, and counterpoint at the University of Southern California and at the University of California at Los Angeles. Although Cage seems to have been dissatisfied with Schoenberg’s teaching methods at the time, he later said he “worshipped” Schoenberg. According to the entrepreneur Peter Yates (1909-1976), Schoenberg remarked in later years of Cage: “He is not a composer, but an inventor–of genius.” Concurrently with his lessons with Schoenberg, Cage was Library Research Worker for a lawyer promoting his father’s patents (Austin, W.W. 1966, 318; Cage/Schindler, 18; Campana 1985, 29; Hicks 1990; Tomkins 1965a, 84-85; Yates 1959d, 20; Yates 1967).

Prior to April 28, 1935. Santa Monica, California. Composed Quest.

Spring 1935. Carmel, California. First performance (presumably) of Allemande.

April 28-30, 1935. Los Angeles, California, University of California, Josiah Royce Hall, Auditorium, A Program of Dances presented by the Department of Physical Education for Women and the associated students, directed by Martha B. Deane, Robert Tyler Lee, and Josephine L. Ketcik. In shared program, with unknown performer, gave first performance of Quest to Quest by Martha B. Deane (Hering 1946).

May 1, 1935. Los Angeles, California. Private meeting with Arnold Schönberg; allowed to continue his classes.

June 7, 1935. Yuma, Arizona. Married Xenia Kashevaroff (Cage 1959g, [8]; Campana 1985, 29).

1935-1937. Library Research Worker (Campana 1985, 29).

Circa 1936. Met Lou Harrison, who introduced him to the I Ching and to the music of Anton Webern (Cage/Anonymous 1988RÉPONSES, 117; Cage/McElhearn 1988, 119; Cage/Raymond and Roberts 1980, 9; Cage/Shapiro 1985, 103).

Circa 1936. Santa Monica, California. Composed Quartet and Trio.

Early Spring 1936. Introduced through Galka Scheyer to Oskar Fischinger, who intended to make movie with music by Cage; the project remained unfinished (Cage/Charles 1976, 68/1981, 73; Cage/Duckworth 1989, 18-19; Campana 1985, 21-22; Herzogenrath 1979, 26).

1936. Los Angeles, California, University of California, Demonstration School. Assistant in the Elementary School, worked as an accompanist, until 1938 (Campana 1985, 29; Stevenson, Robert 1982, 8).

1936. Los Angeles, California. Studied bookbinding with Hazel Dreis, a pupil of Lawrence de Coverley, together with Xenia Cage. Began collecting percussion instruments and forming various percussion ensembles, first a quartet with fellow students studying bookbinding with Dreis, in whose house he lived with Xenia, later with Lou Harrison (1917-2003) in San Francisco; moved to Seattle, Washington (Snyder, E.J. 1970a, 37).

Late 1936 or winter 1936-1937. Santa Monica, California, Hazel Dreis’s apartment. With others gave first inofficial performances of Trio and Quartet.

1937. Los Angeles, California. Joined modern dance group at University of California, as accompanist and composer (Snyder, E.J. 1970a, 37).

Spring 1937. Oskar Fischinger’s studio. Apprenticed for two months with Oskar Fischinger for Metro Goldwin Mayer studios on the film An Optical Poem.

June 27-July 30 [OR 1938?], 1937. Beverly Hills, California, Virginia Hall Johnson School of Dance. Instructor in percussion (Campana 1985, 29).

Prior to or during fall 1937. Seattle, Washington. Wrote Listening to Music.

Fall 1937. First read Listening to Music.

1937-1938 (according to Frans van Rossum: 1936). Employed as an accompanist, both at Santa Monica Public Schools and assisting his aunt Phoebe James, who was then elementary music supervisor at the University of California, Los Angeles, Demonstration School. She taught an extension course, “Musical Accompaniments for Rhythmic Expression” (Campana 1985, 29; Stevenson, Robert 1982).

Early 1938. Westwood, California, University of California at Los Angeles, Training School Faculty. Taught extension course, “Musical Accompaniments for Rhythmic Expression,” with his aunt Phoebe James (Campana 1985, 29).

April 1938-fall 1940. Presumably in the Spring moved to Seattle, Washington with Xenia.

Seattle, Washington. Composed Metamorphosis; movements completed on April 17 (I), April 14 (II), May 1 (III), May 8 (IV), May 20 (V).

June 27-July 30, 1938. Beverly Hills, California, Virginia Hall Johnson Studio of Dance. Gave percussion course.

Prior to July 2, 1938. Composed untitled music for an aquatic abllet.

July 2-4, 1938. Los Angeles, California, Exposition Park, Olympic Swim Stadium, National Aquatic Show. Arranged and performed (with others) an accompaniment for an aquatic ballet [untitled].

June 27-July 30, 1938. Beverly Hills, California, Virginia Hall Johnson Studio of Dance. Gave percussion course.

July 1938. Seattle, Washington. Composed Five Songs for Contralto.

September 1938-summer 1939. Seattle, Washington, Cornish School, led by Nellie C. Cornish (1876-1956). Faculty Member. Cage was employed for “Creative Composition and Percussion Instruments” as composer and accompanist for the classes in modern dance taught by Bonnie Bird (1914-1995); other faculty members included Margaret Jansen (piano) and Doris Dennison (Dalcroze eurythmics); met the dancer and choreographer Mercier Cunningham (1919-2009) – who was at the time studying with Bird (1937-1939, after which he went to New York to work with the Martha Graham Dance Company) and who later came to call himself Merce –, and the artists Mark Tobey (1890-1967) and Morris Graves (1910-2001) (Cage 1979c, 199-121; Campana 1985, 30; Cage/Kostelanetz 1968WE/1970, 20; Los Angeles Times 1938a; Seattle Post-Intelligencer 1938; Seattle Star 1938a; Seattle Times 1938a; Snyder, E.J. 1970a, 37; Stevenson, Robert 1982, 9-10).

Fall 1938. Seattle, Washington. Presented concerts of music for percussion orchestra in collaboration with Lou Harrison, Ray Green (1908-1997), Gerald Strang (1908-1983), William Russell (William Russell Wagner, 1905-1992) and a few others, collected instruments and made tours through the Northwest (Snyder, E.J. 1970a, 37; Vanlandingham 1971, 42).

Fall 1938. Seattle, Washington, Cornish Theatre. Performed with Xenia Cage, Doris Dennison and Margaret Jansen: first public performance of Quartet; met painter Morris Graves; shared a house with him, Malcolm Roberts, and Xenia Cage (Cage 1979c, 99-121; Campbell, R.M. 1983b; Dunn 1962, 38 [mentions 1937 as date]).

Fall 1938. Seattle, Washington. With Xenia Cage arranged exhibition of Morris Graves’s series The Purification of Cardinal Pacelli (Cage 1979c, 99).

October 7, 1938. Seattle, Washington, Cornish Theatre. Accompanied (Patterson, D.W. 1996, 252; Stevenson, Robert 1982, 11).

October 10, 1938. Seattle, Washington, Hotel Sorrento. Following the annual dinner meeting of the Seattle Chapter of Pro Musica, gave lecture-recital on “Some Aspects of Modern Music” including first performance of Metamorphosis and music by George McKay (Dunn 1962, 8; Patterson, D.W. 1996, 252; Seattle Times 1938b).

October 22, 1938. Seattle, Washington. Completed Music for Wind Instruments, Trio.

October 24, 1938. Seattle, Washington. Completed Music for Wind Instruments, Duet.

October 31, 1938. Seattle, Washington. Completed Music for Wind Instruments, Quintet.

December 9, 1938 (evening). Seattle, Washington, Cornish School (Roy and Harvard North), Theatre. Performed with Xenia Cage, Edna Mae Coffman, Mercier Cunningham, Doris Dennison, and Joyce Wike, assisted by Bonnie Bird and Cornish dancers: Trio (Cage, Xenia Cage, Dennison, first public performance) and Quartet (announced as Quartette, performed on gongs, drums, wood blocks, triangles, automobile parts); Ray Green, 3 Inventories of Casey Jones (piano and four percussionists, performed twice, the second time with dance by Bonnie Bird, Dorothy Herrmann, Mercier Cunningham, Syvilla Fort); William Russell, Waltz and Fox Trot; Gerald Strang, Music for 3 Players (Dunn 1962, 39; Los Angeles Times 1938b; Seattle Ballard News 1938; Seattle Star 1938b; Stevenson, Robert 1982, 11).

1939. Applied in vain for a job as music teacher at Black Mountain College (Cage 1979c, 96).

Prior to January 1, 1939. Moved to Carmel, California, with Xenia; began giving concerts of percussion music with Lou Harrison and William Russell in San Francisco, California; worked as recreational leader for the Federal Music Project of the Works Progress Administration (1935-1941) (Pine Cone 1939; Snyder, E.J. 1970a, 37; Stevenson, Robert 1982, 12).

January 11, 1939. Tacoma, Washington, College of Puget Sound, Jones Hall. Accompanied Bonnie Bird and Cornish Dancers; performed with Xenia Cage, Edna Mae Coffman, Doris Dennison, and Joyce Wike: Ray Green, 3 Inventories of Casey Jones (Seattle News Tribune 1939; Seattle Times 1939a; Stevenson, Robert 1982, 12).

January 30, 1939. Seattle, Washington, Seattle Repertory Theater, sponsored by the Seattle Symphonic League. Accompanied Bonnie Bird and Cornish Dancers (Stevenson, Robert 1982, 12).

February-February 22, 1939. Seattle, Washington, Cornish School. Exhibition of modern decorative textiles by Jane Givan and Bruce Johnston and handbound books by John Cage and Xenia Cage (Seattle Times 1939c; Stevens, T. 1939).

Prior to February 14, 1939. Seattle, Washington. Interviewed with Xenia Cage by Theresa Stevens (Stevens, T. 1939).

February 18, 1939. Seattle, Washington, Textile Tower, Ernst Kassowitz Studio. Participated in open discussion, “What Next in American Art?,” with Dudley Pratt (sculptor) and Bonnie Bird (dancer).

Spring 1939. Seattle, Washington, Cornish School, radio studio. Composed, recorded and gave first performance (as presentation of recording) of Imaginary Landscape No. 1, with Xenia Cage, Doris Dennison and Margaret Jansen (Dunn 1962, 36).

March 7, 1939. Seattle, Washington, University of Washington, Anderson Hall. Music for Wind Instruments, second movement first performed by Whitney Tustion, oboe; Alvin Schardt, horn.

Prior to March 24, 1939. Seattle, Washington. Composed Ho to AA.

March 24-25, 1939. Seattle, Washington, Cornish School (710 East Roy Street), Hilarious Dance Concert: with Doris Dennison performed Ho to AA (first performance); with Bonnie Bird Dance Group (including Bonnie Bird, Merce Cunningham, Syvilla Fort, Dorothy Herrmann), Cage, piano and musical director, and Dennison gave first performance of Marriage at the Eiffel Tower; presumably Imaginary Landscape No. 1; Ray Green, Three Inventories of Casey Jones; Weiner, Greunberg, and Peryrek, music to Bird, Skinny Structures; Bird’s dances Contemporary Challenge (first performance) and Kosa, music to Of a Tender Age were also performed (Cage 1969a [under Cowell and McKay]; Schumacher 1939; Seattle Argus 1939; Seattle Ballard News 1939a; Seattle Ballard News 1939b; Seattle Garfield Messenger 1939a; Seattle Garfield Messenger 1939b; Seattle New-Dealer 1939; Seattle Post-Intelligencer 1939c; Seattle Post-Intelligencer 1939e; Seattle Tribune 1939; Stevenson, Robert 1982, 13; Vaughan 1997, 18-19; Washington Times 1939).

April 15, 1939. Corvallis, Oregon. Accompanied Bonnie Bird in master lesson at dance symposium (OAC Barometer 1939; Stevenson, Robert 1982, 14).

April 26, 1939. Seattle, Washington, Cornish School (710 East Roy Street), Hilarious Dance Concert of March 24-25 repeated (Stevenson, Robert 1982, 14).

May 19, 1939. Seattle, Washington, Cornish School, Theatre. Performed with Xenia Cage, Merce Cunningham, Doris Dennison, Imogene Horsley, Lenore Hovey, Margaret Jansen, and Lenore Thayer: Trio (with Xenia Cage and Dennison); Henry Cowell, Pulse [and, according to Lichtenwanger, Return]; William Russell, Waltz, Foxtrot, March Suite and Studies in Cuban Rhythms; Lou Harrison, Counterdance in the Spring and Fifth Simfony [sic]; Johanna M. Beyer (1888-1944), Three Movements (Restless, Endless, Tactless) (Dunn 1962, 39; Lichtenwanger 1986, 168-169; N.E. Independence 1939; Seattle Post-Intelligencer 1939a).

1939-1941. Mostly during the summers, Cage worked as accompanist and composer for choreographer Marian Van Tuyl, at Mills College (Revill 1992, 75).

Summer 1939. Oakland, California, Mills College, Summer Session. With Lou Harrison taught class “Percussion for Accompanists”; worked as an accompanist for Marian Van Tuyl’s dance classes (Campana 1985, 40).

Summer [June 23-August 3?], 1939. Oakland, California, Mills College. On faculty; worked as composer for Marian Van Tuyl (Marian Van Tuyl Campbell [1907-1987], at Mills 1938-1970), where he taught classes on percussion music with Lou Harrison. Also at Mills College, Cage made his acquaintance of Virgil Thomson (1896-1989), who was to become Cage’s most powerful advocate during his first years in New York (Snyder, E.J. 1970a, 37 [error]).

June 19-July 29, 1939. Seattle, Washington, Cornish School, Summer Session. Offered four courses: “Experimental Music,” “Modern Dance Composition,” “Creative Music Education for Teachers,” and “Creative Music for Children” (Seattle Post-Intelligencer 1939b; Seattle Post-Intelligencer 1939d).

July 27, 1939. Oakland, California, Mills College, under the auspices of the Bennington Summer School of the Modern Dance. Performed with Xenia Cage, Doris Dennison and Margaret Jansen: Quartet (first movement only); William Russell, Cuban Rhythms and Three Dance Movements; Lou Harrison, Counterdance in the Spring; Franziska Boas, Changing Tensions (Williams, B.M. 1990, 224; Dunn 1962, 38; Frankenstein 1939).

August 25, 1939 [not August 5]. Monterey, California, Margaret Lial’s Music Store (Alvarado Street). Lectured on percussion music by himself, Johanna Beyer, Henry Cowell, Lou Harrison, and William Russell (on piano and with records) (Williams, B.M. 1990, 224; Monterey Peninsula Herald 1939).

September 1939. Returned to Seattle, Washington in connection with his commitments at the Cornish School (Campana 1985, 40; Vancouver News Herald 1939).

November 1939. Seattle, Washington. Composed First Construction (in Metal).

Before or during December 1939. Seattle, Washington. Wrote Goal: New Music, New Dance.

December 9, 1939. Seattle, Washington, Cornish Theatre. Conducted unidentified ensemble (eleven performers) in first performance of First Construction (in Metal); first presentation (as a recording) of Imaginary Landscape No. 1 [uncertain]; Henry Cowell, Pulse and Return; William Russell, Fugue for Eight Percussion Instruments and Three Dance Movements; Mildred Couper, Dirge; Amadeo Roldán, Ritmicas V and VI (Brown, Gilbert 1939; Dunn 1962, 35, 36; Seattle Times 1939b).

1939-January 1, 1940. Seattle, Washington. Composed Second Construction.

1939 or 1940. Composed Spiritual.

Circa 1940. Composed Haitian Rhythms.

1940. Wrote “The Future of Music: Credo.”

1940. Composed Dance Music for Elfrid Ide.

1940 APPROX. Photo (Cage/Smith, S.S. 1983PERC, 5).

1940. Seattle, Washington, Cornish School. Imaginary Landscape No. 1 [or possibly Imaginary Landscape No. 2 [1940]) presented as music to the dance, Imaginary Landscape, by Bonnie Bird (Dunn 1962, 36).

1940-1941 (circa). Made an abortive application to work for the Federal Music Project sponsored by the Works Progress Administration (1935-1941). Instead he was employed as recreation director, working with children in hospitals and schools in San Francisco and with camp counselors in Mendocino County (Cage/White, R. 1978, 12).

January 8, 1940. Moscow, Idaho, University of Idaho, University Auditorium, presented by Public Events Committee. Performed with Cage Percussion Players (Xenia Cage, Doris Dennison, Margaret Jansen): Quartet (drums, cowbells, cymbal, gongs, woodblocks, temple blocks); Johanna M. Beyer, Two Movements (Endless, Restless); Ray Green, Inventories of Casey Jones; Lou Harrison, Counterdance in the Spring; William Russell, (two of?) Three Dance Movements; March Suite; Studies in Cuban Rhythms (Dunn 1962, 38).

January 9, 1940. Walla Walla, Washington, Whitman College (345 Boyer Avenue), Student Union Auditorium. Performed with Cage Percussion Players: program identical with concert of January 8, 1940; interviewed by anonymous reporter of Whitman College Pioneer (Whitman College Pioneer 1940).

January-February 1940. Also gave concerts in Montana and Whitman College, Washington (Williams, B.M. 1990, 225).

February 14, 1940. Portland, Oregon, Reed College: with Xenia Cage, Doris Dennison and Margaret Jansen gave first performance of Second Construction and performed Quartet (Avshalomoff 1940; Dunn 1962, 38; Oregonian 1940).

After February 15, 1940. Seattle, Washington, Seattle Arts Society, Open Meeting, organized by Bonnie Bird. Read The Future of Music: Credo (Cage 1961h, 3; Miller, L.E. 2005; University of Washington Daily 1940).

March 1940. Seattle, Washington. Composed Bacchanale.

Before April 28, 1940. Seattle, Washington. Composed Prelude to Flight.

April 28, 1940. Seattle, Washington, Cornish School, Theatre. Performed with Syvilla Fort: gave first performances of Bacchanale and Prelude to Flight (Cage 1973d; Dunn 1962, 16; Patterson, D.W. 1996, 260; University District Herald 1940).

