A John Cage Compendium: Chronology 1972-1992 (Last modified 1 January 2024)

 

1972. New York. When Cage had recourse to an agent, he chose Artservices, founded in 1972 by Jane Yockel (1926-1990), Mimi Johnson (1946), and Margaret Wood (1943-2015), his agent mainly being Mimi Johnson.

1972. Wrote Avertissement II (Text) and Postface (Text).

Prior to or during January 1972. Interviewed by King Kong International (Cage/Anonymous 1972).

4-29 January 1972. New York, Martha Jackson Gallery (32 East 69th Street). Exhibition, Concept & Content. Not Wanting to Say Anything about Marcel on exhibit (Anderson, L. 1972; Kramer, H. 1972).

January 1972. Berlin, Galerie Kleber (Uhlandstraße 184), Cage Objekt-’72, Objekt und Graphik von Mark Brusse; Kompositionen von Cage (10-28 January, fifteen afternoon concerts). Attended exhibition on his work by sculptor Mark Brusse and performances of his music by Eberhard Blum, Variations I; Dorothea Brinkmann (contralto); Peter Roggenkamp (piano); Claude Lelong (viola); Christoph Kapler (violoncello) (Burde 1972a; Stuckenschmidt 1972a).

1972. Composed 52/3.

Prior to 26 January 1972. Wrote On Dylan Thomas [text].

29 January 1972. Cologne, Westdeutscher Rundfunk, Musik der Zeit. S.E.M. Ensemble performed Song Books.

1-13 February 1972. New York, Brooklyn Academy of Music (30 Lafayette Avenue). Performed with Gordon Mumma, David Tudor, and Merce Cunningham and Dance Company: 52/3 (first performance) to Landrover; Christian Wolff, For 1, 2, or 3 People to Tread (1 February); David Tudor, Rainforest to RainForest; Gordon Mumma, Telepos to TV Rerun; Christian Wolff, For 1, 2, or 3 People to Tread (2 February); David Behrman, …For Nearly an Hour… to Walkaround Time; Cheap Imitation (Piano) to Second Hand (3 February); from Indeterminacy: New Aspect of Form in Instrumental and Electronic Music to How to Pass, Kick, Fall and Run (as part of Event #26) (4 February); Gordon Mumma, Telepos to TV Rerun; _ _ Week of _ to Signals; Cheap Imitation (Piano) to Second Hand (5 February); Gordon Mumma, Telepos to TV Rerun; Alvin Lucier, Vespers to Objects; Christian Wolff, For 1, 2, or 3 People to Tread (6 February); David Tudor, Rainforest to RainForest; Christian Wolff, Burdocks to Borst Park; Christian Wolff, For 1, 2, or 3 People to Tread (8 February); Pauline Oliveros, In Memoriam: Nikola Tesla, Cosmic Engineer to Canfield (complete) (9 February); 52/3 to Landrover; Christian Wolff, Burdocks to Borst Park (11 February); 52/3 to Landrover; _ _ Week of _ to Signals; Christian Wolff, Burdocks to Borst Park (12 February); Gordon Mumma, Telepos to TV Rerun; 52/3 to Landrover; Christian Wolff, Burdocks to Borst Park (13 February) (Barnes, C. 1972; Kisselgoff 1972; Vaughan 1997, 182-183).

23 February 1972. Toronto, Ontario, York University (4700 Keele Street). Performed with Merce Cunningham and Dance Company: Event #29 (Pauline Oliveros, In Memoriam: Nikola Tesla, Cosmic Engineer to Canfield complete).

24-25 February 1972. Detroit, Michigan, Detroit Institute of Arts (5200 Woodward Avenue). Performed with Merce Cunningham and Dance Company: Dialogue (with Cunningham, 24 February); 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; _ Week of _ to Signals; Gordon Mumma, Telepos to TV Rerun (25 February) (Abraham 1972).

25 February 1972. Middletown, Connecticut, Wesleyan University, concert organized by Alvin Lucier. HPSCHD performed.

26 February 1972. Detroit, Michigan, Northwestern High School (2200 West Grand Boulevard). Merce Cunningham and Dance Company gave lecture demonstration (called Event in program); Cage’s participation uncertain.

28 February 1972. Ypsilanti, Michigan, Eastern Michigan University. Performed Mureau; Ann Arbor, Michigan. Interviewed by Catherine Kalbacher (Kalbacher 1972, 142, 157).

2 March 1972. Galesburg, Illinois, Knox College (2 East South Street). Performed with Merce Cunningham and Dance Company: 52/3 to Landrover; Christian Wolff, Burdocks to Borst Park.

4 March 1972. Peoria, Illinois, Lakeview Center for the Arts and Sciences (1125 West Lake Avenue). Performed with Merce Cunningham and Dance Company: Event #30.

5 March 1972. Peoria, Illinois, Bradley University (1501 West Bradley Avenue). Performed with Merce Cunningham and Dance Company: Event #31.

9-12 March 1972. Minneapolis, Minnesota, Walker Art Center (725 Vineland Place). Performed with Merce Cunningham and Dance Company: David Behrman, …For Nearly an Hour… to Walkaround Time; 52/3 to Landrover (9 March); Event #32 (12 March).

14-15 March 1972. Philadelphia, Pennsylvania, Walnut Street Theatre (825 Walnut Street). Performed with Merce Cunningham and Dance Company: Pauline Oliveros, In Memoriam: Nikola Tesla, Cosmic Engineer to Canfield (complete) (14-15 March).

17 March 1972. Philadelphia, Pennsylvania, Moore College of Art (1916 Race Street). Performed Diary: How to Improve the World (You Will Only Make Matters Worse) Continued 1971-1972.

April 1972. Witten, Wittener Tage für neue Kammermusik. Music for Amplified Toy Pianos performed; Cage not in attendance.

April 1972. Albany, New York, State University of New York, Electronic Music Studio. Composed Bird Cage (completed later that month in New York) and produced tapes, assisted by Joel Chadabe; performed (Chadabe 1972; Chadabe 1975, 173; Chadabe 1983).

April 1972. Wrote How the Piano Came to Be Prepared.

3 April-4 May 1972. Filmed by Hans G. Helms for Bird Cage/73'20.958" for a Composer.

7 April 1972. New York. Interviewed by Hans G. Helms (recordings; Cage/Helms 1972).

10 April 1972. New York. Attended memorial service for Stefan Wolpe and was, with Hilda Wolpe, Milton Babbitt, and Elliott Carter, among those who spoke (In Memoriam S. W.).

13 April 1972. San Francisco, California, San Francisco Museum of Art, organized by Howard Hersh. San Francisco Conservatory of Music New Music Ensemble performed HPSCHD; presumably Cage was not in attendance (Commanday 1972).

14 April 1972. Letter to Scott Kenney (Cage 1987-1988d).

14-15 April 1972. San Francisco, California, Project Artaud. San Francisco Conservatory of Music New Music Ensemble performed HPSCHD; presumably Cage was not in attendance.

16 April 1972. Letter to Boudewijn Buckinx, in which Cage described the essence of the first version of Variations VIII as “machines themselves without anything given to them (e.g. tape machines without tapes).” The work was not written down until 1976 (Buckinx 1972, 170).

17 April 1972. New York, Steinway and Sons Pianos Bulding (109 West 57th Street), basement. Performed Winter Music for film by Hans G Helms with Maro Ajemian, Louise Basbas, Justin Blasdale, Philip Corner, Arnold Epstein, Don Gillespie, Edna Golanski, Doris Hays, Carla Hubner, Jeanne Kirstein, Titiana Mardikian, Stephen Mayer, Frederic Rzewski, Grete Sultan, Margaret Tan, Katherine Teves, David Tudor (Helms 1972 [films]).

4-9 May 1972. Bremen, Die Glocke (Domsheide 4), Pro musica nova, organized by Hans Otte, Radio Bremen. Attended; performed with David Tudor: Mureau (Cage, announced as Mueau) with Tudor, Rainforest (Tudor) (5 May, Großer Glockensaal); Sixty-two Mesostics re Merce Cunningham (Cage) with Tudor, Untitled (Tudor) (8 May, Sendesaal); opening of exhibition “Hören und Sehen: Texte – Bilder – Environments” (6 May-11 June); Peter Roggenkamp performed Music for Marcel Duchamp (6 May, Kunsthalle); interviewed by Gerhart Asche and Nikša Gligo (Asche 1972; Bachmann, C.-H. 1972c; Bachmann, C.-H. 1972d; Bachmann, C.-H. 1972e; Baucke 1972a; Baucke 1972b; Beal 2002a; Cage/Asche 1972; Cage/Gligo 1973; Eberle 1972; Haessig 1972; Hommel 1972a; Hören 1972; Krellmann 1972a; Krellmann 1972b; Krellmann 1972c; Lesch 1972a; Lesch 1972b; Lesch 1972c; Lesle 1972b; Lex 1972; Limmert 1972a; Limmert 1972b; Matysiak 1972; Mönch 1972; Mumma 1975b, 311-312; Polaczek 1972b; Tudor/Scheib 1996; Weißbach 1986; Züghart and Neubauer 1972a; Züghart and Neubauer 1972b).

10 May 1972. London, Institute of Contemporary Arts. Lectured and performed with David Tudor (Brimhall 1976, 26; Cole 1972b; Dickinson 2006, 185).

12-15 May 1972. The Hague. Attended; Doris Hays (piano), the Residentie Orkest, Richard Dufallo conducting, performed program, Het land van Cage: Concerto for Prepared Piano and Chamber Orchestra, as well as music by Henry Brant, Earle Brown, Charles Ives, Edgard Varèse (13 May, evening, Nederlands Congresgebouw); public conversation with Ton de Leeuw (13 May, late night, HOT Theater); Mobiel Ensemble Nederland coached by Jan Stulen gave first performance of Cheap Imitation (Orchestra, 24 instruments), pronounced public rehearsal by Cage (13 May, late evening, Nederlands Congresgebouw); lectured, performed Cheap Imitation (Piano) and read from Diary: How to Improve the World; WGBH-TV presented (13 May, afternoon, HOT Theater); Mobiel Ensemble Nederland and Jan Stulen performed Atlas Eclipticalis and two movements of Cheap Imitation (Orchestra) (14 May, evening, Congresgebouw) (Becker-Carsten 1972; Cage 1973e, xiv-xvi; Cage 1979c, 93; Cage/Charles 1976, 183-184; Kullberg 1972; Paap 1972; Parool 1972; Vermeulen 1972a; Vermeulen 1972b; Vlasakker 1972; Volkskrant 1972).

18 May 1972. Bonn, Rheinisches Landesmuseum, Konzerte der Stadt Bonn, Tage Neuer Musik. Performed with David Tudor, Mureau with Rainforest (Tudor); Johannes Göhl, Vincent Schab, Josef Anton Riedl, Chris Price, slide and light environments (Bachmann, C.-H. 1972a; Bruck 1972).

20 May 1972. London. Interviewed by Peter Dickinson (Cage/Dickinson 2006a).

20-28 May 1972. New York, Westbeth (55 Bethune Street), Merce Cunningham Studio. Merce Cunningham and Dance Company performed: Studio Event #36 (20 May); Studio Event #37 (21 May); Studio Event #38 (25 May); Studio Event #39 (26 May); Studio Event #40 (27 May); Studio Event #41 (28 May); Cage did not participate.

22 May 1972. London, Royal Albert Hall. Performed with David Tudor: Sixty-Two Mesostics re Merce Cunningham (Cage) with Tudor, Untitled (Tudor); Mureau (Cage) with Tudor, Rainforest (Tudor); interviewed by Joan Bakewell (Art and Artists 1972a; Art and Artists 1972b; Cage/Bakewell 1972; Cage/Mottram 1974; Cole 1972a; Jack 1972a; Music Now 1972; PHS 1972a; Piekut 2014a; Rowe 1972; Sadie 1972).

June 1972. In Paris (Cage 1973h, 192).

Prior to 6 June 1972. Presumably performed in Brussels and Frankfurt (Funk, K.H.L. 1972; Oesch 1972a).

6 June 1972 [according to U.I. 1972 5 June]. Basle, Stadttheater, Foyer. Performed with David Tudor, Mureau, simultaneously with David Tudor, Rainforest (Tudor); interviewed by Thomas Lehner (Bachmann, C.-H. 1972b; Erni 1972; Häusler, R. 1972a; Holliger/Bachmann 1991; Huber, C. 1972a; Knauer 1972; Lehner 1972; Lyotard 1972, 66; Mangold 1972; Müry 1972; My. 1972; Oesch 1972a; Rüedi 1972).

7 June 1972. Cologne, Westdeutscher Rundfunk, Musik der Zeit. Ensemble Gentle Fire London perfomed Atlas Eclipticalis; presumably Cage was not in attendance.

Mid-18 June 1972. Berne, Helmhaus, Kammerkunsthalle. John Cage: Partituren, Geschichten, Plexigramme, Siebdrucke (U.I. 1972; Werk 1972).

20 June 1972. Amsterdam, Theater Carré, Holland Festival. During dress rehearsal withdrew Cheap Imitation (Orchestra), to be performed by the Residentie Orkest, coached by Michel Tabachnik, from performance in a concert with music by Luciano Berio and Peter Schat (Cage 1973h, xiv; Cage 1979c, 93).

20 June 1972. Rotterdam, Rotterdamse Schouwburg, Holland Festival. Dutch National Ballet first performed Twilight, choreographed by Hans van Manen on The Perilous Night (repeated 22 June, Scheveningen, Circustheater; 24 June, Amsterdam, Stadsschouwburg); also 2 March 1973, Stratford-upon-Avon, Royal Shakespeare Theatre, by the Royal Ballet (About the House 1973).

28 June 1972. Birmingham, England, Arts Lab. Arts Lab Sound Workshop performed Variations V (Potter, K. 1972).

30 June 1972. New York, New School for Social Research, Auditorium, sixtieth-birthday concert: Gordon Mumma, Philip Corner, James Fulkerson, Max Neuhaus and Gregory Reeve performed: Song Books (Mumma), Atlas Eclipticalis (Mumma, conductor; Fulkerson, trombone; Neuhaus and Reeve, percussion) with Winter Music (Corner); Nam June Paik film A Tribute to John Cage shown; Cage not in attendance (Ericson 1972a ; Johnson, Tom 1972).

2 July 1972 (6 pm). Pamplona, Ciudadela, Sala de Armas, Encuentros de Pamplona (26 June-3 July), organized by Grupo Alea. Performed with David Tudor: Sixty-Two Mesostics re Merce Cunningham with Tudor, Untitled (Tudor) (Cage/Charles 1976, 212n; Charles 1972; Charles 1973a; Esteban 1972; Jameux 1972; Jover and Amestoy 1972; Pardo Salgado 2019; Perez Ollo 1972; Sarmiento García 2002).

11-18 July 1972. Berlin, Woche der Avantgardistischen Musik Berlin: Spiel Klang Elektronik Licht, organized by Walter Bachauer, Berliner Festspiele, Berliner Kunstprogramm of the Deutscher Akademischer Austauschdienst. Attended in part; performed with David Tudor, ‘An Event’ (Mureau with Tudor, Rainforest, 11 July 1972, Akademie der Künste, Studio); with Cornelius Cardew, Morton Feldman, Frederic Rzewski and David Tudor, participated in the first performance of Morton Feldman, Five Pianos (Pianos and Voices) (16 July, Sender Freies Berlin, Großer Sendesaal Masurenallee); David Tudor, Frederic Rzewski, Cornelius Cardew, and Antoinette Vischer performed HPSCHD, technical realization by Josef Anton Riedl and ensemble (18 July, Philharmonie, foyer and concert hall); made the acquaintance of Joan La Barbara (Beal 2002a; Burde 1972b; Cage/Sweeney-Turner 1991; Endlich and Höynck 1988, 119-120; Kühn, H. 1972; La Barbara 1977; Szántó 1992; Woodard 1991).

13 July 1972. Aboard an airplane between Frankfurt am Main and Basel. Wrote July 13, 1972 (Cage 1973g).

Early August 1972. New York. Interviewed by Theodore Price (Price, T. 1972).

13 August 1972. London, Roundhouse, Chalk Farm, BBC Proms, International Carnival of Experimental Sound (August, Harvey Matusow, initiative). At opening concert, David Tudor, Richard Bernas, Cornelius Cardew, Annea Lockwood, Frederick Page, John Tilbury and Roger Woodward performed HPSCHD; Cage in attendance (Cage/Mottram 1974; Cardew 1972; Chapman, E. 1972; Moore, Ch. 1972; Sutcliffe 1972).

17 August 1972. London. Interviewed by Eric Mottram (Cage/Mottram 1974).

30 August 1972. Munich, Bayerischer Rundfunk (Rundfunkplatz 1), Musik Film Dia Licht Festival (29 August-2 September), Kunstprogramm der XX. Olympischen Spiele (20th Summer Olympics, 26 August-11 September). Attended, gave first performance of Bird Cage, with Monobird by David Tudor (live electronics, first performance) (Studio 2, evening); Nam June Paik, Tribute to John Cage and John Cage, WGBH-TV shown (1 September, Studio 1, afternoon) (Beal 2002a; Fränkel 1972; Koch, G.R. 1972b).

Prior to 3 September 1972. New York. Interviewed by Donal Henahan (Henahan 1972).

September-December 1972. Wrote score of Variations VII.

5-8 September 1972. Shiraz and Persepolis, 6th Festival of Arts Shiraz-Persepolis (31 August-8 September). Performed with Gordon Mumma, David Tudor, and Merce Cunningham and Dance Company: Open Air Theatre Event (5 September, evening, Shiraz, Open Air Theatre); with Gordon Mumma and David Tudor: Bird Cage (Cage) with Monobird (Tudor); Mumma performed Mumma, Ambivex (7 September, evening, Shiraz, Open Air Theatre); Persepolis Event (8 September, evening, Persepolis, ancient ruins) (Gluck 2007; New Yorker 1973; Vaughan 1997, 186).

11-14 September 1972. Venice, La Biennale di Venezia, XXXV Festival Internazionale di Musica Contemporanea (7-18 September). Performed with Gordon Mumma, David Tudor and Merce Cunningham and Dance Company: Pauline Oliveros, In Memoriam Nikola Tesla, Cosmic Engineer to Canfield (11 September, Teatro La Fenice, Campo San Fantin); David Tudor, Rainforest to RainForest; 52/3 to Landrover; Gordon Mumma, Telepos to TV Rerun (12 September, Teatro La Fenice, Campo San Fantin); David Tudor, Rainforest to RainForest; La Monte Young, 2 Sounds to Winterbranch; Gordon Mumma, Telepos to TV Rerun (13 September, Teatro Toniolo, Piazzetta Gian Francesco Malipiero, 1, Mestre); Piazza San Marco Event (14 September, Piazza San Marco); participated in panel discussion with Luciano Berio, Mario Bortolotto, Heinz-Klaus Metzger (14 September, 11 a.m., Teatro La Fenice, Campo San Fantin) (Kagel 1975, 28; New Yorker 1973; Vaughan 1997, 186).

17-19 September 1972. Belgrade, Muzej savremene umetnosti = Museum of Modern Art and Atelj 212 = Atelier 212, Theatre, Festival BITEF 6 (Belgrade International Theatre Festival). Performed with Merce Cunningham and Dance Company: Događaj u Muzeju = Museum Event (17 September, Museum of Modern Art, Ušće 10); Pauline Oliveros, In Memoriam Nikola Tesla, Cosmic Engineer to Canfield (called Event #47 in official count), which won the grand prize of the BITEF Festival (18 September, Atelier 212, Svetogorska 21); David Tudor, Rainforest to RainForest; _ _ Week of _ to Signals; Gordon Mumma, Telepos to TV Rerun (19 September, Atelier 212, Svetogorska 21) (Cage 1979c, 86, 92; Vaughan 1997, 186).

22 September 1972. Warsaw, Teatr Dramatyczny (Plac Defilad 1), Sixteenth Warsaw Autumn. Performed with Merce Cunningham and Dance Company: David Tudor, Rainforest to RainForest; Cheap Imitation (Piano) to Second Hand; Gordon Mumma, Telepos to TV Rerun (Kondracki 1972a; Vaughan 1997, 186).

25-30 September 1972. London, Sadler’s Wells Theatre (Rosebery Avenue). Performed with Merce Cunningham and Dance Company: 52/3 to Landrover; from Indeterminacy: New Aspect of Form in Instrumental and Electronic Music to How to Pass, Kick, Fall and Run (25 September); _ _ Week of _ to Signals; Cheap Imitation (Piano) to Second Hand; Christian Wolff, For 1, 2, or 3 People to Tread (26 September); David Behrman, …For Nearly an Hour… to Walkaround Time; _ _ Week of _ to Signals; Gordon Mumma, Telepos to TV Rerun (27 September); Pauline Oliveros, In Memoriam: Nikola Tesla, Cosmic Engineer to Canfield (28 September); 52/3 to Landrover; Christian Wolff, Burdocks to Borst Park (29 September); David Tudor, Rainforest to RainForest; Cheap Imitation (Piano) to Second Hand; Christian Wolff, For 1, 2, or 3 People to Tread (30 September); with Gentle Fire, performed Christian Wolff, Burdocks (Davies, H. 2001; Vaughan 1997, 186).

2 October 1972. Cologne, Opernhaus (Offenbachplatz). Performed with Merce Cunningham and Dance Company: Pauline Oliveros, In Memoriam Nikola Tesla, Cosmic Engineer to Canfield (Vaughan 1997, 186).

3 October 1972. Hattingen, S-Press Studio. Recorded Mureau (recordings).

4 October 1972. Düsseldorf, Städtische Kunsthalle (Grabbeplatz 4). Performed with Merce Cunningham and Dance Company (changed from Kunsthalle to the premises of a nearby restaurant): Event (called Events in program) (Vaughan 1997, 186).

10-14 October 1972. Grenoble, Maison de la Culture (4 Rue Paul Claudel). Performed with Merce Cunningham and Dance Company: David Tudor, Rainforest to RainForest; Cheap Imitation (Piano) to Second Hand; Gordon Mumma, Telepos to TV Rerun (10 October); 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; 52/3 to Landrover (11 October); _ _ Week of _ to Signals; David Behrman, …For Nearly an Hour… to Walkaround Time; Christian Wolff, For 1, 2, or 3 People to Tread (12 October); Pauline Oliveros, In Memoriam: Nikola Tesla, Cosmic Engineer to Canfield (Theatre Mobile Event No. 1) (13 October); Theatre Mobile Event No. 2 (14 October) (Vaughan 1997, 186).

17-22 October 1972. Milan, Teatro Lirico  (Via Larga, 16), Milano aperta. Performed with Merce Cunningham and Dance Company: David Tudor, Rainforest to RainForest; Cheap Imitation (Piano) to Second Hand; Christian Wolff, For 1, 2, or 3 People to Tread (17 October); David Behrman, …For Nearly an Hour… to Walkaround Time; _ _ Week of _ to Signals; Gordon Mumma, Telepos to TV Rerun (18 October); Teatro Lirico Event No. 1 (19 October); Pauline Oliveros, In Memoriam: Nikola Tesla, Cosmic Engineer to Canfield (20 October); Teatro Lirico Event No. 2 (21 October); 52/3 to Landrover; Gordon Mumma, Telepos to TV Rerun (22 October) (Vaughan 1997, 186).

24-29 October 1972. Paris, Théâtre de la Ville (2 Place du Châtelet), Festival d’automne. Performed with Merce Cunningham and Dance Company: 52/3 to Landrover; Gordon Mumma, Telepos to TV Rerun (called Event 1 in program) (24 October); Event 2 (25 October); Pauline Oliveros, In Memoriam: Nikola Tesla, Cosmic Engineer to Canfield (called Event 3 in program) (26 October); _ _ Week of _ to Signals; David Behrman, …For Nearly an Hour… to Walkaround Time; Christian Wolff, For 1, 2, or 3 People to Tread (called Event 4 in program) (27 October); Event 5 (28 October); David Tudor, Rainforest to RainForest; Cheap Imitation (Piano) to Second Hand; Christian Wolff, For 1, 2, or 3 People to Tread (29 October) (Vaughan 1997, 186).

17 October-17 November 1972. Kingston, Rhode Island, University of Rhode Island, Fine Arts Center, ‘John Cage: Graphics’, Mushroom Book on exhibit.

20-22 October 1972. Donaueschingen, Donaueschinger Musiktage: attended reception in his honor (21 October, morning); first presentation of Bird Cage/73'20.958" for a Composer, film by Hans G Helms (21 October, afternoon and evening) (Anders 1972; Bitz 1972; Böhmer 1972; Burde 1972c; Cage 1973h, xii; Cossé 1972; Herbort 1972; Heyd 1972a; Heyd 1972b; Hommel 1972b; Hw. 1972; Jungheinrich 1972; Koch, H. W. 1972a; Koch, H. W. 1972b; Krellmann 1972d; Lewinski 1972; Lichtenfeld 1973; Lienert 1972; Limmert 1972c; Lohmüller 1972; Lonchampt 1972; Lück, R. 1972; Ludewig 1972; Mathé 1972; Panke 1972; Polaczek 1972c; Rexroth 1972; Ringger 1972; Schnebel 1973a, 9; Schönfeldt 1972; Schorr 1972a; Schorr 1972b; Schwinger 1972b; Trumpff 1972; Werner, R. 1972).

3 November 1972. New York, New York University, Loeb Student Center (Washington Square), Prospective Encounters, presented by the New York Philharmonic. Michael Tilson Thomas conducted and moderated program (shared with David Del Tredici) including Credo in Us, Quartet from She Is Asleep, performed by Gordon Gottlieb, Richard Fitz, Howard Van Hyning, Raymond Des Roches with Paul Jacobs (piano), and selections from Sonatas and Interludes (Tilson Thomas); Cage and Del Tredici in attendance; question periods (Ericson 1972b; Kerner 1972).

24 November 1972. Birmingham, University of Birmingham, Great Hall. Musicircus performed; Cage not in attendance (Cage/Dickinson 2006a).

28 November-1 December 1972. Toronto, Ontario, Ontario College of Art. 36-Hour Cage-In celebrating his sixtieth birthday, organized by Udo Kasemets; Cage not in attendance (Littler 1972).

December 1972. Completed Variations VII.

17 December 1972. London, Round House. Presented by the Park Lane Group, Musicircus performed, realized by Jocelyn Powell; Cage not in attendance (Cole 1972c; Horner 1972; PHS 1972b).

20 December 1972. Hamburg, Norddeutscher Rundfunk, Das Neue Werk, 138. Abend. Das Sinfonieorchester des NDR, Michael Gielen, coach and pianist, performed Cheap Imitation (Orchestra, twenty-five instruments) in shared program with music by Pierre Bartholomée and Helmut Lachenmann; Cage not in attendance (Baucke 1972c; Becker-Carsten 1973; Dannenberg 1972; Dannenberg 1973; Hofmann, W. 1972; Hofmann, W. 1973; Lesle 1972a; Tomzig 1972; Wagner, K. 1973a; Wagner, K. 1973b).

1973. Cincinnati, Ohio, Carl Solway Gallery. Exhibition.

1973. Seattle, Washington, Madrona Dance Studio and Opera House. Merce Cunningham conducted master classes.

1973. Cologne, Staatliche Hochschule für Musik. Sonatas and Interludes performed in Aloys Kontarsky’s class.

1973-April 1973. Cuernavaca, Mexico and Plattsburgh, New York. Wrote Series re Morris Graves [text].

21 January 1973 (afternoon). New York, Lincoln Center for the Performing Arts, Alice Tully Hall (Broadway and 66th Street), New and Newer Music Series, A John Cage Retrospective in observance of his sixtieth birthday year: The Ensemble, Dennis Russell Davies, conductor, performed 27'10.554" for a Percussionist (Roy Pennington, Gordon Gottlieb), Cheap Imitation (orchestra coached by Cage, led by Davies from the piano), Concert for Piano and Orchestra (Max Lifchitz, piano), Music for Wind Instruments; Cage in attendance; interviewed for The New Yorker; interviewed previously by Jan Hodenfield (Henahan 1973a; Hodenfield 1973; Johnson, Tom 1973a; New York Times 1973; New Yorker 1973; Schonberg 1973).

6-7 February 1973. Fredonia, New York, State University College at Fredonia (280 Central Avenue), Michael C. Rockefeller Arts Center. Performed with David Behrman, Gordon Mumma, David Tudor and Merce Cunningham and Dance Company: Event (6 February); Event (7 February).

9-10 February 1973. Stony Brook, New York, State University of New York (100 Nicolls Road), University Gymnasium. Residency. Performed with David Behrman, Gordon Mumma, David Tudor and Merce Cunningham and Dance Company: Gymnasium Event (10 February).

15-16 February 1973. Montréal, Québec, Université de Montréal, Centre communautaire, Musialogues, 2 Journées avec John Cage. L’Atelier-laboratoire de la Faculté de musique, directed by Robert Léonard, performed Amores, She Is Asleep, Suite for Toy Piano, and The Wonderful Widow of Eighteen Springs; ‘Peut-on connaître John Cage?’: public conversation with Maryvonne Kendergi; question period (15 February, evening, 2332 Edouard-Motpetit); Musialogue Midi with students of the faculty (16 February, afternoon, 2375 Côté Ste. Catherine); film du service de la recherche de l’ORTF; Mureau, collective performance with students of the faculty (16 February, evening, 2332 Edouard-Motpetit) (Rivest 1997b; Thériault, J. 1973).

18 February 1973. Princeton, New Jersey, Princeton University, McCarter Theatre (91 University Place). Performed with David Behrman, Gordon Mumma, David Tudor and Merce Cunningham and Dance Company: Event.

21 February 1973. New York, Town Hall. Merce Cunningham and Dance Company, lecture-demonstration; Cage’s participation uncertain.

22 February 1973 (afternoon). New York, PS 41 (116 West 11th Street). Merce Cunningham and Dance Company, Event; Cage possibly participated.

7 March 1973. New York, Columbia University, McMillin Theater (Broadway at 116th Street), John Cage 60th Birthday Retrospective Concert. The Performers’ Committee for Twentieth-Century Music (Cheryl Seltzer and Joel Sachs, directors) performed 59 1/2" for a String Player (viola); Aria; Dream; Experiences No. 2; Imaginary Landscape No. 4; First Construction (in Metal); Five Songs for Contralto; Music for The Marrying Maiden; Sonata for Clarinet; Suite for Toy Piano (with dance); Three Dances; Experiences No. 2 and Suite for Toy Piano with the Gail August Dancers; Cage in attendance (Masheck 1973, 76; Porter, A. 1974).

15 March 1973. New York, Saint Ann & the Holy Trinity Church (157 Montague Street, Brooklyn), Auditorium. Merce Cunningham and Dance Company gave informal performance; Cage’s participation uncertain.

21 March 1973. Urbana, Illinois, University of Illinois at Urbana-Champaign, Smith Memorial Hall (805 South Mathews Avenue), Phoenix 1973. William Brooks performed HPSCHD.

22-25 March 1973. New York, Brooklyn Academy of Music. Performed with David Behrman, Gordon Mumma, David Tudor and Merce Cunningham and Dance Company, Event #65 (22 March, including Signals, Cartridge Music to first performance of Changing Steps, Loops and TV Rerun); Event #66 (23 March); Event #67 (Canfield) (24 March); Event #68 (25 March, matinee) (Kisselgoff 1973).

27-29 March 1973. Albany, New York, State University of New York. Residency of Merce Cunningham and Dance Company; lecture demonstration; Cage possibly participated (28 March). Performed with David Behrman, Gordon Mumma, David Tudor and Merce Cunningham and Dance Company, Gymnasium Event #69 (29 March).

30 March-1 April 1973. Ithaca, New York, Cornell University. Residency Merce Cunningham and Dance Company; lecture demonstration (with Gordon Mumma only, 31 March); performed with David Behrman, Gordon Mumma, David Tudor and Merce Cunningham and Dance Company, Gymnasium Event #70 (1 April).

1-5 April 1973. Philadelphia, Pennsylvania. 89th National Conference of the Music Teachers’ National Association. Jeanne Kirstein gave lecture-recital, “The Piano Music of John Cage” (Dreskell 1973).

3-4 April 1973. Geneseo, New York, State University College. Residency Merce Cunningham and Dance Company; lecture-demonstration; Cage possibly participated (3 April); performed with David Behrman, Gordon Mumma, David Tudor and Merce Cunningham and Dance Company, Event #71 (4 April).

5-7 April 1973. Brockport, New York, The College at Brockport, State University of New York. Residency of Merce Cunningham and Dance Company. Performed with Merce Cunningham: Dialogue (6 April); with David Behrman, Gordon Mumma, David Tudor and Merce Cunningham and Dance Company, Gymnasium Event #72 (7 April).

8-11 April 1973. Athens, Ohio, Ohio University. Residency of Merce Cunningham and Dance Company. Performed with David Behrman, Gordon Mumma, David Tudor and Merce Cunningham and Dance Company, Gymnasium Event #73 (11 April).

12-14 April 1973. Kent, Ohio, Kent State University. Residency of Merce Cunningham and Dance Company. Performed with Merce Cunningham: Dialogue (13 April); with David Behrman, Gordon Mumma, David Tudor and and Merce Cunningham and Dance Company: Gymnasium Event #74 (14 April).

15-17 April 1973. Oberlin, Ohio, Oberlin College. Residency of Merce Cunningham and Dance Company. Lecture-demonstration; Cage possibly participated (15 April); took a weekend course in Chinese with William McNaughton; performed with David Behrman, Gordon Mumma, David Tudor and Merce Cunningham and Dance Company, Gymnasium Event #75 (17 April) (Cage 1979c, 11).

17 April-12 May 1973. New York, Willard Gallery (29 East 72nd Street). Exhibition of the work of Richard Lippold. For the invitation of the vernissage Cage wrote Grand Street and Monroe (for R.L. Twenty Years After).

19-21 April 1973. Saranac Lake, New York, North Country Community College. Residency of Merce Cunningham and Dance Company; performed with David Behrman, Gordon Mumma, David Tudor, and Merce Cunningham and Dance Company, Event #76 (21 April, Saranac Lake High School).

23-25 April 1973. Plattsburgh, New York, State University of New York College. Residency of Merce Cunningham and Dance Company; performed with David Behrman, Gordon Mumma, David Tudor, and Merce Cunningham and Dance Company, Gymnasium Event #77 (25 April).

26-28 April 1973. Hanover, New Hampshire, Dartmouth College. Residency of Merce Cunningham and Dance Company; performed with David Behrman, Gordon Mumma, David Tudor and Merce Cunningham and Dance Company: Gymnasium Event #78 (27 April); with Merce Cunningham: Dialogue (28 April).

2 May 1973. Bonn, Tage für Neue Musik: attended concert with works by Mauricio Kagel.

3 May 1973. Bonn, Beethovenhalle, Tage für Neue Musik, Musik der Zeit IV: Neue Musik und Film (1-6 May), co-organized by Kulturamt der Stadt Bonn and Westdeutscher Rundfunk Köln. Performed Bird Cage (eighteen channels), simultaneously with film by Hans G Helms, Bird Cage/73'20.958" for a Composer; question period (Bachmann, C.-H. 1973; Beuth 1973; Duvenbeck 1973; Fuhrmann 1973; Schürmann 1973; Terschüren 1973).

3 May 1973. New York, Bank Street College (610 West 112th Street), Auditorium. S.E.M. Ensemble performed Song Books; Cage not in attendance (Rockwell 1973b; Rockwell 1973d).

3-6 May 1973. New York, Westbeth (55 Bethune Street), Merce Cunningham Studio. Merce Cunningham and Dance Company performed Event #79 (3 May); Event #80 (4 May); Event #81 (5 May); Event #82 (6 May); Cage did not participate.

18 May 1973. New York, Whitney Museum of American Art, Composers’ Showcase. Merce Cunningham performed; Cage did not participate.

19 May 1973. Buffalo, New York, Albright-Knox Gallery. Students of the State University of New York performed Field Dances; Cage did not participate.

14 June 1973. Middletown, Connecticut, Wesleyan University Press. Publication of M: Writings ’67-’72 (Cage 1973h).

14 July 1973. Stony Point, New York. Interviewed by Alan Gillmor and conversation with Roger Shattuck and Alan Gillmor (Cage/Gillmor 1976; Cage, Shattuck and Gillmor 1982).

August 1973. Stony Point, New York. Composed Etcetera.

Late summer 1973. Stony Point, New York. David Behrman made the magnetic tape recording of the environment in which Etcetera was composed.

August 1973-1974, completed prior to 8 August 1974. Wrote Empty Words (Text).

4 September 1973. Washington, D.C., Smithsonian Institution, National Museum of Natural History, Baird Auditorium, Smithsonian Resident Associates Program, 60th birthday concert: invited by Janet W. Solinger, performed Mureau and Cheap Imitation (Piano) (Flander 1973; Lowens 1973; Schoettler 1973).

5 October 1973. Traveled to Paris for rehearsals of Etcetera.

October 1973. Paris. Interviewed by Alain Jouffroy and Robert Cordier (Cage/Jouffroy and Cordier 1974).

6 November 1973 (evening); repeats 8-9, 14, 17, 22, 24 November. Paris, Théâtre National de l’Opéra, Festival d’Automne à Paris, Festival International de Danse de Paris. Orchestre Cunningham, Marius Constant, Catherine Comet and Boris de Vinogradow, conductors, gave first performance of Etcetera to Un jour ou deux by Merce Cunningham, Ballet de l’Opéra, set and costumes by Jasper Johns; attended by Max Ernst, Henri Cartier-Bresson, Niki de Saint-Phalle, Jean Tinguely, Teeny Duchamp, David Hockney, Richard Hamilton; interviewed by Jean-Yves Bosseur (Cage/Bosseur 1973; Charles 1978c, 157-164; Cunningham, M. 1982b, 182-184; Damian 1973-1974; Goléa 1974; Harris, D. 1974; Informations & Documents 1973; Koegler 1974; Lonchampt 1973; Maggie 1973; Rose, B. 1974; Sarraute 1973; Schneider, P. 1973; Tardy-Marcus 1973).

November 1973. Paris. Composed Exercise.

12 November 1973. Rome, Teatro delle Arti, Festival d’autunno. Performed with Merce Cunningham, ‘Silence/Teatro concerto’, presumably Dialogue (Vaughan 1997, 190).

November or December 1973. Rome. Marcello Panni and others gave first performance of Exercise (Cage/Bosseur 1973, 31).

7-8 December 1973. New York, Kitchen (formerly in the old Broadway Central Hotel, as part of the Mercer Arts Center, now at the second floor of the old LoGiudiuce Building at the corner of Wooster and Broome Streets to 59 Wooster Street and Broome Street), Two Evenings of John Cage. Don Gillespie performed Water Music (7 December); Jan Coward, Don Gillespie, Garrett List, Phill Niblock, Roy Pennington, radios; Jim Burton, Judith Sherman, newsreaders, gave first performance of Speech 1955 (8 December); Cheap Imitation (Orchestra) presumably performed; further performances by Philip Corner, Jon Deak, Linda Quan, Connie Beckley, Jan Coward, Joel Chadabe (Jarvis and Landy 1973; Johnson, Tom 1973b; Rockwell 1973a).

9 December 1973, 1 pm to midnight. New York, Grand Central Station, Track 34-35, Tenth Annual Avant Garde Festival. Participated by working at Empty Words (Duncan 1973; Kaufman 1973).

Late December 1973. London and Manchester. The London Sinfonietta, Hans Zender conducting from the piano, performed Cheap Imitation (Orchestra), as well as music by Earle Brown, and Elliott Carter (Jack 1974b; Schiffer 1974).

1974 or earlier. Wrote statement for Vinko Globokar’s Orchester (Polaczek 1986).

1974. Revised Two Pieces for Piano (circa 1935).

1974. Made 30 Drawings by Thoreau.

1974. August or earlier. Wrote The Future of Music.

1974. August or earlier. New York, Young Men’s Hebrew Association. Presented The Future of Music (Cage 1979c, 177).

29 January 1974. New York, Lincoln Center for the Performing Arts, Alice Tully Hall. Marie-Françoise Bucquet performed Book IV from Music of Changes and compositions by Erik Satie, Charles Ives, and Tôru Takemitsu.

5-6 February 1974. Mesquite, Texas, Eastfield College, 20th Century Music Festival: attended performances of Winter Music and Etcetera (5 February, evening, Performance Hall); lectured (6 February, afternoon, Performance Hall) and led a rap session (6 February, afternoon, Fine Arts Building, Room 117).

8-17 February 1974. Ileana Melita and Marc Furneaux performed Song Books (8 February, evening, Nijmegen, Cultureel Centrum De Lindenberg; 9 February, evening, Middelburg, Wandelkerk; 12 February, evening, Utrecht, Centrum ’t Hoogt; 15 February, evening, Amsterdam, Concertgebouw, Kleine Zaal; 16 February, evening, The Hague, Diligentia; 17 February, evening, Groningen, Cultureel Centrum De Oosterpoort).

9-10 February 1974. New York, Westbeth (55 Bethune Street), Merce Cunningham Studio. Presumably performed with Merce Cunningham and Dance Company: Event #83 (9 February) and Event #84 (10 February).

16-17 February 1974. New York, Westbeth (55 Bethune Street), Merce Cunningham Studio. Presumably performed with Merce Cunningham and Dance Company: Event #85 (16 February) and Event #86 (17 February).

23-24 February 1974. New York, Westbeth (55 Bethune Street), Merce Cunningham Studio. Merce Cunningham and Dance Company performed: Event #87 (23 February) and Event #88 (24 February); Cage did not participate.

23 February 1974. Middletown, Connecticut, Wesleyan University, Center for the Arts, Crowell Concert Hall, An Evening with John Cage. Performed from Empty Words (possibly repeated on 24 February) and, with Alvin Lucier and Richard Winslow, conducted student ensemble in Etcetera; on exhibit in the lobby Not Wanting to Say Anything about Marcel (Wesleyan 1993).

1-2 March 1974. New York, Brooklyn Academy of Music (30 Lafayette Avenue), Lepercq Space. Performed with David Behrman, Jacques Bekaert, Gordon Mumma, and Merce Cunningham and Dance Company: Event #89 (1 March); Event #90 (2 March).

5 March 1974. Laurinburg, North Carolina, St. Andrews College, Scotland County High School, Auditorium, Black Mountain College Festival. Performed with Merce Cunningham: from Empty Words as part of Dialogue; unidentified piano piece (possibly Cheap Imitation or from Music for Piano) (Daniels, S. 1974).

8-10 March 1974. New York, Westbeth (55 Bethune Street), Merce Cunningham Studio. Presumably performed with Merce Cunningham and Dance Company: Event #91 (8 March); Event #92 (9 March); Event #93 (10 March).

16-17 March 1974. New York, Westbeth (55 Bethune Street), Merce Cunningham Studio (55 Bethune Street). Performed with Merce Cunningham and Dance Company: from Empty Words to Event #94 (16 March); Event #95 (17 March).

20 March 1974. New York, Town Hall (123 West 43rd Street). Presumably participated in lecture demonstration by Merce Cunningham and Dance Company.

22-24 March 1974. New York, Westbeth (55 Bethune Street), Merce Cunningham Studio. Merce Cunningham and Dance Company performed: Event #96 (22 March); Event #97 (23 March); Event #98 (24 March); Cage’s participation uncertain.

23 March 1974. New York, Hunter College Playhouse (695 Park Avenue), Benefit Concert for Center for New Music. Performed Part I of Empty Words.

29-31 March 1974. New York, Westbeth (55 Bethune Street), Merce Cunningham Studio. Presumably performed with Merce Cunningham and Dance Company: Event #99 (29 March); Event #100 (30 March); Event #101 (31 March).

April 1974. Witten, Wittener Tage für neue Kammermusik. Aria with Solo for Voice [sic], Atlas Eclipticalis, and Fontana Mix performed; Cage not in attendance.

3-6 April 1974. Portland, Oregon, Portland Art Museum, John Cage in Portland, presented by Portland State University Cultural Affairs Board and the Portland Art Museum. Attended (perhaps only 4-6 April); Robert Moran performed Sixty-two Mesostics re Merce Cunningham (3 April); performed from Empty Words (5 April); Joseph Kubera performed Sonatas and Interludes; with Robert Moran and Eric Funk, conducted Etcetera, performed by Portland State University New Music Ensemble (6 April); gave first reading of The Future of Music [text] (Christensen, L. K. 1974).

5-7 April 1974. New York, Westbeth (55 Bethune Street), Merce Cunningham Studio. Presumably performed with Merce Cunningham and Dance Company: Event #102 (5 April); Event #103 (6 April); Event #104 (7 April).

12-14 April 1974. New York, Westbeth (55 Bethune Street), Merce Cunningham Studio. Presumably performed with Merce Cunningham and Dance Company: Event #105 (12 April); Event #106 (13 April); Event #107 (14 April).

19-21 April 1974. New York, Westbeth (55 Bethune Street), Merce Cunningham Studio. Presumably performed with Merce Cunningham and Dance Company: Event #108 (19 April); Event #109 (20 April); Event #110 (21 April).

22 April 1974. Hempstead, Long Island, New York, Hofstra University (1000 Hempstead Turnpike). Presumably participated in lecture demonstration by Merce Cunningham and Dance Company.

26-27 April 1974. New York, Westbeth (55 Bethune Street), Merce Cunningham Studio. Presumably performed with Merce Cunningham and Dance Company: Event #111 (26 April); Event #112 (27 April).

28 April 1974. Uniondale, New York, Nassau Veterans Memorial Coliseum (1255 Hempstead Turnpike). Presumably performed with Merce Cunningham and Dance Company: Event #113.

2 May 1974. Interviewed by Paul Cummings (unpublished).

4-5 May 1974. New York, Westbeth (55 Bethune Street), Merce Cunningham Studio. Presumably performed with Merce Cunningham and Dance Company: Event #114 (4 May); Event #115 (5 May).

14-15 May 1974. Minneapolis, Minnesota, Walker Art Center (725 Vineland Place). Performed with Merce Cunningham: Dialogue (two performances, 14 and 15 May).

July 1974 or earlier. New York, St Paul’s Chapel. Karen Phillips, viola, and the Gregg Smith Singers performed Morton Feldman, Rothko Chapel, as well as music by Bruno Maderna, Betsy Jolas, John Biggs, Edward Najera, William Bland, and Dale Jergensen; Phillips performed Dream (viola and vibraphone) (Shawn 1974).

21 July 1974. London, Young Vic Theatre (66 The Cut), organized by the London Music Digest. Richard Bernas performed Sonatas and Interludes; John Tilbury performed Music of Changes (Griffiths, P. 1974b).

July-August 1974. Stony Point, New York and New York. Composed Score (40 Drawings by Thoreau) and 23 Parts.

6 August 1974. Stony Point, New York: David Behrman made tape for Score (40 Drawings by Thoreau) and 23 Parts.

6 August 1974. Tokyo, Nippon Gakki Company. HPSCHD performed.

8 August 1974. Boulder, Colorado, Naropa Institute (1651 Broadway; offices at 1441 Broadway). Invited by Chögyam Trungpa, gave first performance of Part IV of Empty Words (Cage, John 1978b; Cage/Anonymous 1975, 96; Fetterman 1996a, 212; Hayman, R.I.P. 1975c).

Fall 1974. New York, Merce Cunningham Studio, videotaped Westbeth: A Work for Video with Merce Cunningham and Dance Company, directed by Charles Atlas (Vaughan 1997, 191, 296).

5 September 1974. Sydney, 1 Central Street. Geoffrey Barnard, Lee Chittick, Phil Connor, Peter Evans, Roger Frampton, Ernie Gallagher, Rob Gray, Greg Matheson, Greg Schiemer, and Phil Treloar performed Variations IV.

24 September 1974. Warsaw, Warsaw Autumn. Warsaw Music Workshop performed Variations II. Cathy Berberian performed Song Books.

24-25 September 1974. Minneapolis/Saint Paul, Minnesota. As guest composer of the Saint Paul Chamber Orchestra, attended performances of Music for Wind Instruments, Six Melodies; as well as music by Henry Cowell and Joseph Haydn (24 September, Saint Paul, Macalester College, Janet Wallace Fine Arts Center, Concert Hall; 25 September, Minneapolis, Walker Art Center, Auditorium (725 Vineland Place).

28 September 1974. Saint Paul, Minnesota, I.A. O’Shaughnessy Auditorium, Capital Series. Saint Paul Chamber Orchestra; Dennis Russell Davies, conductor, gave first performance of Score (40 Drawings by Thoreau) and 23 Parts, as well as music by John Frederick Peter, Henry Cowell, and Joseph Haydn; Cage in attendance as guest composer; interviewed by Michael Anthony (Anthony 1974a; Anthony 1974b; Close 1974).

Prior to October 1974. Interviewed (statement) by Ear (Ear 1974).

20 October 1974. Donaueschingen, Donauhalle Saal A, Donaueschinger Musiktage: Schola Cantorum Stuttgart, Clytus Gottwald, director, Hans Peter Haller, Experimentalstudio der Heinrich-Strobel-Stiftung des Südwestfunks Freiburg, electronic modification, performed Song Books; Cage not in attendance.

28 October 1974. New York, Westbeth (55 Bethune Street), Merce Cunningham Studio. Performed with Merce Cunningham: Dialogue.

Prior to 19 November 1974. Interviewed by Glenn Gould for his radio documentary Schoenberg: The First Hundred Years – A Documentary Fantasy for Radio (Canadian Broadcasting Corporation).

22 November 1974 (arrived 21 November). Dallas, Texas, Southern Methodist University, Caruth Auditorium, with Ann Bidwell and James Rives Jones conducted student ensemble in Etcetera.

Prior to December 1974. Interviewed by Anthony Brown (Cage /Brown 1974).

1974-1975. New York. Composed Etudes Australes.

Prior to or during 1975. Wrote abstract of M (book) for RILM Abstracts of Music Literature (Cage 1975A).

1975. Interviewed by Cole Gagne and Tracy Caras (Cage/Gagne and Caras 1976).

1 January 1975. New York, Saint Mark’s Church. Performed from Mureau (recorded on Giorno Poetry Systems Records GPS 005).

25 January 1975. New York, Lincoln Center for the Performing Arts, Alice Tully Hall. Grete Sultan performed from Etudes Australes (three etudes: I, II, and VIII) and music by Claude Debussy and Ludwig van Beethoven; Cage in attendance (Johnson, Tom 1975b; Paris 1975; Rockwell 1975c; Tucker, Tui 1975).

26-28 January 1975. Evanston, Illinois, Northwestern University, School of Music, John Cage at Northwestern. Attended in conjunction with his deposition of ‘Notations’ collection at Northwestern (exhibition, through 2 February, Northwestern University Library, Level I Lobby and Deering Library); Northwestern University Symphony Orchestra, Bernard Rubenstein, conductor, performed Atlas Eclipticalis as well as music by Wolfgang Amadeus Mozart and Paul Hindemith (26 January, Alice Millar Chapel, followed by public reception honoring Cage, Parkes Hall); informal meeting with students (27 January, afternoon, Willard Hall [1865 Sherman Avenue], lounge); performed from Empty Words [Part III] at concert featuring student performances of his music (27 January, evening, Lutkin Hall [700 University Place]); classes (morning) and informal discussion, moderated by Don L. Roberts (afternoon) (28 January, Lutkin Hall) (Cage/Gena 1982/1982, 176; Siegel, S. 1975).

3 February 1975. Leipzig, 3. Rathauskonzert. Gruppe Neue Musik Hanns Eisler, Burkhard Glaetzner conducting, performed Concert for Piano and Orchestra (K. 1975).

9 February 1975. Wrote Nine Mesostics re Jackson Mac Low’s Tree* Movie.

14 February 1975. New York, Cunningham studio (Westbeth). First public showing, following a live performance, of Westbeth.

24 February 1975 (evening). Columbus, Georgia, Columbus College, Fine Arts Hall. Performed Empty Words Part III (with slide projector) and Music for Marcel Duchamp.