May 1, 1940. Seattle, Washington. Completed Imaginary Landscape No. 2 (1940), withdrawn after its first performance; this explains why Imaginary Landscape No. 3 of 1942 chronologically precedes Imaginary Landscape No. 2 of the same year.

May 7-11, 1940. Seattle, Washington, Cornish School, Theatre, presented by the American Dance Theatre. In shared program, accompanied Dorothy Herrmann: Four Songs of the Moment (first performances); Syvilla Fort: Spiritual (first performances); conducted Imaginary Landscape No. 2 (1940), choreography Bonnie Bird, danced by Bonnie Bird, Syvilla Fort, Dorothy Herrmann, Cole Weston, and performed by Marie Balagno, Xenia Cage, Doris Dennison, Imogene Horsely, Margaret Jansen, Helen McDonald, Walter Nelskog, technician (first performances); with Gerard Van Steenbergen, narrator, and with Doris Dennison (second pianist), accompanied America Was Promises (choreography Bonnie Bird, eighteen dancers); Virginia Boren interviewed Bonnie Bird (Boren 1940; Seattle Garfield Messenger 1940a; Seattle Post-Intelligencer 1940; Seattle Times 1940).

June 5, 1940. Seattle, Washington, Cornish Theatre. Performed with Syvilla Fort: Bacchanale (Dunn 1962, 16).

July 1940. Oakland, California. Composed Fads and Fancies in the Academy.

July 2, 1940. Drafted list of percussion instruments he owned.

1940, Summer. Oakland, California, Mills College, Dance Department, Summer Session. Taught courses on dance accompaniment using percussion.

July 18, 1940. Oakland, California, Mills College, Lisser Hall. In concert given with Lou Harrison and William Russell, performed Second Construction with Xenia Cage, Doris Dennison and Margaret Jansen; presumably also participated in performances of music by José Ardevol, Suite (first performance); Henry Cowell, Pulse; Lou Harrison, Canticle (first performance); Amadeo Roldán, Ritmicas V and VI; William Russell, Chicago Sketches (first performance) (Cowell, H. 1940; Dunn 1962, 38; Stevenson, Robert 1982, 17; Time 1940).

July 27, 1940. Oakland, California, Mills College. First performance of Fads and Fancies at the Academy (performers unknown); choreography Marian Van Tuyl.

Fall 1940. Remained at Mills College in order to establish a research laboratory of percussion and electrical instruments (Los Angeles Times 1940; Williams, B.M. 1990, 225; Yates 1941).

October 7, 1940. Los Angeles, California, Richard Bühlig’s home. Organized a private concert of recordings of percussion music, on which occasion he made the acquaintance of Peter Yates (Yates 1967, 304).

After October 7, 1940. San Francisco, California. Composed Living Room Music.

March-April 1941. San Francisco, California. Composed Third Construction.

April 1941. San Francisco, California. Composed Double Music with Lou Harrison.

May 14, 1941. San Francisco, California, California Club Auditorium (1750 Clay Street). Performed with Xenia Cage, Doris Dennison, Elizabeth Hall, Lou Harrison, Margaret Jansen, and Brabazon Lindsey: Quartet (with Xenia Cage, Dennison, Jansen); Third Construction (conductor; Xenia Cage, Dennison, Harrison, Jansen, first performance); Trio (with Xenia Cage, Dennison); Double Music (conductor, first performance); Lou Harrison, Song of Quezecoatl; Canticle; 13th Simfony [sic] (Caen 1941; Dunn 1962, 35, 38, 39; Harrison and Colvig 1974/1987, 71).

May 20, 1941. Oakland, California, Mills College. First performance of Dance Music for Elfrid Ide.

June-early August 1941. Mendocino County, California. Taught at a Works Progress Administration Recreation Counselor’s Camp (Kostelanetz 1970d, illustrations 2-3).

June 1941. Met Henry Miller and presumably Anaïs Nin (Bair 1995).

June 29-August 8, 1941. Oakland, California, Mills College, Dance Department, Summer Session. Assisting Marian Van Tuyl and with Eleanor Lauer, taught courses on dance accompaniment using percussion (New York Times 1941).

July 26, 1941. Oakland, California, Mills College. Conducted Third Construction, performed by Xenia Cage, Doris Dennison, Lou Harrison and Margaret Jansen; presented Imaginary Landscape No. 1 [recording] as music to the dance, Horror Dream, by Marian Van Tuyl; Amadeo Roldán, Ritmicas V and VI (one with dance by Van Tuyl); Mildred Couper, Dirge and Rumba; Lou Harrison, 13th Simfony [sic]; William Russell, Three Dance Movements (Dunn 1962, 36, 39).

September 1941-May 1942. Invited by László Moholy-Nagy, Cage moved to Chicago to teach a class, “Sound Experiments,” at the School of Design [Institute of Design?] as faculty member (Gillespie 1998, 50; Provines 1941a; Provines 1941b; Snyder, E.J. 1970a, 37).

November 18, 1941 (evening). Chicago, Illinois, School of Design (247 East Ontario Street). In shared program of presentations of activities, conducted an improvisation with his Class in Sound Experiments.

December 7, 1941. Attack on Pearl Harbor, Hawaii by the Japanese. The United States declared war on Japan, Germany, and Italy. Cage was exempt from military service since he was doing library research work in connection with his father’s top secret work for the government. His parents had moved to Upper Montclair, New Jersey in connection with the job, living first at 393 Grove Street, later at 260 Park Street (Cage/Lanza 1971, 327; Kostelanetz 1988b, 10).

Late 1941. Commissioned by Columbia Workshop of WBBM and Columbia Broadcasting System to compose and radio play, which would become The City Wears a Slouch Hat.

Late 1941-late May 1942. Chicago, Illinois. Composed The City Wears a Slouch Hat, on a text by Kenneth Patchen (1911-1972) (La Hay 1942).

1941-1942. Chicago, Illinois, School of Design (Wednesday nights): invited by László Moholy-Nagy, taught class, “Sound Experiments.” Lived at 323 West Cermak Road (Andrews, B. 1942; Moholy-Nagy 1946/1969, 66; Snyder, E.J. 1970a, 37).

Circa 1942. Composed Jazz Study and Opening Dance.

1942. Composed Dance to the West.

1942. Chicago, Illinois. First performance of Dance to the West to Ruth Hatfield’s dance of the same name.

February 1942. Chicago, Illinois. Composed Imaginary Landscape No. 3.

February 20, 1942. Minneapolis, Minnesota, Young Women’s Christian Association, Benton Hall, Modern Dance Center. Florence G. Kelty gave first performance of Opening Dance to Gertrude Lippincott, Introduction in the Modern Manner.

March-April 1942 or earlier. Wrote review, “Chavez and the Chicago Drouth.”

March 1, 1942. Chicago, Illinois, Arts Club of Chicago, organized by Frederick Stock. In concert preceded by buffet supper, conducted ensemble (Xenia Cage, Dorothy Fisher, Ruth Hatfield, Brabazon Lindsey, Stuart Lloyd, Rachel MacHatton, Katherine Manning, Claire Oppenheim, Marjorie Parkin): First Construction (in Metal) and first performance of Imaginary Landscape No. 3; Lou Harrison, Counterdance in the Spring and Canticle; William Russell, March Suite (School March, Wedding March, Military March, Hunger March, Funeral March) and Three Dance Movements (Waltz, March, Foxtrot); interviewed by Bob Andrews (Andrews, B. 1942; B. and Suhl 1942; Boyden, S. B. 1942; Chicago Daily News 1942a; Chicago Daily News 1942b; Chicago Daily News 1942c; Chicago Daily Tribune 1942; Chicago Sunday Tribune 1942; Dunn 1962, 35, 36; Hollywood Citizen News 1942; New York World-Telegram 1942; Smith, Cecil 1942; Time 1942; Winn 1942a; Winn 1942b; Winn 1942c).

March 18, 1942. Chicago, Illinois, University of Chicago, Leon Mandel Assembly Hall, concert for the benefit of the Hyde Park Neighbourhood Club, in program shared with Chicago University Orchestra, Frederick Stock and Charles Buckley conducting, program of Holst, Beethoven, Bach, Saint-Saens and Dvorak, performed with Xenia Cage, Katherine Manning, Brabazon Lindsey, Marjorie Parkin and Stuart Lloyd: Lou Harrison, Canticle and William Russell, Three Dance Movements; interviewed by Pence James (Chicago Daily News 1942d; James, P. 1942).

April 1942. Chicago, Illinois. Composed Imaginary Landscape No. 2.

May 7, 1942. San Francisco, California, Fairmont Hotel, Holloway Playhouse: Harold Bellach, Lena Bellach, William Brown, Doris Dennison, Margaret Jansen, percussion, Lou Harrison, conductor, gave first performances of Imaginary Landscape No. 2 (presented as Fourth Construction), Johanna M. Beyer, Two Movements, Lou Harrison, Canticle No. 3 and In Praise of Johnny Appleseed (the latter as ballet performance, choreographed by Carol Beals and Bodil Genkel, with the Modern Ballet Theater, Carol Beals, William Brown, Bodil Genkel, Joseph Rivette, Irma Wallenius), and performed Henry Cowell, Return; it is uncertain whether Cage was in attendance (Dunn 1962, 37; Fisher, M.M. 1942; Frankenstein 1942).

May 31, 1942. Chicago, Illinois, WBBM-CBS, Columbia Workshop. First broadcast of The City Wears a Slouch Hat, performed [live?] by Cilia Amidon, Xenia Cage, Ruth Hartman, Stuart Lloyd and Claire Oppenheim (La Hay 1942).

Early June 1942. Moved to New York with Xenia Cage. They first stayed with Max Ernst (who at the time had an affair with painter Dorothea Tanning) and Peggy Guggenheim; later with dancer Jean Erdman and her husband Joseph Campbell (who at the time wrote A Skeleton Key to Finnegans Wake) at Waverley Place. Through Erdman, met Cunningham again. Among the artists who made the acquaintance of Cage and Xenia in New York was Marcel Duchamp (1887-1968). Duchamp turned over the making of La boîte-en-valise (1936-1941) to Xenia Cage, who became the fabricator of approximate sixty boxes. Cage also met André Breton, Gypsy Rose Lee, Piet Mondrian, and Edgard Varèse; Cage occasionally replaced Cowell at the New School for Social Research (Bonk 1989; Cage 1960? in Kostelanetz 1970d, 118; Cage 1961h, 12; Cf. Feldman/Gena 1982CHECK; Cage/Dufallo 1989; Cage/Jouffroy and Cordier 1974; Cage/Raymond and Roberts 1980, 8; Cage/Roth and Roth 1973; Guggenheim 1979; Herzogenrath 1979: also met Josef Albers?]; Larsen and Larsen 1991; Snyder, E.J. 1970a, 37).

Early June 1942 (or later)-1943. New York. Taught at the Franziska Boas School (New York Herald Tribune 1943).

July 1942. New York. Composed Credo in Us.

August 1, 1942. Bennington, Vermont, Bennington College. Unidentified performers gave first performance of Credo in Us [original version], as music to the dance drama by Merce Cunningham (Shadow) and Jean Erdman (Ghoul’s Rage), including a text by Cunningham; presumably also performed music by Carlos Chavez (Dunn 1962, 35; Jowitt 1992).

August 8-9, 1942. Colorado Springs.

October 1942. New York. Revised Credo in Us.

October 20, 1942. New York, Studio Theatre (106 West 16th Street): first performance of Credo in Us (revised version), as music to the dance drama, Credo in Us, by Merce Cunningham (Dunn 1962, 35).

Prior to October 20, 1942. New York. Composed Forever and Sunsmell and Totem Ancestor.

October 20-21, 1942. New York, Studio Theatre, presented by the Dance Observer. In program shared by Jean Erdman, Nina Fonaroff, and Merce Cunningham, performed Totem Ancestor (first performance, Cunningham); Credo in Us (revised version, Erdman and Cunningham; conducted percussion group consisting of Xenia Cage, Helen Lanfer, David Campbell); Forever and Sunsmell (first performance, with Vivian Bower, mezzo soprano, and Xenia Cage); Ad Lib (music by Gregory Tucker, Erdman and Cunningham, accompanied by Helen Lanfer) (Dunn 1962, 18, 21; G.W.B. 1942).

November 1942. New York. Composed And the Earth Shall Bear Again for the dance by Valerie Bettis (1920-1982), and The Wonderful Widow of Eighteen Springs.

November 13, 1942. New York, Steinway Concert Hall. Attended recital by Sylvia Streetor, soprano, accompanied by Irene Grenberg: arietta by Mazzaferrata, arias by Mozart, Puccini, songs by Haydn, Wolf, Strauss, Weckerlin, Widor, Foudrain, Rimsky-Korsakov, Erich J. Wolff, and Gretchaninoff.

November 13-14, 1942. Wrote Sylvia Streetor Recitalist (review).

November 20, 1942. New York, Carnegie Chamber Hall. Attende concert by the Welsh Women’s Chorus, conducted by Llewellyn Roberts, with traditional airs of the British Isles; Mary Elizabeth Davies, harpist and assisting soloist, performed music by Verdalle, Tournier, Bierné and a group of arrangements of Welsh songs.

November 20-21, 1942. Wrote Welsh Women’s Chorus in 5th Annual Concert (review).

December 6, 1942. New York, Dance Theatre of the YMHA (“92nd Street Y”). Gave first performance of And the Earth Shall Bear Again, to Valerie Bettis’s dance; joint dance recital with Erick Hawkins and Sybil Shearer (Martin, J. 1942).

Late 1942-1943. New York. Composed Four Dances, completing the first December 7, 1942; the second December 18, 1942; the third December 19, 1942; and the fourth January 3, 1943.

December 24, 1942. New York. Completed Primitive.

December 26, 1942. New York. Completed In the Name of the Holocaust.

Late 1942. Composed Shimmera.

Presumably late 1942 or early 1943. New York. Composed A Chant with Claps.

1943. New York. Composed Our Spring Will Come, A Room and She Is Asleep.

January-February 1943. New York. Composed Amores.

January 16, 1943. New York, Central High School of Needle Trades (225 West 24th Street), Students’ Dance Recitals. During dance recital of Hanya Holm and Company, first performance (unknown performers with Paul Aron, piano, and Vivian Bower, voice) of Four Dances to A Suite of Four Dances by Hanya Holm (J.B. 1943).

January 20-22, 1943. New York, Studio Theatre (evenings), presented by Dance Observer. In shared dance recital with Lee Sherman and Beatrice Seckler, Marie Marchowsky and Group, and Welland Lathrop and Group, Florence Weber gave first performances of Lidice to Marie Marchowsky’s There Will Be Tomorrow (G.W.B. 1943).

February 7, 1943. New York, Museum of Modern Art (11 West 53rd Street), Auditorium, presented in association with the League of Composers. Gave first performance of Amores with Xenia Cage and Merce Cunningham; also conducted ensemble consisting of Mary Anthony, Xenia Cage, David Campbell, Jean Campbell, Arthur Christie, Merce Cunningham, Renata Garve, Molly Howe, Cecil Kitcat, Helen Lanfer, Edward McLean, Joan Palmer; Ruth Stuber Jeanne, marimba; performances of First Construction (in Metal) and Imaginary Landscape No. 3, as well as works by Lou Harrison, Counterdance in the Spring and Canticle; Henry Cowell, Ostinato Pianissimo (premiere); Jose Ardévol, Preludio a 11 (premiere); and Amadeo Roldán, Ritmicas V and VI; interviewed by Time; during rehearsals for this concert renewed the acquaintanceship with Virgil Thomson (Bagar 1943; Bowles 1943b; Brooklyn Eagle 1943; Dunn 1962, 33, 35, 36; Fuller, D. 1943; H. S. 1943; Kostelanetz 1970d, illustrations 6-16; Life 1943; Montclair Times 1943; New 1943a; Reis 1942; Straus 1943b; Thompson, O. 1943a; Thompson, O. 1943b; Time 1943).

Prior to February 14, 1943. Composed Ad Lib.

February 14, 1943. Chicago, Illinois, Arts Club of Chicago. Performed with Merce Cunningham and Jean Erdman: first performances of Ad Lib, In the Name of the Holocaust, Shimmera; performed Credo in Us, with Xenia Cage, Gretchen Schoeninger and Stuart Lloyd, Totem Ancestor, and, with Edna May Charles (contralto) and Xenia Cage, Forever and Sunsmell (Dunn 1962, 18, 21, 35; Smith, Cecil 1943).

February 14, 1943. New York, YMHA (Lexington Avenue and 92nd Street), Five Dancers, Dance Theatre Series: Iris Mabry dances to music by Cage and others: Bitter Cycle.

March 5, 1943. New York, Carnegie Chamber Music Hall. Janet Fairbank, soprano; Carl [or Karl] Kritz, piano, gave first performance of The Wonderful Widow of Eighteen Springs and performances of music by Ernest Bacon, Paul Bowles, Theodore Chanler, Paul Creston, David Diamond, Mary Howe, Harry K. Lamont, Charles Naginski, John Sacco, Virgil Thomson, David Van Vactor, and Béla Wilda (Berger, A.V. 1943; Bohm 1943; Dunn 1962, 22 [error]; Mills, C. 1944; Musical America 1943; Musical Courier 1943; New York World-Telegram 1943; Straus 1943a).

March 14, 1943 (afternoon). New York, New York Public Library, Room 213, League of Composers. Performed with Janet Fairbank: The Wonderful Widow of Eighteen Springs in program with music by Elliott Carter, Vincent Persichetti, Beatrice Laufer, Lukas Foss, Van Vactor, Wilda, Bacon, Bricker, Leonard Bernstein (Bowles 1943a).

July 1943. Amores published by Henry Cowell’s “New Music” series, constituting Cage’s first published composition (Thomson 1947a).

Presumably late 1943. Chicago, Illinois. Composed Triple-Paced (First Version).

Winter 1943-1944. New York. Composed The Perilous Night.