Prior to March 1975. International Contemporary Music Exchange, directed by Igor Butekoff, selected Concerto for Prepared Piano and Chamber Orchestra for list of compositions representing the United States in its worldwide exchange of the best contemporary orchestral music (Pan Pipes 1975).

March-2 April 1975. New York, Multiples Inc. (55 East 80th Street). Benefit sale of Merce Cunningham and John Cage, Jasper Johns, Robert Morris, Bruce Nauman, Robert Rauschenberg, Frank Stella, Andy Warhol: A Portfolio of Seven Prints Recording Collaborations with Merce Cunningham and Dance Company (including Cage’s 30 Drawings by Thoreau [art]) for the Cunningham Dance Foundation (Russell, J. 1975).

3 March-13 April 1975. Toured with Merce Cunningham and Dance Company.

Prior to 8 March 1975. Composed Child of Tree.

7-9 March 1975. Detroit, Michigan, Music Hall Center for Performing Arts (350 Madison Street). Performed with Merce Cunningham and Dance Company: _ _ Week of _ to Signals; David Behrman, Voice with Melody-Driven Electronics to Rebus; Cartridge Music to Changing Steps/Loops (7 March); David Tudor, Toneburst to Sounddance; Child of Tree (first performance) to Solo; 52/3 to Landrover (8 March); _ _ Week of _ to Signals; David Behrman, Voice with Melody-Driven Electronics to Rebus; Gordon Mumma, Telepos to TV Rerun (9 March).

11 March 1975. Lake Forest, Illinois, Barat College of the Sacred Heart (700 East Westleigh Road). Performed with Merce Cunningham and Dance Company: Gymnasium Event #124.

13-15 March 1975. Chicago, Illinois, University of Chicago (5801 South Ellis Avenue) , presented by the Chicago Dance Foundation and the University of Chicago Extension. Performed with David Behrman, David Tudor, and Merce Cunningham and Dance Company: Gymnasium Event #125 (13 March); Gymnasium Event #126 (comprised of sections from Gordon Mumma, Loops to Loops; 52/3 to Landrover; Toshi Ichiyanagi, Activities for Orchestra to Scramble) (14 March, Ida Noyes Hall); _ _ Week of _ to Signals; David Tudor, Toneburst to Sounddance; Child of Tree to Solo; Gordon Mumma, Telepos to TV Rerun (15 March).

18-19 March 1975. Minneapolis, Minnesota, Walker Art Center (725 Vineland Place). Participated in informal performances by Merce Cunningham and Dance Company (18-19 March).

20 March 1975. Minneapolis, Minnesota, University of Minnesota, Cyrus Northrop Memorial Auditorium (84 Church Street SE). Performed with Merce Cunningham and Dance Company: _ _ Week of _ to Signals; David Tudor, Toneburst to Sounddance; Child of Tree to Solo; David Behrman, Voice with Melody-Driven Electronics to Rebus.

21-22 March 1975. Saint Paul, Minnesota, Macalester College (1600 Grand Avenue). Performed with Merce Cunningham and Dance Company: Event #127 (possibly including Etcetera) (21 March); [Untitled] to Westbeth (live and on tape) (22 March).

27 March 1975. Saint Louis, Missouri, Saint Louis Community College–Meramec (11333 Big Bend Road, Kirkwood, Missouri). Participated in mini performance by Merce Cunningham and Dance Company.

29 March 1975. St. Louis, Missouri, Kiel Opera House (1400 Market Street). Performed with Merce Cunningham and Dance Company: _ _ Week of _ to Signals; David Tudor, Toneburst to Sounddance; Child of Tree to Solo; David Behrman, Voice with Melody-Driven Electronics to Rebus.

1 April 1975. Tempe, Arizona, Arizona State University, Tempe Campus. Performed with Merce Cunningham and Dance Company: _ _ Week of _ to Signals; David Behrman, Voice with Melody-Driven Electronics to Rebus; Cartridge Music to Changing Steps/Loops.

5-6 April 1975. Los Angeles, California, University of California, Los Angeles. Performed with Merce Cunningham and Dance Company: _ _ Week of _ to Signals; David Tudor, Toneburst to Sounddance; Child of Tree to Solo; David Behrman, Voice with Melody-Driven Electronics to Rebus (5 April); Event #128 (6 April).

12-13 April 1975. Berkeley, California, University of California, Berkeley, Zellerbach Hall (101 Zellerbach Hall #4800). Merce Cunningham and Dance Company performed _ _ Week of _ to Signals; David Behrman, Voice with Melody-Driven Electronics to Rebus; Cartridge Music to Changing Steps/Loops (12 April); David Tudor, Toneburst to Sounddance; Child of Tree to Solo; 52/3 to Landrover (13 April).

15-22 April 1975. Minneapolis/Saint Paul, Minnesota. Guest composer of the Saint Paul Chamber Orchestra; lectured [presumably "The Future of Music"] (15 or 16 April); Grete Sultan performed from Etudes Australes (14 April, Saint Paul, Macalester College, Janet Wallace Fine Arts Center, Concert Hall; 16 April, Minneapolis, Walker Art Center, Auditorium (725 Vineland Place); in Capital Series, Saint Paul Chamber Orchestra; Dennis Russell Davies, conductor, performed Atlas Eclipticalis, as well as music by Mozart, Honegger, and Joseph Haydn (19 April, Saint Paul, Minnesota, I. A. O’Shaughnessy Auditorium; 21 April, Saint Paul, Minnesota, Orchestra Hall); Cage in attendance (Close 1975).

24 April 1975. Purchase, New York, State University of New York, Purchase College (735 Anderson Hill Road). Merce Cunningham and Dance Company performed: Event #129; Cage did not participate.

24-25 April 1975. Newark, Delaware, University of Delaware, presumably at Belmont Hall (230 West Main Street). Contributed to symposium (Clarke, G.E. 1977, 230n9).

26-27 April 1975. New York, Westbeth (55 Bethune Street), Merce Cunningham Studio. Presumably performed with Merce Cunningham and Dance Company: Event #130 (26 April); Event #131 (27 April).

3 May 1975 (evening). New York, Brooklyn Academy of Music (30 Lafayette Avenue), Opera House, Music Hall, Lepercq Space, Second Annual Festival of Modern Combos. Attended performance of HPSCHD by the Brooklyn Philharmonia, David Tudor, Dennis Elmrich, and Frederic Rzewski, organized by Joel Chadabe and Lukas Foss in program with Speculum Musicae, Philadelphia New Music Group, Collage (Boston Contemporary Music Ensemble), and the Gregg Smith Singers with Rosalind Reese, soprano; afterwards participated in symposium with Lejaren Hiller and others, moderated by Lukas Foss (Hayman, R.I.P. 1975b; Rockwell 1975a; Rockwell 1975b; Zakariasen 1975).

3 May 1975 (presumably). New York, Bill King’s studio. Interviewed by Daniela Morera (Cage/Morera 1976).

6 May 1975. New York, Fordham University at Lincoln Center, Faculty Lounge, Common Ground Festival (5-10 May). Performed from Empty Words, with slides (early evening) (Flory 1975; New York Times 1975).

7 May 1975. New York, Saint Mark’s Church. Performed Part IV of Empty Words, with slides; question period afterwards (Flory 1975).

2-6 June 1975. Buffalo, New York, State University of New York: June in Buffalo, Composer’s Workshop. Invited by Morton Feldman, participated; lectured in the afternoons; attended rehearsals and performances in the evenings; supervised performance of Etcetera; S.E.M. Ensemble with Julius Eastman (1940-1990) gave a controversial performance of Song Books; at a plenary session the day after the performance Cage distanced himself from the performance (Buffalo Evening News 1975; Dohoney 2014; Gann 1988c; Hayman, R.I.P. 1975c; Levine Packer 2010; Schlegel 2008; Silverman, K. 2010, 273-274).

16 June 1975. Bremen, Radio Bremen, Sendesaal (Heinrich-Hertz-Straße). Performed with Grete Sultan: from Part III of Empty Words (Cage); from Etudes Australes [six or seven, including I-II, IV, VI, VII-VIII?; VII as first performance; performance repeated] (Sultan) (Asche 1975; Neubauer, S. 1975; Tibbe 1975).

18 June 1975. Bonn, Kulturforum Bonn-Center (Bundeskanzlerplatz). Performed from Part III of Empty Words; Grete Sultan performed Etudes Australes [I-II, IV, VI-VIII]; Richard Armbruster, Jim Fulkerson and Stephen Montague performed Amores and Imaginary Landscape No. 1.

20 June 1975. Munich, Oskar von Miller-Gymnasium, Turnhalle (Siegfriedstraße 22), Neue Musik München, Musik in der Schule, organized by Jugendkulturwerk Kulturreferat der Landeshauptstadt München and Arbeitsgemeinschaft Neue Musik am Oskar von Miller-Gymnasium, Josef Anton Riedl, program. Introduced by Dieter Schnebel, performed from Part III of Empty Words; Grete Sultan performed from Etudes Australes [I-II, IV, VI-VIII]; Arbeitsgemeinschaft Neue Musik am Oskar von Miller-Gymnasium (Hans Gabányi, Cornelius Hirsch, Clemens von Schacky, Florian Tielebier-Langenscheidt, Norbert Wetzel, Johannes Göhl, Michael Stralek), Dieter Schnebel, director, performed Credo in Us, Prelude for Meditation, from Six Melodies for Violin and Keyboard (3, 5, and 6), 4'33", Radio Music, Variations II, Song Books (Polaczek 1975).

21-22 June 1975. Stuttgart, John-Cage-Weekend, organized by Süddeutscher Rundfunk, Musik unserer Zeit 1974-1975. Attended; Radio-Sinfonieorchester Stuttgart, Michael Gielen, conductor, Claude Helffer, pianist, performed Concert for Piano and Orchestra as well as music by Carl Ruggles, Charles Ives, and Colin McPhee (21 June, Funkstudio Berg); Peter Roggenkamp performed Sonatas and Interludes [Sonatas I-IV, First Interlude, Sonatas V-VIII], Music for Marcel Duchamp as well as music by Charles Ives (22 June, matinee, Kunstgebäude am Schloßplatz); performed with Grete Sultan: from Part III of Empty Words (Cage), from Etudes Australes [I-II, IV, VI-VIII] (Sultan); Schola Cantorum Stuttgart, Clytus Gottwald, director, Hans-Peter Haller, sound engineer, performed Song Books (22 June, evening, Kunstgebäude am Schloßplatz); parallel program ‘Cage in Kitsch’, Ludwigsburg, Festspiele; Jürg Wyttenbach and Janka Brun performed selections from Sonatas and Interludes (21 June); interviewed by Hans Kumpf (22 June) (Cage/Kumpf 1975; Dannenberg 1975a; Dannenberg 1975b; Dehoux 1975; Gutscher 1975; Koch, G.R. 1975).

10 July 1975. Interviewed by Garry E. Clarke (Clarke, G.E. 1977, 230n3).

September 1975. New York. Interviewed by Walter Zimmermann (Cage/Zimmermann 1976).

September 1975. Stony Point, New York. Commissioned by Richard Coulter of the Canadian Broadcasting Corporation, in observance of the Bicentennial of the United States of America, composed Lecture on the Weather, in collaboration with Maryanne Amacher (1938-2009) and Luis Frangella (1944-1990) (Cage 1979c, 3).

September 1975-May-August 1976. New York, Caracas, Cuernavaca, Toronto, Perth, Sydney, Adelaide, Canberra, Kyoto, Tokyo, Sapporo. Commissioned by the Boston Symphony Orchestra, Chicago Symphony Orchestra, the Cleveland Orchestra, the Los Angeles Philharmonic, the New York Philharmonic, and the Philadelphia Orchestra, in observance of the Bi-Centennial of the United States of America, composed Renga (until April 1976) and Apartment House 1776 (May-August 1976) (Cage 1979c, 184; Cage 1975g; Time 1975).

19 September 1975. New York. Interviewed by Rita H. Mead (Mead, R.H. 1981, 602).

19-21 September 1975. Possibly visited Belgium (presumably cancelled).

26 September 1975. Warsaw, Warsaw Autumn. Simone Rist and Musique et Scène d’aujourd’hui performed Song Books.

15 November 1975 (2.30 pm) . New York, Columbia University, A-B Law (435 West 116th Street). Read from Empty Words at the “Schizo-Culture” Colloquium (13-16 November), organized by Sylvère Lotringer and John Rajchman. Other participants included Kathy Acker, Arthur Danto, William S. Burroughs, Richard Foreman, John Giorno, Michel Foucault, Gilles Deleuze, Félix Guattari, and Jean-François Lyotard (Stricklin 2020; Tillman 2014).

18 November 1975. San Jose, California, San Jose State University, Concert Hall, Distinguished American Composer Series. Performed with Grete Sultan: from part III of Empty Words; from Etudes Australes (I-VIII, two performances, Sultan, first consecutive performance of I-VIII); question period.

21-22 November 1975. San Jose, California, San Jose Center for the Performing Arts. Invited by Lou Harrison, performed with James Tenney: conducted Atlas Eclipticalis, performed by the San Jose Symphony Orchestra, simultaneously with Winter Music (Tenney); George Cleve conducted the orchestra in Ravel’s Concerto in D for the left hand, Michel Block, pianist, and in Brahms, Symphony No. 4 (Brown, Gloria 1975; Burmister 1975; Clark, S. R. 1975; Morgan, M. 1975; Tircuit 1975).

24 November 1975. Fresno, California State University, Music Recital Hall, organized by Department of Music and Student Association. Performed from Part III of Empty Words, Grete Sultan performed Etudes Australes 1-8 twice.

2-7 December 1975. New York, Roundabout Theatre (333 West 23rd Street), presented by Dance Umbrella (12 November-7 December). Performed with David Tudor and Merce Cunningham and Dance Company: Event #143 (2 December); Event #144 (3 December); Event #145 (4 December); Nam June Paik, unknown music to Event #146 (5 December); Event #147 (6 December); Event #148 (7 December) (each event with a different composer) (Barnes, C. 1975; Maskey 1976).

1976. Composed Branches.

1976. New York. Composed Variations VIII.

1976. Interviewed by Larry A. Fader (Cage/Fader 2012).

1976. Bayside, New York, Queensborough Community College, City University of New York, Sonneck Society, Annual Meeting 1976. Attended.

1976. David Vaughan (1924-2017) became the archivist of the Merce Cunningham and Dance Company, a position he retained until its disbandment in 2012.

1976. Brussels, Atelier rue Sainte-Anne, Les musiciens, les poètes, les peintres et leur partitions. Exhibition (with others).

1 January 1976. New York, Saint Mark’s Church. Performed Song (Giorno Poetry Systems Records GPS 009 [recordings]).

8 January 1976. New York, Gotham Book Mart (41 West 47th Street). Performed from Empty Words Part III as part of a benefit for St. Andrews Review, with others, hosted by Judith Johnson Sherwin (New York Times 1976).

13 and 15 January 1976. Princeton, New Jersey, Princeton University, McCarter Theatre (91 University Place). Performed with Maryanne Amacher, David Tudor and Merce Cunningham and Dance Company: Christian Wolff, Duo for Pianists I and Duo for Pianists II to Rune; David Tudor, Toneburst to Sounddance; David Behrman, Voice with Melody-Driven Electronics to Rebus (13 January); Maryanne Amacher, Remainder to Torse; _ _ Week of _ to Signals; Child of Tree to Solo; Gordon Mumma, Telepos to TV Rerun (15 January).

15 and 17 January 1976. Rennes. Voya Toncitch (pseudonym of Jean-François Grancher, 1938-2015) performed Winter Music (15 January) and Music for Piano 3, Music for Piano 4-19 (9, 11, 16 and 17), Music for Piano 20, TV Köln, Variations III and Water Music (17 January) (Confluent 1976).

21 January-9 March 1976. New York, Museum of Modern Art, exhibition, Drawing Now: 1955-1975. Page from Solo for Piano of Concert for Piano and Orchestra on exhibit (then from collection Jasper Johns) (Russell, J. 1976).

24 January 1976. New York, The Kitchen. Saint Paul Chamber Orchestra, Dennis Russell Davies, conductor, performed Atlas Eclipticalis, Music for Wind Instruments, Score (40 Drawings by Thoreau) and 23 Parts, and Six Melodies (Johnson, Tom 1976a).

22-25 January 1976. Caracas, Teatro Municipal de Caracas (Calle Oeste 8 con Sur 4, Avenida Bolívar). Performed with Merce Cunningham and Dance Company: Maryanne Amacher, Remainder to Torse; _ _ Week of _ to Signals; David Behrman, Voice with Melody-Driven Electronics to Rebus; Gordon Mumma, Telepos to TV Rerun (22 and 24 January); Christian Wolff, Duo for Pianists I and Duo for Pianists II to Rune; David Tudor, Toneburst to Sounddance; Child of Tree to Solo; Cartridge Music to Changing Steps/Loops (23 and 25 January) (Cage 1979c, 130-131; Vaughan 1997, 197).

29 January 1975. To San Juan?

Late January or early February 1976. Cuernavaca. Presumably visited.

9-14 February 1976. Mexico City. Presented by Ballet Folklórico de México and the Universidad Nacional Autónoma de México, Dirección General de Difusión Cultural, Departamento de Música. Performed with Grete Sultan; lectured (three different lectures, 9, 11, and 13 February, early evening, Biblioteca Benjamin Franklin [Londres 16], third floor theater); performed from Part III of Empty Words; Sultan performed from Etudes Australes [I-VIII, performed twice] (14 February, early evening, Colonia Guerrero, Violeta y Riva Palacio, Teatro Amalia Hernández del Ballet Folklórico de México); public conversation with Victoria Slavutski (Correo Dominical 1976; Heterofonía 1976).

26 February 1976. Toronto, Ontario, York University. With John Barton, Michael Barton, David Grymes, Andrew Jerryson, James Montgomery, James Rosenberger, Keith C. Sokol, Peter Anson, Jay Bowen, Miguel Frasconi, Jon Higgins, Richard Manichiello, Vincent Murphy, David Rosenboom, Richard Teitelbaum, speaking voices, singing voices and instruments; Maryanne Amacher, realization of reel tapes, gave first performance of Lecture on the Weather.

1-2 March 1976. Berkeley, California, University of California, Berkeley, Zellerbach Hall (101 Zellerbach Hall #4800). Performed with Merce Cunningham and Dance Company: Morton Feldman, Ixion to Summerspace; Child of Tree to Solo; Maryanne Amacher, Remainder to Torse I; David Behrman, Voice with Melody-Driven Electronics to Rebus (1 March); Christian Wolff, Duo for Pianists I and Duo for Pianists II to Rune; David Tudor, Toneburst to Sounddance; Maryanne Amacher, Remainder to Torse II; _ _ Week of _ to Signals (2 March).

7 March 1976. Oakland, California, Mills College, Center for Contemporary Music. Performed Cheap Imitation (Piano) (recorded live on Cramps Records CRSLP 6117).

9-12 March 1976. Perth, Western Australia, Perth Concert Hall (5 St Georges Terrace). Merce Cunningham and Dance Company performed Christian Wolff, Duo for Pianists I and Duo for Pianists II to Rune; Child of Tree to Solo; David Behrman, Voice with Melody-Driven Electronics to Rebus; Gordon Mumma, Telepos to TV Rerun (9-10 March); Maryanne Amacher, Remainder to Torse; _ _ Week of _ to Signals; David Tudor, Toneburst to Sounddance; Cartridge Music to Changing Steps/Loops (11-12 March).

15-20 March 1976. Sydney, New South Wales, Sydney Opera House (Bennelong Point), Opera Theatre. Performed with David Tudor, Takehisa Kosugi, and Merce Cunningham and Dance Company: Christian Wolff, Duo for Pianists I and Duo for Pianists II to Rune; David Behrman, Voice with Melody-Driven Electronics to Rebus; Child of Tree to Solo; Gordon Mumma, Telepos to TV Rerun (15-17 March); Maryanne Amacher, Remainder to Torse; La Monte Young, 2 Sounds to Winterbranch; David Tudor, Toneburst to Sounddance; _ _ Week of _ to Signals (18-20 March); interviewed by Jill Sykes (Sykes 1976).

22-27 March 1976. Adelaide, South Australia, Adelaide Festival of Arts. Performed Music for Marcel Duchamp, from Empty Words, Part III [perhaps replaced by preface from Lecture on the Weather], and from Cheap Imitation (Piano) (22 March, Festival Theatre, King William Street); performed with Merce Cunningham and Dance Company: Christian Wolff, Duo for Pianists I and Duo for Pianists II to Rune; David Behrman, Voice with Melody-Driven Electronics to Rebus; Child of Tree to Solo; Gordon Mumma, Telepos to TV Rerun (23 March, Festival Theatre, King William Street); Maryanne Amacher, Remainder to Torse; La Monte Young, 2 Sounds to Winterbranch; _ _ Week of _ to Signals; Takehisa Kosugi, S.E. Wave/E.W. Song to Squaregame (24 March, Festival Theatre, King William Street); Morton Feldman, Ixion to Summerspace; David Tudor, Toneburst to Sounddance; David Behrman, Voice with Melody-Driven Electronics to Rebus; Takehisa Kosugi, S.E. Wave/E.W. Song to Squaregame (25 March, Festival Theatre, King William Street); Event #161 and Event #162 (26-27 March, Richmond, South Australia [near Adelaide], Apollo Stadium, 41 Kingston Avenue).

28 March 1976 or slightly earlier. Interviewed by William Weber (Weber, W. 1976b).

30 March-1 April 1976. Canberra, Australian Capital Territory, Canberra Theatre Centre (Civic Square, London Circuit). Performed with David Tudor, Takehisa Kosugi, and Merce Cunningham and Dance Company: Morton Feldman, Ixion to Summerspace; David Tudor, Toneburst to Sounddance; _ _ Week of _ to Signals; Takehisa Kosugi, S.E. Wave/E.W. Song to Squaregame (30 March); Morton Feldman, Ixion to Summerspace; Child of Tree to Solo; David Tudor, Toneburst to Sounddance; Takehisa Kosugi, S.E. Wave/E.W. Song to Squaregame (31 March); Maryanne Amacher, Remainder to Torse; David Behrman, Voice with Melody-Driven Electronics to Rebus; Takehisa Kosugi, S.E. Wave/E.W. Song to Squaregame (1 April).

5 April 1976. Kyoto, Kita-Ku, Kyoto Municipal Gymnasium (Taishogun-takatsukasa). Performed with Merce Cunningham and Dance Company: Event #163 (Vaughan 1997, 198).

8 April 1976. Tokyo, Shibuya-Ku, NHK Hall (2 Chome-2-1 Jinnan). Performed with Merce Cunningham and Dance Company: Event #164 (Vaughan 1997, 198).

9-11 April 1976. Tokyo, Shibuya-Ku, Seibu Gekijo = Seibu Theatre (9th Floor of PARCO Building, 15-1 Udagawa-chou). Performed with Merce Cunningham and Dance Company: Morton Feldman, Ixion to Summerspace; David Tudor, Toneburst to Sounddance; Child of Tree to Solo; Takehisa Kosugi, S.E. Wave/E.W. Song to Squaregame (9 April); Maryanne Amacher, Remainder to Torse; _ _ Week of _ to Signals; La Monte Young, 2 Sounds to Winterbranch; Takehisa Kosugi, S.E. Wave/E.W. Song to Squaregame (10 April); Christian Wolff, Duo for Pianists I and Duo for Pianists II to Rune; Child of Tree to Solo; David Behrman, Voice with Melody-Driven Electronics to Rebus; Cartridge Music to Changing Steps/Loops (11 April) (Vaughan 1997, 198).

13 April 1976. Sapporo, Chūō-ku, Hokkaido Kōsei-Nenkin Kaikan (12 Chome Kita 1 Jonishi). Performed with Merce Cunningham and Dance Company: Event #165 (Vaughan 1997, 198).

13 April 1976. New York, Bloomingdale’s (1000 Third Avenue 59th Street and Lexington Avenue). Preview benefit party for the New York Philharmonic, opening the exhibition “Red, White, and Bloomingdale’s,” of model rooms, one of them dedicated to Cage; Cage not in attendance (Klemesrud 1976).

15 April 1976. New York, Brooklyn Academy of Music. With Alan Rich, Tom Johnson and others in panel preliminary judging new music ensembles in Competition of the Combos.

May-August 1976. New York; Stony Point, New York; Villiers-sous-Grez; La Rochelle; and New York. Composed Apartment House 1776 (Time 1975).

14 May 1976. Letter to Monika Fürst-Heidtmann (Fürst-Heidtmann 1979, 29n2).

3 June 1976. Warsaw. First performance (presumably) of Living Room Music (Music Educators Journal 1976).

3-4 July 1976. La Rochelle, 4mes Rencontres Internationales d’Art Contemporain (26 June-10 July, Cage attended for four days). Performed from Part III of Empty Words; Grete Sultan performed from Etudes Australes (I-X) (3 July, late afternoon, Hôtel de Ville); spoke during rehearsal (Address to an Orchestra [text]) and attended performance of Atlas Eclipticalis by the Residentie-Orkest The Hague, Richard Dufallo conducting, simultaneously with Winter Music, performed by Richard Bernas and Gérard Frémy, and Solo for Voice 45 from Song Books, performed by Joan La Barbara (3 July, evening, Salle des Sports); meeting with the audience (4 July, evening, Hôtel de Ville) (Cage 1976d; Cage/Dufallo 1989; Condé 1976; Gill, D. 1976; Harris, D. 1976a; Harris, D. 1976b; La Barbara 1977).

4 July 1976. NPR?. Broadcast of Lecture on the Weather.

Prior to 15 July 1976. Chicago. Recipient, with 121 other composers, lyricists and performers, of the National Music Award. The awards were inaugurated by the American Music Conference, sponsored by the National Association of Music Merchants. Recipients were honored at a dinner presentation at the Conrad Hilton Hotel; Cage’s attendance uncertain.

27 July 1976. New York. Attended court session as a result of which John Lennon received his ‘green card’; Cage had been active in supporting Lennon’s attempts to get a residence permit (Melody Maker 1980).

27 July-4 August 1976. Avignon, Palais des Papes (Place du Palais). Merce Cunningham and Dance Company performed: Event #166 (27 July); Event #167 (28 July); Event #168 (3 August); Event #169 (4 August); Cage presumably did not participate.

29 July 1976. New York. Interviewed by Holly E. Martin (Cage/Martin 2013).

31 July-12 August 1976. Aix en Provence. Fêtes Musicales de la Sainte-Baume-en-Provence, Musique & Silence, organized by Jean-Luc Choplin. Participated. Meeting with Cage. Performance of a new composition [?] and of Atlas Eclipticalis (performed outdoors) (Guardian 2004).

Early August 1976-1977. Wrote Writing through Finnegans Wake.

During or after August 1976-ca. August 1977. New York. Composed Quartets I-VIII (24 Instruments), Quartets I-VIII (41 Instruments), and Quartets I-VIII (93 Instruments).

After August 1976-10 December 1976. New York. Composed Quartets I, V, and VI, Quartet I.

8-9 August 1976. Tel Aviv, Fredric R. Mann Auditorium (Habima Square). Merce Cunningham and Dance Company performed: Event #170 (8 August); Event #171 (9 August); Cage presumably did not participate.

29 August 1976. Venice, La Biennale di Venezia, Musica (16 August-30 October), Conservatorio Benedetto Marcello, Campo Pisani. Lam Man-Yee performed Music for Marcel Duchamp in concert with music by Michael Finnissy, Goffredo Petrassi, Henri Pousseur and Anton Webern.

11-12 September 1976. Venice, La Biennale di Venezia, Musica (16 August-30 October), Isola di San Giorgio, Sala Carneluti della Fondazione Giorgio Cini. Gruppe Musik/Film/Dia/Licht (Loreno Ferrero, Stephen Montague, Frederic Rzewski, Cornelius Cardew, René Bastian, Jim Fulkerson, with techincal assistance of Gottfried Düren, Johannes Düren, Karlheinz Hein, Rainer Schinzel, Michael Stralek, Andreas Tielebier-Langenscheidt, Florian Tielebier-Langenscheidt) performed HPSCHD (realization by Josef Anton Riedl); presumably Cage was not in attendance.

23 September 1976. New York. Interviewed by Monika Fürst-Heidtmann (Fürst-Heidtmann 1979, ix, 44n1).

30 September and 1, 2 and 5 October 1976. Boston, Massachusetts, Symphony Hall, Nico Castel (Sephardic Jew/singer), Jeanne Lee (Negro slave/singer), Helen Schneyer (Protestant Puritan/hymn singer), Chief Swift Eagle (American Indian/singer), Boston Symphony Orchestra, Seiji Ozawa (conductor), gave first performances of Renga with Apartment House 1776 in shared program with music by Gottfried Heinrich Stoelzel and Manuel de Falla (Dyer, R. 1976; Fleming, S. 1976; Johnson, Tom 1976b; Mayer, W. 1977; Schwartz, E. 1977; Slonimsky 1984, 398).

Around October 1976. New York, Carl Solway Gallery (139 Spring). Exhibition of Not Wanting to Say Anything about Marcel (Art News 1976).

8-9 October 1976. Valencia, California Institute of the Arts, School of Music, Modulor Theater, Two Evenings of New Music, organized by Music West. With Morton Feldman and Lou Harrison attended performances of his music performed by CalArts faculty/student soloists and contemporary ensembles in program shared with music by James Fulkerson, Mel Powell, Morton Feldman, Sylvano Bussotti, Elliott Carter, Dorrance Stalvey, and Morton Subotnick: Double Music, First Construction (in Metal) (William Kraft, conductor); Winter Music (fifteen pianos, supervised by Thomas Schultz) with “Solo for Voice 45” from Song Books (Joan La Barbara) (Main Gallery) (Weber, W. 1976a).

16 October 1976. Buffalo, New York, State University of New York, Center for Creative and Performing Arts, Meet the Composer. Performed with Maryanne Amacher.

23 October 1976. New York, Town Hall (123 West 43rd Street, afternoon). Performed from Part III of Empty Words; Grete Sultan performed Etudes Australes, nos. 1-11, nine of which were New York premieres (Henahan 1976a; Horowitz 1976; Pavlakis 1976).

27 October 1976. Buffalo, New York, State University of New York, Center for Creative and Performing Arts, Meet the Composer. Performed with Maryanne Amacher.

27 October 1976. Boston, Massachusetts, Symphony Hall, World Music Days 1976 of the International Society for Contemporary Music. Boston Symphony Orchestra, Seiji Ozawa, conductor, and the New England Conservatory Chorus, Lorna Cooke DeVaron, conductor, performed Renga with Apartment House 1776 in shared program with music by Nikos Mamangakis and Seymour Shifrin; Cage’s attendance uncertain (Carlin 1977; Henahan 1976b).

4-9 November 1976. New York, Lincoln Center, Avery Fisher Concert Hall. Attended performances (at least on 4 November) of Renga with Apartment House 1776 by Nico Castel (Sephardic singer), Jeanne Lee (Negro singer), Helen Schneyer (Protestant hymn singer), Chief Swift Eagle (American Indian singer), the New York Philharmonic Orchestra, Pierre Boulez conducting (4-6 and 9 November); following the 4 November performance, in Noel Levine’s apartment, supper reception in Cage’s honor; gave pre-Philharmonic Concert Lecture (5 November, morning, Meet the Composer) (Anderson, B. 1976-1977; Breuer 1976; Breuer 1977a; Breuer 1977b; Highwater 1976; Hughes, A. 1976; Music Journal 1977a; Porter, A. 1976; Schwartz, E. 1977).

8-11 November 1976. Nashville, Tennessee. Performed (on videotape) with David Tudor and Merce Cunningham and Dance Company: Branches (Cage) and David Tudor, Rainforest to RainForest (Tudor) to Event for Television, TV-film directed by Merrill Brockway for the National Educational Television series “Dance in America” [films] (Cunningham, M. 1982b, 184-185; Vaughan 1997, 198-199).

17-20 November 1976. Milwaukee, Wisconsin, University of Wisconsin-Milwaukee, Center for Twentieth-Century Studies, International Symposium on Post-Modern Performance, organized by Michel Benamou. Attended; participated in panel discussion with Jean-François Lyotard (Bacht 2003).

November 1976-January 1977. New York, Town Hall. In benefit concert, performed from Writing through Finnegans Wake or Writing for the Second Time through Finnegans Wake (Anderson, B. 1976-1977).

11 November 1976 or later. Performed Branches for TV-film (Cunningham, M. 1982X, 184).

29 November 1976. Cambridge, Massachusetts, Harvard University, Sanders Theatre (presented by Department of Music and Fromm Music Foundation at Harvard), A Concert in Two Parts: participated in performance of Lecture on the Weather, with Lyle Davidson, Andrew Jerrison, Joel Kabakov, Peter Kelsey, Philipp Kelsey, Adam Kremen, David Lyttle, William McLelland, Lycurgus Mitchell, David Patterson, Michael Secter, Marc Wartenberg, speakers/vocalists; Maryanne Amacher and Ivan Tcherepnin, mixing and equalization; Richard Leacock and Terry Lockhart, projection.

12 December 1976. London, Institute of Contemporary Arts (Nash House, The Mall). Stephen Montague performed Song Books in concert with music by Terry Riley, Andrzej Dobrowolski, Franklin E. Morris, Krzysztof Zarebski, Tom Johnson, and Stephen Montague (Reeve 1976).

14 December 1976. New York. Interviewed by Ruth Julius (Julius, Ru. 1978).

1976-1978. Wrote Writing for the Second Time through Finnegans Wake (text).

1977. Wrote Reply to the Founder of Murder Ink [text] and Two Mesostics (on Frank O’Hara) [text].

1977-1980. New York. Composed Freeman Etudes (I-XVI) in collaboration with violinist Paul Zukofsky (1943-2017).

6-17 January 1977. Tour to California.

13-14 January 1977. Los Angeles, California, Los Angeles Music Center, Dorothy Chandler Pavilion (135 North Grand Avenue). Introduced and attended performance by the Los Angeles Philharmonic, Zubin Mehta, conductor; Helen Schneyer, soprano (Protestants); Chief Swift Eagle (American Indians); Nico Castel (Sephardim, on tape); Jeanne Lee (Negro Slaves, on tape) of Renga with Apartment House 1776 in shared program with music by Wolfgang Amadeus Mozart and Ludwig van Beethoven (performances on 13, 14, and 16 January) (Bernheimer 1977a; Bernheimer 1977b; Bobo et al. and Kraft 1977; Burke, Grossman, and Muggeridge 1977; Perlis 1977).

18-23 January 1977. New York, Minskoff Theatre (Broadway and 45th Street). David Behrman, Joe Kubera, Joan La Barbara, and David Tudor performed with Merce Cunningham and Dance Company: Morton Feldman, Ixion to Summerspace (Kubera and Tudor, pianos); Child of Tree to Solo (Kubera); David Behrman, Voice with Melody-Driven Electronics to Rebus (voice: La Barbara); Cage, Telephones and Birds to Travelogue (first performances, Behrman, Kubera, and Tudor, using recordings by Norman Robinson, part of the Australian National Collection of Recorded Bird Calls, as well as telephone messages of the Rare Bird Alert Network, Horse Race Results, Sports News, Dial-A-Prayer, Dial-A-Money-saving-Tip, Dial-a-Plant, Weather, Time, Dial-A-Joke, Dial-Your-Stars, and Pan-American World Airways arrival and departure information) (18, 20 and 22 January); Maryanne Amacher, Remainder to Torse (Tudor); Third Week of January to Signals (Behrman, Kubera, and Tudor) (19, 21, and 23 January) (Barnes, C. 1977; Goldner 1977; Hello 1977; Herridge 1977; Kisselgoff 1977; Pierce, R.J. 1977; Vaughan 1997, 199-202).

19 January-4 February 1977. Paris. Stayed, attended opening of the Marcel Duchamp Retrospective Exhibition (31 January-2 May) at the inauguration of the Centre Georges Pompidou; [performed, or interviewed by Gérard Condé?] (Condé 1977; Gotti 1979, 11).

ca. 22 January 1977. Cologne, Westdeutscher Rundfunk, Musik der Zeit: Neue Einfachheit. Kölner Rundfunk-Sinfonieorchester, Lothar Zagrosek, director, performed Cheap Imitation (Orchestra) (Koch, H. W. 1977; Rohde, H. 1977; Schürmann 1977a).

22 February 1977 (evening). New York, Brooklyn Academy of Music, Lepercq Space, Meet the Moderns, New American Music. Brooklyn Philharmonia, Lukas Foss, conductor, performed Quartets I-VIII for 24 instruments, I and II (first performance) in shared program with music by Samuel Adler, Joel Chadabe, Morton Feldman, Tom Johnson, and Michael Sahl; presumably attended rehearsal at Carroll Music Studios (351 West 41st Street, 21 February, morning) and dress rehearsal in Lepercq Space (22 February, afternoon) (Music Journal 1977b; Rockwell 1977).

25-26 February 1977. Iowa City, Iowa, University of Iowa, Hancher Auditorium. Merce Cunningham and Dance Company performed; Cage did not participate.

27 January-6 March 1977. New York, Museum of Modern Art, Northwest Gallery. Exhibition “Projects: Buckminster Fuller and John Cage” (manuscript materials for Renga and Apartment House 1776).

1 March 1977. New York, Washington Square Church (135 West 4th Street), A Benefit Concert for Ear Magazine. Participated. Performed music from Apartment House 1776 (on piano) (Underhill 1977).

5 March 1977. Letter by Tito Gotti to Cage (Gotti 1979).

6 March 1977. Letter to Monika Fürst-Heidtmann (Fürst-Heidtmann 1979, 51n2, 179n2).

9-10 March 1977. Lewisburg, Pennsylvania, Bucknell University, Department of Music, New Music: Four Views (9-11 March 1976-1977 Season, with Milton Babbitt, David Amram, and Roger Hannay), Kushell Music Endowment. Lectures and discussions; performed with Grete Sultan; in performance-discussion, conducted Score (40 Drawings by Thoreau) and 23 Parts (10 March, afternoon, Bucknell Hall); performed from Empty Words Part III; Sultan performed Etudes Australes [I-VIII and IX-XIII, XII and XIII first performances] (10 March, evening, Vaughan Literature Auditorium) (Davis, P. 1977; Fetterman 1996a, 194-197, 211; High Fidelity/Musical America 1977; Stickel 1977).

15 March 1977. Danbury, Connecticut, Western Connecticut State College, Ives Auditorium, 20th-Century Arts Festival (14-17 March). Performed with Grete Sultan; informal question period with Robert Alberetti, Richard Reimold, Kathleen McGrory, and James Furman, moderated by Richard Moryl (afternoon); Sultan performed from Etudes Australes [I-VIII]; performed from Part III of Empty Words; Sultan performed from Etudes Australes [IX-XII] (evening) (Buoy 1977; Garrison 1977a; Garrison 1977b).

16-20 March 1977. North Carolina. Sojourned.

29 March 1977. Poughkeepsie, New York, Vassar College, Skinner Recital Hall, presented by the Dickinson-Kayden Fund of Vassar College. Performed with Grete Sultan: from Empty Words; from Etudes Australes (Sultan).

17 March 1977. Bangor, Maine. Performed Branches with Stanley Weinstein (Newall 1977).

mid-March 1977 (one week). New York, Barnard College Gymnasium, sponsored by Dance Umbrella. Merce Cunningham and Dance Company performed Events; Cage participated in two of them (Vaughan 1997, 202).

17 March 1977. New York, Columbia University, Barnard College. Cage performed with Joe Kubera: Branches (ninety-minute peformance) (La Barbara 1977).

20 March 1977. Chapel Hill, North Carolina, University of North Carolina, Hill Hall, Fine Arts Festival (also presented by the departments of Fine Arts). Performed from Part III of Empty Words, assisted by Jim Hackman, slide projector; Grete Sultan performed Etudes Australes (I-VIII and IX-XIII) (afternoon).

25-26 March 1977. Syracuse, New York, Syracuse University, presented by Society for New Music. Performed with Grete Sultan: from Empty Words (part three); Sultan performed from Etudes Australes (I-VIII and IX-XIII) (25 March, evening, Crouse Auditorium); music by and conversations with Cage (26 March, Grant Auditorium, afternoon).

29 March 1977. Poughkeepsie, New York, Vassar College, Skinner Recital Hall (presented by the Dickinson-Kayden Fund). Performed from Part III of Empty Words; Grete Sultan performed Etudes Australes (I-VIII and IX-XIII); reception afterwards (Thekla Hall).

April 1977. Began macrobiotic diet (Rice 1978).

Prior to 18 April 1977. New York. Interviewed by Suzanne Slesin and Ellen Stern (Slesin and Stern 1977).

April 1977. Witten, Wittener Tage für neue Kammermusik. Third Construction performed; Cage not in attendance.

27 April 1977 (8 pm). River Falls, Wisconsin, University of Wisconsin, Kleinpell Fine Arts Building, Recital Hall, presented by Fine Arts Festival and Music Department. Performed Cheap Imitation (Piano, first movement) as part of The Music of John Cage: featuring performances of Music for Wind Instruments, Credo in Us, Music for Marcel Duchamp, Nocturne, Water Music, Variations III, as well as Quartet I from Quartets I, V and VI for concert band and twelve amplified voices, first performance, given by the University of Wisconsin ­- River Falls Chamber Band; Sandy Cross, Colleen Devine, Kent Fenske, Carol Gillen, Steve Klemaier, Faith Long, Daniel Masterman, Mike Miller, Lonny Palmer, Roxanne Stouffer, Mary Helen Waldo, Mark Willink, voices; W. Larry Brentzel, conductor; reception in Cage’s honor following the concert.

Prior to 28 April 1977. New York, Pleiades Gallery, Time and Space Concepts in Music and Visual Art. Participated in panel discussion with Merce Cunningham, Richard Kostelanetz, and Nam June Paik, moderated by Dore Ashton, introduced by Marilyn Belford (Cage et al./Ashton 1980).

4 May 1977. Minneapolis, Minnesota, Walker Art Center (725 Vineland Place). Attended performance of Quartet I.

5 May 1977. River Falls, Wisconsin. Attended performance of Quartet I.

12 May 1977. New York, Lincon Center. Attended Pierre Boulez’s farewell concert with the New York Philharmonic and reception afterwards.

Late May-Early June 1977. Vienna, Festwochen. Merce Cunningham and Dance Company gave four repertory performances and an Event; Cage’s participation uncertain; at this festival, also performance of The Perilous Night to Hans van Manen, Twilight (R.E. 1977; Vaughan 1997, 202).

16 July 1977. Woodstock, New York, Hurley Woods Summer Music Festival, presented by the Creative Music Foundation. Attended; Ursula Oppens and Frederic Rzewski performed Winter Music; Rolf Schulte, violin, and Ursula Oppens performed Nocturne; Karen Haacke and Paul Dunkel performed Three Pieces for Flute Duet; Thomas Georgi, violin, and Julie Haines, piano, performed Six Melodies; Toby Tennenbaum, Joyce Rosen, Julie Haines, Alan Bern, Richard Kelly, and Frederic Rzewski, pianos, performed Concert for Piano and Orchestra, presented as Concert for Piano (3 pm); participated in Composers’ Colloquium with Michael Gibbs, Frederic Rzewski, Anthony Braxton, Garrett List, Karl Berger, Jimmy Giuffre, and others (5 pm); evening concert by Frederic Rzewski with music by Henry Cowell (with Rolf Schulte, violin), Christian Wolff, and Anthony Braxton as well as Michael Gibbs, conducting members of the Festival Orchestra in his own composition Canticle (Smith, Ar. J. 1977).

30 July 1977. Letter to Monika Fürst-Heidtmann (Cage/Anonymous 1993a, 111; Fürst-Heidtmann 1979, 195n1, 205n4).

Early August 1976-May 1977. New York. Assisted by Mary Ann Spencer, wrote Writing through Finnegans Wake.

17-28 August 1977. Aptos, California, 15th Cabrillo Music Festival (18-21 and 25-28; venues in Santa Cruz and San Juan Bautista; the Festival Orchestra was an ad hoc ensemble made up of musicians from Northern California and St. Paul, Dennis Russell Davies conducted). Attended as guest composer; introduced Music for Wind Instruments, Romuald Tecco (violin) and Dennis Russell Davies (piano) performed Six Melodies in program with Beethoven’s Octet Opus 16; Claude Debussy, sonata for Violin and Piano; Keith Jarrett, Ritual (Davies alone) (18 August, Santa Cruz, Villa Maria del Mar, East Cliff Drive, Prelude Concert); Festival Orchestra, Gerhard Samuel, conductor, performed The Seasons as well as music by Antonio Vivaldi (“Winter” concert from The Four Seasons, with Romuald Tecco, violin), Gerhard Samuel (On a Dream, viola and orchestra, Kenneth Harrison, viola), Ludwig van Beethoven (Second Symphony) (19 August, evening, opening concert, Cabrillo College, Auditorium/Theatre); Kenneth Harrison conducted performances of Double Music and Third Construction; Lou Harrison also in attendance (20 August, afternoon, Santa Cruz, San Lorenzo Park); Janos Starker performed chamber music with Dennis Russell Davies (piano): Beethoven, Sonata in g minor Opus 5, and the debussy Sonata, as well as Mendelssohn’s Octet with the Festival Strings; Emily Wong (piano), Roy Malan (violin) and the Festival Orchestra performed Lou Harrison, Suite for Violin, Piano and Small Orchestra (20 August, evening, Cabrillo College, Auditorium/Theatre); afternoon concert (21 August, Capitola, St. Joseph’s Church); lecture (24 August, evening, Cabrillo College Forum, Room 450); introduced Cheap Imitation (Orchestra, version for 24 instruments) in program shared with music by Erik Satie, Socrate (Janis Hardy, mezzo-soprano; Dennis Russell Davies, piano) and Cinéma (Davies and Emily Wong, pianos) (25 August, 7th concert); introduced first performance of Quartets I-VIII (41 Instruments, selection) by the Cabrillo Festival Orchestra in program shared with music by Johanna Beyer, Conlon Nancarrow, Colin McPhee, and Peter Garland; Dennis Russell Davies, conductor (27 August, [10th concert], ‘Only the Lonely: Music of the Experimental Tradition,’ Cabrillo College Theatre); interviewed by Paul S. Hersh (17 August, Cabrillo College), Roger Reynolds (28 August), and previously by Gail Tagashira (Akers 1977a; Akers 1977b; Andrews, M. 1977a; Andrews, M. 1977b; Andrews, M. 1977c; Arthur 1977; Benson, Jack 1977a; Benson, Jack 1977b; Benson, Jack 1977c; Benson, Jack 1977d; Cage/Hersh 1977; Cage/Reynolds 1979; Cariaga 1977; Cheever 1977; Commanday 1977a; Commanday 1977b; Downham 1977; Pollock 1977a; Pollock 1977b; Shere 1977; Tagashira 1977; Tucker, M. 1977).

Late August 1977. Kassel, Musik und Documenta ’77. Josef Anton Riedl, “Musikalisches Environment,” with Dieter Schnebel and Münchner Arbeitsgemeinschaft Neue Musik I, II, and III participating with music by Cage and others; S.E.M. Ensemble and Petr Kotik, conductor, performed Atlas Eclipticalis; Cage not in attendance (Polaczek 1977; Schreiber, W. 1977a; Schreiber, W. 1977b).

Prior to September 1977. Fort Lauderdale, Miami, Broward Community College, Lecture Hall. During two-day residence, rehearsed Score (40 Drawings by Thoreau) and 23 Parts with students; next day performed from Part III of Empty Words and Music for Marcel Duchamp (Spitzer 1977).

September 1977. Seattle, Washington. Composed Inlets.

22 August-11 September 1977. Seattle, Washington, presented by Cornish Institute of Allied Arts (710 East Roy), Melvin Strauss, director. Residency of Merce Cunningham and Dance Company (Cage arrived later, perhaps only in early September), with related exhibition of sets and costumes designed by Robert Rauschenberg, Jasper Johns, Frank Stella, Andy Warhol (Foster-White Gallery): Stuart Dempster, Takehisa Kosugi, David Tudor, and Merce Cunningham and Dance Company performed Event #193 (2 September, Tacoma, Washington, Pacific Lutheran University, Eastvold Auditorium, without Cage) and Event #194 (3 September, Seattle Center Arena, Bumbershoot Festival, without Cage); performed Dialogue (with readings from Empty Words, Part III) with Merce Cunningham (6 September, 8 pm, Cornish Theater); introduced and performed with Stuart Dempster, Martin Friedmann, Eric Jensen, Jim Knapp, David Mahler, Marni Nixon, Patrick Pursewell, Lowell Roddenberry, Melvin Strauss at concert with his music: program included Aria with Fontana Mix (Nixon), Dream (arrangement for violin and piano, Roddenberry, Friedmann), Imaginary Landscape No. 4 (Strauss, conductor), Cartridge Music, Music for Marcel Duchamp (Roddenberry, according to other reviews Cage), “Solo for Trombone” from Concert for Piano and Orchestra (Dempster), excerpts from Sonatas and Interludes (Roddenberry) (8 September, 7, 8:30 and 10 pm, Cornish Theater); performed with Stuart Dempster, Takehisa Kosugi, David Tudor and Merce Cunningham and Dance Company: Morton Feldman, Ixion to Summerspace (with Tudor); Child of Tree to Solo (alone); Toneburst to Sounddance (Tudor alone); Telephones and Birds to Travelogue (with Kosugi and Tudor) (9 September, University of Washington, Meany Hall); Maryanne Amacher, Remainder to Torse (tape?); Second Week of September to Signals (with Kosugi and Tudor); first (dance?) performance of Inlets to Inlets (with Stuart Dempster, set design by Morris Graves); Takehisa Kosugi, S.E. Wave/E.W. Song to Squaregame (with Kosugi and Tudor) (10 September, University of Washington, Meany Hall); gala reception afterwards; Cunningham received Cornish Institute’s first honorary Doctorate of Fine Arts (Henry Gallery); interviewed by Melinda Bargreen; Cunningham interviewed by Carole Beers (Aloff 1977; Alpert, Bill 1977a; Alpert, Bill 1977b; Alpert, Bill 1977c; Alpert, Bill 1977d; Alpert, Bill 1977e; Anderton 1977; Arts 1977; Bargreen 1977a; Bargreen 1977b; Bargreen 1977c; Beach 1977a; Beach 1977b; Beers 1977a; Beers 1977b; Beers 1977c; Beers 1977d; Benowitz 1977; Burley 1977; Campbell, R. M. 1977a; Campbell, R. M. 1977b; Campbell, R. M. 1977c; Campbell, R. M. 1977d; Downey 1977a; Downey 1977b; Everett Herald 1977; Fetterman 1996a, 197; First Bank News 1977; Hamilton, V. 1977; Hawthorn 1977a; Hawthorn 1977b; M. C. G. 1977; Seattle Business 1977; Seattle Times 1977; Strauss, M./Brown 1977; Vaughan 1997, 202-203, 297).

Prior to 21 September 1977. New York. Composed Cheap Imitation (Violin).

29 September 1977. Toronto, Ontario, Ontario College of Art (100 McCaul Street), Nora E. Vaughan Auditorium, Ontario College of Art International Lecture Series (evening). Performed Mureau; Udo Kasemets initiated a series of seminars, workshops, and electronic concerts in honor of Cage’s 65th birthday around Cage’s performance; Bird Cage presented in Courtyard (29 September, 12 noon and 4 pm).

1 October 1977. Toronto, Music Gallery, New Music Concerts, Seventh Season, third annual International Music Day. Performed excerpts from Apartment House 1776, taped by Peter Anson and played back on sixteen tracks afterwards (afternoon); attended 65th Birthday Party Concert of his music: Amores, Atlas Eclipticalis with Winter Music and Cartridge Music, Five Songs for Contralto, Score (40 Drawings by Thoreau) and 23 Parts, Song Books, The Wonderful Widow of Eighteen Springs (evening, University of Toronto, Edward Johnson Building, Walter Hall); presumably during this visit interviewed by Dorothy DeVal (Culver 1978; DeVal 1978; Rapoport 1977).