1944. New York. Composed Prelude for Meditation and The Unavailable Memory of.

March 8, 1944 (evening). New York, Y.M.H.A (Lexington Avenue at 92nd Street), Kaufman Lounge. Participated in first of a series of Panels on the Dance, “Composers and the Dance,” with Norman Lloyd, Bernardo Segall, and Paul Nordoff, chaired by Louis Horst.

Prior to April 5, 1944. New York. Composed Root of an Unfocus and Spontaneous Earth, and Triple-Paced Second Version).

April 5, 1944 (evening). New York, Studio Theatre (108 West 16th Street, former Humphrey-Weidman Theatre). Performed with Juanita Hall (mezzo soprano), Robert Fizdale, Karl Kritz, and Stanley Lock (percussion) and Merce Cunningham (first recital jointly given by Cage and Cunningham, the latter’s debut solo recital): Meditation to Tossed As It Is Untroubled (first performance), Root of an Unfocus (first performance), Spontaneous Earth (first performance), Totem Ancestor, Triple-Paced (Second Version) to Triple-Paced (possibly first performance), The Unavailable Memory of (first performance); also concert performances of Amores (with Fizdale, Kritz, Lock), The Perilous Night (first performance), Duet from She Is Asleep (with Hall, first performance), and The Wonderful Widow of Eighteen Springs (with Hall) (Beiswanger 1944; Cunningham 1982a, 173-174; Denby 1944; Dunn 1962, 16, 17, 21, 22; Harrison, L. 1944; Sabin 1944; Tomkins 1965a, 97).

April 23, 1944. New York, 92d Street Y. Sarah Malament (piano) and Langston Hughes (recitation of his poem) performed Our Spring Will Come (presumably first performance) to Pearl Primus’s identically titled dance.

May-August 1944. New York. Composed A Book of Music, written for Robert Fizdale (1920-1995) and Arthur Gold (1917-1990). With Three Dances, it was the first commission Cage received from professional performers.

June 16, 1944. Signed a contract with the American Composers Alliance.

Summer 1944. Port Jefferson, New York. Appeared briefly in Maya Deren (Eleanora Derenkowsky, 1917-1961), At Land [films] (Clark, V.A., Hodson, and Neiman 1988).

July 1944. New York. Completed A Valentine out of Season.

August 22, 1944 or earlier. New York. Composed Four Walls.

August 22, 1944. Steamboat Springs, Colorado, Perry Mansfield Theatre, Perry Mansfield Dance Camp. Unidentified pianist and singer gave first performance of Four Walls, music to a dance play by Merce Cunningham (Cunningham 1982a, 174-175).

November-December 1944 or earlier. New York: wrote review, Summer Music: The Parks.

November 1944 or earlier. Wrote article, “Grace and Clarity.”

Prior to November 20, 1944. New York. Arranged first movement of Erik Satie, Socrate for piano.

November 20, 1944 (afternoon). Richmond, Virginia, Women’s Club. Performed with Merce Cunningham: Erik Satie, Socrate [arrangement of first movement by Cage, presumably for piano solo] to Idyllic Song (first performance), Root of an Unfocus, Spontaneous Earth, Totem Ancestor, Tossed As It Is Untroubled (Quinn 1944).

December 1944. New York. Composed Three Dances.

Prior to December 12, 1944 (late 1943?). New York. Composed Chess Pieces (music).

Prior to December 12, 1944 (late 1943?). New York. Made Chess Piece (artwork).

December 12, 1944. New York, Julian Levy Gallery (47 East 57th Street). Vernissage of group exhibition, “The Imagery of Chess” (Marcel Duchamp and Max Ernst), to which Cage contributed both Chess Pieces (artwork) and Chess Pieces (music).

Circa 1944-1945. New York. With Henry Cowell, Lou Harrison, and Virgil Thomson composed Party Pieces.

1944-1945. New York. Composed Mysterious Adventure and Soliloquy.

1945. New York. Cage and Xenia separated and shortly afterwards divorced. Moved to 550 Hudson Street (around June, then still with Xenia), then to Sutton Place, then to 134 [or 326?] Monroe Street at Grand Street. Cage’s supposed sexual reorientation in these years seems doubtful in light of what appears to be a rather consistent pattern of bisexual behavior throughout his life, although from these years on he established a lifelong personal and artistic relationship with choreographer Merce Cunningham (Glamour 1945; Lederman 1982/1982, 152-153).

1945 or earlier. Composed Thin Cry (choreography Yuriko).

1945. New York. Thin Cry (choreography Yuriko) first performed.

January 9, 1945 (evening). New York, Hunter College, Hunter Playhouse (68th Street between Park and Lexington Avenues). Performed with Maro Ajemian and Merce Cunningham: Experiences No. 1 (first performance); Meditation; Mysterious Adventure (first performance); Root of an Unfocus; Soliloquy (solo from Four Walls, first performance); Spontaneous Earth; Tossed As It Is Untroubled; Totem Ancestor; Triple-Paced; The Unavailable Memory of; Erik Satie, Socrate, first movement (arrangement for two pianos by Cage) to Idyllic Song (Barlow, S.L.M. 1945; Dunn 1962, 11, 16 [error], 17, 18).

January 21, 1945 (afternoon). New York, New School for Social Research (66 West 12th Street), Auditorium. Performed The Perilous Night; Robert Fizdale and Arthur Gold made their New York debut with first performances of A Book of Music and of the original version of Three Dances; interviewed by Frank Vreeland (Cage 1973d; Dunn 1962, 17, 19, 20; Harrison, L. 1945; Thomson 1945; Vreeland 1945).

Prior to February 4, 1945. New York. Composed Daughters of the Lonesome Isle.

February 4, 1945. New York, 92d Street Y. Gave first performance (presumably) of Daughters of the Lonesome Isle.

Presumably prior to April 29, 1945. Composed The Feast.

April 29, 1945. New York, YMHA, Theresa L. Kaufmann auditorium. First performance (presumably) of The Feast.

May 19, 1945. New York, National Theatre. Performed with Merce Cunningham: Mysterious Adventure (Dunn 1962, 17).

October 1945. New York. Revised and completed Three Dances, begun December 1944 (Cage 1973d).

Before December 24, 1945. Interviewed by Kurt List (List 1945).

Prior to December 27, 1945. Composed Ophelia.

December 27, 1945. New York, New York Times Hall. Performed with Jean Erdman: first performance of Ophelia.

December 28, 1945. New York, New York Times Hall. Performed with Valerie Bettis, Pearl Primus: Daughters of the Lonesome Isle; Forever and Sunsmell.

Between 1946-1956. Participated in Composers Forum (Downes 1956).

Circa 1946. New York: consulted psychoanalyst (Cage/Raymond and Roberts 1980, 8).

Circa 1946. New York. Moved to 326 Monroe Street (Harper’s Bazaar 1952).

February 1946-March 1948. New York. Composed Sonatas and Interludes. Cage’s sources for his reception of rasa theory were Ananda K. Coomaraswamy, The Dance of Shiva: Essays on Indian Art and Culture (London: Simpkin, Marshall, Hamilton, Kent, and Co., 1924) and Coomaraswamy, The Transformation of Nature in Art (Cambridge, Massachusetts: Harvard University Press, 1934).

February 15, 1946. New York, Town Hall. Arthur Gold and Robert Fizdale performed first of Three Dances (pianos prepared by Cage) in recital with music by Johann Christian Bach, Paul Bowles, Alexei Haieff, Vittorio Rieti, Erik Satie, Igor Stravinsky, and Virgil Thomson (Dunn 1962, 20; Taubman 1946; Thomson 1946d).

February 27, 1946. Bronxville, New York, Sarah Lawrence College. Performed with Jean Erdman: Daughters of the Lonesome Isle, and Ophelia to Ophelia (Erdman); and with Xenia Cage (percussion) and Vivian Bower (mezzo soprano) performed Forever and Sunsmell (Dunn 1962, 9, 16, 21).

Prior to March 1946. Interviewed by Doris M. Hering (Hering 1946).

Prior to March 24, 1946. New York. Interviewed for PM’s Sunday Picture News (PM’s Sunday Picture News 1946).

Prior to April 5 or 12, 1946. Composed Foreboding.

April 5 or 12, 1946. New York, Times Hall. First performance of Foreboding to Foreboding by Nina Fonaroff (performer unknown).

April 14, 1946 (afternoon). New York, Town Hall. Maro Ajemian gave first partial performance of Sonatas and Interludes (Sonatas 1-4), presented as Four Sonatas, in program with music by Ludwig van Beethoven, Robert Schumann, Fryderyk Chopin, Alan Hovhaness, Richard Yardumian, Paul Bowles, and Aram Khatchaturian (Dunn 1962, 18; Straus 1946; Thomson 1946a).

May 1946. Pittsburgh, Pennsylvania. Composed Prelude for Six Instruments in A Minor.

Prior to May 12, 1946. Composed Encounter.

May 12, 1946 (evening). New York, Hunter College Playhouse (68th Street between Park and Lexington Avenues). Performed with Maro Ajemian, Merce Cunningham, Katherine Litz, Winkie Bosler, and others in a program of dances: John Krell (flute), Phil Fisher (trumpet in B flat), Fowler Friedlander (bassoon), Cage or Maro Ajemian (piano), Anahid Ajemian (violin), and Margaret Beck (violoncello) performed Prelude for Six Instruments in A Minor (without dance, first performance); performed Encounter (first performance); Experiences No. 1 (with Maro Ajemian) and Livingston Gearhart [sic], Experiences No. 2; The Encounter; Root of an Unfocus; Tossed as it is Untroubled; Totem Ancestor; Baby Dodds, drum improvisation to ‘Fast Blues’; Alexei Haieff, ‘The Princess Zondilda and Her Entourage’ (conducted by Alexei Haieff, with Bosler as the Princess and Litz and Cunningham as courtiers); Alan Hovhaness (1911-2000), Invocation to Vahakn; Erik Satie, Socrate (first movement in an arrangement for two pianos by Cage) to Idyllic Song (Dunn 1962, 11, 16, 17, 18; Terry, W. 1946).

Summer 1946. Pittsburgh, Pennsylvania, 5851 Forbes Street. Residency. Taught, composed, gave lecture recitals; interviewed by Sam Hood prior to June 23 (Hood 1946).

Prior to June 1946. Interviewed by Junior Harper’s Bazaar (Junior Harper’s Bazaar 1946).

June 16, 1946. Pittsburgh, Pennsylvania. Performed with Merce Cunningham.

June 25, 1946. Pittsburgh, Pennsylvania, Pittsburgh Playhouse (222 Craft Avenue), presented by Genevieve Jones. Performed with Henry Mazer and Merce Cunningham: Tossed as it is Untroubled, Root of an Unfocus, Spontaneous Earth, Totem Ancestor, Triple-Paced, The Unavailable Memory of, Erik Satie, Socrate (first movement) to Idyllic Song, Livingston Geerhaert, Experiences, and Alan Hovhannes, Invocation to Vahakn (Dunn 1962, 11 [error], 16, 17, 18; Lissfelt 1946).

July 1946. Composed first of Two Pieces for Piano (1946).

May-August 1946. Composed second of Two Pieces for Piano (1946).

August-December 1946. New York. Cage and Geeta [Gita] Sarabhai [not to be confused with Gira, her sister], an Indian musician, exchanged their respective knowledge of Western and Indian music and aesthetics. Sarabhai’s farewell present to Cage was an English translation of Mahendranath Gupta, The Gospel of Sri Ramakrishna (New York: Ramakrishna-Vivekananda Center, 1942); Cage also read Aldous Huxley, The Perennial Philosophy (New York: Harper and Brothers, 1945), and Carl Jung, The Integration of the Personality, trans. Stanley M. Dell (London: Kegan Paul, Trency, Trubner, 1940) at the time (Cage 1970e; 91c; Cage/Boenders 1980, 210; Patterson, D.W. 1996, 112; Tomkins 1965a, 98-99).

December 7-8, 1946 (evenings). New York, Studio Theatre (108 West 16th Street). In dance program of Jean Erdman, assisted by Natanya Neumann and Elizabeth Sherbon, Raymond Sachse (piano), Adrienne Auerswald (singer), Merton Brown (percussion) performed Forever and Sunsmell, Daughters of the Lonesome Isle, and Ophelia.

December 10-11, 1946. New York, Carnegie Chamber Music Hall. Maro Ajemian and William Masselos gave first performances of Three Dances (revised version) and performed A Book of Music; Ajemian performed from Sonatas and Interludes, presented as Four Sonatas (Bloom 1947, 128-129; Dearborn 1946; Dunn 1962, 18, 19, 20; Finkelstein 1947; Goldstein, S. 1947; Hague 1946; Harrison, L. 1946; Montclair Times 1946; Parmenter 1946; Simon, R.A. 1946).

December 14-15, 1946 (evenings). New York, Studio Theatre (108 West 16th Street). In dance program of Nina Fonaroff and Company, Louis Horst, Ralph Gilbert or Ernest Lubin performed The Feast.

1947. New York. Composed Music for Marcel Duchamp.

1947. Lou Harrison suffered a nervous breakdown and was hospitalized. Cage requested Charles Ives to help with the hospital expenses (Ives 1987).

January 1947. Due to rising production costs, the periodical, Modern Music, discontinued publication (Downes 1947).

January-April. New York. Composed The Seasons.

February 1947. New York. Completed piano reduction of The Seasons.

February 15, 1947 (4:30-4:55 pm). New York, WNYC, American Music Festival. Broadcast of music by John Cage performed by Maro Ajemian.

April 15, 1947. Corvallis, Oregon, Corvallis High School, Auditorium, organized by Oregon State College. Dorris Dennison, piano, performed with the Van Tuyl-Lauer Dance Group: Paul Hindemith, Erik Satie, Henry Cowell, and Cage [unknown composition]; program repeated at the University of Oregon; Reed College; University of Washington; Western Washington College at Bellingham; Seattle, Washington (April 20); lecture-demonstration at the Pre-Convention Dance Conference, in connection with the Annual Convention of the American Association of Health, Physical Education, and Recreation (Thompson, B.L. 1947).

April 20, 1947. New York, New School for Social Research (66 West 12th Street), Music of Today, presented by New Music Society. In shared program with Edgard Varèse conducting Choral Group, Maro Ajemian and William Masselos, pianos, and Percussion Group consisting of Josephine Cnare, Pompy Dobson, Daniel Epstein, Albertt Mockler, and Mimi Wallner, Radiana Pazmor (contralto) and Ernest Lubin (piano) performed The Wonderful Widow of Eighteen Springs and “Duet” from She Is Asleep; music by Alban Berg, [?] Brown, Hovhaness, Lubin, Powers, Ruggles, Varèse, Webern, Wigglesworth (first performances, Berg and Webern first New York performances), Apostel, Bartók, Cage, Kerr, Luening (Bloom 1947, 332 [error]; Dunn 1962, 21, 22; Thomson 1947c).

Prior to May 18, 1947. Wrote [Untitled], program note on The Seasons.

May 18, 1947 (evening). New York, Ziegfield Theatre. In program shared with dances by Lew Christensen and John Taras, Ballet Society Orchestra, Leon Barzin, conductor, gave first performance of The Seasons, to Merce Cunningham’s The Seasons; decors and scenery by Isamu Noguchi (Berger, A.V. 1947; Dunn 1962, 33 [error]; Terry, W. 1947; Thomson 1948).

May 25, 1947. Pittsburgh, Pennsylvania, Outlines (230 Oliver Avenue). Arranged lecture-concert, lectured on “modern chromatic music”; William Masselos performed Merton Brown, Cantabile; Lou Harrison, Trio for Keyboard; Ben Weber, Three Pieces; Sara Marie Gugalo, Eugene Eicher, Eugene Phillips performed Anton Webern, String Trio, Opus 20; Masselos performed Anton Webern, Variationen, Opus 27; Arnold Schoenberg, Sechs kleine Klavierstücke, Op. 19; Carl Ruggles, Four Evocations.

September 18, 1947 (Thursday afternoons). New York, Matty Haim’s Studio, A School of the Dance for Nurturing Creative Work and Creative Thinking (411 Fourth Avenue). Began conducting introductory course, “Dance in Relation to Music.”

Prior to October 23, 1947. Composed Nocturne.

October 23, 1947 (evening). New York, Town Hall (113-123 West 43rd Street). Anahid Ajemian, violin (Maro Ajemian’s sister) and Philip Fradkin, piano [replacing the announced Eleanor Gough] gave first performance of Nocturne (announced as Duet) in shared program with music by Johann Sebastian Bach, Alan Hovhaness, Wallingford Riegger, Camille Saint-Saëns, Erik Satie, William Walton, and Anton Webern (Bohm 1947a; C.H. 1947; Dunn 1962, 23; Patterson, D.W. 1996, 294).

Prior to November 22, 1947. Wrote [Untitled], program note for a piano recital by William Masselos.

December 14, 1947 (evening). New York, Hunter College, Hunter Playhouse (68th Street). Performed with Lou Harrison, Merce Cunningham and group: Mysterious Adventure and Root of an Unfocus; Maro Ajemian and William Masselos performed Three Dances to Dromenon (Cunningham with six dancers); Lou Harrison conducted ad hoc ensemble (Roma Ball, flute; Raymond Ojeda, bassoon; Phil Shapiro, trumpet; Anahid Ajemian, violin; Nellis Delay, violoncello; Maro Ajemian, piano) in Alexei Haieff, The Princess Zondilda and Her Entourage (music by Alexei Haieff, Cunningham with two dancers) and The Open Road (music Harrison) (Dunn 1962, 17, 20).

Winter 1947. New York. With Robert Motherwell (1915-1991), Pierre Chereau, and Harold Rosenberg, edited art and literary magazine, Possibilities, through its one-issue life (Snyder, E.J. 1970a, 38; Rossum 1988, 36).

1948. William Masselos recorded Music for Marcel Duchamp for the film Dreams That Money Can Buy by Hans Richter (A. D. 1949; Applebaum 1948; Dunn 1962, 16).