4 October 1977. Chicago, Illinois, Museum of Contemporary Art. Performed Writing for the Second Time through Finnegans Wake (possibly first performance); question period; interviewed by Art Lange (Cage/Lange 1978; Lange, A. 1977a; Lange, A. 1977b).

Prior to 6 October 1977. Composed 49 Waltzes for the Five Boroughs (map).

7 October 1977. Hartford, Connecticut, Real Art Ways. Performed from Empty Words (announced as first performance, perhaps of Part III) (8:30 pm); at 11 pm, gave talk at the Hartford Art School; at 7:30, a half-hour program on Cage was broadcast on CPTV (Gordon, E. 1977).

8 October 1977. New York, Carnegie Recital Hall. Attended recital of Seymour Barab; program included 1'18" for a String Player.

4-16 October 1977. Nanterre, Maison de la Culture, Théâtre des Amandiers. Residency of Merce Cunningham and Dance Company; Child of Tree performed; Cage’s participation uncertain (Vaughan 1997, 203).

21 October 1977. Venice, La Biennale di Venezia, Musica (15 October-20 November), Conservatorio Benedetto Marcello (evening). Fontana Mix presented in concert of electronic music with compositions by Luciano Berio, Aldo Clementi, Pietro Grossi, Bruno Maderna, and Luigi Nono.

31 October 1977. New York. The Clock Tower. Performed William Anastasi’s You Are, in which he was invited to describe what he heard in the performance space (Anastasi 2011).

2 November 1977. New York, Carnegie Hall. Center of the Creative and Performing Arts performed Credo in Us in shared program with music by Morton Feldman, Lejaren Hiller, and Giacinto Scelsi (Hughes, A. 1977).

4 November 1977. Middletown, Connecticut, Wesleyan University, Center for the Arts, Crowell Concert Hall, Crowell Concert Series. Paul Zukofsky performed with Grete Sultan: from Etudes Australes (I-VIII, IX-XVI; XIV, XV, and XVI first performances, Sultan); first performance of Cheap Imitation (Violin).

4 November 1977. New York, New School for Social Research. Center of the Creative and Performing Arts performed Credo in Us in shared program with music by Robert Dick, Christian Wolff, Howard Skempton, Jacob Druckman, John Newell, and Giacinto Scelsi (Johnson, Tom 1977).

7 November 1977. Paris, Centre Georges Pompidou, Grande Salle, Passage du XXe siècle, IIe partie. Ensemble Intercontemporain, Jacques Mercier, conductor, performed Atlas Eclipticalis, as well as music by Karlheinz Stockhausen and Iannis Xenakis; presumably Cage was not in attendance.

21 November 1977. Evanston, Illinois, Northwestern University, Pick-Staiger Concert Hall. Contemporary Music Ensemble: Adrienne Arlen, Marion Brandis (flutes), Larry Mazur (oboe), Deborah Campana, Tom Parchman (clarinets), Jan Walker (saxophone), Kathryn Henniss, Charles Key (trumpets), Mitchell Arnold, Steven Bradley (trombones), John Miller (electric bass), Christopher Severin, Lawrence Shanker (pianos), Sue Neely, Steve Elkins (percussion), and Kyle Gann, Robert Moran, Tim Zimmerman (conductors) performed 49 Waltzes for the Five Boroughs (first performance) in shared program with music by Robert Moran, Arne Mellnäs, Zoltan Jeney, and Christian Wolff.

22 November 1977. New York. Completed 49 Waltzes for the Five Boroughs (addresses).

27 November 1977. Washington, D.C., Two Nights of New Music (25-27 November). Gave workshop announced as "Silence," in program with Dave Holland, Leo Smith, Phillip Wilson, Anthony Braxton (afternoon, WPA, 1227 G Street, NW); performed in program shared with Steve Reich and Musicians, World Saxophone Quartet, and Anthony Braxton Quartet (evening, DAR Constitution Hall).

Late November or early December 1977. Paris, Centre Georges Pompidou, Grande Salle, Passage du XXe siècle, IIe partie. Presented by Gerald Bennett, Jürg Wyttenbach, piano, and Siegfried Kutterer, percussion, performed Variations V, as well as music by Vinko Globokar and Mauricio Kagel; Cage possibly in attendance.

29 November-3 December 1977. Milan, organized by Radio Canale 96 and Consorzio di Communicazione Sonora. Performed part III of Empty Words and Branches (assisted by John Fullemann) (2 December, Teatro Lirico); gave press conference in conjunction with the presentation of the book Per gli uccelli (Cage/Charles 1976/1977) and of the record Cramps CRSLP 6117 and was interviewed previously by Enzo Beacco, Gianluigi Degli Esposti, Giovanni Giovannetti, Ettore Mo, Paolo Petazzi, and Massimo Villa (29 November) (Amati and Giorgio 1977; Beacco 1977; Bolis 2012; Cage/Barnard 1980, 19-20; Cage/Beacco 1977; Cage/Degli Esposti 1977; Cage/Mo 1977; Cage/Petazzi 1977; Cage/Villa 1977; Calasso 1977; Ciao 2001 1977; Courir 1977; D’Amico, F. 1977; D’Amico 1978; D.S. 1977; Di Maggio, Bonito Oliva, and Lombardi 2009; Flash Art 1978; Giovannetti 1977; Guerriero 1977; Intrepido 1977; Leidi 1977; Manifesto 1977; Pellicciotti 1981; Petazzi 1977; Polillo 1977; Villa 1978).

Prior to 11 December 1977. Bologna. Prepared Alla ricerca del silenzio perduto; gave press conference with Mino Bertoldo and Juan Hidalgo (Out-Off [via Montesano]); interviewed by Berenice and L’Unità (Berenice 1977; Cage/Anonymous 1977).

December 1977. New York. Conceived Alla ricerca del silenzio perduto.

6 December 1977. Cologne. Interviewed by Ted Szántó (Cage/Szántó 1978).

December 1977 [and 1978]. Cologne. Conceived Sounday (Benoist 1978, [82]-[83]).

7-10 December 1977. Brooklyn, New York, City University of New York, Brooklyn College Student Center (2705 Campus Road), organized by the Institute for Studies in American Music, The Phonograph and Our Musical Life. Charles Hamm, H. Wiley Hitchcock and others gave first performance of Address, including the first performance of Cassette (7 December, Whitman Auditorium); Cage not in attendance (Hamm et al. 1980; Peters Notes 1978-1979a; Rushefsky 1977a; Rushefsky 1977b).

9 December 1977. Bonn, Beethovenhalle (Wachsbleiche 16), Musik der Zeit II, Begegnungen mit Traditionen (9-11 December). Attended and introduced first performance of Quartets I-VIII (93 Instruments) given by the Kölner Rundfunk-Sinfonie-Orchester, Hiroshi Wakasugi, conductor (Bach, H.E. 1977; Burde 1978; Diederichs-Lafite 1978; Kirchberg 1977; Lichtenfeld 1978b; Nyffeler 1977; Schreiber, W. 1977c; Schürmann 1977b; Schultz, G. 1977).

15-17 December 1977. Cleveland, Ohio, Severance Hall (11001 Euclid Avenue). Cleveland Orchestra (sixtieth season); Matthias Bamert, conductor; Helen Bonchek Schneyer (Protestants), Nico Castel (Spehardim, on tape), Chief Swift Eagle (American Indians, on tape), Jeanne Lee (Negro Slaves) performed Renga with Apartment House 1776; it is uncertain whether Cage was in attendance.

17 December 1977. Hildesheim, PH, 3. Sonderveranstaltung des Faches Musik und auditive Kommunikation. Simone Rist performed Song Books, songs by Erik Satie, Eva Roscher accompanying on piano, ‘phonetic compositions’, and her own music (Euen 1977).

21-22 December 1977. New York, Kitchen. Performed Branches; Grete Sultan gave first (New York?) performance of Etudes Australes [I-XVI] (21 December); Paul Zukofsky performed Cheap Imitation (Violin); with Takehisa Kosugi, Garrett List (blown conch shell) and David Tudor performed Inlets (22 December) (Blechner 1977; High Fidelity 1978; Johnson, Tom 1978b; Palmer, R. 1977).

1977 or 1978. Made [untitled] cover drawing for Sounday program.

1978. Completed Sound Anonymously Received.

1978. Composed Chorals in collaboration with Paul Zukofsky.

1978. New York. Composed Etudes Boreales.

1978. New York. Composed Quartets I, V, and VI, Quartets V and VI.

1978. San Francisco, California, San Francisco Art Institute: exhibition.

1-7 January 1978. Oakland, California, Crown Point Press. Invited by Kathan Brown, began sessions of printmaking; began Score without Parts (40 Drawings by Thoreau): Twelve Haiku and Seven-Day Diary (Not Knowing) (2-7 January); interviewed by Robin White (Brown, Kathan 1980, [7]; Cage/White, R. 1978; D’Harnoncourt 1982, 60; Lewallen 2001).

January 1978. New York, Franklin Furnace. Performed [lecture] (Cage/White, R. 1978, 8).

January or February 1978. Revised Variations VIII.

13 January 1978. Schenectady, New York, Union College, Meet the Composer, presented by American Composers’ Forum. Gave afternoon seminar (Union College Fine Arts Building), rehearsed with students and attended evening concert (Memorial Chapel): Carole Friedman (piano), David Bittner, Peter Sheehan, Leonard Tobler (percussion) performed Amores; Julie Kabat (soprano) performed Aria with Fontana Mix; Friedman performed Bacchanale and Concert for Piano and Orchestra (with Lois Fishman, Linda Hanley, Natalie Kriegler, violins; Lilajane Frascarelli, Ernest Horvath, violas; Elsbeth Merriam, violoncello; Allan Dennis, contrabass; Irvin Gilman, flute; Charles Stancampiano, clarinet; Richard Sleeper, bassoon and baritone saxophone; Henry Carr, trumpet; Ron Partch, trombone; Walter Gregory, tuba; David Gibson, conductor); question period; performed Child of Tree (Allison and Denison 1978; Almasi 1978; Rice 1978a; Rice 1978b; Kelly, R. 1978; Peters Notes 1978; Trump 1977; Trump 1978; Uttley 1978).

9 February 1978. Letter to Monika Fürst-Heidtmann (Fürst-Heidtmann 1979, 40n1, 120n1).

11 February 1978. Tampa, Florida, University of South Florida. Performed with Grete Sultan and Paul Zukofsky: Writing for the Second Time through Finnegans Wake (afternoon); evening concert by Sultan from Etudes Australes and Zukofsky, Cheap Imitation (Violin) attended by Cage (Theater); interviewed by Bruce Jones previously (Jones, Bruce 1978).

25 February-1 March 1978. Boston, Massachusetts, English High School (77 Avenue Louis Pasteur). Presumably performed with Merce Cunningham and Dance Company: Maryanne Amacher, Remainder to Torse; Child of Tree to Solo; David Tudor, Toneburst to Sounddance; Takehisa Kosugi, S.E. Wave/E.W. Song to Squaregame (25 and 28 February); Jon Gibson, Equal Distribution to Fractions; David Tudor, Rainforest to RainForest; _ _ Week of _ to Signals; Takehisa Kosugi, S.E. Wave/E.W. Song to Squaregame (26 February and 1 March).

March 1978. Oakland, California, Crown Point Press. Second visit; made working sketch for Seventeen Drawings by Thoreau (9 March); interviewed by Robin White (Cage/White, R. 1978).

14-19 March 1978 and 21-26 March 1978. New York, Roundabout Theater, Stage One (333 West 23rd Street). Performed incidentally with David Behrman, Jon Gibson, Martin Kalve, Takehisa Kosugi, Meredith Monk, David Tudor, and Merce Cunningham and Dance Company: Events; with Demetrio Stratos performed Sixty-two Mesostics re Merce Cunningham to Event 209 (18 March) and Event 210 (19 March) (Anderson, Jack 1978; New Yorker 1978; Vaughan 1997, 204).

14 March-8 April 1978 (Opening 16 March). New York, Carl Solway Gallery (139 Spring Street). One-person exhibition, Etchings & Worksheets (Ashbery 1978; Frank, P. 1978; Peters Notes 1979-1980a).

Prior to 20 March 1978. Interviewed by Richard Kostelanetz (Cage/Kostelanetz 1980).

20 March 1978. New York. Read 36 Mesostics re and not re Duchamp and interviewed by Richard Kostelanetz for films by Jaime Davidovich and Steve Lawrence (Cage/Kostelanetz 1982).

20 March 1978. Los Angeles, California, Bing Theater, Monday Evening Concerts. Richard Bunger performed Ad Lib, Ophelia, Primitive (possibly first performance), and Spontaneous Earth, in shared program with music by Elliott Carter and Dorrance Stalvey (Guzelimian 1978).

Spring 1978 or earlier. Saint Peter, Minnesota, Gustavus Adolphus College (800 West College Avenue). Performed Writing for the Second Time Through Finnegans Wake.

5 April-May 1978. Ensemble Musica Negativa (Rainer Riehn, director, with guest musician Ursula Ubbelohde) toured with travelling exhibition of artworks and scores by Cage (including Not Wanting to Say Anything about Marcel and Seven-Day Diary: Not Knowing); they performed Variations VIII (Heinz-Klaus Metzger, Rainer Riehn, Wilhelm Schulz), Credo in Us, Fontana Mix with Concert for Piano and Orchestra and Song Books, Living Room Music, Music for Marcel Duchamp, Music Walk, Water Music; stations included Cologne, Kölnischer Kunstverein (Josef Haubrich-Hof 1) (5-7 April; 6 April, evening, public rehearsal; 7 April, evening, first performance of Variations VIII, revised version); Dortmund, Museum am Ostwall (Ostwall 7) (9-11 April, concert 9 April, evening); Frankfurt am Main, Hessischer Rundfunk/Städelsches Kunstinstitut (14-16 April); Bochum, Museum Bochum (Kortumstraße 147) (19-21 April, concert 21 April, evening); Mönchengladbach, Städtisches Museum Abteiberg (Bismarckstraße 97) (23-25 April, concert 23 April, evening); Heidelberg, Heidelberger Kunstverein (28-30 April); Mannheim (early May); Essen, Museum Folkwang (Bismarckstraße 64-68) (10-13 May, concert 10 May, evening); Saarbrücken, Musik im 20. Jahrhundert (May, exhibition in Saarbrücker Sender, Foyer) (Bach, H.E. 1978; Herbort 1978; Korb and Spangemacher 2001; Kultur-Chronik 1978; Lichtenfeld 1978b; Metzger, H.-K. 1979a; Metzger, H.-K. and Riehn 1978a; Nyffeler 1978a; Nyffeler 1978b; Polaczek 1978b; Schmidt, K. 1978; Schön 1978a; Schön 1978b; Schreiber, W. 1978b; Schreiber, W. 1978d).

Prior to 10 April 1978. New York. Composed A Dip in the Lake.

10 April 1978 (evening). New York, New York University, Loeb Student Center, Eisner & Lubin Auditorium (566 LaGuardia Place), presented by the New Music Showcase of the New York University Program Board, Benefit Concert for Harvestworks Inc. and Public Access Synthesizer Studio. Performed with David Tudor; gave first performance of A Dip in the Lake (reading version for voice and four microphones); Tudor performed Pulses II (Johnson, Tom 1978a; Lindahl 1978).

17-20 April 1978. Wichita, Kansas, Wichita State University, College of Fine Arts. Residency; open rehearsals; percussion ensemble concert (17 April, evening, Miller Concert Hall); lectured, presumably from Empty Words (18 April, morning); reception (18 April, evening, Ulrich Museum of Art); meeting with students (19 April, morning); conducted Wichita State University Symphony Orchestra in Atlas Eclipticalis with Winter Music; Symphonic Band and Singers, David Catron, conductor, performed Quartets I, V and VI; University Chamber Orchestra performed Etcetera (20 April, evening, Miller Concert Hall); exhibition “The Art of John Cage” (17-20 April, Ulrich Museum of Art); introductory lectures by Richard Kostelanetz previously; interviewed by L. David Harris previously (Evangelisti, D. 1978; Harris, L.D. 1978).

24 April 1978 (two performances, 7 and 9:30 pm). New York, Whitney Museum of American Art (Madison Avenue at 75th Street), A John Cage Concert, presented by Composers’ Showcase in honor of Cage’s 65th birthday. Introduced performances of Grete Sultan (Etudes Australes I-VIII) and Paul Zukofsky (Freeman Etudes I-VIII, first performance) (Henahan 1978a; Peters Notes 1978-1979a; Peters Notes 1978-1979b).

1-4 May 1978. Minneapolis, Minnesota, Walker Art Center (725 Vineland Place). Five-day residency. Read Writing for the Second Time through Finnegans Wake (1 April, evening, Auditorium); attended rehearsals and performance of Quartets I-VIII (24 Instruments) (first performance) and Score (40 Drawings by Thoreau) and 23 Parts by the Saint Paul Chamber Orchestra, Dennis Russell Davies conducting (3 April, evening, Auditorium); films by Cage and Nam June Paik, WGBH-TV and Shigeko Kubota, Marcel Duchamp and John Cage shown (4 April, evening, Auditorium); exhibition of graphic works from the Art Center collection in conjunction with the residency; interviewed by Tim Carr previously (Carr 1978; Close 1978a; Peters Notes 1978-1979b).

3 May 1978. Elected Fellow of the American Academy of Arts and Sciences (Academia Artium et Scientiarum Americana) (Peters Notes 1979-1980a).

5 May 1978. Milan. Performed with Merce Cunningham, presumably Cheap Imitation (Piano) to Second Hand, and exhibition (Mo 1978b).

6-7 May 1978. Milan. Wrote Letters to Erik Satie.

Presumably May 1978. Milan, I Pomeriggi Musicali di Milano. First performance of “Audiovisual Events,” John Cage/Josef Anton Riedl.

8-19 May 1978. Paris, American Center for Students and Artists (261 Boulevard Raspail), Spring Festival = Festival de printemps (24 April-10 June), Judith F. Pisar, director. Preceded by Merce Cunningham (24 April-5 May), assisted by John Fullemann, conducted workshop to sixteen music students on “Composition et improvisation structurelles,” using Branches, Child of Tree, and presumably Inlets (8-19 May); performed Dialogue with Cunningham, using Child of Tree and Letters to Erik Satie in the way of Song Books, Solo for Voice 43 (8 May, eighty minutes); interviewed by Elmer Schönberger (18 May); “rencontre avec John Cage” (18 May, evening); results of workshop presented as two-hour performance of Branches, partly in the garden of the Center, Cage conducting (19 May); interviewed by Pierre Job previously, in New York, and by Pierre Lartigue; simultaneously a four-day session of contemporary American music took place at the Lucernaire Forum with Joëlle Léandre performing The Wonderful Widow of Eighteen Springs and music by Tom Johnson (Backalm 1978; Cage/Job 1978; Cage/Lartigue 1978; Cage/Schönberger 1978; Canal 1978; Condé 1978; Doucelin 1978; Ferrer 1978; Lartigue 1978; Michel 1978; Rodet 1978; Samuel 1978; Stevens, D. 1978).

11 May 1978. Chicago, Illinois, Art Institute of Chicago. Northwestern University Contemporary Music Ensemble, Robert Moran, conductor, performed 49 Waltzes for the Five Boroughs in shared program with music by other “waltz composers” (Peters Notes 1978-1979c).

20 May 1978. Cambridge, Massachusetts, Charles River, 14th Annual New York Avant Garde Festival/2nd Cambridge River Festival. Participated.

27-28 May 1978. Saarbrücken, Musik im 20. Jahrhundert. Rundfunk-Sunfonieorchester Saarbrücken, Hans Zender conducting, performed Quartets I-VIII (41 Instruments) (presumably first complete performance) and Apartment House 1776; Ensemble Musica Negativa performed Variations VIII; Richard Armbruster performed 27'10.554" for a Percussionist; Dieter Schnebel read Indeterminacy; also Credo in Us performed (Bitz 1978; Korb and Spangemacher 2001; Lichtenfeld 1978b).

1-3 June 1978. Chicago, Illinois, Orchestra Hall. Chicago Symphony Orchestra, Henry Mazer conducting, with Chief Swift Eagle, performed Renga with Apartment House 1776, in shared program with music by Karlins and Berio (Sinfonia); Cage in attendance on 1 June and presumably on 2 June as well (Lange, A. 1978; Marsh 1978; Peters Notes 1978-1979b; Von Rhein 1978a; Von Rhein 1978b). Hereafter only ‘commission’ performances of Renga with Apartment House 1776 in Philadelphia, Pennsylvania.

7-15 June 1978 (interrupted by 12-13 June performances in London). Amsterdam, Holland Festival: co-ordinated first performance of Sounday; press conference (8 June, Stedelijk Museum); public rehearsal (11 June, afternoon, Stedelijk Museum); first performance, given by Peter Barkema, conch shell; Trille Bedarrides, Michelle Blaauw, Petra Branderhorst, Johan Dronkers, Willem Hering, Hans Reehuis, Annette van Wijck, Frank van Wijk, Nancy de Wilde, amplified plant materials, shells; Grete Sultan, piano; Paul Zukofsky, violin; Demetrio Stratos, voice; John David Fullemann, electronics; co-ordinated by Cage; including Branches, Child of Tree, Etudes Australes, Freeman Etudes, Inlets, Pools, Sixty-two Mesostics re Merce Cunningham (15 June, Theater Bellevue, broadcast live on KRO Dutch Catholic Radio from 7 am until 5 pm) (Barkema and Blaauw 1978; Benoist 1978; Cage/Schönberger 1978; Delden 1978b; Houten 1978a; Houten 1978b; Jansen 1978; Parool 1978; Post 1978; Potter, K. 1978; Rossum 1978; Rossum 1982, 17; Samama 1978; Studio 1978; Szántó 1978; Weiland and Tempelaars 1982, 101).

12-13 June 1978 (arrived 11 June, evening, stayed with Bonnie Bird). London. Lectured on music and dance (12 June, Goldsmiths College); performed from Part III (according to K. Potter Part II) of Empty Words (13 June, National Theatre Building, Lyttelton Theatre); Grete Sultan (piano) and Paul Zukofsky (violin) performed from Etudes Australes (I-XVI); Cheap Imitation (Violin) (13 June, Queen Elizabeth Hall, presented by London Musical Digest) (Cage/Raymond and Roberts 1980, 4; Cole 1978; Harrison, M. 1978; Keller, H. 1978; Potter, K. 1978; Roberts, D. 1978; Schiffer 1978).

17 June 1978. Genève, Cité Universitaire, Salle Simon I. Patiño (26, Avenue de Miremont), presented by Centre d’Art Contemporain, Contrechamps and Kh Basel. Performed with Grete Sultan and Paul Zukofsky: according to annoucement Cage at 6:30 pm, Sultan and Zukofsky at 8:30 pm (Cage 1979c, 3).

19-20 June 1978. Basle. Performed with Grete Sultan and Paul Zukofsky: from Empty Words Part III (19 June, afternoon, Kunsthalle); Sultan performed from Etudes Australes, Zukofsky from Freeman Etudes (20 June, evening, Musik-Akademie, Grosser Saal) (Cage 1979c, 3; J.Mr. 1978).

22 June 1978. Munich, Amerika-Haus (Karolinen-Platz 3), presented by Neue Musik München. Hosted by Dieter Schnebel, performed with Grete Sultan and Paul Zukofsky: from Empty Words (part III); from Etudes Australes (IX-XVI, Sultan); from Freeman Etudes (I-VIII, Zukofsky); interviewed by Thomas Veszelits previously (Schreiber, W. 1978a; Veszelits 1978).

26-30 June 1978. Bologna, Feste Musicali d’Estate a Bologna (26 June-5 July), organized by Tito Gotti of the Teatro Comunale di Bologna. Attended: Alla ricerca del silenzio perduto, presented as “Il treno di John Cage” (26-28 June), three excursions on a prepared train (involving 210 audiotapes by Juan Hidalgo and Walter Marchetti, with technical assistance by Oderso Rubini; instrumental, vocal, and theatrical contributions by Gianfranco Baruchello, Carlo Capelli, Massimo Coen, Esther Ferrer, Gian Felice Fugazza, Luigi Lanzillotta, Marcello Panni, Cristiano Rossi, Marco Scano, Demetrio Stratos, Enrico Visani, Augusto Vismara, Giorgio Zagnoni), co-ordinated by Juan Hidalgo and Walter Marchetti: Bologna Centrale Piazzale Ovest-Riola-Porretta Terme-Riola-Bologna Centrale Piazzale Ovest (26 June, evening); Bologna Centrale Piazzale Est-Lugo-Ravenna-Lugo-Bologna Centrale Piazzale Est (27 June, evening); Ravenna-Bellaria-Rimini-Bellaria-Ravenna (28 June, evening); Paul Zukofsky performed Cheap Imitation (Violin) and Freeman Etudes (I-VIII); Grete Sultan performed from Etudes Australes (I-VIII or from Book II) (30 June, Chiostro di San Vittore [Via San Vittore, 40]); interviewed previously by Adriano Cavicchi and S.K. (A.J. 1978; Barber, Ll. 1978b; Cage 1979a; Cage 1979q; Cavicchi 1978a; Cavicchi 1978b; Cavicchi 1978c; Cavicchi 1978d; Charles 1978a; Cogno 1978a; Cogno 1978b; Corriere della Sera 1978; Di Maggio, Bonito Oliva, and Lombardi 2009; Enriquez 1978; Farabet 1978; Ferrari, A. 1978a; Ferrari, A. 1978b; G. Z. 1978; Gentilucci 1978; Giornale 1978; Gotti 1979; I. 1978; I. M. 1978; M. Gu. 1978; Marozzi 1978a; Marozzi 1978b; Mo 1978a; Mo 1978b; Monastra 1979; Monastra 1980-1981; Resto del Carlino 1978; Rubini and Simonini 2008; S.K. 1978; Saracino 1978; Simoni 1978; Tura 1978a; Tura 1978b; Unità 1978; Ventura 1978a; Ventura 1978b).

Around 28 June 1978 [or 5 May?]. Milan. Gave concert? (Villa 1978).