January 24, 1948 (evening). New York, Columbia University, McMillin Theater (Broadway and 116th Street), Fourth Composers’ Forum. In program shared with Jacob Avshalomoff, Maro Ajemian performed eight sonatas and four interludes from Sonatas and Interludes, followed by discussion with the audience, moderated by Virgil Thomson (Berger, A.V. 1948; New York Herald Tribune 1948).

February 27-29, 1948. Poughkeepsie, New York, Vassar College, National Inter-Collegiate Arts Conference, The Creative Arts in Contemporary Society. Attended; at Art and Music Panel, shared with painter Ben Shahn, gave address, A Composer’s Confessions (February 28, afternoon, Ely Hall, Aula), followed by student discussion group (Students’ Building, Old Council Room); Merce Cunningham gave address at Dance-Drama Panel (February 28, morning, Ely Hall, Aula); summary and discussion (February 29, morning, Ely Hall, Aula) (Cage 1991c; DeCamp 1948; Thorsch 1948).

March 22, 1948. New York, City Center, presented by Ballet Society. In shared program with choreographies by Todd Bolender (music by Samuel Barber) and George Balanchine (music by Georges Bizet) and music by Arthur Berger, The Seasons (orchestra) to Merce Cunningham, The Seasons performed (Leon Barzin, musical director); production repeated from previous season (Dunn 1962, 33, 54; Frankenstein 1948; Martin, J. 1947a; Terry, W. 1948).

Prior to March 25, 1948. Interviewed by Montclair Times (Montclair Times 1948).

April 3-8, 1948. Black Mountain, North Carolina, Black Mountain College (Joseph Albers, director of art Department). First visit; performed music to dances by Merce Cunningham; gave first complete performance of Sonatas and Interludes (April 6) (Duberman 1972; Dunn 1962, 18; Vaughan 1997, 46).

Prior to April 21, 1948. New York. Composed Experiences No. 2.

April 1948. Los Angeles, California, Evenings on the Roof. Performed Sonatas and Interludes (Yates 1948).

April 21, 1948. Los Angeles, California, University of California, Pacific Coast Dance Festival, presented by the Committee on Drama, Lectures, and Music and the Department of Physical Education. Performed with Merce Cunningham: Experiences No. 2 (presumably first performance, vocalized), Mysterious Adventure, Root of an Unfocus, Tossed as It Is Untroubled, Totem Ancestor; Lou Harrison, The Open Road; Alan Hovhaness, Invocation to Vahakn; Erik Satie, first movement of Socrate (arranged for solo piano [sic]) to Idyllic Song (Vaughan 1997, 286).

April 23, 1948. Claremont, California, Pomona College. Performed with Merce Cunningham (six dances); also performed part of Sonatas and Interludes.

Presumably prior to May 7, 1948. New York. Composed Dream.

May 7-9, 1948. Columbia, Missouri, Stephens College, New Arts Week End. Visited with Maya Deren, Merce Cunningham; four films by Deren shown: At Land, Meshes in the Afternoon, A Study in Choreography, Ritual in Transfigured Time (May 7, evening, Auditorium); performed Sonatas and Interludes (May 8, afternoon, Auditorium); performed with Merce Cunningham; gave first performance of Dream to Dream (May 8, evening, Auditorium) [according to M.E. Harris 1987 the original music for Dream was not by Cage; Vaughan 1997 contradicts this]; “The Experimental Arts in Contemporary Society,” lecture by John Malcolm Brinnin, who moderated the weekend as well as the concluding discussion (May 9, afternoon, Lela Raney Wood Parlors) (Dunn 1962, 18; Harris, M. E. 1987, 156; Stephens Life 1948; Vaughan 1997, 46).

July 1-August 25, 1948. Black Mountain, North Carolina, Black Mountain College. Second visit; taught, performed, and organized a twenty-five concert festival devoted to the music of Erik Satie, including a performance of his play, Le piège de Méduse (The Ruse of Medusa, 1913); performed the “toutes petites danses” as “Monkey Dances,” choreographed and danced by Merce Cunningham, on ‘prepared’ piano, following Satie’s practice (Orledge 1990b, 298); cast included Richard Buckminster Fuller (1895-1983) and Elaine de Kooning (August 14) (Cage had made the acquaintance with Buckminster Fuller and Willem and Elaine de Kooning here; also with Arthur Penn and Richard and Louise Lippold); gave various short introductions to Satie’s music; with his lecture, Defense of Satie, he caused controversy (Cage 1970b; Cage 1979c, 96-97; Cage/Kostelanetz 1968[WE]/1970, 24; Duberman 1972; Fitton 1951; Harris, M. E. 1987; Kostelanetz 1970d, 77n; Sieden 1990, 309-312; Snyder, E.J. 1970a, 38).

August 1948. Black Mountain, North Carolina. Composed In a Landscape, Orestes and Suite for Toy Piano.

August 20, 1948. Black Mountain, North Carolina, Black Mountain College. Performed with Merce Cunningham and Louise Lippold: gave first performances of In a Landscape to In a Landscape (with Lippold), Orestes, Suite for Toy Piano to A Diversion and Dream; according to Harris, this performance of Dream was the first to use Cage’s music of the same title; Vaughan contradicts this (Dunn 1962, 7, 8, 11; Harris, M.E. 1987, 156; Vaughan 1997, 46).

December 19, 1948. New York, Carnegie Recital Hall. Gave first known performance of A Valentine out of Season (Dunn 1962, 19).

December 22, 1948. New York, Town Hall. Performed Part I and IV of Amores (Dunn 1962, 33; Sabin 1949).

1949. New York, Artists’ Club: lectured on “Indian Sand Painting or The Picture That Is Valid for One Day” (Sandler 1970, 213).

1949. New York, Hunter College Playhouse: Vivian Bower (mezzo soprano) performed with Merce Cunningham: Experiences No. 2 to Experiences (Dunn 1962, 20).

January 9, 1949. New York, Metropolitan Music School. Performed A Valentine out of Season (Dunn 1962, 19).

January 12-13, 1949. New York, Carnegie Recital Hall. Maro Ajemian performed Sonatas and Interludes; Cage in attendance; interviewed by Cecil Smith (Berger, A.V. 1949a; Dunn 1962, 18; Gelatt 1949; Parmenter 1949; Smith, Cecil 1949; Time 1949).

January 14 and 22, 1949. New York, City Center: New York City Ballet Company, Leon Barzin, musical director, performed The Seasons (orchestra version) to Merce Cunningham, The Seasons; in program with work by Bolender (music by Ravel) and Balanchine (music by Haieff); Cage probably in attendance (Dunn 1962, 33; Time 1949).

January 23, 1949 (afternoon and evening). New York, YM & YWHA, Kaufmann Auditorium (Lexington Avenue and 92nd Street). Unidentief musician performed with Valerie Bettis and Company: And the Earth Shall Bear Again as part of dance program.

January 23, 1949 (evening). New York, Hunter Playhouse (68th Street, between Park and Lexington Ave.). Raymond Sachse performed with Jean Erdman and Dance Company: Daughters of the Lonesome Isle and Ophelia as part of dance program.

February 3, 1949 (afternoon). Winnetka, Illinois, North Shore Country Day School Theatre (310 Green Bay Road), presented by Rondo. Performed with Merce Cunningham: A Diversion; Root of an Unfocus; Tossed As It Is Untroubled; Totem Ancestor; Mysterious Adventure; Dream; Erik Satie, dances from Le piège de Méduse to Monkey Dances; and possibly a new dance choreographed by Sybil Shearer (Wilmette Life 1949).

February 9, 1949. Portland, Oregon, Reed College, Reed College Concert, Theater-Gymnasium. Performed with Merce Cunningham: part I and IV of Amores and A Valentine out of Season (both without dance), Dream, Mysterious Adventure, Root of an Unfocus, Suite for Toy Piano (piano) to A Diversion, Totem Ancestor, and Erik Satie, dances from Le piège de Méduse to Monkey Dances (Dunn 1962, 7, 11, 17, 34).

February 23, 1949. Los Angeles, California, Lester Horton Dance Theater (7566 Melrose Avenue), also sponsored by Evenings on the Roof. Introduced and performed Sonatas and Interludes (B. R. N. 1949; Dunn 1962, 18).

February 24, 1949. Los Angeles, California, University of California at Los Angeles, Royce Hall, Pacific Coast Dance Festival. Performed with Merce Cunningham: Mysterious Adventure, Root of an Unfocus, Totem Ancestor and unknown pieces (Porter, H.P. 1949).

February 26, 1949. San Francisco, California, Marine’s Memorial Theater, presented by the San Francisco Dance League. Performed with Merce Cunningham and Doris Dennison: Dream, Experiences No. 1 (Dennison [not mentioned in program]) to Experiences, Mysterious Adventure, Root of an Unfocus, Suite for Toy Piano (on piano) to A Diversion, and Totem Ancestor; Erik Satie, Le piège de Méduse, “Toutes petites danses” to Monkey Dances (Campbell, F. 1949; Dunn 1962, 7, 11, 17, 18).

February 27, 1949 (afternoon). Oakland, California, Mills College, Concert Hall. Performed Sonatas and Interludes; previously interviewed by Clifford Gessler (Campbell, F. 1949; Dunn 1962, 18; Gessler 1949).

March 6, 1949. New York, Town Hall. Presumably attended concert with music by Alan Hovhaness.

March 9, 1949. Poughkeepsie, New York, Vassar College, Students’ Hall. Performed with Merce Cunningham: Dream [presumably replacing Experiences No. 2]; Mysterious Adventure; Orestes; Root of an Unfocus; Totem Ancestor; Erik Satie, “Toutes petites danses” from Le piège de Méduse to Monkey Dances; question period (Pauly, H. 1949; Pearson and Grant 1949).

March 13, 1949. New Haven, Connecticut, Yale University, Jonathan Edwards College, Common Room. Performed with Merce Cunningham: Dream, Root of an Unfocus, Suite for Toy Piano to A Diversion, Totem Ancestor, and Erik Satie, “Toutes petites danses” from Le piège de Méduse to Monkey Dances, as well as the first half from Sonatas and Interludes (Dunn 1962, 7, 11, 17, 18).

March 20, 1949. New York. Invited by Burgess Meredith (1907-1997) to compose the soundtrack for the film Works of Calder.

March 23, 1949-October 1949. Sailed to Amsterdam with Merce Cunningham. Sojourned in Europe. In April in Paris, made the acquaintance of Pierre Boulez (born 1925), with whom he maintained a lively correspondence until 1954, Serge Nigg (1924-2008), Olivier Messiaen (1908-1992), and painter Ellsworth Kelly (1923); first [heard? saw?***] Boulez’ Second Sonata; continued his studies of Satie. He published Satie’s Vexations, which he found at Henri Sauguet’s private collection, in Contrepoints no. 6 (1949), facing page 8 [repr. in Artnews Annual vol. 27 (1958), 77]; Cunningham gave dance classes in Jacqueline Levant’s studio at the Salle Pleyel; Cage lived in 34 rue St. Louis (Cage 1961h, 270; Cage/Freedman 1976, 6; Campana 1985, 60; Dickinson 1967; Gatti, A. 1949; Kostelanetz 1970d, 17; Snyder, E.J. 1970a, 38).

April 10, 1949. Received a fellowship grant from the John Simon Guggenheim Memorial Foundation ($2,400, for the period of November 1, 1949-October 21, 1950); used the money for a trip to Europe with Merce Cunningham (Look 1949; New York Times 1949a; Snyder, E.J. 1970a, 38).

April 22-30, 1949. Palermo and Taormina, 23rd Festival of the International Society for Contemporary Music. Attended and reviewed, praising Marya Freund and an ensemble directed by Pietro Scarpini, piano, in a performance of Arnold Schoenberg, Pierrot lunaire (April 23, Palermo, Villa Igiea); wrote review, “Contemporary Music Festivals Are Held in Italy” (Campana 1985, 60).

May 4-7, 1949. Milan, First Congress for Dodecaphonic Music. Attended and wrote review, “Contemporary Music Festivals Are Held in Italy” (Campana 1985, 60).

May 13, 1949. Received grant ($1,000) from the National Institute of Arts and Letters for “having extended the boundaries of music[al art] through his work with percussion orchestras and his invention of the prepared piano” (Look 1949; New York Times 1949b; Snyder, E.J. 1970a, 38).

May 14, 1949. New York, Columbia University, McMillin Academic Theater, Fifth Annual Festival of Contemporary American Music (May 9-15), sponsored by the Alice M. Ditson Fund; concert given in collaboration with the American Academy and the National Institute of Arts and Letters, whose annual concert it was. In program shared with music by Louis Mennini, Igor Stravinsky, and Stefan Wolpe, Maro Ajemian performed from Sonatas and Interludes (Sonatas XIII, XIV, XV, and XVI) (Berger, A.V. 1949b; Dunn 1962, 18; Stuckenschmidt 1979, 208-209).

June 7, 1949. Paris, Conservatoire, Salle Gounod, rue de Madrid. Performed from Sonatas and Interludes privately for students of Olivier Messiaen’s class (Boulez/Cage 1990/1993, 5; Cage/Freedman 1976, 6; Campana 1985, 60; Goeyvaerts 1983, 42, 53).

June 10, 1949 (late afternoon). Paris, atelier of Jean Hélion (15 avenue de l’Observatoire), organized by Tanagrit Le Clerq and Betty Nichols. Gave recital of dance and music for prepared piano with Merce Cunningham: part I and IV of Amores to Amores and A Valentine out of Season to Effusions avant l’heure (Vaughan 1997, 288).

June 17, 1949. Paris, salon of Suzanne Tézenas. Introduced by Pierre Boulez, performed Sonatas and Interludes and Bacchanale (Boulez/Cage 1990/1993, 5, 27; Fürst-Heidtmann 1979, 271; Schaeffer 1967, 65).

July 11, 1949 (evening). Paris, Théâtre du Vieux Colombier, Soirée de l’Imprévu, organized by the Club d’Essai de la Radiodiffusion Française. In shared program, performed with Merce Cunningham: part I and IV of Amores to Amores and A Valentine out of Season to Effusions avant l’heure (Boulez/Cage 1990/1993, 5; Dunn 1962, 19; Vaughan 1997, 288).

June 24, 1949. Paris, Salle Gaveau. Robert Fitzdale and Arthur Gold presumably performed Three Dances (Boulez/Cage 1990/1993, 32).

August 1949. Paris. Began composition of String Quartet in Four Parts.

Summer. Aix-en-Provence. Reviewed the Festival of Music devoted to Mozart.

Prior to August 13, 1949. Wrote Music in Aix.

August 20, 1949. New London, Connecticut, Connecticut College, Palmer Auditorium, American Dance Festival. Valerie Bettis and Company, Bernardo Segall, musical director, presented And the Earth Shall Bear Again.

November or December 1949-January 1950. New York. Composed music for Works of Calder.

December 4, 1949. New York: letter to Pierre Boulez (Cage/Boulez 1990, 62-63).

December 17-18, 1949. New York, City Center, New York City Dance Theatre, initial season (December 14-24). Valerie Bettis presented And the Earth Shall Bear Again in shared program (December 17); performed with ad hoc orchestra and Merce Cunningham: conducted Erik Satie, “Monkey Dances” from Le piège de Méduse (The Ruse of Medusa) to The Monkey Dances, and Satie, “Intermezzo Américaine” from La Diva de l’“Empire” (version for brasserie orchestra [flute, clarinet, bassoon, trumpet, trombone, two percussionists, piano, violin, violoncello, and contrabass]; since the instrumentation is not identical with Satie’s, possibly arranged by Cage) to Two Step in shared program (December 18) (Hering 1949; Terry, W. 1949; Vaughan 1997, 53, 288).

Late 1949. Performed Lecture on Nothing (Rossum 1988X, N).

1950. Pierre Boulez, Piano Sonata No. 2 (1947-1948) published by Philippe Heugel at Cage’s intercession.

1950. New York, Artist’s Club (8th Street). Attended meetings started by Robert Motherwell (Snyder, E.J. 1970a, 38).

1950. New York, Artist’s Club (8th Street). Gave Lecture on Nothing (Cage 1959g, [2]; Cage 1961h, ix; Snyder, E.J. 1970a, 38).

January 15, 1950 (evening). New York, Hunter College, Hunter Playhouse (68th Street between Park and Lexington Avenues). Performed with Merce Cunningham (and five dancers): part I and IV of Amores to Amores; Dream to Dream; Suite for Toy Piano (piano) to A Diversion; A Valentine out of Season to Games; conducted ad hoc ensemble (Julius Baker, flute; Dave Weber, clarinet; Leonard Sharron, bassoon; Carmine Fornarotto, trumpet; David Uber, trombone; George Gaber and Carroll Bratman, percussion; Broadus Earle, violin; Seymour Barab, violoncello; Jane Batchelder, contrabass; Maro Ajemian, piano) in Erik Satie, La diva de l’“Empire” to Two Step; in Ben Weber, Ballet, Opus 26 to Pool of Darkness (Baker, Earle, Sharron, Fornarotto, Barab, Ajemian); in Erik Satie, Le piège de Méduse, “Toutes petites danses” to Monkey Dances (Weber, Fornarotto, Uber, Gaber and Bratman, Earle, Barab, Batchelder); Before Dawn (unaccompanied) (Dunn 1962, 7, 11, 19, 34).

January 22, 1950 (evening). New York, Hunter Playhouse (68th Street between Park and Lexington Avenues). In dance program of Jean Erdman and Dance Company, Massimo Bogianckino performed Ophelia to Ophelia (Jean Erdman, solo dance).

January 26 or 27, 1950. New York, Carnegie Hall. After a New York Philharmonic Orchestra performance of Anton Webern’s Symphony, Op. 21, Dmitri Mitropoulos conducting, made the acquaintance of Morton Feldman (1926-1987); through him, also met pianist David Tudor (1926-1996) (Cage/Duckworth 1989, 23-24; Campana 1985, 73; Feldman, M. 1963MORTON; Feldman/Beckett 1966; Tudor/Schonfield 1972, 24).