After 28 June 1978. Rome, Villa Medici, Garden. Attended performances by Grete Sultan (from Etudes Australes) and Paul Zukofsky (Freeman Etudes) (Lichtenfeld 1978a).

1 July 1978. Kempfenhausen near Munich, Dany Keller Galerie (Starnberger See, Ostufer, Seebreite 3), presented by Neue Musik München (in conjunction with exhibition with scores, plexigrams, manuscripts, etchings [23 June-28 July], films, concerts). Performed from Empty Words (part III); question period afterwards (Achternbusch 1990, [16]-[17]; Gronemeyer 1981-1982, 219, 221; Schreiber, W. 1978a; Seidenfaden 1978; Zimmermann, I. 1978a; Zimmermann, I. 1978b).

4 July 1978. Genoa, Teatro Margherita (Via XX Settembre, 16/A), presented by the Ente Autonomo del Teatro Comunale dell’Opera di Genova. Grete Sultan performed from Etudes Australes; Paul Zukofsky performed from Freeman Etudes; Demetrio Stratos performed Sixty-two Mesostics re Merce Cunningham; Cage in attendance and interviewed by Viana Conti (Conti 1978).

Prior to 6 July 1978. Rome. Interviewed by Pietro Acquafredda (Cage/Acquafredda 1978).

July 1978. Possibly composed All Sides of the Small Stone (Riefe 2016; Swed 2016).

6 August 1978. Saint-Maximin-la Sainte Baume. Interviewed by Christian Tarting and André Jaume (Cage/Tarting and Jaume 1980).

17-19 August 1978. Toronto, Ontario, Royal Alexandra Theatre. Performed with Martin Kalve (presumably), Takehisa Kosugi, David Tudor and Merce Cunningham and Dance Company: Ixion to Summerspace (with Tudor); David Behrman, Voice with Melody-Driven Electronics to Rebus; Takehisa Kosugi, S.E. Wave/E.W. Song to Squaregame (17 August); Cartridge Music to Exercise Piece II, as part of Changing Steps Et Cetera (18 August) (Godfrey 1978).

22-27 August 1978. Highland Park, Illinois, Murray Theatre, Ravinia Festival ’78, Festival of American Dance. Performed with Jon Gibson, Martin Kalve, Takehisa Kosugi, David Tudor, and Merce Cunningham and Dance Company (final billing as Merce Cunningham and Dance Company): Cartridge Music to Changing Steps Etcetera (Cage, Kalve, and Tudor); Child of Tree to Solo (Cage); Jon Gibson, Equal Distribution to Fractions; Tudor, Toneburst to Sounddance (Tudor) (22, 24, and 26 August); Fourth Week of August to Signals (Cage, Kalve, and Tudor); Maryanne Amacher, Remainder to Torse (tape?); Kosugi, S.E. Wave/E.W. Song to Squaregame (Cage, Kalve, Kosugi, Tudor); David Tudor, Rainforest to RainForest (23, 25, and 27 August).

28 August-10 September 1978. Oakland, California, Crown Point Press. Third visit. Made Signals; presumably completed Seventeen Drawings by Thoreau (Brown, Kathan 1982c).

18-22 September 1978 (evenings). Paris, Théâtre de l’Athénée, Musique-Athénée, John Cage à Paris. Attended and performed; Demetrio Stratos performed Sixty-two Mesostics re Merce Cunningham, Gérard Frémy, Sonatas and Interludes (17 September); Grete Sultan performed from Etudes Australes (I, VIII, IX, XVI, 19 September); conducted Atlas Eclipticalis performed by Musique Vivante (20 September); Zukofsky performed from Freeman Etudes (I and VIII), Chorals (first performance), Cheap Imitation (Violin) (21 September); performed (from) Empty Words (part III) (22 September).

26 September- 8 October 1978. New York, City Center (131 West 55th Street). Performed with Jon Gibson, Martin Kalve, Garrett List, David Tudor, and Merce Cunningham Dance Company (first billing as Merce Cunningham Dance Company): Morton Feldman, Ixion to Summerspace; David Tudor, Toneburst to Sounddance; Inlets to Inlets; Takehisa Kosugi, S.E. Wave/E.W. Song to Squaregame (26 September); Maryanne Amacher, Remainder to Torse I; David Tudor, Weatherings to Exchange; Takehisa Kosugi, S.E. Wave/E.W. Song to Squaregame (27 September); Maryanne Amacher, Remainder to Torse II; Inlets to Inlets; Telephones and Birds to Travelogue (28 September); Morton Feldman, Ixion to Summerspace; Child of Tree to Solo; Inlets to Inlets; David Tudor, Toneburst to Sounddance (29 September); David Tudor, Rainforest to RainForest; David Behrman, Voice with Melody-Driven Electronics to Rebus; Cartridge Music to Changing Steps et cetera (30 September, matinee); Morton Feldman, Ixion to Summerspace; _ _ Week of _ to Signals; David Tudor, Weatherings to Exchange (30 September); Maryanne Amacher, Remainder to Torse III; _ _ Week of _ to Signals; David Tudor, Weatherings to Exchange (1 October, matinee); David Tudor, Rainforest to RainForest; Jon Gibson, Equal Distribution to Fractions; Telephones and Birds to Travelogue (3 October); Christian Wolff, Duo for Pianists I and Duo for Pianists II to Rune; Inlets to Inlets; Telephones and Birds to Travelogue (4 October); Jon Gibson, Equal Distribution to Fractions; Letters to Erik Satie with Sound Anonymously Received to Tango (first performance of the dance); David Tudor, Toneburst to Sounddance; Takehisa Kosugi, S.E. Wave/E.W. Song to Squaregame (5 October); Jon Gibson, Equal Distribution to Fractions; David Tudor, Toneburst to Sounddance; Telephones and Birds to Travelogue (6 October); Christian Wolff, Duo for Pianists I and Duo for Pianists II to Rune; Letters to Erik Satie with Sound Anonymously Received to Tango; _ _ Week of _ to Signals; Cartridge Music to Changing Steps et cetera (7 October, matinee); David Tudor, Rainforest to RainForest; David Tudor, Weatherings to Exchange; Cartridge Music to Changing Steps et cetera (7 October); Jon Gibson, Equal Distribution to Fractions; Letters to Erik Satie with Sound Anonymously Received to Tango; Inlets to Inlets; Telephones and Birds to Travelogue (8 October, matinee); interviewed, with M.C. Richards, by Rose C.S. Slivka (Cage and Richards/Slivka 1978; Cage and Richards/Slivka 1979; Mandell 1978; Vaughan 1997, 206, 297).

12 October 1978 (evening). Buffalo, New York, State University of New York, Woldman Theatre, 112 Norton Hall, Amherst Campus, symposium The University and the Arts: Are They Compatible?, presented by the Office of Cultural Affairs. Participated in panel with Robert Buck, Robert Creeley, Merce Cunningham and Morton Feldman, moderated by Esther Swartz (Howe 1978; Reporter 1978).

15 October 1978. Minneapolis, Minnesota, Walker Art Center (725 Vineland Place). Performed with Merce Cunningham: Dialogue (Close 1978b).

27-30 October 1978. Berkeley, California. Completed no. 3 (27 October), no. 4 (28 October); no. 5 (29 October); nos. 1 and 2 (30 October) and revised nos. 1, 2, and 3 of Some of The Harmony of Maine of Some of The Harmony of Maine.

30 October 1978. Denver, Colorado, Denver Art Museum (100 West 14th Avenue Parkway. Performed with Merce Cunningham: Dialogue (Caldwell 1978; Giffin 1978).

1-2 November 1978. Boulder, Colorado. Completed no. 7 (1 November) and no. 9 (2 November) of Some of The Harmony of Maine.

3-5 November 1978. Greensboro, North Carolina. Completed no. 10 (3 November), no. 11 (4 November) and no. 12 (5 November) of Some of The Harmony of Maine.

4 November 1978. Greensboro, North Carolina, University of North Carolina, Aycock Auditorium, University Concert/Lecture Series, Fall Festival of Dance, in collaboration with the High Point Theatre and Exhibition Center. Performed with Martin Kalve (1951), Takehisa Kosugi, David Tudor and Merce Cunningham Dance Company: Jon Gibson, Equal Distribution to Fractions (Kalve alone), David Tudor, Toneburst to Sounddance (Tudor alone), Takehisa Kosugi, S.E. Wave/E.W. Song to Squaregame (Cage, Kalve, Kosugi, Tudor).

6 November 1978. New York, Collage Concerts, John Harbison conductor. Sonatas and Interludes (I-V) performed (Peters Notes 1979-1980c).

10-12 November 1978 and later. Loleta, California. Completed registration for no. 1 (10 November), no. 2 (11 November); for no. 10 and 11 and for no. 12 (12 November) of Some of The Harmony of Maine.

After 12 November 1978. New York. Completed no. 13 of Some of The Harmony of Maine.

28 November 1978. New York. Interviewed by Geoffrey Barnard (Cage/Barnard 1980).

December 1978. New York. Conversation with Richard Foreman and Richard Kostelanetz, hosted by Bonnie Marranca (Cage, Foreman, and Kostelanetz/Marranca 1979).

1 December 1978. New York, Entermedia Theater (181-189 2nd Avenue), Nova Convention (30 November-2 December), produced by Giorno Poetry Systems for WBAI radio. Performed Dialogue with Merce Cunningham; performed excerpt from Writing through Finnegans Wake (Palmer, R. 1978).

2 December 1978. New York, Carnegie Hall, Alliance for American Song, Peter Perrin, director. Five Songs for Contralto performed (Peters Notes 1979-1980c).

7 December 1978. New York, Japan House (333 East 47th Street), Japan Society. Performed with Merce Cunningham at a celebration honoring Porter A. McCray.

11 December 1978. New York, Alice Tully Hall. American Composers Orchestra, Dennis Russell Davies conducting, performed The Seasons and works by Barney Childs, Charles Wuorinen and Elliott Carter; Cage in attendance (Henahan 1978b; Peters Notes 1979-1980c).

16 December 1978 (afternoon). New York, 1 University Place, New York Reading Series. Introduced by David Shapiro, performed in shared program with John Ashbery.

Prior to 18 December 1978. New Haven, Connecticut, Yale University, School of Music, Philip F. Nelson, Dean. Visited as guest of the Samuel Simons Sanford Professorship of Music.

20 and 27 December 1978. New York. Interviewed by David Vaughan for a book on Merce Cunningham (Vaughan 1997).

1979 or earlier. Wrote Correction (text); Jasper Johns (text).

1979. Wrote B.W. 1916-1979 (text); Writing for the Third Time through Finnegans Wake (text).

1979. Elected 380th member, Kungliga Musikaliska Akademien (Royal Swedish Academy of Music).

1 January 1979. New York, Entermedia Theater (181-189 2nd Avenue), St. Mark’s Church New Year’s Benefit: read from Indeterminacy: New Aspect of Form in Instrumental and Electronic Music (Giorno Poetry Systems Records GPS 018 [recording]).

1-circa 10 January 1979. Oakland, California, Crown Point Press, fourth visit. Began Changes and Disappearances [artwork] (Brown, Kathan 1980, [11]; Toland 1982a).

January 1979. New York. Composed Hymns and Variations.

16 January 1979. Montréal, Québec, Concordia University, Sir George Williams Campus, invited by Russell T. Gordon. Spoke to fine arts graduate students (morning); introduced and performed from Part IV of Empty Words (afternoon, room H-110), followed by question period (Berkowitz 1979a; Berkowitz 1979b; Culver 1997; Gervais 1997; Rivest 1997b).

18 January 1979. New York. Interviewed by David Vaughan for a book on Merce Cunningham (Vaughan 1997).

Early February 1979. New York. Moved from Bank Street to West 18th Street and Sixth Avenue (Cage/Anonymous 1993a, 111-112; Silverman, K. 2010, 309).

1 February 1979. New York, Whitney Museum of American Art (Madison Avenue at 75th Street), Composers’ Showcase. Performed two different selections from Part IV of Empty Words (two performances, 7:00 and 9:30 pm).

18 February 1979 (afternoon). Jamaica, New York, York College, Hillside Center Auditorium (150-91 87th Road). Guest composer at New Music Consort concert; First Construction (in Metal) performed, as well as music by David Schiff, Arnold Schoenberg, Karlheinz Stockhausen, and Maurice Wright.

22 February 1979. New York. Interviewed by William Brooks (Brooks, W. 2014).

March?, 1979. Atlanta, Georgia, WGST Newsradio, Midday: participated in discussion.

March 1979. Los Angeles, California, Louver Gallery. Exhibition of prints.

11 March 1979 (late afternoon). New York, Carnegie Recital Hall. Presumably attended recital by Arline Carmen Kempner (mezzo soprano, dedicatee of Solo for Voice 1) and Richard Shirk (piano).

March 1979 [possibly confused with 27 March 1983]. Vancouver, British Columbia, Vancouver East Cultural Centre, presented by Vancouver New Music Society. Possibly performed Writing for the Second Time through Finnegans Wake (Piché 1997).

14 March 1979. Windsor, Ontario, Art Gallery of Windsor (445 Riverside Drive West), Arts Expanding Series. Performed from Part IV of Empty Words; question period afterwards (Guinn 1979; Van Vugt 1979).

20 March 1979. Cambridge, Massachusetts, Longy School of Music. Attended Boston Musica Viva concert, “John Cage: Music from 1933 to 1978,” including Chorals, played by Nancy Cirillo (Buell 1979; Peters Notes 1979-1980a).

20 March 1979. Saint Paul, Minnesota. Saint Paul Chamber Orchestra, Dennis Russell Davies conducting, performed Quartets I-VIII (24 Instruments) (Peters Notes 1979-1980c).

21 March 1979. Baltimore, Maryland, University of Maryland. Performed from Part IV of Empty Words.

27 March 1979. Los Angeles, California, Los Angeles County Museum of Art, Bing Theater, presented with Some Serious Business. Performed from Part IV of Empty Words (evening, 64-minute performance); interviewed by Bill Womack (Cage/Womack 1979; Clothier 1979; Segal 1979).

April 1979. Wrote request for recordings for Roaratorio, an Irish Circus on Finnegans Wake (Cage 1982a).

3 April 1979. Brussels, Atelier rue Sainte Anne (20, rue Sainte Anne). Le Groupe Intervalles de Paris, Jean-Yves Bosseur conducting, gave performance of Mesostics for Erik Satie [sic], possibly identical with Letters to Erik Satie (Gillemon 1979).

5 April 1979. De Kalb, Illinois, Northern Illinois University. Attended: performances of 0'00", Atlas Eclipticalis, Joseph Pinzarrone conducting, with Winter Music, Variations IV; Cage’s participation unknown (Peters Notes 1979-1980c).

29-30 April 1979. Flew to London. Stayed with Bonnie Bird Gundlach.

30 April 1979. Norwich, England. Met Joe [Joseph] Heaney (1919-1984) (Cage 1980ABOUT, [27]; Cage/Schöning 1982, 91, 93; Eastern Daily Press 1979).

30 April 1979. Saint Paul, Minnesota. Saint Paul Chamber Orchestra, Dennis Russell Davies conducting, performed Quartets I-VIII (24 Instruments) (Peters Notes 1979-1980c).

Spring 1979. Toured in Europe with Merce Cunningham Dance Company. Company briefly in Paris rehearsing Changing Steps in the Théâtre du Silence.

2 May 1979. Flew to Lyons.

3-4 May 1979. Lyons, Auditorium Maurice-Ravel (149 Rue Garibaldi). Performed with Merce Cunningham Dance Company: press conference with Merce Cunningham, David Tudor, Martin Kalve, Marc Le Bot, and Marcelle Michel, moderated by Georges Léon (3 May, Salle Proton de la Chapelle); Maryanne Amacher, Remainder to Torse I; Letters to Erik Satie with Sound Anonymously Received to Tango; David Tudor, Toneburst to Sounddance; Cartridge Music to Changing Steps et cetera (4 May, Grande Salle) (Baille 1979; J.-J.-L. 1979; Michel 1979).

Prior to 6 May 1979. Scheduled work on Roaratorio, an Irish Circus on Finnegans Wake with Klaus Schöning (Baille 1979; Cage 1980, [31]; Cage/Schöning 1982, 107).

6 May 1979. Mâcon, Centre d’Action Culturelle de Mâcon (1511, avenue Charles de Gaulle). Performed with Merce Cunningham Dance Company: Event #223.

8 May 1979. La Rochelle, Maison de la Culture de La Rochelle (11 Rue Chef de ville), Mai Musical de Bordeaux. Performed with Merce Cunningham Dance Company: Event #224.

10-11 May 1979. Bordeaux, Grand-Théâtre (Place de la Comédie), Mai Musical de Bordeaux (4-20 May). Performed with Martin Kalve, David Tudor and Merce Cunningham Dance Company: Maryanne Amacher, Remainder to Torse II; David Tudor, Weatherings to Exchange; Takehisa Kosugi, S.E. Wave/E.W. Song to Squaregame (10 May); Jon Gibson, Equal Distribution to Fractions; Letters to Erik Satie with Sound Anonymously Received to Tango; David Tudor, Toneburst to Sounddance; Cartridge Music to Changing Steps et cetera (11 May).

13 May 1979. Montbéliard, Centre d’Action Culturelle, Maison des Arts et Loisirs (12 Rue du Collège). Performed with Martin Kalve, David Tudor, and Merce Cunningham Dance Company.

15 May 1979. Sochaux. Performed with Martin Kalve, David Tudor, and Merce Cunningham Dance Company: Maryanne Amacher, Remainder to Torse III; Letters to Erik Satie with Sound Anonymously Received to Tango; David Tudor, Toneburst to Sounddance; Takehisa Kosugi, S.E. Wave/E.W. Song to Squaregame.

18-21 May 1979. Berlin, Akademie der Künste (Hanseatenweg 10). Performed with Martin Kalve, David Tudor, and Merce Cunningham Dance Company: Jon Gibson, Equal Distribution to Fractions (Martin Kalve); Letters to Erik Satie with Sound Anonymously Received to Tango; David Tudor, Toneburst to Sounddance; Cartridge Music to Changing Steps Et Cetera (18 May); Maryanne Amacher, Remainder to Torse I; David Tudor, Weatherings (Nethograph No. 1) to Exchange; Takehisa Kosugi, S.E. Wave/E.W. Song to Squaregame (19 May); Event #225 (20 May) ; Event #226 (21 May).

29 May 1979. Angers, Théâtre d’Angers (12 Place Imbach). Performed with Martin Kalve, David Tudor, and Merce Cunningham Dance Company: Event #227.

30 May 1979. Rennes, Maison de la Culture (1 Rue Saint-Hélier). Performed with Martin Kalve, David Tudor, and Merce Cunningham Dance Company: Maryanne Amacher, Remainder to Torse II; David Tudor, Weatherings (Nethograph No. 1) to Exchange; Cartridge Music to Changing Steps Et Cetera.

2-3 June 1979. The Hague, Nederlands Congresgebouw (Churchillplein 10), Holland Festival. Performed with Martin Kalve, David Tudor, and Merce Cunningham Dance Company: Maryanne Amacher, Remainder to Torse III; David Tudor, Weatherings (Nethograph No. 1) to Exchange (Tudor); Cartridge Music to Changing Steps Et Cetera (2 June); Maryanne Amacher, Remainder to Torse II; Letters to Erik Satie with Sound Anonymously Received to Tango (alone); _ Week of _ (as First Week in June) to Signals; Takehisa Kosugi, S.E. Wave/E.W. Song to Squaregame (3 June, matinee); Jon Gibson, Equal Distribution to Fractions (Martin Kalve); David Tudor, Toneburst to Sounddance (Tudor); Cartridge Music to Changing Steps Et Cetera (3 June, evening).

4 June 1979. Traveled to Cologne, Hotel Engelbertz (Obenmarspforten 1-3).

6-10 June 1979. Bonn, Tage Neuer Musik, John Cage-Festival, organized by Josef Anton Riedl. Attended and participated; WGBH-TV shown; Paul Zukofsky performed from Freeman Etudes [I-VIII] (6 June, 5 pm, Kulturforum Bonn-Center [Bundeskanzlerplatz], at vernissage of one-person exhibition of scores, artworks and ephemera (6-14 June); gave first complete performance of Empty Words, with Maryanne Amacher, Close Up (6 June, 7.21 pm-7 June, 6.51 am, Kulturforum Bonn-Center [relocated from Akademisches Kunstmuseum]); attended recital by Doris Thomson: Bacchanale, And the Earth Shall Bear Again, A Room, Totem Ancestor, Tossed As It Is Untroubled, Prelude for Meditation, A Valentine out of Season, Root of an Unfocus, Music for Marcel Duchamp, Daughters of the Lonesome Isle, Two Pastorales (7 June, Cologne, Beginner-Studio, Gottesweg 52); Nachhören-Nachdenken: Gespräch über John Cage (8 June, morning, Kultur Forum, Mittelfoyer); Giancarlo Cardini, Lorenzo Ferrero, Gérard Frémy, Stephen Montague, Frederic Rzewski, Dieter Schnebel (harpsichords), David Tudor (electric harpsichord) performed HPSCHD, visual realization by Josef Anton Riedl (8 June, evening, Beethovenhalle, Wachsbleiche 16, Großer Saal); Nachhören-Nachdenken: Gespräch über John Cage (9 June, morning, Kultur Forum, Mittelfoyer); Gérard Frémy performed The Perilous Night; Ensemble Musique Vivante, Paul Zukofsky, conductor, performed Sixteen Dances (9 June, afternoon, Kultur Forum, Theater); conducted Atlas Eclipticalis, performed by Ensemble Musique Vivante, with Winter Music, performed by Giancarlo Cardini, Lorenzo Ferrero, Gérard Frémy, Stephen Montague, Frederic Rzewski, Dieter Schnebel and David Tudor; Ensemble Musique Vivante, Paul Zukofsky, coaching and conductor, performed Cheap Imitation (Orchestra) and The Seasons (9 June, evening, Beethovenhalle, Studio); performance of Musicircus (9 June, late evening, Bundesgartenschau, Theaterzelt, organized by Walter Zimmermann); Doris Thomson performed Sonatas and Interludes and Suite for Toy Piano (10 June, afternoon, Cologne, Beginner-Studio, Gottesweg 52); performed Lecture on the Weather with Die Maulwerker/Berlin, Dieter Schnebel; first performance of Hymns and Variations by the Kölner Rundfunkchor, Herbert Schernus, conductor (10 June, evening, Beethovenhalle, Großer Saal); Kölner Rundfunk-Sinfonieorchester, Dennis Russell Davies conducting, Nico Castel, tapes, performed Renga with Apartment House 1776; four discussions, two of them attended by Cage; interviewed for Neue Hoffnung (Brooks, W. 1981b; Cage/Anonymous 1979; Ferrero 1979; Glauber 1979; Gronemeyer 1979b; Gronemeyer 1981-1982; Nyffeler 1979a; Nyffeler 1979b; Nyffeler 1979c; Oehlschlägel 1979b; Runge 1979; Schreiber, W. 1979a; Schreiber, W. 1979b; Schürmann 1979a; Schürmann 1979b; Schürmann 1979c; Tempo 1979; Terschüren 1979; Zeller 1979a).

12-14 June 1979. Brussels, Atelier rue Sainte-Anne (20, rue Sainte-Anne), Théâtre, Journées John Cage avec John Cage. Attended; Vlaams Mobiel Kamerensemble performed Music for Wind Instruments, Six Melodies, and Variations III (12 June, evening); Atelier-Rencontre, interviewed by Jean-Yves Bosseur and Françoise van Kessel (13 June, evening); Ensemble Musique Nouvelle, George Elie Octors, conductor and percussion, and Frederic Rzewski, piano, performed Concert for Piano and Orchestra and Atlas Eclipticalis with Winter Music; Jean-Yves Bosseur and Françoise van Kessel made Portrait de John Cage during the concert (14 June, evening) (Bosseur, J.-Y. 1993, 161; Cage/Bosseur 1981; Collin 1979; Drapeau Rouge 1979; Libre Belgique 1979; Mairel 1979; P. Tr. 1979; Plisnier 1979).

14 June 1979. Traveled back to Cologne, where he met John Fullemann.

Late June 1979 (presumably). Recorded Writing for the Second Time through Finnegans Wake.

15 June-15 July 1979. Ireland. Assisted by Ciarán Mac Mathúna and Patrick O’Connor (Irish Radio), with John David Fullemann and Monika Fullemann collected recordings for Roaratorio, an Irish Circus on Finnegans Wake (Cage 1980e; Cage 1982a; Cage/Schöning 1982; Cage 1982k; Schöning 1982).

15 July-15 August 1979. Paris, Institut de Recherche et de Coordination Acoustique/Musique (IRCAM) (31, Rue Saint-Merri). At the invitation of Pierre Boulez, realized Roaratorio, an Irish Circus on Finnegans Wake in collaboration with John David Fullemann; interviewed by Klaus Schöning (13 August, Studio) (Cage 1980e; Cage/Schöning 1982; Schöning 1982).

19 July 1979. Durham, North Carolina, American Dance Festival. Merce Cunningham Dance Company gave first performance of Yasunao Tone, Geography and Music to Roadrunners; Cage’s participation unlikely.

Early August 1979. Lewiston, New York, Artpark. Merce Cunningham Dance Company performed; presumably Cage did not participate (Vaughan 1997, 209).

15 August 1979. Returned to New York.

28-29 August 1979. Philadelphia, Pennsylvania. Performed with Merce Cunningham Dance Company.

31 August 1979. New York. Filmed by Joan Logue (films).

September 1979. New York. Composed Paragraphs of Fresh Air.

Fall [September or early October], 1979. Wrote Another Song [text].

4-8 September 1979. Edinburgh, University of Edinburgh, Moray House School of Education and Sport (Holyrood Road), Gymnasium, Edinburgh International Festival (1-9 September). Performed with Merce Cunningham Dance Company: Event (4 September); Event (5 September); Event (7 September); Event (8 September, matinee); Event (8 September).

Early September 1979. Edinburgh. Composed _, _ _ Circus on _.

18-22 September 1979. Presumably in Paris.

29-30 September 1979. Albuquerque, New Mexico, KUNM-FM (radio station), Radio Performance Project (19 August-1 October). Participated.

October-December 1979. New York. Commissioned by the Walker Arts Center, Minneapolis, Minnesota, wrote James Joyce, Marcel Duchamp, Erik Satie: An Alphabet.

1 October 1979. New York. Interviewed by Frans Boenders (Cage/Boenders 1980).

2-4 October 1979. New York, Camera Mart, Stage One, Dance Umbrella, presented by TAG (Technical Assistance Group). Performed with Martin Kalve, David Tudor, and Merce Cunningham Dance Company: Event #1 (2 October); Event #2 (3 October); Event #3 (4 October).

Prior to 15 October 1979. New York. Interviewed by Barbara Rowes (Rowes 1979).

9 October-14 October 1979. Paris, Théâtre de la Ville (2 Place du Châtelet), Festival d’Automne. Performed with Martin Kalve, Takehisa Kosugi, David Tudor and Merce Cunningham Dance Company: Jon Gibson, Equal Distribution to Fractions; Letters to Erik Satie with Sound Anonymously Received to Tango; Takehisa Kosugi, Interspersion to Locale; David Tudor, Toneburst to Sounddance (9-10 October); Morton Feldman, Ixion to Summerspace; David Tudor, Weatherings to Exchange; Yasunao Tone, Geography and Music to Roadrunners (11-12 October); Christian Wolff, Duo for Pianists I and Duo for Pianists II to Rune; Inlets to Inlets; Telephones and Birds to Travelogue (13 October and 14 October, matinee); interviewed by Esther Ferrer (Cage/Ferrer 1979).

17 October-5 November 1979. Paris, Centre Georges Pompidou (Place Georges-Pompidou), Forum, Festival d’Automne. Performed with Merce Cunningham Dance Company: Event (17 October); Event (18 October); Event (19 October); Event (20 October); Event (21 October, matinee); with Théâtre du Silence: Event (24 October); Event (25 October); Event (26 October); Event (27 October); Event (28, matinee).

11 October 1979. Minneapolis, Minnesota, KFAI, Marathon Pledge Week. First performance of Paragraphs of Fresh Air.

20 October 1979. Donaueschingen, Sternensaal, Donaueschinger Musiktage (19-21 October), Akustische Spielformen. Attended first presentation of Roaratorio, an Irish Circus on Finnegans Wake (morning); preceding the presentation, received the Karl-Sczuka-Preis für Radiokunst des Südwestfunks Baden-Baden (DM 25,000) from Alois Rummel, Hörfunkdirektor; Heinrich Vormweg spoke eulogy; Cage read acceptance speech; presentation repeated 21 October, morning (Bitz 1979; Cage 1980e; Fohrbeck 1985; Gronemeyer 1979a; Kaiser, J. 1979; Koch, G.R. 1979; Kumpf 1979; Matejka 1979; Schweizer 1979; Vormweg 1982; Zietsch 1979).

22 October 1979. Cologne, Westdeutscher Rundfunk, WDR-3 Hörspielstudio: first broadcast of Roaratorio, an Irish Circus on Finnegans Wake, produced by Westdeutscher Rundfunk (Klaus Schöning), Katholieke Radio Omroep, and Süddeutscher Rundfunk; first Dutch broadcast 23 October (KRO Radio, Hilversum 2) (Cage 1982ROARATORIO, 15).

30-31 October and 1 November 1979. Oakland Symphony performed The Seasons. presumably Cage was not in attendance (Commanday 1979).

2 November 1979. Cologne, Westdeutscher Rundfunk, Musik der Zeit. Grupo de acción instrumental performed “Take It Easy but Take It,” a musical-scenic collage on John Cage’s work; presumably Cage was not in attendance.

4 November 1979. Wrote The Beginning of a Connection between Satie and Thoreau (text) (Cage 1980a).

6 November 1979. Middletown, Connecticut, Wesleyan University, Center for the Arts, Crowell Concert Hall. The American Music/Theatre Group, directed by Neely Bruce, performed Song Books (Fetterman 1996a, 155-156).

8 November 1979-26 January 1980. New York, Drawing Center (137 Greene Street), “Musical Manuscripts,” exhibition organized by Martha Beck, part of “Sounds,” initiated by P.S. 1 gallery; the other exhibition was “Scores and Notations,” organized by Peter Frank. Manuscript of solo for piano from Concert for Piano and Orchestra on exhibit (group exhibition with others) (Johnson, Tom 1979a; Ratcliff 1980).

14 November 1979. New York, Saint Peter’s Church (22 Barclay Street). Meeting of the Society for the Arts, Religion and Contemporary Culture. Attended and spoke.

Prior to December 1979. Paul Zukofsky performed from Freeman Etudes (presumably first performance of several) (Music Educators Journal 1979).

4 December 1979. New York, Saint Thomas Church, works by Benjamin Britten performed; Cage perhaps in attendance.

7-8 December 1979. New York, The Kitchen Center for Video, Music and Dance. Ned Sublette performed his arrangement of Cheap Imitation for guitar (1978) in shared program with music by Jackson Mac Low and La Monte Young.

10 December 1979. New York, Cooper Union (Third Avenue at Seventh Street), Great Hall, organized by the Group for Contemporary Music at Manhattan School of Music, 18th Season. With Charles Wuorinen and John Rockwell, participated in discussion after a concert with compositions by Tod Machover, Charles Wuorinen, Gerald Chenoweth and Cage (Third Construction performed by New Jersey Percussion Ensemble Quartet) (New Yorker 1980; Rockwell 1979a).

13 December 1979. Received American Music Center Letter of Distinction (New York Times 1979).

Between late December 1979 and 4 February 1980. New York, Carnegie Recital Hall. New Music Consort performed Third Construction (New Yorker 1980).

1979-1980. Wrote Writing for the Fourth Time through Finnegans Wake.

1979-1981. Conceived Montestella d’Ivrea in collaboration with John Fullemann; it remained unfinished.

1979-1982. Wrote Writing through the Cantos (text).

1980. Wrote White on Blanco for O.P. (text).

1980. Interviewed by Giacomo Pellicciotti (Pellicciotti 1981).

1-15 January 1980. Oakland, California, Crown Point Press. Visited; continued work on Changes and Disappearances (Brown, Kathan 1982a).

January 1980 and after. Oakland, California, Crown Point Press. 17 Drawings by Thoreau, Changes and Disappearances, Score without Parts (40 Drawings by Thoreau): Twelve Haiku, and Signals on exhibit in Music Sound Language Theater, traveling exhibition curated by Kathan Brown, for the United States International Communication Agency, also including etchings by Tom Marioni, Robert Berry, and Joan Jonas (White, R. 1980).

16-24 January 1980. Ponape, Caroline Islands. Contributed to Word of Mouth, an artists’ meeting initiated by Kathan Brown and sponsored by Crown Point Press, with Laurie Anderson, Chris Burden, Daniel Buren, Brian Hunt, Joan Jonas, Robert Kushner, Bryce Marden, Tom Marioni, Pat Steir, Marina Abramovic/Ulay, William T. Wiley; performed from Themes and Variations (then in progress; 16 January, evening, Village Hotel, recording: Crown Point Press 37327 AL as Vision nr. 4) (Glueck 1980).

20 January-2 March 1980. Berlin, Akademie der Künste, Für Augen und Ohren: Von der Spieluhr zum akustischen Environment. Group exhibition; Cage represented with Concerto Grosso, Silent Environment (installations) and other work, and concerts: Rozart Mix (27 January, realization by David Tudor and Dieter Schnebel); Die Maulwerker/Berlin (Martin Bachmann, Helmut Danninger, Kurt Fehr, Michael Fendt, Anna von Gablenz, Renate Keil, Christian Koch, Paulina Landea, Claudia Meili, Katharina Rasinski, Martin Schnurr, Dirk Vogeley), Dieter Schnebel, director, performed Lecture on the Weather (30 January) (Bos 1980; Cage 1980b; Cage 1980h; Eberle 1980).

21 January 1980. New York, Carnegie Recital Hall (154 West 57th Street), Music about Music. Dennis Helmrich (piano) performed HPSCHD.

25 January 1980. Santa Cruz, California, University of California. Gave first performance of James Joyce, Marcel Duchamp, Erik Satie: An Alphabet.

26 January 1980. Santa Cruz, California. Interviewed by David Cope (Cage/Cope 1980).

28 January-9 February 1980. La Jolla, California, University of California, San Diego. Two-week residency as Regent’s Lecturer; performed James Joyce, Marcel Duchamp, Erik Satie: An Alphabet, followed by question period (28 January, evening, Mandeville Auditorium); attended opening of exhibition of lithographs at University of California at Santa Cruz (30 January); attended concert by SONOR (30 January, evening, Mandeville Auditoruim); performed from Empty Words (1 February, evening, Center for Music Experiment, Building 408, Warren Campus, as part of What’s Cooking III); attended rehearsals and concert of his music and possibly performed as part of What’s Cooking III (1-3 February, afternoons and evenings, same location; 3 February, Opus 5 Art Studio, Solana Beach, morning); attended concert of his music, presumably Musicircus including Roaratorio, an Irish Circus on Finnegans Wake (8 February, evening, Mandeville Auditorium); continued work on Themes and Variations; exhibition of score pages (reproductions) with commentary of the faculty members of the music department (Mandeville Center for the Performing Arts, East Room); interviewed by Barry Alfonso, Joshua Harrison, Gay Knapp, Kathlyn Russell, Isabella Wasserman; Pauline Oliveros focused her winter semester course on Cage (Alfonso 1980; Arne 1980; Cage/Harrison 1980; Dierks 1980; Faculty 1980; Herman, A. 1980; Jones, Ja. 1980; Knapp 1980a; Knapp 1980b; Oliveros 1987-1988; Rich 1980; Russell, K. 1980; Schillaci 1980; Wasserman 1980).

8-9 February 1980. Albany, New York, State University of New York at Albany. Presumably performed with Merce Cunningham Dance Company performed Jon Gibson, Equal Distribution to Fractions; Takehisa Kosugi, Interspersion to Locale; Takehisa Kosugi, S.E. Wave/E.W. Song to Squaregame (8 February); Maryanne Amacher, Remainder to Torse II; David Tudor, Weatherings to Exchange; Yasunao Tone, Geography and Music to Roadrunners (9 February).

10 February 1980. Bronxville, New York, Sarah Lawrence College. Performed James Joyce, Marcel Duchamp, Erik Satie: An Alphabet.

11 February 1980. Minneapolis, Minnesota, Walker Arts Center. Performed James Joyce, Marcel Duchamp, Erik Satie: An Alphabet.

13 February 1980. New York, Columbia University. Performed James Joyce, Marcel Duchamp, Erik Satie: An Alphabet.

14 February 1980. Wrote first of two letters to M. William Karlins (Cage 1981k).

19 February-2 March 1980. New York, City Center (131 West 55th Street). Performed with Jon Gibson, Martin Kalve, Garrett List, David Tudor and Merce Cunningham Dance Company: Maryanne Amacher, Remainder to Torse I; Letters to Erik Satie with Sound Anonymously Received to Tango; Takehisa Kosugi, Interspersion to Locale; Takehisa Kosugi, S.E. Wave/E.W. Song to Squaregame (19 February); Maryanne Amacher, Remainder to Torse I; Yasunao Tone, Geography and Music to Roadrunners; David Tudor, Weatherings to Exchange (20 February); Jon Gibson, Equal Distribution to Fractions; Inlets to Inlets; Yasunao Tone, Geography and Music to Roadrunners (21 February); Maryanne Amacher, Remainder to Torse II; David Tudor, Weatherings to Exchange; Yasunao Tone, Geography and Music to Roadrunners (22 February); Maryanne Amacher, Remainder to Torse II; Takehisa Kosugi, Interspersion to Locale; Cartridge Music to Changing Steps et cetera (including first performance of Exercise Piece III) (23 February, matinee); Christian Wolff, Duo for Pianists I and Duo for Pianists II to Rune; Inlets to Inlets; Takehisa Kosugi, S.E. Wave/E.W. Song to Squaregame (23 February); Jon Gibson, Equal Distribution to Fractions; Letters to Erik Satie with Sound Anonymously Received to Tango; David Tudor, Toneburst to Sounddance; Yasunao Tone, Geography and Music to Roadrunners (24 February, matinee); Christian Wolff, Duo for Pianists I and Duo for Pianists II to Rune; Improvisation III (first performance) to Duets; David Tudor, Weatherings to Exchange (26 February); 52/3 to Landrover; Improvisation III to Duets; David Tudor, Toneburst to Sounddance (27 February); Maryanne Amacher, Remainder to Torse III; Letters to Erik Satie with Sound Anonymously Received to Tango; Takehisa Kosugi, Interspersion to Locale; Takehisa Kosugi, S.E. Wave/E.W. Song to Squaregame (28 February); Maryanne Amacher, Remainder to Torse III; David Tudor, Weatherings to Exchange; Yasunao Tone, Geography and Music to Roadrunners (29 February); 52/3 to Landrover; Improvisation III to Duets; Cartridge Music to Changing Steps et cetera (1 March, matinee); Jon Gibson, Equal Distribution to Fractions; Letters to Erik Satie with Sound Anonymously Received to Tango; Improvisation III to Duets; Takehisa Kosugi, S.E. Wave/E.W. Song to Squaregame (1 March); Jon Gibson, Equal Distribution to Fractions; Takehisa Kosugi, Interspersion to Locale; Yasunao Tone, Geography and Music to Roadrunners (2 March, matinee); Cunningham interviewed previously by David Vaughan (Anderson, Jack 1980a; Anderson, Jack 1980b; Cunningham/Vaughan 1980; Kendall, E. 1980; Kisselgoff 1980; Vaughan 1997, 212-213, 298).

22 February 1980. Wrote second of two letters to M. William Karlins (Cage 1981k).

28 February 1980. New York, Judson Memorial Church, Garden Room. Read from his own work at memorial service for José Rollin de la Torre Bueno (4 April 1904-15 January 1980), his editor at Wesleyan University Press; other participants were David Vaughan, Patricia N. McAndrew, Nancy Reynolds, Walter Sorell, Selma Jeanne Cohen; Neely Bruce (piano) and Phyllis Bruce (soprano) performed Winter Music and music by Jacques Offenbach and Neely Bruce.

8 March 1980. New York, Alice Tully Hall. Continuum performed Credo in Us, as well as music by Lou Harrison, Elliott Carter, Jacob Druckman, Henry Cowell, Barbara Kolb, Stefan Wolpe, and Edgard Varèse (Rockwell 1980a).

12-13 March 1980. Notre Dame, Indiana, Notre Dame University: attended; performed James Joyce, Marcel Duchamp, Erik Satie: An Alphabet (12 March, Library Auditorium, Sophomore Literary Festival); question period afterwards; interviewed by Stephen Husarik (12-13 March) (Husarik 1983, 20n1; O’Toole 1980).

21 March 1980. Stony Brook, State University of New York: residency.

22-23 March 1980. Buffalo, New York, Albright-Knox Art Gallery (1285 Elmwood Avenue), sculpture court, presented with the Center for the Creative and Performing Arts: with Lejaren Hiller and Morton Feldman attended performances of HPSCHD by Neely Bruce, David Fuller, Yvar Mikhashoff, Aki Takahashi, David Tudor (harpsichords), Joel Chadabe (technical co-ordination), with screen-sculptures by John Toth (22 March, Gala Evening for Gallery members; 23 March, Evenings for New Music) (Levine Packer 2010; Putnam 1980; Reporter 1980; Simon, J. 1980).

25-30 March 1980. New York, Westbeth (55 Bethune Street), Merce Cunningham Studio: six event performances; Cage’s participation uncertain.

30 March 1980. New York. Interviewed by Cole Gagne and Tracy Caras (Cage/Gagne and Caras 1982).

4-6 April 1980. North Aurora, Illinois, Paramount Arts Centre. Performed with Merce Cunningham Dance Company: Fractions, Letters to Erik Satie with Sound Anonymously Received  to Tango, Duets, Squaregame (4 April); Torse II, Letters to Erik Satie with Sound Anonymously Received  to Tango, Locale, Squaregame (5 April); Torse III, Exchange, Roadrunners (6 April).

7 April 1980. Los Angeles, California, University of California, Schoenberg Hall, Composer’s Choice. As guest composer of the Los Angeles Philharmonic, attended concert with Sixteen Dances and Christian Wolff, Trio I, Nine, and Braverman Music; ensemble conducted by William Kraft.

8-9 April 1980. Irvine, California, University of California at Irvine. Performed with Merce Cunningham Dance Company (Rosenthal, A. 1980).

9 April 1980. Irvine, California, Irvine High School event (John Cage, Martin Kalve, Takehisa Kosugi, David Tudor).

12-13 April 1980. Los Angeles, California, University of California. Performed with Merce Cunningham Dance Company: Fractions, Letters to Erik Satie with Sound Anonymously Received  to Tango, Locale, Roadrunners (12 April, Royce Hall); with Martin Kalve, Takehisa Kosugi, David Tudor, and Merce Cunningham Dance Company, Event (13 April, Pauley Pavillion).

14-16 April 1980. San Antonio, Texas, Carver Community Cultural Center. Performed with Martin Kalve, Takehisa Kosugi, David Tudor, and Merce Cunningham Dance Company (15-16 April).

17-19 April 1980. Dallas, Texas, Arts Magnet High School, Booker T. Washington. Performed with Martin Kalve, Takehisa Kosugi, David Tudor, and Merce Cunningham Dance Company, Event (19 April).

18 April-14 May 1980. Newton Centre, Massachusetts, Boston College Gallery, Fine Arts Department, Newton Campus, Barry Pavilion (885 Centre Street). One-person exhibition, “John Cage: Musical Imagery: Manuscripts and Printed Scores 1940-1979.”

22 April 1980. Gainesville, Florida, University of Florida. Performed with Martin Kalve, Takehisa Kosugi, David Tudor, and Merce Cunningham Dance Company, Event.

22-23 April 1980. Gainesville, University of Florida. Performed with Merce Cunningham Dance Company.

27 April 1980. New York. Composed Furniture Music Etcetera.

13 May 1980. Buffalo, New York, State University of New York at Buffalo, Baird Hall. Yvar Mikhashoff and Aki Takahashi gave first performance of Furniture Music Etcetera in a program with other compositions by Cage and Erik Satie; Cage’s attendance uncertain (Young, K. 1980).

Prior to 20 May 1980. Completed Themes and Variations.

20 May 1980. New York, Japan House, Lila Acheson Wallace Auditorium. Performed Themes and Variations (first complete performance) as part of Dialogue, with Merce Cunningham.

22 May 1980. Letter to Bálint András Varga (Cage and Feldman/Varga 1986).

24 May 1980. Amsterdam, Stedelijk Museum, Aula. Roaratorio, an Irish Circus on Finnegans Wake presented in version for tapes alone (Koning 1980).

Summer 1980. Attended partial performance of Freeman Etudes, followed by a discussion with Cage (Brown, Kathan 1980, [13]).

6-12 June 1980. Reykjavik, Listahátíđ í Reykjavík, Reykjavik Arts Festival. Visited with Paul Zukofsky, participated in Eat-in symposium, performed Part IV of Empty Words. Zukofsky performed Cheap Imitation (Violin) and a selection from Freeman Etudes and conducted (unknown program).

13-15 June 1980. Woodstock, New York, Woodstock Playhouse, Woodstock Playhouse Dance Festival. Merce Cunningham Dance Company performed Fractions, Duets, Squaregame (13 June); Fractions, Sounddance, Roadrunners (14 June); Signals, Locale, Squaregame (15 June); Cage’s participation uncertain.

23-24 June 1980. Traveled to Liverpool.

25 June 1980. Liverpool, Everyman Theatre: Merce Cunningham’s Travelogue (Geoff Dunlop), Blue Studio: Five Segments, Merce Cunningham and Charles Atlas (all film showings?); Cage’s participation uncertain.

26-28 June 1980. Liverpool, Everyman Theatre (Hope Street), 1980 Hope Street Festival (began 25 June with film show). Performed; Dialogue with Merce Cunningham; reception afterwards (26 June); with Martin Kalve, Takehisa Kosugi, David Tudor, and Merce Cunningham Dance Company, Event No. 1 (27 June, evening); Event No. 2 (28 June, matinee); traveled to London by bus after performance.

Prior to 30 June 1980. Composed Improvisation IV.

28 June-5 July 1980. London, Sadler’s Wells Theatre (Rosebery Avenue). Performed with Merce Cunningham Dance Company; first performance of Improvisation IV to Fielding Sixes, with Merce Cunningham, John Cage, Monika Fullemann (30 June); performed Letters to Erik Satie with Sound Anonymously Received to Tango (alone), Locale, Roadrunners (30 June-1 July); Torse I, Sounddance, Duets, Roadrunners (2 July); Torse III, Sounddance, Duets, Roadrunners (3 July); Fractions, Letters to Erik Satie with Sound Anonymously Received to Tango, Locale, Squaregame (4 July); Signals, Letters to Erik Satie with Sound Anonymously Received to Tango, Inlets, Locale (5 July, matinee); Improvisation IV to Fielding Sixes, Inlets, Squaregame (5 July, evening) (Cage/Raymond and Roberts 1980, 5; Vaughan 1997, 213, 298).

8 July 1980. London, Riverside Studios/Goldsmiths College. Residency with Merce Cunningham Dance Company; Torse (dual screen version), Blue Studio: Five Segments (video), Locale, Roamin’ I (all film showings?); Cage’s participation uncertain (6 July); performed with Merce Cunningham: Themes and Variations, as part of Dialogue (8 July); interviewed by Freddy de Vree (8 July) (Cage/De Vree 1980; Cage/Raymond and Roberts 1980, 5; Jordan 1980).

14-18 July 1980. London, University of London, Goldsmiths College, School of Art and Design, and Laban Centre for Movement and Dance: invited by Bonnie Bird, gave series of interdisciplinary workshops with Merce Cunningham; workshops (14-18 July, Great Hall); lecture ‘Music for Dance’ probably by Cage and concert of his early music (15 July, Great Hall); probably participated in panel, ‘Collaboration or Co-Existence: Two Approaches to Interdisciplinary Work in the Arts’ (17 July); performed with Merce Cunningham, Themes and Variations as part of Dialogue (18 July, evening, Great Hall) (Cage/Raymond and Roberts 1980; Jordan 1980; Raymond 1980).

Late July 1980. New York. Composed Litany for the Whale.

Between late July-13 August 1980. Middletown, Connecticut, Wesleyan University, Summer Choral Institute of Contemporary Music (2 July-13 August), Neely Bruce, director. In residence.

20 July 1980, noon until midnight. New York, Passenger Ship Terminal (55th Street and Hudson River), 15th Annual Avant Garde Festival of New York. Participated.

8-13 August 1980. Albuquerque, New Mexico, KUNM radio station (National Public Radio), lectured on ‘The Potential of Radio’ and creation of a new work (Performing Artservices, probably postponed).

4 September 1980. New York. Interviewed by David Bither (Cage/Bither 1980; Bither 1980).

14-27 September 1980. Oakland, California, Crown Point Press. Fifth visit; continued work on Changes and Disappearances and began On the Surface, completed before or during April 1982 (Singdahlsen 1982, 22).

29-30 September 1980. Lawrence, Kansas, University of Kansas. Residency at the inititave of Stephen Addiss; meetings with various classes (29 September, Murphy Hall, Room 330, 8:30 am; Murphy Hall, Room 404, 9:30 am; Helen Foresman Spencer Museum of Art, Auditorium, 11:30 am; Visual Arts Building, 12:30 pm [lunch]; Murphy Hall, Room 400, 3:30 pm [reception with music]; 30 September, Murphy Hall, Room 330, 9:30 am; Murphy Hall, Room 228); introduced by J. Bunker Clark, performed James Joyce, Marcel Duchamp, Erik Satie: An Alphabet (30 September, Helen Foresman Spencer Museum of Art, Auditorium, evening, Humanities Lecture Series); Cage’s performance, accompanied by an interview by Tim Crouch, was broadcast on KANU-FM radio 12 October (Bretz 1980a; Bretz 1980b; Clark, J. B. 1980; Frizzell and Mandeville 1980; Haskell, H. 1980; Lawrence Journal-World 1980; Neufeld 1980a; Neufeld 1980b; Stipp 1980; University Daily Kansan 1980).

1 October 1980. London, Elizabeth Hall. London Sinfonietta Voices, William Brooks conducting, performed Hymns and Variations in shared program with music by William Billings and Charles Ives (Griffiths, P. 1980c).

2 October 1980. Letter to Richard I.P. Hayman (Cage/Hayman 1980).

3, 4, 6 and 11 October 1980. New York, Brandeis High School, US Terpsichore. Merce Cunningham Dance Company performed Cross Currents; Cage’s participation uncertain.

4 October 1980. New York, Merce Cunningham’s studio. Event # 1; presumably Cage did not participate.

5 October 1980. New York, Merce Cunningham’s studio. Event # 2; presumably Cage did not participate.

11 October-2 November 1980. Europe. Touring to Torino, Strasbourg and Milan with Merce Cunningham Dance Company (Di Maggio, Bonito Oliva, and Lombardi 2009).

16 October 1980. Bonn, Theater der Stadt Bonn. Première of scenic realization of Roaratorio, an Irish Circus on Finnegans Wake by Dragutin Boldin; Cage’s attendance uncertain (Bonner Theater-Zeitung 1980-1981; D.T. 1980; Reichow 1980; Sparrer 1980; Terschüren 1980).

20 October 1980. Letter to Richard I.P. Hayman (Cage/Hayman 1980).

20 October-3 November 1980. Toured with Merce Cunningham Dance Company.

21 October 1980. Strassburg, Théâtre National de Strasbourg, Grande Salle. Attended tape performance of Roaratorio, an Irish Circus on Finnegans Wake.

23-25 October 1980. Strassburg, Théâtre National de Strasbourg. Performed with Martin Kalve, Takehisa Kosugi, David Tudor, and Merce Cunningham Dance Company, Strasbourg Event I (23 October); Strasbourg Event II (24 October); Strasbourg Event III (25 October) (Ph.A. 1980).