After January 26, 1950. November 3. WNET-TV, Channel 13, Cage, Lippold, Feldman, Ray Johnson.

After January 26, 1950. New York, Artist’s Club (8th Street). Gave Lecture on Something (Snyder, E.J. 1970a, 38).

February 1950. New York. Completed String Quartet in Four Parts.

February 2, 1950. New York, Town Hall. Performed part I and IV of Amores (Dunn 1962, 33).

February 8, 1950. New York, Town Hall (113-123 West 43rd Street), Town Hall Short Courses, presented by Juilliard School of Music. Performed part I and IV of Amores, suite from Works of Calder and A Valentine out of Season as guest artist (with Henry Cowell) in Robert Tangeman’s course “Contemporary American Music” (Dunn 1962, 19).

March 7, 1950. New York, Carnegie Recital Hall. Maro Ajemian performed Sonatas and Interludes; Cage in attendance (Montclair Times 1950; Perkins 1950; Schonberg 1950).

March 10, 1950. Sweet Briar, Virginia, Sweet Briar College, Daisy Williams Gymnasium, Symposium on the Arts (March 9-12). Performed with Merce Cunningham in dance recital with Sweet Briar Dance Groups (evening); Cunningham previously had given dance demonstration (late afternoon).

April 1950. New York. Composed Six Melodies.

April 1950. New York. Through Grete Sultan, made the acquaintance with Christian Wolff (1934), who studied with him for a while (Wolff/Patterson 1994).

April 26, 1950. Philadelphia, Pennsylvania, Plays and Players Auditorium. Performed with Merce Cunningham: Dream, Root of an Unfocus, Suite for Toy Piano (on piano), Totem Ancestor, and A Valentine out of Season, as music to the dances, Games, respectively (Dunn 1962, 7, 11, 17, 18, 19).

May 1, 1950. Minneapolis, Minnesota. Ensemble from Northwest Sinfonietta, Henry Denecke, conductor, performed Imaginary Landscape No. 3 (Dunn 1962, 36).

May 14, 1950 (afternoon). New York, Young Men’s and Young Women’s Hebrew Association, Theresa L. Kaufmann Concert Hall, Auditorium (Lexington Avenue and 92nd Street), Dance Theatre Subscription Series 1949-1950. Performed with Merce Cunningham: Root of an Unfocus; Totem Ancestor; Before Dawn (silent); Lou Harrison, The Open Road; Erik Satie, Le piège de Méduse, “Toutes petites danses” to Monkey Dances (piano version), in program shared with Valerie Bettis and Company.

June 1950. New York. Composed A Flower.

July 2, 1950. Letter to Pierre Boulez (Boulez/Cage 1990, 110).

July 26, 1950. Letter to Pierre Boulez (Boulez/Cage 1990, 111-112).

July-August 1950. New York. Composed First Part of Concerto for Prepared Piano and Chamber Orchestra.

August 12, 1950. Black Mountain, North Carolina, Black Mountain College. Summer Session String Quartet (Vollmer Hetherington and Robert Brink violins; Eleftherios Eleftherakis, viola; Arthur Fielder, violoncello) gave first performance of String Quartet in Four Parts and performed Ernst Toch, Quartet, Opus 70 (Dunn 1962, 24).

August 12-13, 1950. New London, Connecticut, Connecticut College for Women, Palmer Auditorium, American Dance Festival (August 4-6, 11-13, 18-20). In program shared with Katherine Litz, performed with Merce Cunningham: Root of an Unfocus, Totem Ancestor; Erik Satie, La diva de l’“Empire” to Two Step; Satie, dances from Le piège de Méduse to Monkey Dances; and Before Dawn (without music); Tossed as It Is Untroubled (August 13) (Dunn 1962, 16, 17, 18; N. K. 1950).

1950. Completed first of Haikus for piano: CHECK SPECIFY 2. (What stillness!). 9 measures; 3. The green frog’s voice. 9 measures; 4. The river Plurabelle. 9 measures; 5. Haiku (5). 9 measures; 6. Haiku (6). Composed in 1950 and 1951 in New York; completed on 5 March 1951 (2), 6 March 1951 (3), 8 March 1951 (4), 16 March 1951 (5), [no date; perhaps CHECK AFTER 16 March] (6) in New York.

October 3, 1950. New York. Completed Second Part of Concerto for Prepared Piano and Chamber Orchestra.

October 5, 1950. New York. Completed first of Haikus.

Prior to November 1950. New York. Interviewed by House & Garden (House & Garden 1950).

November 26, 1950. New York, Young Men’s and Young Women’s Hebrew Association (Lexington Avenue at 92 Street), Theresa L. Kaufmann Auditorium, Dance Theatre Subscription Series. Performed with Merce Cunningham, Jean Erdman, and David Tudor: Suite for Toy Piano to A Diversion; A Valentine out of Season to Games; Tossed As It Is Untroubled (Cage and Cunningham); Erik Satie, Ragtime-Parade and Waltz; in program shared with Jean Erdman and Katherine Litz and their companies: Ophelia (Tudor, Erdman); Daughters of the Lonesome Isle (Erdman) (Dunn 1962, 9, 11, 16, 19).

December 17, 1950. New York, Carnegie Recital Hall (154 West 57th Street), An Evening of First Performances and Revivals, presented by the League of Composers. In shared program with music by Robert W. Moevs, William Schuman, and Arthur Berger (performed by others), David Tudor performed Pierre Boulez, Deuxième sonate; Cage in attendance; Cage wrote [untitled] program note (Harman, C. 1950; Tudor/Schonfield 1972).

December 18, 1950. New York. Letter to Pierre Boulez (Boulez/Cage 1990, 122-125).

1950-1951. In the course of composing the Concerto for Prepared Piano and Chamber Orchestra and Sixteen Dances, received a copy of the ancient Chinese book of divination I Ching (an English translation published in 1950). Although he had known the book as early as the mid-1930s, owing to the renewed acquaintance Cage “was struck immediately by the possibility of using the I Ching as a means for answering questions that had to do with numbers” (Cage 1988cTOKYO, 7).

Prior to or during 1951. Wrote Unfortunate Comment on Our Musical “Life,” That Everybody’s Interested in [text].

January 17, 1951. Millbrook, New York, Bennett Junior College. Performed with Merce Cunningham and Dance Company (Dorothy Berea, Mili Churchill, Anneliese Widman): Sixteen Dances (piano version) (first performance) to Sixteen Dances for Soloist and Company of 3 (Dunn 1962, 28).

January 21, 1951 (evening). New York, Hunter College, Playhouse (East 68th Street between Park and Lexington Avenues). Martin Orenstein, flute; Carmine Fonaratto, trumpet; George Baber, Carroll C. Bratman, Arthur Press, Ronald Gould, percussion; Maro Ajemian, piano; Anahid Ajemian, violin; Seymour Barab, violoncello; Merce Cunningham and Dance Company (Dorothy Berea, Mili Churchill, Anneliese Widman) performed Sixteen Dances to Sixteen Dances for Soloist and Company of 3 (first performance of ensemble version); Cage conducted; costumes and properties by Eleanor De Vito, John Cage, Remy Charlip, and Merce Cunningham; also concert performances of Morton Feldman, Projection 2 and Christian Wolff, Trio; according to announcements, but not in program, Louise Lippold, guest artist, danced Snake (silent) and A Flower; presumably interviewed by Arthur V. Berger (Berger, A.V. 1951b; N.K. 1951b; Terry, W. 1951).

January 28, 1951 (evening). New York, Hunter College, Playhouse (68th Street between Park and Lexington Avenues). In dance program of Jean Erdman and Company, Ophelia to Ophelia performed, presumably by Jack Maxin (Jean Erdman, solo dance) (N.K. 1951a).

February 1951. New York. Completed Third Part of Concerto for Prepared Piano and Chamber Orchestra.

February 28, 1951. New York, Town Hall (113-123 West 43rd Street), Town Hall Short Courses, presented by Juilliard School of Music. Performed selections from Sixteen Dances (piano reduction) and A Valentine out of Season as guest artist in Robert Tangeman’s course “Contemporary Music” (Dunn 1962, 19).

Spring-December 1951. New York. Composed Music of Changes. The wish not to be impeded by economic considerations during the time-consuming compositional process led Cage to form a company by selling shares in the earnings he would make with the work.

March 1951. New York, Columbia University. Daisetz Teitaro Suzuki (1870-1966) delivered three lectures on Zen Buddhism. Shortly therafter he returned to Japan, not to be appointed by the university until the Spring of 1952 (until 1958). It is unclear whether Cage, who recalled having attended Suzuki’s lectures for at least two years, was in the audience in March. Accounts from fellow auditors verify his attendance at least in the Spring and Fall of 1952 (Patterson, D.W. 1996, 141-144).

March 1951 or later. Since Lecture on Nothing was influenced by Suzuki’s lectures, it must date from March 1951 or later (Cage 1961h, ix).

March 5, 1951. New York. Completed second of Haikus.

March 6, 1951. New York. Completed third of Haikus.

March 8, 1951. New York. Completed fourth of Haikus.

March 13, 1951. Hartford, Connecticut, Julius Hartt School of Music, Auditorium, Institute of Contemporary American Music, Maxim Schapiro, Chairman, Third Season, Fifth Evening, organized by the Julius Hartt Musical Foundation, Moshe Paranov, Director. Attended as guest composer; performed a selection (five sonatas and one interlude) from Sonatas and Interludes (substituting the first performance of the Concerto for Prepared Piano and Chamber Orchestra performed by Cage with the Hartt Chamber Orchestra, Moshe Paranov, conductor, originally announced), and The Wonderful Widow of Eighteen Springs with Jacquelynne Moody (soprano), substituting Helen Hubbard (contralto); Hartt Quartet: Bela Urban and William Hilligan, substituting Margaret Scafarello (violins), Rose Kleman (viola), and Dorothy Fidlar, substituting Seymour Benstock (violoncello) performed String Quartet in Four Parts; lectured on “The Reason for Modern Music” (presumably identical with “Forerunners of Modern Music”), followed by forum; interviewed by Evans Clinchy (Clinchy 1951; Dunn 1962, 22, 24; Pritchett 1988a, 35-36).

March 16, 1951. New York. Completed fifth of Haikus.

Presumably after March 16, 1951. New York. Completed sixth of Haikus.

March 31, 1951. New York, Columbia University, McMillin Theater (Broadway at 116th Street). New Music String Quartet (Broadus Erle, Matthew Raimondi, violins; Walter Trampler, viola; Claus Adam, violoncello) performed String Quartet in Four Parts as well as music by Wallingford Riegger and Alban Berg (A.B. 1951; Dunn 1962, 24; Glanville-Hicks 1951).

April 5, 1951. Montclair, New Jersey. Montclair Public Library broadcast ten-minute radio interview on WVNJ-620, on which Cage appeared, with Ilda B. Emetaz and Ernest Stevens, on the subject of “Modern Music” (Montclair Times 1951b).

April 5-27, 1951. Traveling from Seattle, Washington, via Berkeley, California; San Francisco, California; Omaha, Nebraska; Mankato, Minnesota; Minneapolis, Minnesota; Madison, Wisconsin; Chicago, Illinois; Ithaca, New York, composed Imaginary Landscape No. 4.

April 7, 1951 (afternoon). Manhattan, Kansas, Kansas State College, Nichols Gymnasium. Performed with Merce Cunningham (Smith, Mary L. 1951).

April 8, 1951 (afternoon). Denver, Colorado, Woman’s Club Auditorium, presented by Allied Artists. Performed Sonatas and Interludes (Denver Post 1951; Patterson, D.W. 1996, 321; Young, A. 1951).

April 8 or 9, 1951. Denver, Colorado. Made the acquaintance of Earle Brown and Carolyn Brown (Henahan 1970a; Cage/Duckworth 1989, 23; Patterson 1996, 321; Revill 1992, 139).

April 9, 1951 (evening). Denver, Colorado, Jane McLean’s Studio (220 Broadway). Accompanied Merce Cunningham, master class in modern dance (Denver Post 1951; Patterson, D.W. 1996, 321).

April 12, 1951. Seattle, Washington, University of Washington, Meany Hall, University of Washington Concerts. Performed with Merce Cunningham: Root of an Unfocus, suite from Sixteen Dances (no. 3, 5, 9, 11, 16); Totem Ancestor; Morton Feldman, Variations, presented as Varation (first performance); Erik Satie, La diva de l’“Empire” to Two Step; dances from Le piège de Méduse to Monkey Dances; Je te veux to Waltz.

April 20, 1951. San Francisco, Girls High School. Performed with Cunningham.

April 28, 1951. City unknown, University Theater. Performed with Cunningham.

May 1, 1951 (evening). Saint Paul, Minnesota, St. Catherine’s College, Jeanne d’Arc Auditorium, presented by the Women’s Association of Minneapolis Symphony Orchestra. Henry Denecke and the Northwest Sinfonietta performed Imaginary Landscape No. 3 in program with music by Wolfgang Amadeus Mozart, Guillaume Du Fay, Marcel Mirouze, Peggy Glanville-Hicks, and J. Guy Ropartz (Harvey, John H. 1951).

May 10, 1951. New York, Columbia University, McMillin Theater, presented by New Music Society. Conducted first performance of Imaginary Landscape No. 4 (March No. 2), performed by unidentified ensemble; performed Fuge aus der Geographie by Ernst Toch; program further included music by Charles Ives, William Russell, Ellis Kohs, Virgil Thomson, Peggy Glanville-Hicks, Norman McLaren, Lionel Novak, José Ardevol, Paul Bowles, Lou Harrison, Richard Goldman (Berger, A.V. 1951a; Berger, A.V. 1951c; Cage 1970d; Cowell, H. 1952; Dunn 1962, 36 [error]; Grunfeld 1952; Grunfeld 1960; Grunfeld 1962; Harrison, J.S. 1951; Malina 1984, 163; Sabin 1951; Thomson 1951a).

May 14-June 2, 1951. New York, Betty Parsons Gallery. Made the acquaintance of Robert Rauschenberg (1925-2008) at his first solo exhibition, Paintings by Bob Rauschenberg (Hopps and Davidson 1997, 551).

May 16, 1951. New York. Completed Music of Changes, Book I.

May 22, 1951. Letter to Pierre Boulez (Boulez/Cage 1990, 149-155).

May 24, 1951 (evening). Unknown city, Art Gallery (318 Genesee Street), presented by Rameau Society. Albert Bowen performed Sonatas and Interludes in program with Gregorian chants performed by St. Mary’s Church Choir.

May 25, 1951 (evening). New York, 39 East 8th Street. New Music Quartet, Frances Magnes (violin), and David Tudor performed music by Pierre Boulez, Cage, and Morton Feldman in private concert.

June 16, 1951. New York. Composed third of Seven Haiku.

June 26, 1951. Boulder, Colorado, University of Colorado. David Tudor performed music by Igor Stravinsky, Arnold Schoenberg, Béla Bartók, Anton Webern, and Stefan Wolpe (Tudor /Holzaepfel 1994).

July 1951. New York. Composed first of Seven Haiku.

July 5, 1951. Boulder, Colorado, University of Colorado. David Tudor gave first performance of Book I of Music of Changes in recital with music by Henry Cowell, Josef Matthias Hauer, Nicolas Roslavetz, Wladimir Woronoff, Pierre Boulez, Morton Feldman (Three Intermissions [presumably 3, 4, and 5]), Christian Wolff (Dunn 1962, 8; Tudor /Holzaepfel 1994).

July 17, 1951. Letter to Pierre Boulez (Boulez/Cage 1990, 157).

July 22, 1951. Black Mountain, North Carolina, Black Mountain College. Abraham Mishkind (violin) and David Tudor (piano) performed music by Johann Sebastian Bach, Ludwig van Beethoven, Claude Debussy, Morton Feldman (Extensions); Wolfgang Amadeus Mozart, Arnold Schoenberg, Igor Stravinsky.

August 2, 1951. New York. Completed Music of Changes, Book I.

August 19, 1951 (afternoon). Black Mountain, North Carolina, Black Mountain College. David Tudor performed Music of Changes (Part I) in recital with music by Arnold Schoenberg, Stefan Wolpe, Morton Feldman, Wladimir Woronoff, Christian Wolff, Pierre Boulez, and Anton Webern.

September 1-3, 1951. Woodstock, New York, First Art Film Festival in America, sponsored by Woodstock Artists Association, American Federation of Arts, Film Advisory Center. Works of Calder was awarded the prize for the best musical score (Genauer 1951; J.S.B. jr. and P.S. 1951; New York Times 1951; Snyder, E.J. 1970a, 38).

September 1951. New York, Columbia University: attended lectures on Zen Buddhism by Dr. Daisetz Teitaro Suzuki, until 1953? [for two [three?] years] (Cage/Bosseur 1981JOHN; Cage/Kostelanetz 1968WE/1970, 23; Kalbacher 1972, 141).

October 7, 1951 (afternoon). Princeton, New Jersey, Princeton University, McCosh 50, presented by the Friends of Music at Princeton. Performed Sonatas and Interludes; informal discussion and question period afterwards (Dunn 1962, 18).

October 18, 1951. New York. Completed Music of Changes, Book I.

November 1- late December 1951. Montclair, New Jersey. Montclair Public Library broadcast series of ten-minute radio interviews on WVNJ-620, on one of which Cage appeared, with Ilda B. Emetaz and Ernest Stevens, on the subject of “Modern Music” (Montclair Times 1951a; Montclair Times 1952).

November 9, 1951. New York. Completed first of Two Pastorales.

November 14, 1951. New York, Brooklyn Museum (Eastern Parkway, Brooklyn), Stage for Dancers. In program shared with Lucas Hoving and Pearl Lang, performed with Merce Cunningham and Company: suite (eight movements) from Sixteen Dances to excerpt from Sixteen Dances.

November 16, 1951 (evening). New York, Hunter College Auditorium (69th Street, East of Park Avenue). Presentation of awards (by Curt Oertel) in program of prize winning films, including Works of Calder, from the First Art Film Festival in America of September 1-3, 1951.

December 2, 1951-January 27, 1952. New York, Cherry Lane Theatre (38, Commerce Street), presented by the Living Theatre. Co-sponsored performance of plays by Gertrude Stein, Kenneth Rexroth, and Paul Goodman.

December 9, 1951 (evening). New York, Young Women’s & Young Men’s Hebrew Association (Lexington Avenue at 92nd Street), Theresa L. Kaufmann Concert Hall, Dance Concert, presented by Theatre Dance. In shared program, gave first performance of No. 1 of Two Pastorales, to Idyl by Merle Marsicano; according to Dunn 1962, 19, the pianist was David Tudor (Dunn 1962, 19).

December 13, 1951. New York. Completed Music of Changes, Book I.

1951 or 1952. Cambridge, Massachusetts, Harvard University. Visited anechoic chamber (Cage 1961h, 8; Cage 1967o, 134; Gann 2010, 160-161, 165; Prochnik 2010).

January 1, 1952. New York, Cherry Lane Theatre (38, Commerce Street): David Tudor gave first complete performance of Music of Changes and first performance of Morton Feldman, Intersection 2; performed Pierre Boulez, Sonata No. 2; Christian Wolff, For Prepared Piano (New York premiere) (Ashbery 1971; Dunn 1962, 8; Glanville-Hicks 1952a; Kostelanetz 1970d, illustration 20; Snyder, E.J. 1970a, 38; Parmenter 1952b; Thomson 1952a; Tudor /Holzaepfel 1994).

January 3, 1952. New York, Jean Erdman’s Studio (77 Fifth Avenue). Lectured on “Music and Dance.”

January 7, 1952. New York. Composed Waiting.

January 12, 1952. New York. Completed Imaginary Landscape No. 5.

January 18, 1952 or earlier. New York. Completed realization of Imaginary Landscape no. 5 with David Tudor, with technical assistance of Bebe Barron (1925-2008) and Louis Barron (1920-1989) (Cage/Boulez 1990, 194; Dunn 1962, 37).

January 18, 1952 (evening). New York, Hunter College, Hunter Playhouse (East 68th Street). Jean Erdman and Company performed with David Tudor (piano) and ensemble conducted by Lou Harrison; first performance of Imaginary Landscape No. 5 (on tape) to Portrait of a Lady (Erdman); music by Alan Hovhaness to Upon Enchanted Ground (Erdman); Morton Feldman, Nature Pieces to Changing Woman (Erdman); music by Claude Debussy to Hamadryad and to Sailor in the Louvre performed; music by Lou Harrison to Io and Prometheus; to The Perilous Chapel; to Changing Moment performed; Tudor performed Daughters of the Lonesome Isle (Dunn 1962, 16, 37; R. E. 1952).

January 20, 1952 (evening). New York, Hunter College, Hunter Playhouse (East 68th Street between Park Avenue and Lexington Avenue). Performed with Merce Cunningham, Natanya Neumann, Joan Skinner, and Anneliese Widman: Sixteen Dances [piano reduction] to Sixteen Dances for Soloist and Company of 3; guest artist Louise Lippold danced Snake (without music) and first known performance (accompanied by Cage, presumably singing himself) of A Flower to A Flower (Dunn 1962, 21, 28).

January 21, 1952. New York. Composed second of Seven Haiku.

January 31, 1952. New York. Completed second of Two Pastorales.

February 4, 1952. New York, Henry Street Playhouse. Performed with Louise Lippold: first performance of Waiting (Dunn 1962, 11).

February 9, 1952 (afternoon). Chicago, Illinois, Arts Club of Chicago. In solo recital, Maro Ajemian performed Amores (I and IV) (Dunn 1962, 33).

February 10, 1952. New York, Cherry Lane Theatre (38, Commerce Street). David Tudor gave first complete performance of Two Pastorales; also performed music by Earle Brown, Henry Cowell, Morton Feldman, Lou Harrison, Josef M. Hauer, Anton Webern, Christian Wolff, Stefan Wolpe, Wladimir Woronoff (A.B. 1952; T. M. S. 1952; Tudor /Holzaepfel 1994).

February 17, 1952. New York, Young Women’s & Young Men’s Hebrew Association (Lexington Avenue at 92nd Street). In program shared with Betty Lind and Company, David Tudor accompanied Merle Marsicano (solo dances): first of Two Pastorales to Idyl, as well as music by Stefan Wolpe, Morton Feldman, and Jerry Petersen.

March 2-4, 1952. Urbana, Illinois, University of Illinois, Smith Music Hall, Festival of Contemporary Arts. Replacing Peggy Glanville-Hicks, lectured on “contemporary music” (demonstrating the prepared piano) (March 2, afternoon) and moderated or participated in panel discussion, “The Layman Looks at Contemporary Music” (March 4, evening) (Farlow 1953).

Between March 3-27, 1952. Invited by Jacob Druckman, wrote Juilliard Lecture (Cage 1967o, 95n).

Spring 1952. New York. Composed Water Music.

March 27, 1952 (afternoon). New York, Juilliard School of Music, Concert Hall (120 Claremont Avenue), International Federation of Music Students 6th Annual Symposium of Contemporary Music (March 23-29). With David Tudor (piano) accompanying, presented Juilliard Lecture (Cage 1967o, 95n).

April 3, 1952. New York, Artist’s Club, Where the Arts Meet. Participated in panel, with Frank O’Hara, Herbert Ferber, John Ferren, Ary Stillman (Sandler 1980, 79).

April 11, 1952. Richmond, Indiana, Earlham College, Goddard Auditorium. Performed Two Pastorales (Dunn 1962, 19).

April 22, 1952. New York, Brooklyn Academy of Music (30 Lafayette Avenue), Brooklyn Institute of Arts and Sciences, Theater for Dance, opening program. Presumably performed with Merce Cunningham and Jean Erdman in program shared with Erick Hawkins and Donald McKayle: Erik Satie, La diva de l’“Empire” to Two Step and suite from Sixteen Dances (Cunningham); presented Imaginary Landscape No. 5 to Portrait of a Lady (Erdman) (Dunn 1962, 37).

May 1952-1953. New York, private studio of Louis Barron and Bebe Barron (Bowery). Initiated a project “for the making of music directly on magnetic tape,” producing several compositions, by Earle Brown, Feldman, Wolff and himself, with technical assistance of David Tudor and Earle Brown and engineers Louis Barron and Bebe Barron, in whose Bowery studio the tapes were made. Cage’s contributions to the project were Imaginary Landscape No. 5, and Williams Mix, named after its patron, Paul Williams (composed May-October 1952; splicing of tapes May 1952-January 16, 1953); other compositions realized were Louis Barron and Bebe Barron, For an Electronic Nervous System No. 1; Earle Brown, Octet I (1953); Morton Feldman, Intersection (1953); Christian Wolff, For Magnetic Tape (1952-1953); the Brown and Feldman compositions were completed at the Rangertone Studios of R. H. Ranger Incorporated, Newark, New Jersey (Boulez/Cage 1990, 194-198; Cage 1959NOTES/1970, 130; Cage/Duckworth 1989, 23; Cage/Kirby and Schechner 1965, 58; Cross, L.M. 1968, 54-56; Mumma 1975, 294).

May 1952-January 16, 1953. New York. Made realization of Williams Mix in collaboration with Earle Brown and David Tudor (Cage 1959NOTES/1970, 130).

May 2, 1952. New York, New School for Social Research (66 West 12th Street), Auditorium. David Tudor gave first performance of Water Music, presented as 66 W. 12, and performed Music of Changes, as well as music by Morton Feldman (Extensions 3 [first performance]; Intermission 5) and Christian Wolff (For Piano, For Prepared Piano); in the intermision discussion led by Henry Cowell (Dunn 1962, 43; Perkins 1952).

May 5, 1952 (evening). New York, Cherry Lane Theatre (38 Commerce Street), A Concert of New Music, presented by the Living Theatre. Performed from Sonatas and Interludes (Sonata IV, XIII, XIV, Second Interlude) in program with music by Henry Cowell, Lucille Dlugoszewski, Lou Harrison, Alan Hovhaness, and Vanig Hovsepian (Dunn 1962, 18; Glanville-Hicks 1952b; J.B. 1952; New York Herald Tribune 1952a).

May 18, 1952 (late afternoon). New York, Henry Street Playhouse (466 Grand Street). In dance concert by Louise Lippold and Shirley Broughton and group, performed (piano and celesta) with Alan Hovhaness and John Strauss (conductors), Andrew Lolya (flute), Jack Maxin (piano and tack piano), Joseph Marx (oboe), John Carisi and Maurice Peress (trumpets), Susan Muzzey and Thaddeus Brys (violoncellos), Diane Williams (harp), Richard Stryker (percussion and drone): Stefan Wolpe, Adagio (Broughton); Lou Harrison, A Pleasant Place (Lippold) and Praises for Hummingbirds and Hawks (Broughton); Snake and Winter Morning (Lippold, without music); Waiting (Lippold) and A Flower (Lippold); Morton Feldman, Quartet (Broughton); Alan Hovhaness, Song (Lippold); In a Landscape (Lippold, Diane Williams, harp) (Dunn 1962, 11, 21).

May 21 and 25, 1952. Paris, Salle de l’ancien Conservatoire. 2 Concerts de musique concrète, presented by La Radiotélévision Française. Presumably included music by Cage.

May 22, 1952. Brooklyn, New York, Brooklyn Institute Theater: conducted Sixteen Dances, performed by unidentified ensemble, to Sixteen Dances for Soloist and Company of 3, by Merce Cunningham (Dunn 1962, 28).

July 10, 1952. New York. Composed Music for Carillon No. 1 (graph version) and made transcription for a three-octave instrument (the date “October 1952” in the graph version is presumably incorrect).

June 14-15, 1952. Waltham, Massachusetts, Brandeis University, Adolph Ullman Amphitheatre, Festival of the Creative Arts (June 12-15). Merce Cunningham and others gave first performance of Excerpts from Symphonie pour un homme seul (later productions titled Collage, music by Pierre Schaffer and Pierre Henry) and Igor Stravinsky, Les noces, conducted by Leonard Bernstein (June 14, evening); Cunningham participated in closing forum, moderated by Leonard Bernstein (June 15, evening); Cage presumably not in attendance (Lloyd, M. 1952; Vaughan 1997, 63-65).

July 28-August 19, 1952. Burnsville, North Carolina, University of North Carolina, Woman’s College, Burnsville School of Fine Arts. Presumably on faculty with Merce Cunningham; taught course, “Experimentation and Analysis” (July 30-August 19); performed Sonatas and Interludes (July 28).

Before or during August 1952. New York. Composed For M.C. and D.T.

August 1952. Norwalk, Connecticut. David Tudor gave first performance of For M.C. and D.T. (Dunn 1962, 7).

August 1952. New York. Composed 4'33".

August 1952. Black Mountain, North Carolina, Black Mountain College. Third visit. Initiated and composed [Untitled] “concerted action,” a theatrical event involving the simultaneous, but independent presentation of piano music, dance, film and slide projections, paintings, the playing of phonograph records, as well as various poetry readings, which many consider to be the first “happening.” Cage performed it (by reading excerpts from Juilliard Lecture) with Merce Cunningham, dance; Charles Olson, poet; Robert Rauschenberg, phonograph; M. C. Richards, poet; David Tudor, piano (Cage 1961h, x; Cage/Kirby and Schechner 1965, 52-53, 55; Cage/Kostelanetz 1968WE/1970, 27; Duberman 1972; Fetterman 1996a; Harris, M. E. 1987, 226, 228; Kostelanetz 1969/1970, 203; Miller, L.E. 2002a; Rossum 1982, 17-18; Salzman 1974, 490; Snyder, E.J. 1970a, 39; Vinton 1974, 300).

August 9 and 12, 1952 (evenings). Black Mountain, North Carolina, Black Mountain College. David Tudor gave two recitals; performed Music of Changes in program with music by Morton Feldman and Christian Wolff (August 9); performed Two Pastorales and Water Music, presented as August 12, 1952 in shared program with music by Stefan Wolpe, Pierre Boulez, Morton Feldman (Intermission 4 and Intermission 5), and Henry Cowell (August 12) (Dunn 1962, 8-9, 19, 43).

August 29, 1952. Woodstock, New York, Maverick Concert Hall. Attended first performance of 4'33" given by David Tudor, piano; Tudor also performed Water Music, presented as Aug. 29, 1952 (Dunn 1962, 25, 43; Kostelanetz 1970d, illustration 21; Snyder, E.J. 1970a, 39).

October 12, 1952 (evening) [the date of first performance March 13, 1951, Hartford, Connecticut, Julius Hartt School of Music, Hartt Chamber Orchestra, Moske Paranov (conductor), John Cage (prepared piano) is incorrect]. New York, Cooper Union, Great Hall, Cooper Union Forum, Music in the Making (the forum was actually canceled), presented in cooperation with Local 802 of the American Federation of Musicians (providing the orchestra). In rehearsal concert shared with music by Roger Goeb and Otto Luening (substituting Henry Brant and Eldin Burton), David Tudor (piano), ad hoc orchestra, David Broekman (conductor) gave first performance of Concerto for Prepared Piano and Chamber Orchestra (Bagar 1952; Bulletin of American Composers Alliance 1952-1953; New York Herald Tribune 1952b; Parmenter 1952a; Pritchett 1988a, 35-36).

October 26, 1952 (afternoon). Princeton, New Jersey, Princeton University, Graduate College, Procter Hall. David Tudor performed Water Music, presented as Procter Hall G. C., as well as music by Pierre Boulez, Morton Feldman, Olivier Messiaen, Christian Wolff (Dunn 1962, 43).

November 9, 1952. New York, Henry Street Playhouse (466 Grand Street). Ophelia performed by Mieczislav Kolinksi or Eugene Lester in dance recital by Jean Erdman in program shared with Tao Strong.

December 1952. New York. Composed Music for Piano 1.

December 16, 1952. New York, Brooklyn High School for Homemaking. Performed with Jo Anne Melsher [and others?]: Music for Piano 1 to Paths and Events (first performance) (Dunn 1962, 8).

1953. Urbana, Illinois: Paul Price conducted ensemble in Imaginary Landscape No. 3 (Dunn 1962, 36).

February 5, 1953. New Paltz, New York, State University Teachers College. Jean Erdman danced Portait of a Lady to Imaginary Landscape No. 5; Jack Maxin performed Ophelia (Dunn 1962, 9, 37).

Prior to March 21, 1953. Wrote Music for Magnetic Tape: History [text].

March 21-24, 1953. Urbana, Illinois, University of Illinois, Festival of Contemporary Arts. Attended; [with David Tudor, Earle Brown, Wolfgang Kuhn, and William Metzger?], at lecture-demonstration, “Music for Magnetic Tape,” first performance of Williams Mix, in program with music by Pierre Schaeffer, Pierre Henry, Otto Luening, Vladimir Ussachevsky, Louis Barron and Bebe Barron, For an Electronic Nervous System No. 1 (first performance); Olivier Messiaen, excerpt from Timbres-Durées; Christian Wolff, Part I from For Magnetic Tape to Suite by Chance (first performance); Pierre Boulez; Earle Brown, Octet (first performance) (March 22, afternoon, School of Music, Smith Music Hall); David Tudor performed Music of Changes and music by Pierre Boulez, Earle Brown, Morton Feldman and Christian Wolff (March 22, evening, School of Music, Recital Hall); performed Sixteen Dances [piano reduction] to Sixteen Dances for Soloist and Company of 3, by Merce Cunningham (March 24, Lincoln Hall Theatre) (Carter 1953; Chorpening 1953; Defibaugh 1953; Dunn 1962, 8, 28 [error], 41; Farlow 1953; Lamm 1953; Myers, F. 1953).

April 18 and 23, 1953 (evenings). New York, Alvin Theatre [250 West 52nd Street], American Dance (April 14-26), presented by the B. de Rothschild Foundation. In a program shared with Martha Graham and Company’s Appalachian Spring and Letter to the World and Moore’s Pavane of Jose Limon, conducted Broadway premiere of Sixteen Dances, performed by ad hoc ensemble to Sixteen Dances for Soloist and Company of 3 by Merce Cunningham and Company [Natanya Neumann, Joan Skinner, Anneliese Widman] (Charlip 1954; Dunn 1962, 28; Herridge 1953; Martin, J. 1953; Terry, W. 1953).

May 1953. New York. Composed 57 1/2" for a String Player, Music for Piano 2 and Music for Piano 4-19.

June 1953. New York. Composed Music for Piano 3.

June 14, 1953. New York. Composed 1'5 1/2" for a String Player.

June 23, 1953. Baton Rouge, Louisiana, Louisiana State University, Louisiana State University Arts Festival. John Adams gave first performance of Music for Piano 4-19 to Solo Suite in Time and Space, by Merce Cunningham (Dunn 1962, 12-13; Vaughan 1994, 72, 289).

June 28, 1953. New York. Composed 1'1/2" for a String Player.

June 29, 1953. New York. Composed 1'18" for a String Player.

June 30, 1953. New York. Composed 1'14" for a String Player.

July 1953. Black Mountain, North Carolina, Black Mountain College, Water Front Auditorium. David Tudor performed Music for Piano 4-19, Music for Piano 20 [sic], Pierre Boulez, Second Sonata, Stefan Wolpe, Displaced Spaces (part two), Earle Brown, Perspectives, Olivier Messiaen, Mode de valeurs et d’intensités (Dunn 1962, 12).

July 1953. Black Mountain, North Carolina, Black Mountain College. David Tudor performed Olivier Messiaen, Mode de valeurs et d’intensités, Stefan Wolpe, Battle Piece, Anton Webern, Variationen Op. 27, Christian Wolff, For Piano II, Earle Brown, Three Pieces, Henry Cowell, Tiger.

July 2, 1953. New York. Composed 59 1/2" for a String Player.

July 7, 1953. Boulder, Colorado, University of Colorado. Jack Maxin performed with Jean Erdman: Ophelia and Imaginary Landscape No. 5 to Portrait of a Lady (Dunn 1962, 9, 37).

August 8, 1953. New York. Composed Music for Piano 20.

August 21-22, 1953. Black Mountain, Black Mountain College, Dining Hall. Performed with David Tudor and Merce Cunningham: in shared program, Collage, Variation, Banjo (first performance of the dance) (August 21); first performance of Untitled Solo; Music for Piano 4-19 to Solo Suite in Time and Space (Tudor); Erik Satie, Trois morceaux en forme de poire to Septet (first performance of the dance, Arthur Komar and Tudor); Solo; Ragtime; Suite by Chance (August 22) (Vaughan 1997, 73).

November 1, 1953. Hartford, Connecticut, Hartford Athenaeum. Attended matinee concert by David Tudor, performing Music of Changes, Pierrre Boulez, Première sonate, Earle Brown, Perspectives, Morton Feldman, Extensions 3, Christian Wolff, For Prepared Piano (Dunn 1962, 8).

November 14, 1953 (evening). Pittsburgh, Pennsylvania, Carnegie Institute of Technology, College of Fine Arts, Carnegie Theatre, presented by the International Society for Contemporary Music (Pittsburgh Chapter) in association with Carnegie Department of Music. Introduced and performed Sonatas and Interludes (Steinfirst 1953).

November 16, 1953. New York, New School for Social Research, Henry Cowell: A Retrospective Concert of His Compositions. Possibly attended.

November 20, 1953 (afternoon). New York, Public School 151 [91st Street and First Avenue], Yorkville Youth Council Conference of Worshops: gave workshop on the use of music in working with children in a play program.

December 9, 1953. New York, Brooklyn Academy of Music, Theater for Dance, presented by Ann and Paul Lovett, second concert. Imaginary Landscape No. 5 presented to Jean Erdman’s dance, Portrait of a Lady in dance program (Dunn 1962, 37; Horst 1954).

December 29, 1953-January 3, 1954. New York, Theatre De Lys (121 Christopher Street). Performed with David Tudor and Merce Cunningham and Dance Company: Root of an Unfocus (Cage); Louis Moreau Gottschalk, Banjo to Banjo (Tudor); Erik Satie, La diva de l’“Empire” to Two-Step (Cage); Erik Satie, Trois morceaux en forme de poire (with Tudor) to Septet; Christian Wolff, For Magnetic Tape to Suite by Chance (December 29); Part I and IV of Amores to Amores; from Music for Piano 4-19 (with Tudor) to Solo Suite in Space and Time; Totem Ancestor; A Valentine out of Season to Trio; Pierre Boulez, Etude à un son and Etude II (both on tape) to Fragments; Pierre Schaeffer, excerpts from Symphonie pour un homme seul to Collage; Erik Satie, Ragtime-Parade (December 30); from Music for Piano to Solo Suite in Space and Time; Erik Satie, Ragtime-Parade; Erik Satie, Trois morceaux en forme de poire (with Tudor) to Septet; Christian Wolff, For Piano I (Tudor) to Untitled Solo; various nineteenth-century piano pieces (Tudor) to Dime a Dance (December 31); A Valentine out of Season to Trio; Pierre Schaeffer, excerpts from Symphonie pour un homme seul to Collage; Morton Feldman, Variations to Variation; Louis Moreau Gottschalk, Banjo to Banjo (Tudor); Christian Wolff, For Magnetic Tape to Suite by Chance (January 1); Part I and IV of Amores to Amores; Totem Ancestor; Pierre Boulez, Etude à un son and Etude II (both on tape) to Fragments; Louis Moreau Gottschalk, Banjo to Banjo (Tudor); Erik Satie, Ragtime-Parade; various nineteenth-century piano pieces (Tudor) to Dime a Dance (January 2, matinee); from Music for Piano to Solo Suite in Space and Time; Root of an Unfocus; Morton Feldman, Variations to Variation; Erik Satie, Ragtime-Parade; Erik Satie, Trois morceaux en forme de poire (with Tudor) to Septet; Christian Wolff, For Magnetic Tape to Suite by Chance (January 2, evening); Pierre Schaeffer, excerpts from Symphonie pour un homme seul to Collage; Erik Satie, Ragtime-Parade; Erik Satie, Trois morceaux en forme de poire (with Tudor) to Septet; various nineteenth-century piano pieces (Tudor) to Dime a Dance (January 3, matinee); Pierre Boulez, Etude à un son and Etude II (both on tape) to Fragments; Louis Moreau Gottschalk, Banjo to Banjo (Tudor); Erik Satie, Trois morceaux en forme de poire (with Tudor) to Septet; Christian Wolff, For Piano I (Tudor) to Untitled Solo; Christian Wolff, For Magnetic Tape to Suite by Chance; (January 3, evening); programs included nine choreographies (Septet; Banjo; Suite by Chance; from Music for Piano to Solo Suite in Space and Time; Collage; Fragments; Untitled Solo; Dime a Dance; Variation) in eight performances (Dance 1954; Dumm 1954; Dunn 1962, 13, 17, 18, 34; Lloyd, M. 1954; R.S., N.K., and Horst 1954).

Prior to or during 1954. Wrote Music Lovers’ Field Companion (text).

January 1954. New York. Presentation of Williams Mix (perhaps as part of performances, December 29, 1953-January 5, 1954 or January 10, 1954) (Dumm 1954).

January 10, 1954 (evening). New York, Educational Alliance, The Contemporary Dance Arts, Dance Concert. David Tudor performed with Louise Lippold (dancer): Music for Piano 2 (presumably first performance) to Dark Thoughts; Waiting in shared program with Tao Strong and Renate Schottelius (Dunn 1962, 8).

January 20, 1954. Brooklyn, New York. Composed Music for Carillon No. 2 and Music for Carillon No. 3.

January 20, 1954. New York, Brooklyn Academy of Music, auspices of Brooklyn Institute of Arts and Sciences. Performed with David Tudor and Merce Cunningham and Dance Company: Erik Satie, Trois morceaux en forme de poire to Septet (with Tudor); Pierre Boulez, Etude à un son and Etude II (both on tape) to Fragments; Christian Wolff, For Magnetic Tape to Suite by Chance; Tudor performed Louis Moreau Gottschalk, Banjo to Banjo (Tudor) and various nineteenth-century piano pieces (Tudor) to Dime a Dance.

April 9 and Spring 1954. Correspondence with Helen Wolff (Cage/Wolff 2005).

April 14, 1954. New York, Carl Fischer Concert Hall (165 West 57th Street). In recital, David Tudor performed 4'33" (first New York performance, movement lengths 30", 2'23", 1'40") and Music of Changes; Earle Brown, Twenty-five Pages (first performance); Christian Wolff, For Piano II; Cage interviewed by Nancy Seely (J.B. 1954a; Dunn 1962, 9, 25; Genauer 1954; Harrison, J.S. 1954; Seely 1954; Trimble 1954).

April 28, 1954. New York, Carl Fischer Concert Hall (165 West 57th Street). In recital, David Tudor performed Music for Piano 4-19 (first New York performance); Pierre Boulez, Première sonate (first New York performance); Earle Brown, Four Systems and Perspectives; Morton Feldman, Extensions 3 and Intersection 3 (first performance); Olivier Messiaen, “Mode de valeurs et d’intensités” (first New York performance); Stefan Wolpe, Presto furioso and 2 Studies; Christian Wolff, For Piano I (T.M.S. 1954).

1954. Stony Point, New York. Composed or completed 31'57.9864" for a Pianist and 34'46.776" for a Pianist and made [Untitled] [artwork].

May 2, 1954. Merce Cunningham received a fellowship grant from the John Simon Guggenheim Memorial Foundation (Dance Observer 1954; New York Times 1954a).

Summer 1954. As the building at Monroe Street in which he lived was to be demolished (at least until November, he still also lived at 12 East 17th Street), Cage moved with M.C. Richards (1916-1999), David Tudor, David Weinrib and Karen Barnes to a cooperative community in Stony Point, New York, Gate Hill Road (Willow Grove), established by Paul Williams and Vera Williams (Snyder, E.J. 1970a, 39).

October-December 1954. Concert tour of Europe with David Tudor; the Holland-America liner Maasdam to Rotterdam met with a collision and returned to New York (October 2); with other passangers, Cage and Tudor arranged a flight to Amsterdam; their tour possibly included Stockholm (Cage 1961h, 146-147; New York Times 1954b; Snyder, E.J. 1970a, 39).

October 16, 1954. Attended Abendempfang, Schloß, Prinz und Prinzessin Max zu Fürstenberg.

October 17, 1954 (matinee). Donaueschingen, Städtische Festhalle, Donaueschinger Musiktage für zeitgenössische Tonkunst (October 16-17), organized by Gesellschaft der Musikfreunde Donaueschingen. Performed with David Tudor: first performance of 31'57.9864" for a Pianist with 34'46.776" for a Pianist (Tudor), presented as 12'55.6078" for Two Prepared Pianos (recorded on Col legno WWE 31899 [recordings]); and Christian Wolff, Duo for Pianists II; presented Williams Mix and Earle Brown, Octet (Brust 1954; Cage/Freedman 1976; Curjel 1954; Curjel 1955; Dunn 1962, 27; Heibe 1954a; Helm 1954a; Helm 1954b; Koegler 1954; Rieple 1959, 106; Ruppel 1954; Stuckenschmidt 1954a; Stuckenschmidt 1954b; Stuckenschmidt 1969b; Stuckenschmidt 1979, 260-261).

October 19, 1954. Cologne, Nordwestdeutscher Rundfunk, Funkhaus, Kleiner Sendesaal, Musik der Zeit 1954-1955. In shared program, performed with David Tudor: 31'57.9864" for a Pianist with 34'46.776" for a Pianist (Tudor), presented as 23'56.176" for 2 Pianists, as well as compositions by Earle Brown (Perspectives), Morton Feldman (Intersection 3, Tudor) and Christian Wolff (For Prepared Piano, Tudor); electronic music presented: Herbert Eimert, Glockenspiel and Etüde über Tongemische; Karel Goevaerts, Komposition Nr. 5; Paul Gredinger, Formanten I und II; Henri Pousseur, Seismogramme; Karlheinz Stockhausen, Studie I and Studie II (Dunn 1962, 27; Goeyvaerts 1983, 71).

October 25, 1954. Paris, Salle Marguerite-Gaveau, second Festival de Musique of the Centre de Documentation de Musique Internationale in co-operation with the Groupe de Recherche Musicale de Musique Concrète of the Radiodiffusion-Télévision Française (October 21-26), Concert VIII, Musique Expérimentale. Introduced by Pierre Schaeffer, performed with David Tudor, 31'57.9864" for a Pianist, simultaneously with 34'46.776" for a Pianist (Tudor), presented as 17'21.14.724" [sic, according to Hirsch], as part of program with tape music by L. and B. Baron, Eimert, Karel Goeyvaerts, P. Henry, M. Martenot, Meyer-Eppler, Darius Milhaud, Karlheinz Stockhausen, V. Ussachewsky, Edgard Varèse (C. R. 1954; Dunn 1962, 27; Faure 1954; Guide du Concert 1954; Helm 1954b; Hirsch, N. 1954; Hughes, A. 1954; Onnen 1954; Pincherle 1954; Thoresby 1955).

October 26, 1954. Brussels, Institut National Belge de Radiodiffusion, Musique d’Aujourd’hui. Performed (recorded studio performance) with David Tudor: 31'57.9864" for a Pianist, simultaneously with 34'46.776" for a Pianist (Tudor) (Dunn 1962, 27; Moulaert 1954).

Late October 1954. London, Composers’ Concourse. Gave first performance of 45' for a Speaker, simultaneously with 34'46.776" for a Pianist, performed by David Tudor (Cage 1961h, 146n; Scarr 1955).

October 29, 1954. London, Mahatma Gandhi Hall, under the auspices of the Institute of Contemporary Arts. Introduced David Tudor, performing Water Music; Music for Piano 4-19 (perhaps with Cage); Morton Feldman, Extensions 3; Stefan Wolpe, Battle Piece (Dunn 1962, 12, 43; Mitchell, D. 1954).

November 3, 1954 [according to Muggler 1992a October 18, 1954]. Zurich, Kunstgewerbemuseum [now Museum für Gestaltung Zürich], Vortragssaal, Pro Musica. Introduced by Hans Curjel, performed with David Tudor: 31'57.9864" for a Pianist, simultaneously with 34'46.776" for a Pianist (Tudor), presented as 34'46.776" for Two Pianists; Water Music (Cage?); Morton Feldman, Extensions 3 (Tudor?), Intersection 3 (Tudor); Earle Brown, 4 Systems; Christian Wolff, For Piano I (Tudor) (Dunn 1962, 27; Muggler 1992).

November 9, 1954 [not December 7] (evening). London, Forbes House (Halkin Street, Hyde Park corner), Diaghilev Exhibition (November 3-December 4), presented by The Observer (Outside Activities). Performed with David Tudor: 31'57.9864" for a Pianist with 34'46.776" for a Pianist (Tudor); presented Williams Mix (Cater 1954; Dunn 1962, 27; Scarr 1955).

December 5, 1954. Milan, Centro Culturale Pirelli. Performed with David Tudor: 31'57.9864" for a Pianist with 34'46.776" for a Pianist (Tudor) (Dunn 1962, 27).

December 8, 1954. New York, Brooklyn Academy of Music, Theater for Dance, second concert. David Tudor performed with Merce Cunningham and Dance Company: Music for Piano 1-20 to Minutiae (first performance of the dance) and to Solo Suite in Time and Space; Louis Moreau Gottschalk, Le banjo to Banjo; Christian Wolff, For Piano I to Untitled Solo; Amores (I and IV) to Amores; Pierre Boulez, Etude à un son and Etude II to Fragments (tape); Pierre Schaeffer, Symphonie pour un homme seul (excerpts) to Collage (tape) (Horst 1955; Manchester 1955; Sorell 1954).

December 15, 1954. New York, Carl Fischer Concert Hall (165 West 57th Street). Performed with David Tudor: 31'57.9864" for a Pianist with 34'46.776" for a Pianist (Tudor), presented as 34'46.776" for Two Pianists; Tudor performed Karlheinz Stockhausen, Nr. 2 Klavierstücke I-VIII (first performance of VI-VIII); program repeated following intermission (Glanville-Hicks 1954b; J.B. 1954b; Musical America 1955; Musical Courier 1955; New York Post 1954).

Spring 1955. Hanover, New Hampshire, Dartmouth College. Completed or revised Music for Magnetic Tape: History [text].

March 22, 1955, evening. Hanover, New Hampshire, Webster Hall, Dartmouth College Lecture Series, “Experimenting with Musical Tradition.” Gave brief introduction and performed with David Tudor, Karlheinz Stockhausen’s No. 2 Klavierstücke I-VIII (Tudor) and 34'46.776" for Two Pianos (Appel-Segal 1955; Stern 1955).

March 23, 1955. Middletown, Connecticut, Wesleyan University, Memorial Chapel, Assembly Series. Invited by Richard K. Winslow, gave brief lecture about impact of tape on music composition; performed with David Tudor: Karlheinz Stockhausen, Klavierstücke I-VIII (Tudor); 34'46.776" for Two Pianos and unknown pieces, among them presumably from Music for Piano (Wesleyan Argus 1955; Winslow 1955; Winslow 1981, 10-11; Winslow 1993).

April 1, 1955. Admitted to the Limited Membership of the American Society of Composers, Authors and Publishers (ASCAP).

May 27, 1955. New York, Henry Street Playhouse. Performed with David Tudor and Merce Cunningham: from Music for Piano 4-19 to Minutiae (Dunn 1962, 13).

Prior to June 1955. Wrote “Experimental Music: Doctrine” (text), in which he defined as “experimental” “an act the outcome of which is unknown.” By favoring these to the detriment of conceptual thoughts, Cage acknowledged the influence of Chu Ch’an’s (John Blofeld’s) translation of The Huang Po Doctrine of Universal Mind (London: Buddhist Society, 1947) (Pritchett 1993, 76-77).

August-September 1955. Stony Point, New York. Composed 26'1.1499" for a String Player.

October 11, 1955. Stony Point, New York. Completed Music for Piano 21-36/37-52.

October 15, 1955 (evening). New City, New York, Clarkstown High School, Auditorium, presented by Rockland Foundation, Emile de Antonio, chairman of the board. Performed with David Tudor, Harold Coletta (viola), and Merce Cunningham and Dance Company, Music for Piano 4-19 to Solo Suite in Time and Space; the same music to Minutiae; Earle Brown, Indices (piano version, first performance) to Springweather and People (Tudor); 31'57.9864" for a Pianist with 34'46.776" for a Pianist (Tudor) and 26'1.1499" for a String Player (Coletta, first performance), as 34'46.776" for 2 Pianists and a String Player (concert performance); interviewed previously by Mariruth Campbell (Campbell, Mariruth 1955; Dunn 1962, 13, 27; Johns/Vaughan 1989, 137).

October 18, 1955. Bronxville, New York, Sarah Lawrence College. Performed with David Tudor and Merce Cunningham and Dance Company: Erik Satie, Trois morceaux an forme de poire to Septet; from Music for Piano 4-19 to Minutiae (according to program, Tudor alone); Christian Wolff, For Piano I to Untitled Solo (Tudor); Earle Brown, Indices (piano version) to Springweather and People (Tudor) (Dunn 1962, 13).

October 23, 1955. New York, New School for Social Research, Auditorium, Greenwich Village Series, Music and Musicians of the Village. Performed with David Tudor: from Music for Piano 4-19, Music for Piano 21-36/37-52 (the latter presumably first performance), presented as Music for Two Pianos; program also featured music by Henry Cowell, Alan Hovhaness, and Elliott Carter, performed by the composers (Dunn 1962, 12).

November 1955. Santa Barbara, California. Composed Speech 1955.

November 1955. San Diego, California, Hoover Auditorium, presented by the Contemporary Arts Committee. Performed with David Tudor and Merce Cunningham and Dance Company: Music for Piano 1-20 to Solo Suite in Space and Time; Earle Brown, Indices (piano version) to Springweather and People (Tudor); Louis Moreau Gottschalk, Le banjo to Banjo (Tudor); Erik Satie, Trois morceaux an forme de poire to Septet (with Tudor); Christian Wolff, For Piano I to Untitled Solo (Tudor) (Britton, J. 1955).

November 8-10, 1955. Los Angeles, University of California, Department of Music: conducted two seminars (November 8, 4:00 pm and November 9, 7:00 pm, Music Building 1325); read Experimental Music and performed with David Tudor, 31'57.9864" for a Pianist, with 34'46.776" for a Pianist (Tudor) (November 9, 3:00pm, Music Building, Schoenberg Hall); performed with David Tudor and Merce Cunningham, from Music for Piano 4-19, Music for Piano 21-36/37-52 to Minutiae (November 10) (Dunn 1962, 13, 27; Hefley 1955).

November 15, 1955 (evening). San Francisco, Marine’s Memorial Theatre, presented by Doug Hudelson. Performed with David Tudor and Merce Cunningham and Dance Company: Pierre Boulez, Etude à un son and Etude II to Fragments (tape); Erik Satie, Trois morceaux an forme de poire to Septet (with Tudor); Pierre Schaeffer, Symphonie pour un homme seul (excerpts) to Collage I (tape); Christian Wolff, For Magnetic Tape to Suite by Chance; further presented and introduced Williams Mix; Earle Brown, Octet; Morton Feldman, Intersection for Magnetic Tape (all tape); Cunningham taught a master class (November 16, evening, Halprin-Lathrop School) (Crowley 1955; Dunn 1962, 41; Fried 1955; Herman, J.L. 1955).

November 18, 1955. Portland, Oregon, Portland State College. Performed with David Tudor: from Music for Piano 21-36/37-52, presented as Music for Piano 22, 24, 26, 33, 34, 36/37, 42, and from 31'57.9864" for a Pianist with 34'46.776" for a Pianist (Tudor), presented as 26'29.283" for 2 Pianists, Earle Brown, Four Systems, Morton Feldman, Two Pieces for Two Pianos; Tudor performed Pierre Boulez, Première sonate, Christian Wolff, For Prepared Piano (Dunn 1962, 12, 27).

November 20-21, 1955. Portland, Oregon, Civic Theatre. Performed with David Tudor and Merce Cunningham: from Music for Piano 4-19, Music for Piano 21-36/37-52 to Minutiae (Dunn 1962, 13).

November 25, 1955. Tacoma, Washington, Jason Lee Auditorium. Performed with David Tudor and Merce Cunningham: from Music for Piano 4-19, Music for Piano 21-36/37-52 to Minutiae (Dunn 1962, 13).

December 2, 1955. Vancouver, British Columbia, University of British Columbia. Performed with David Tudor: from Music for Piano 4-19, Music for Piano 21-36/37-52, presented as 4x / 3y, and 31'57.9864" for a Pianist with 34'46.776" for a Pianist (Tudor) (Dunn 1962, 12, 27).

1956-1961 (1956-1957, 1957-1958, 1959-1960, and fall 1961). New York, New School for Social Research. Taught classes in experimental composition (twice weekly), attended by, among others, Stephen Addiss, George Brecht (1926), Jim Dine, Carol Galente, Harvey Gross, Al Hansen, Dick Higgins, Scott Hyde, Toshi Ichiyanagi, Allan Kaprow, John Klein, Al Kousel, Jackson Mac Low, Larry Poons, George Segal, Florence Tarlow, Robert Weblein (Brecht 1970; Cage 1970g; Cage/Bosseur, J.-Y. 1981, 105; Cage/Kirby and Schechner 1965, 66-68; Hansen, A.E. 1965, 81-82, 91-102; Higgins 1970b; Snyder, E.J. 1970a, 39; Sohm 1970).

1956-1958. Employed as an art director and designer of typography by the textile firm Jack Lenor Larsen, Inc. (Cage 1967c, 15; Kostelanetz 1970d, illustrations 27-28).

January 14, 1956. Stony Point, New York. Completed 27'10.554" for a Percussionist.

March 29, 1956. Annandale-on-Hudson, New York, Bard College: first performance of Seven haiku [recorded performance by David Tudor], as music to Karen Geiger, Three Dances for Haiku (Dunn 1962, 10).

April 6, 1956. New York, Creative Film Foundation meeting. Presented On Film (Kostelanetz 1970d, 115).

April 20, 1956 (evening). Cambridge, Massachusetts, Harvard University, Sanders Theatre. Performed with David Tudor (three first performances), from Music for Piano 4-19 and Music for Piano 21-36/37-52, presented as Music for 2 Pianos; Water Music (Tudor); also music by Pierre Boulez, Earle Brown, Morton Feldman, Karlheinz Stockhausen, Anton Webern, and Christian Wolff (De Antonio 1956; Dunn 1962, 12, 43).

May 1956. Stony Point, New York. Composed Radio Music; wrote To Describe the Process of Composition Used in Music for Piano 21-52.

May 7, 1956. New York. Completed Music for Piano 53-68.

May 8, 1956. Stony Point, New York. Completed Music for Piano 69-84.

May 18, 1956. South Bend, Indiana, Notre Dame University, The University of Notre Dame Concert and Lecture Series. David Tudor performed with Merce Cunningham and Dance Company: from Music for Piano 4-19, Music for Piano 21-36/37-52, Music for Piano 53-68, Music for Piano 69-84 (presumably first performances of Music for Piano 53-68 and Music for Piano 69-84) to Suite for Five in Time and Space (Cunningham 1982a, 177-178).

May 22, 1956. Letter to Paul Henry Lang (Cage 1970d).

May 30, 1956. New York, Carl Fischer Concert Hall (165 West 57th Street). Performed with Maro Ajemian, Grete Sultan (1906-2005), David Tudor and the Juilliard String Quartet: Pierre Boulez, Structures Ia (Ajemian and Tudor); Earle Brown, 4 More (Tudor, first performance); Karlheinz Stockhausen, Nr. 2 Klavierstücke I-VIII (four of them?, Tudor, VI and VII first performances); Morton Feldman, Two Pieces for Two Pianos (Ajemian and Tudor); Feldman, Structures (Juilliard String Quartet, first performance); first performance of Radio Music (all eight musicians); Anton Webern, Fünf Sätze, Op. 5 (Juilliard String Quartet); Christian Wolff, Suite (Tudor); two of Three Pieces for String Quartet and For String Quartet [sic] (Juilliard String Quartet, first performances); from Music for Piano 4-19, Music for Piano 21-36/37-52, Music for Piano 53-68, Music for Piano 69-84, presented as Music for Four Pianos (Ajemian, Cage, Sultan, Tudor) (Cage 1970d; Dunn 1962, 12, 38; Gossett 1956; Harrison, J.S. 1956; Lang, P.H. 1956; New York Times 1956; Parmenter 1956; Rackliffe 1956).

July 11 [some sources give July 2], 1956. Lee, Massachusetts, Jacob’s Pillow. Merce Cunningham and Dance Company performed Nocturnes to Erik Satie, Cinq nocturnes (performed in different order and separated by silences) (Vaughan 1997, 92-97, 290; Volta 1982, 57).

August 1956. Danville, Vermont: conceived The Sun (film).

Fall 1956. Cornell College, Iowa. Merce Cunningham Dance Company residency.

Fall 1956, prior to November 9. Wrote In This Day… [text].

November 9, 1956. Saint Louis, Missouri, Principia College, Howard Hall. Presented In This Day… and performed with David Tudor and Merce Cunningham and Dance Company: from Music for Piano 4-19, Music for Piano 21-36/37-52, Music for Piano 53-68 and Music for Piano 69-84 to Suite for Five (Cage 1961h, 94n; Dunn 1962, 13).

November 10, 1956. Elsah, Illinois, Principia College, Morey Field House. Presented In This Day and performed with David Tudor and Merce Cunningham and Dance Company, from Music for Piano 4-19, Music for Piano 21-36/37-52, Music for Piano 53-68 and Music for Piano 69-84 to Suite for Five (Cage 1961h, 94n; Dunn 1962, 13).

November 24, 1956. Cologne, Galerie Der Spiegel. Water Music performed.

Winter 1956-prior to January 12, 1957. Stony Point, New York. Composed Winter Music (Cage 1964b/1970, 143).

1957. Marcel Duchamp, “The Creative Act” (published in the same year). Cage on many occasions approvingly paraphrased the conclusion of Duchamp’s statement: “All in all, the creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act.”

January 12, 1957. New York, Brooklyn Academy of Music. Performed with David Tudor and Merce Cunningham: first performance of Winter Music and from Music for Piano 4-19, Music for Piano 21-36/37-52, Music for Piano 53-68, Music for Piano 69-84 to Suite for Five (Dunn 1962, 13, 14).

February 7, 1957. Geneva, New York, Hobart and William Smith Colleges. Performed with David Tudor: from Music for Piano 4-19, Music for Piano 21-36/37-52, Music for Piano 53-68, Music for Piano 69-84, presented as Music for 2 Pianos, and Winter Music (Dunn 1962, 12, 14).

Winter 1957, prior to February 10. Wrote Experimental Music [text].

February 10-13, 1957. Chicago, Illinois, Congress Hotel, Music Teachers National Association, National Biennial Convention, Eighty-first Year: presented Experimental Music [text, 1957], assisted by David Tudor (piano); Paul Beckhelm, chairman; Anthony Donato presiding (February 10, morning, Florentine Room, North Wing) (Cage 1959a; Cage 1961h, 7n).

February 15, 1957. Cincinnati, Ohio, Contemporary Arts Center. Performed with David Tudor, from Music for Piano 4-19, Music for Piano 21-36/37-52, Music for Piano 53-68, Music for Piano 69-84, presented as Music for 2 Pianos, preceded or followed by statement [probably “Experimental Music,” 1957] (Darack 1957; Dunn 1962, 12).

February 1957. Cincinnati, Ohio, Cincinnati Art Museum. Performed with David Tudor, Winter Music (Dunn 1962, 14).

February 1957. Yellow Springs, Ohio, Antioch College. Performed with David Tudor: from Music for Piano 4-19, Music for Piano 21-36/37-52, Music for Piano 53-68, Music for Piano 69-84, presented as Music for 2 Pianos, and Winter Music (Dunn 1962, 12, 14).

February 20, 1957. Akron, Ohio, Art Institute. Performed with David Tudor: from Music for Piano 4-19, Music for Piano 21-36/37-52, Music for Piano 53-68, Music for Piano 69-84, presented as Music for 2 Pianos, and Winter Music (Dunn 1962, 12, 14).

April 22, 1957. New York, Carl Fischer Concert Hall (165 West 57th Street). In recital, David Tudor performed Bengt Hambraeus, Cercles (I: Spirales; II: Rondes); Bo Nilsson, Bewegungen and Schlagfiguren; Henri Pousseur, Impromptu et Variations II and Variations I; Karlheinz Stockhausen, Nr. 2 Klavierstück VI and Nr. 4 Klavierstück XI (performed twice) (Tcherny 1957a).

April 27, 1957. New York, Henry Street Playhouse, Four Dancers: in program shared by four choreographers (Shirley Broughton, Katherine Litz, Merle Marsicano, Merce Cunningham) and preceded by a panel discussion chaired by David Vaughan, performed (probably with Edwin Hymovitz, Jack Maxin, David Tudor) from Music for Piano 4-19, Music for Piano 21-36/37-52, Music for Piano 53-68, Music for Piano 69-84, to Suite for Five.

April 30, 1957 (evening). New York, Carl Fischer Concert Hall. Performed with William Masselos, Grete Sultan and David Tudor, from Music for Piano 4-19, Music for Piano 21-36/37-52, Music for Piano 53-68, Music for Piano 69-84, presented as Music for 4 Pianos, Winter Music, Earle Brown, Four Systems and Twenty-Five Pages (1953), and gave first performance of Morton Feldman, Piece for 4 Pianos; also performed were Morton Feldman, Extensions 4 (first performance, without Cage) and Christian Wolff, Sonata for Three [Prepared] Pianos, announced as Improvisation (first performance, presumably without Tudor) (Downes 1957; Dunn 1962, 12, 14; New York Times 1957; Tcherny 1957a).

May 14, 1957. Yellow Springs, Ohio, Antioch College. Performed with David Tudor and Merce Cunningham and Dance Company: Suite for Five; Galaxy; Pierre Schaeffer, excerpts from Symphonie pour un homme seul (tape) to Collage; Banjo; Erik Satie, Trois morceaux en forme de poire to Septet (Feldman, Ph. 1957).

May 15, 1957. Yellow Springs, Ohio, Antioch College. David Tudor performed Karlheinz Stockhausen, Klavierstück VII and Klavierstück XI.

Summer 1957, prior to June 29. Wrote Morris Graves [text].

June 18, 1957. New York, New School for Social Research. Began teaching courses, “Virgil Thomson: The Evolution of a Composer” and “Composition [Experimental Music]” (Summer semester, Tuesday and Thursday evenings).

February 11, 1958. New York, New School for Social Research. Began teaching course, “Composition [Experimental Music]” (Spring semester, Tuesday afternoons).

September 1957. Stony Point, New York. Composed For Paul Taylor and Anita Dencks.

October 1, 1957. New York, New School for Social Research. Began teaching course, “Erik Satie: The Evolution of a Composer” (Fall semester, Tuesday afternoons).

October 20, 1957 (afternoon). New York, Young Men’s and Young Women’s Hebrew Association, Theresa L. Kaufmann Concert Hall, Seven New Dances by Paul Taylor, with Anita Dencks, Donya Feuer, Toby Armour, Cynthia Stone. Included first performance of For Paul Taylor and Anita Dencks by David Tudor, as music to Duet, by Paul Taylor and Anita Dencks; Resemblance (Paul Taylor solo) also had music by Cage [unidentified piano piece performed by Tudor] (Dunn 1962, 7; Holzaepfel 1993, 334; Tcherny 1957c).

November 17, 1957 (evening). New York, Nonagon [99 Second Avenue], Composers’ Showcase: participated in discussion period following piano recital by David Tudor with music by Cage (2 Haiku, Haiku, Haiku [sic], Music for Piano; Early Brown, 4 More; Morton Feldman, Piano Piece 1956 A, Piano Piece 1956 B; Bo Nilsson, Bewegungen, Schlagfiguren; Karlheinz Stockhausen, Klavierstück VII, Klavierstück XI; Christian Wolff, Suite), with Earle Brown and morton Feldman; Charles Schwartz, moderator (Tcherny 1957b).

November 30, 1957. New York, Brooklyn Academy of Music. Merce Cunningham Dance Company. First performance of Christian Wolff, Suite to Changeling (Cunningham) (Vaughan 1997, 290).

December 14, 1957. Boston, Massachusetts, John Hancock Hall, presented by the Dance Teachers’ Club of Boston. Performed with David Tudor and Merce Cunningham and Dance Company: from Music for Piano 4-19, Music for Piano 21-36/37-52, Music for Piano 53-68, Music for Piano 69-84 to Suite for Five; Josef Matthias Hauer, Zwölftonspiel Mai 55, Juli 52, Juli 56, Labyrinthischer Tanz to Labyrinthian Dances; Christian Wolff, Suite to Changeling; Louis Moreau Gottschalk, Ses yeux, polka de concert and Le banjo opus 15 to Picnic Polka and Banjo; Erik Satie, Trois morceaux en forme de poire to Septet (Lloyd, M. 1957).

December 15, 1957. Cambridge, Massachusetts, Harvard University, John Knowles Paine Concert Hall, presented by the Harvard-Radcliffe Music Club. Performed with David Tudor: Winter Music; Earle Brown, Four Systems; gave first performances of Morton Feldman, Piano (3 Hands) and Two Pianos and Christian Wolff, Duo for Pianists; Tudor performed Henri Pousseur, Variations II; Bo Nilsson, Schlagfiguren and Bewegungen; Karlheinz Stockhausen, Nr. 7 Klavierstück XI (Dunn 1962, 14).

December 16, 1957. Worcester, Massachusetts, Clark University, Fine Arts Course Show. Performed with David Tudor and Merce Cunningham and Dance Company (Clark Scarlet 1957).

1957-1958. Stony Point, New York. Composed Concert for Piano and Orchestra.

January 20, 1958. Stony Point, New York. Composed Variations I.

February 1958. Boston, Massachusetts, John Hancock Hall. Performed with Merce Cunningham: from Music for Piano 4-19, Music for Piano 21-36/37-52, Music for Piano 53-68, Music for Piano 69-84 to Suite for Five (Dunn 1962, 13).

February 11, 1958. Durham, College of North Carolina. Performed with David Tudor and Merce Cunningham: from Music for Piano 4-19, Music for Piano 21-36/37-52, Music for Piano 53-68, Music for Piano 69-84 (Suite for Five) (Dunn 1962, 13).

March 15, 1958. Greensboro, North Carolina, University of North Carolina, Women’s College, Music Building, Arts Festival. Performed with David Tudor, Variations I (first performance, three different performances, presented as Variations), Earle Brown, 4 Systems, Morton Feldman, Intermission 6B, Karlheinz Stockhausen, Klavierstück XI (Tudor alone), Christian Wolff, Duo for Pianists (three performances of each composition) (Dunn 1962, 13 [error], 28).

March 18, 1958. New Brunswick, New Jersey, Rutgers University, Little Theatre. David Tudor performed with Paul Taylor and Anita Dencks: For Paul Taylor and Anita Dencks to Duet and Variations I to Resemblance (Taylor) (Dunn 1962, 7, 29).

Spring 1958. Stony Point, New York. With the assistance of David Tudor, made instrumentation for Six Short Inventions.

March 27, 1958. Stony Point, New York. Completed Solo for Piano from Concert for Piano and Orchestra.

March 28, 1958. Transcribed Music for Carillon No. 1 for a two-octave instrument.

April 1958, or earlier. New Brunswick, New Jersey, Rutgers, The State University of New Jersey: first read Communication (Cage 1961h, 18n).

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