28-31 October, 1-2 November 1980. Milan, Teatro Nazionale (Via Giordano Rota, 1), Secondo Rassegna Internazionale di Teatro-Danza Contemporaneo. Performed with Martin Kalve, Takehisa Kosugi, David Tudor and Merce Cunningham Dance Company: Improvisation IV to Fielding Sixes; David Tudor, Weatherings to Exchange; Yasunao Tone, Geography and Music to Roadrunners; interviewed by Emanuelita Giannì and Lieselotte Longato; Cunningham interviewed by Lieselotte Longato (Cage/Giannì and Longato 1980; Cunningham/Longato 1980).

31 October-14 December 1980. Amsterdam, Stedelijk Museum. Exhibition Music Sound Language Theater with art by Cage and others.

Early November-25 November 1980. Stuttgart, Kunsthaus Schaller, Galerie, ‘Musik im Bild’, Internationale Musikgraphik. Exhibition with graphic scores by Cage (Cartridge Music) and others, organized by Erhard Karkoschka and Reinhold Urmetzer; including opening concert by Allen Strange and others (Baruch 1980; Bergmann 1980).

8 November 1980. Essen, Evangelische Kirche Essen-Rellinghausen (Oberstraße). Gerd Zacher (1929-2014) gave first performances of Some of The Harmony of Maine and Giuseppe Giorgio Englert’s Musica Barbara; Cage not in attendance (A.W. 1980; Herbort 1980; Kirchberg 1980).

11 November 1980. New York, School of Visual Arts. Performed Themes and Variations (Johnson, Tom 1980).

12 November 1980. Philadelphia, Pennsylvania, Franklin House. Received Award of the City of Philadelphia.

13-14 November 1980. Kutztown, Pennsylvania, Kutztown State College, New Arts Program. Visiting Artist in Residency; assisted by ten students made eighty-four different prints, Strings 1-20, and Strings 1-62, plus two master plates.

20 November 1980. New York, Whitney Museum of American Art. Performed.

1 December 1980. Chicago, Illinois, Arts Club of Chicago, Second Annual Rue Winterbotham Shaw Program. Performed James Joyce, Marcel Duchamp, Erik Satie: An Alphabet.

December 1980. New York. Letter to Klaus Schöning (Schöning 1982, 20).

3-6 December 1980. Middlebury, Vermont, Middlebury College. Residency; performed James Joyce, Marcel Duchamp, Erik Satie: An Alphabet (4 December, Dana Auditorium); performed with Merce Cunningham: Dialogue, during which he worked on Writing through the Cantos (5 December, Wright Theatre, Middlebury College Concert Series); interviewed with Merce Cunningham by George Todd and Dale Cockrell (6 December) (Cage and Cunningham/Todd and Cockrell 1981).

Circa 1981. Wrote [Untitled] (mesostics on “Swift”) [text].

1981. Wrote Apropos of (Marcel Duchamp 1961) [text].

1981. Visited Montestella d’Ivrea [near Turin] to prepare Montestella d’Ivrea in collaboration with John Fullemann; it remained unfinished.

1981. Brussels, Atelier rue Sainte-Anne, Les musiciens, les poètes, les peintres et leurs partitions (deuxième formule). Exhibition, with others.

1981. Detroit, Michigan, Fluxus – The Gilbert & Lila Silverman Collection. Exhibition (Block and Freybourg 1983, 5).

Early-prior to 3 April 1981. New York. Composed Thirty Pieces for Five Orchestras.

January 1981. Bochum, Galerie Inge Baecker. Exhibition of Cage’s scores and Merce Cunningham’s notes (Wanzelius 1981).

9-24 January 1981. Paris, Institut de Recherche et de Coordination Acoustique/Musique (IRCAM), Espace de Projection. Rehearsed (9-19 January) and performed Roaratorio, an Irish Circus on Finnegans Wake (first live performance), with Joe Heaney (singing), Peadher Mercier and Mell Mercier (bodhran), with technical assistance by John David Fullemann in shared program with music by Rolf Gehlhaar (19-24 January, evenings); interviewed by Alain Rolland and Jukka Tiensuu (Cage/Rolland 1981; Cage/Tiensuu 1983; Condé 1981a; Condé 1981b; Emmerik, I. van 1981; Ferrer 1981; Oja 1980; Potter, K. 1981; Schöning 1982, 22, 24).

17 February 1981. New York, Gracie Mansion. Recipient (with Harold Clurman [posthumous], André Kertèsz, I.M. Pei, Peter Martins, Robert Motherwell, Billy Taylor, Barbara Tuchman) of the City of New York Mayor’s Award of Honor for Arts and Culture, Mayor Edward I. Koch, Commission for Cultural Affairs of the City of New York; Louise Nevelson, presenter.

20 February 1981. Akron, Ohio, Thomas Hall. Coached by Merce Cunningham, Ohio Ballet performed his Signals (with tape accompaniment); presumably Cage was not in attendance (Salisbury 1981).

Late February 1981. New York, Baldwin Piano Company store. Performed 4'33" for production of Hologram of John Cage by Jason Sapon (Close 1981c).

Prior to March 1981. New York. Interviewed by David Sears (Sears 1981).

14 March 1981. New York, New York Times Building, WQXR Auditorium, presented by Jack Kahn Pianos. Hosted by Joseph Bloom, Grete Sultan performed from Etudes Australes [XVII-XXVIII or -XXXII, possibly including first performances]; Cage’s attendance uncertain.

14 March-3 May 1981. Florence, Sala d’Arme di Palazzo Vecchio. Exhibition, Spartito Preso (with others); 26 August-18 October 1981 in Turin, Mole Antonelliana (Lombardi 1981).

Prior to 17 March 1981. New York. With Cunningham, interviewed by Moira Hodgson about macrobiotic food and recipes (Hodgson 1981).

17-29 March 1981. New York, City Center (131 West 55th Street). Performed with Merce Cunningham Dance Company: Jon Gibson, Equal Distribution to Fractions; Letters to Erik Satie with Sound Anonymously Received to Tango; Martin Kalve, All Happy Workers Babies & Dogs to 10’s with Shoes; Yasunao Tone, Geography and Music to Roadrunners (17-18 March; 17 March Opening Benefit Gala); Improvisation IV to Fielding Sixes; Improvisation III to Duets; David Tudor, Weatherings to Exchange (19-20 March); _ _ Week of _ to Signals; Inlets to Inlets; Takehisa Kosugi, Interspersion to Locale (21 March, matinee); Improvisation III to Duets; Inlets to Inlets; David Tudor, Weatherings to Exchange (21 March); Improvisation IV to Fielding Sixes; Martin Kalve, All Happy Workers Babies & Dogs to 10’s with Shoes; David Tudor, Weatherings to Exchange (22 March, matinee); Improvisation IV to Fielding Sixes; David Tudor, Phonemes to Channels/Inserts; Yasunao Tone, Geography and Music to Roadrunners (24-25 March); Jon Gibson, Equal Distribution to Fractions; Letters to Erik Satie with Sound Anonymously Received to Tango; Martin Kalve, All Happy Workers Babies & Dogs to 10’s with Shoes; Takehisa Kosugi, Interspersion to Locale (26-27 March); _ _ Week of _ to Signals; Inlets to Inlets; Takehisa Kosugi, Interspersion to Locale (28 March, matinee); performed Improvisation III to Duets; Inlets to Inlets; David Tudor, Phonemes to Channels/Inserts (28 March); Improvisation IV to Fielding Sixes; David Tudor, Phonemes to Channels/Inserts; Yasunao Tone, Geography and Music to Roadrunners (29 March) (Harris, Me. 1981; Sears 1981; Tobias 1981).

2 April 1981. New London, Connecticut, Connecticut College, Collaborations. Performed James Joyce, Marcel Duchamp, Erik Satie: An Alphabet (morning, Oliva Hall); participated in panel, ‘Recent Collaborations’, with Meredith Monk, Jim Melchert, William McCloy (moderator) (Dana Hall, afternoon); Yvar Mikhashoff and Aki Takahashi performed Furniture Music Etcetera and Erik Satie, Parade as well as other pieces by Cage and Satie.

3 April 1981. Toronto, Ontario, New Music Concerts. Performed James Joyce, Marcel Duchamp, Erik Satie: An Alphabet; interviewed previously by Andrew Timar, Miguel Frasconi, and Vid Ingelevics (Cage/Timar, Frasconi and Ingelevics 1981).

Early April 1981. London, Ontario, University of Western Ontario. Interviewed by Jack Behrens (videotaped) (Behrens 1987).

10 April 1981. In New York.

6 April-3 May 1981. Minnesota residency with Merce Cunningham Dance Company (co-sponsored by the presenters: Walker Art Center, Minneapolis; College of Saint Benedict, St. Joseph; St. Cloud University, St. Cloud; University of Minnesota, Duluth; Northrop Dance Season, Minneapolis); first presentation of Hologram of John Cage by Jason Sapon (Minneapolis, Minnesota, Walker Art Center [725 Vineland Place], Lobby); also performed in Saint-Paul, Landmark Center (75 5th Street West): presumably Cheap Imitation (Piano) (broadcast live on radio) (Close 1981c).

15 April 1981. Minneapolis, Minnesota, Walker Art Center (725 Vineland Place), Auditorium. Performed with Martin Kalve, Takehisa Kosugi, and David Tudor, ‘Event’ (without dance; including Cage performing Inlets) (Close 1981a).

18 April 1981. Duluth, Minnesota, Marshall Performing Arts Center. Performed with Martin Kalve, Takehisa Kosugi, David Tudor and Merce Cunningham Dance Company, Event.

25 April 1981. Minneapolis, Minnesota, Northrop Auditorium. Performed with Martin Kalve, Takehisa Kosugi, David Tudor, and Merce Cunningham Dance Company: repertory performances: Improvisation IV to Fielding Sixes; Letters to Erik Satie with Sound Anonymously Received to Tango (alone); Tudor, Phonemes to Channels/Inserts (Tudor alone); Yasunao Tone, Geography and Music to Roadrunners (Close 1981d).

30 April 1981. St. Joseph, Minnesota, College of Saint Benedict, Benedicta Arts Center, Auditorium. Performed with Martin Kalve, Takehisa Kosugi, David Tudor, and Merce Cunningham Dance Company, Improvisation III to Duets (other pieces Jon Gibson, Equal Distribution to Fractions, Takehisa Kosugi, Interspersion to Locale).

2 May 1981. Minneapolis, Minnesota, Saltari Dance Studio (2708 East Lake Street), presented by Walker Art Center. Performed with Martin Kalve, Takehisa Kosugi, David Tudor, and Merce Cunningham Dance Company: Event.

3 May 1981. Minneapolis, Minnesota, Coliseum Ballroom (Lake Street and 27th Avenue South), presented by Walker Art Center. Performed with Martin Kalve, Takehisa Kosugi, David Tudor, and Merce Cunningham Dance Company: Event (Close 1981b).

4-8 May 1981. Middlebury, Vermont, Middlebury College: residency, under the auspices of the Christian A. Johnson Distinguished Professorship in the Performing Arts; attended concerts in his honor (4 May, Dana Auditorium); gave workshop (6 May, Johnson Rehearsal Hall); participated in performance of Song Books with Music 325 Class (Andy Auber, Barbara Boyd, Sueann Caulfield, Dale Cockrell, Lesley-Anne Gliedmann, Helen Gregory, Chip Hixon, Joanne Itskovitz, Gannon Kashiwa, Brian Reddington, Laurie Ross, Joanie Solaini, George Todd, Billy Winkleman) at concert in his honor also featuring other compositions by Cage and others (6 May, Johnson Pit); performed Themes and Variations (7 May, Dana Auditorium); concert (8 May, Johnson Pit).

16-17 May 1981. Brooklyn, New York, Brooklyn Arts & Culture Association, Downtown Cultural Center, 111 Willoughby Street. Attended A Celebration of John Cage: A Far Out Weekend by Rick Russo and Company (16 May, evening), including performances by pianist Wayne Berman, aydio artist John Polizzi, instrumentalist Matt Donohue, and the second presentation of Hologram of John Cage by Jason Sapon (Gallery); repeated 17 May, afternoon (Phoenix 1981).

Announcements (clippings from Village Voice (13-19 May 1981), 91, BACA [journal], BACA newsletter and from unidentified publication), 16-17 May 1981, Brooklyn Arts & Culture Association [xc: Cage expected to attend: BC81].

18-23 May 1981. Lisbon, Portugal, Calouste Gulbenkian Foundation. Merce Cunningham Dance Company gave repertory performances (20-23 May); Cage’s participation uncertain.

30 May-16 August 1981. Cologne, Rheinhallen, Westkunst, an exhibition organized by the Museen der Stadt Köln: manuscript Water Music on exhibit.

May or June 1981. New York. Song Books and Telephones and Birds performed (Johnson, Tom 1981c).

2-3 June 1981. Lausanne, Théâtre de Beaulieu (Avenue Bergières 10). Presumably performed with Merce Cunningham Dance Company: Improvisation IV to Fielding Sixes; Takehisa Kosugi, Interspersion to Locale; Yasunao Tone, Geography and Music to Roadrunners (2 June); Maryanne Amacher, Remainder to Torse II; David Tudor, Weatherings to Exchange; Takehisa Kosugi, Cycles to Gallopade (preview) (3 June).

6 June 1981. Cologne: prepared James Joyce, Marcel Duchamp, Erik Satie: Ein Alphabet (Schöning 1982[CHECK], 21).

7 June 1981. Bremen, Überseemuseum: prepared A House Full of Music (Anonymous 1982[BIOGRAPHISCHE], 69; Muziek en Woord 1982).

8-20 June 1981. London, Sadler’s Wells Theatre (Rosebery Avenue). Performed with Martin Kalve, Takehisa Kosugi, David Tudor, and Merce Cunningham Dance Company: Improvisation IV to Fielding Sixes; David Tudor, Phonemes to Channels/Inserts; Yasunao Tone, Geography and Music to Roadrunners (8-9 June); Maryanne Amacher, Remainder to Torse I; David Tudor, Weatherings to Exchange; Takehisa Kosugi, Cycles to Gallopade (10-11 June); Improvisation IV to Fielding Sixes; Letters to Erik Satie with Sound Anonymously Received to Tango; Martin Kalve, All Happy Workers Babies & Dogs to 10’s with Shoes; Takehisa Kosugi, Interspersion to Locale (12 June); Improvisation III to Duets; Inlets to Inlets; Takehisa Kosugi, Interspersion to Locale (13 June, matinee); Jon Gibson, Equal Distribution to Fractions; Letters to Erik Satie with Sound Anonymously Received to Tango; Martin Kalve, All Happy Workers Babies & Dogs to 10’s with Shoes; Takehisa Kosugi, Cycles to Gallopade (13 June); Jon Gibson, Equal Distribution to Fractions; Improvisation III to Duets; David Tudor, Phonemes to Channels/Inserts (15-16 June); Maryanne Amacher, Remainder to Torse II; David Tudor, Weatherings to Exchange; Takehisa Kosugi, Cycles to Gallopade (17-18 June); Improvisation IV to Fielding Sixes; Inlets to Inlets; Yasunao Tone, Geography and Music to Roadrunners (19 June); Martin Kalve, All Happy Workers Babies & Dogs to 10’s with Shoes; Letters to Erik Satie with Sound Anonymously Received to Tango; Takehisa Kosugi, Interspersion to Locale; Takehisa Kosugi, Cycles to Gallopade (20 June, matinee); Martin Kalve, All Happy Workers Babies & Dogs to 10’s with Shoes; Letters to Erik Satie with Sound Anonymously Received to Tango; David Tudor, Phonemes to Channels/Inserts; Yasunao Tone, Geography and Music to Roadrunners (20 June) (Percival 1981).

17 June-2 August 1981. Exhibition, Sound on Paper.

18-27 June 1981. Purchase, New York, State University of New York, Neuberger Museum (Anderson Hill Road and Lincoln Avenue). Soundings (exhibition). Contributed 33 1/3 (Flood 1982; Frankel 1981; Mejias 1982; Wooster 1982).

20-27 July 1981. Châteauvallon near Toulon, Amphithéâtre (795 Chemin de Châteauvallon), Festival de Châteauvallon, Festival International de Danse Toulon (15 July-14 August). Performed with Martin Kalve, Takehisa Kosugi, David Tudor and Merce Cunningham Dance Company: Châteauvallon Evénement 1 (24 July); Châteauvallon Evénement 2 (25 July); meeting with the audience (26 July, late afternoon, Salle de Cinéma, Cage and Cunningham); Châteauvallon Evénement 3 (26 July); videos presented; dance workshops (21-23 July) (Baron 1981; Bombert 1981a; Bombert 1981b; Brunel 1981a; Brunel 1981b; Gubernatis 1981; Journal du Var 1981; Lartigue 1981; Montagne 1981; Robez 1981; Verdier 1981a; Verdier 1981b).

Summer-Fall 1981. Conceived Evéne/EnvironneMetzment.

Summer 1981 [via Switzerland, then to London, so possibly 1980]. Metz. Prepared first performances of Evéne/EnvironneMetzment and Thirty Pieces for Five Orchestras (Cage/Masson 1981).

29 July-13 August 1981. Visit to Japan with Teeny Duchamp, Jacqueline Monnier, Anne d’Harnoncourt, and Marisol Escobar: Karuizawa, Takanawa Art Museum: attended exhibition with Teeny Duchamp; participated in concert with Variations IV (1-2 August, early evening, Takanawa Art Museum); travel to Matsushima via Sendai (3-4 August); stay in Matsushima (4-6 August); travel to Tokyo (6 August); stay in Tokyo (7 August); travel to Kyoto (8 August); stay in Kyoto (8-9 August); travel to Nara (10 August); stay in Nara (10 August); travel to Kumano (11 August); stay in Kumano (12 August); travel to Tokyo (13 August) (Stokes 1981).

16-30 August 1981. Guildford, Surrey, University of Surrey, International Dance Course for Professional Choreographers and Composers (16-29 August). Directed with Merce Cunningham; wrote Composition in Retrospect; interviewed by Lee Crampton (30 August) (Crampton 1985; Cunningham, Merce 1982b, 185-186; Jordan 1981).

20 September-1 November 1981. Bloomfield Hills, Michigan, Cranbrook Academy of Art Museum, Fluxus – The Gilbert & Lila Silverman Collection. Exhibition.

21 September 1981. New York. Letter to Nikša Gligo (Cage 1981c).

Prior to fall 1981. Wrote letter to Jonathan Brent (Cage 1981f).

25-26 September 1981 (rehearsals began 24 September). Hartford, Connecticut, Real Art Ways (40 State Street), John Cage Festival (1 September-3 October), funded by the Greater Hartford Arts Council and the National Endowment for the Arts, United Technologies Corporation, Connecticut General Corporation, Knox Foundation, and Meet the Composer. Performed Empty Words with Maryanne Amacher, Close Up, broadcast live via satellite on National Public Radio (Christ Church, Cathedral House, 45 Church Street); the festival also featured exhibition of plexigrams, etchings, and lithographs (1-26 September, Gallery); presentation of films on Cage (various dates and locations); Paul Zukofsky performed Cheap Imitation (Violin) and from Freeman Etudes (3 October, University of Hartford, Hartt School of Music, Millard Auditorium) (Moshell 1981; Tuck 1981).

3 October 1981. Venice, La Biennale di Venezia, Festival Internazionale di Musica Contemporanea (24 September-10 October), Teatro La Fenice, Sale Apollinee. Kronos Quartet performed String Quartet in Four Parts in concert with music by Elliott Carter and Terry Riley.

8 October 1981. New York. Participated in the One World Poetry Festival (Oorlog tegen Oorlog, 2-11 October), Amsterdam, De Melkweg (Lijnbaansgracht 234a), Theaterzaal [9 pm local time], by performing 21-minute excerpt from Part IV of Empty Words by telephone, answered by Michael Gibbs (Bent 1981).

23 October 1981. Cologne. Letter by Klaus Schöning to Cage (Cage/Schöning 1984-1985a).

5-6 November 1981. Denton, Texas, North Texas State University, School of Music, 8th International Computer Music Conference, co-presented by University Union Program Council, organized by Larry Austin and Thomas Clark (5-8 November). Guest composer (with Lejaren Hiller); gave first reading of Composition in Retrospect (three continuous performances with slides, 5 November, evening, Concert Hall); interviewed by Edward Rothstein; participated in the production of a performance of HPSCHD by Tim Beard, Charles Brown, Susan Ferre, Janet Hunt, Joe Kimbel, Dale Peters, Thom Whitaker (harpsichordists); David Bradfield, Jon Meinecke, Robert Van Stryland, Columbus (sound and image); co-produced by Larry Austin and Bruce Balentine (6 November, University Union Building Courtyard, 8 pm-midnight) (McLean, P. 1982; Poore 1982; Rothstein 1981a; Strawn et al. 1982).

11 November 1981. New York, St. Mark’s Church, Parish House (Second Avenue and 10th Street), Poetry Project at St. Mark’s. Read Theme and Variations.

Prior to 19 November 1981. Wrote On the Surface [text].

17-22 November 1981. Metz, Dixièmes Rencontres Internationales de Musique Contemporaine (19-22 November), organized by the Centre Européen pour la Recherche Musicale, Claude Lefebvre, director. Attended; participated with audience in first performance of Evéne/EnvironneMetzment (21 November, 11.00 am, Buffet de la Gare, Salle François de Curel, 1 Place Général de Gaulle); co-ordinated and attended first performance of Thirty Pieces for Five Orchestras (22 November, 7.30 pm, Pont-à-Mousson, Abbaye des Prémontrés, Eglise Abbatiale; Orchestre Philharmonique de Lorraine; Alain Dubois, Fernand Quattrocchi, Gilbert Rose, Serge This, Gérard Wilgowicz [replacing Maurice Le Roux], conductors) (Bastian 1981; Bitz 1981; Cage/Darter 1982, 19; Cage/Masson 1981; Coenen 1982; Doucelin 1981; Emmerik, I. van 1982; Gill, D. 1981; Gromer 1981; Gronemeyer 1981a; Gronemeyer 1981b; Herbort 1981; Hifi-Stereophonie 1982; Johnson, Tom 1981b; Jungheinrich 1981; Jungheinrich 1981-1982; Kirchberg 1981; Koch, G.R. 1981; Koch, G.R. 2001; Koch, H. W. 1981a; Koch, H. W. 1981b; Lichtenfeld 1981; Lonchampt 1981; Mal. 1981; Marie-Claire 1981; Masson 1981a; Masson 1981b; Masson 1981c; Masson 1981d; Masson 1981e; Miranda 1981; Morisset 1981; Morlet-Rozand 1981; Muggler 1982; Olivier 1981; Opitz 1981a; Opitz 1981b; Républicain Lorrain 1981; Samuel 1981; Schöning 1982, 12; Schreiber, W. 1981; Stedingk 1981; Stichweh 1982; Szersnovicz 1981; Weber, L. 1981).

November or December 1981. Heidelberg, Universität Heidelberg, Alte Aula, presented by Deutsch-Amerikanisches Institut. Frances-Marie Uitti performed Etudes Boreales (violoncello).

December 1981. New York. Invited by Marjorie Perloff, performed Themes and Variations at the annual MLA [Modern Language Association] Convention (Radano 1982-1983).

15 December 1981-31 January 1982. Wuppertal, Kunst- und Museumsverein im Von-der-Heydt-Museum. Fluxus: Aspekte eines Phänomens. Exhibition (Peters, U. and Schwarzbauer 1981).

19 December 1981. Amsterdam, De IJsbreker (Weesperzijde 23). Frances-Marie Uitti gave first performance of Etudes Boreales (Violoncello).

Prior to 1982. Interviewed by Jean Stein (Cage/Stein 1982).

1982. New York. Revised and completed Improvisation IV (Cage/Kraglund 1982).

1982. Philadelphia, Pennsylvania, Jeffrey Fuller Fine Art. One-person exhibition.

1982. Minneapolis, Minnesota, Walker Arts Center. One-person exhibition of graphic work.

1982. Cincinnati, Ohio, Carl Solway Gallery: exhibition (with others).

1982. New York. Crown Point Press exhibition (with others).

January 1982. Oakland, California, Crown Point Press. Completed Changes and Disappearances, began Déreau (D’Harnoncourt 1982b/1982, 61; Toland 1982b, 20); presumably also worked on Ryoanji [?]; John 1982[ETCHINGS].

January 1982. Oakland or San Francisco. Presumably performed Composition in Retrospect.

January 1982. New York. Completed Dance/4 Orchestras.

19-20 January 1982. Princeton, New Jersey, McCarter Theatre (91 University Place). Merce Cunningham Dance Company performed; Cage’s participation uncertain.

28-31 January 1982. Toronto, Ontario, New Music Concerts and Celtic Arts, James Joyce Centenary Festival, John Cage Weekend: attended; booksigning of Etrog and Cage 1982 (28 January, Edwards Books & Art); performed Roaratorio, an Irish Circus on Finnegans Wake with Joe Heaney, singer, Peadar Mercier and Mel Mercier, bodhran, Liam og O’Floinn, uilleann pipes, Paddy Glackin, fiddle, and Seamus Tansey, flute (29 and 31 January, University of Toronto, Convocation Hall); read Writing for the Fourth Time through Finnegans Wake (30 January, morning, University of Toronto, Convocation Hall, followed by question period); introduced 70th birthday concert with Freeman Etudes (eight, Paul Zukofsky), Sixteen Dances (conducted by Zukofsky) and Third Construction (Nexus, also performed on 29 and 31 January) (30 January, Walter Hall); interviewed by John Kraglund, William Littler, Matthew Parfitt, and Stephen Riggins (Cage/Kraglund 1982; Cage/Littler 1982; Cage/Parfitt 1982; Corbeil 1982; Dubin 1982; Kasemets 1982; Kraglund 1982a; Kraglund 1982b; Kraglund 1982c; Littler 1982a; Littler 1982b; Parfitt 1982; Riggins 1982; Skala 1982).

10-12 (or -11) February 1982 (two- or three-day visit). Tuscaloosa, Alabama, University of Alabama. A University of Alabama ensemble performed Etcetera; Erik Satie, two compositions for ensemble; and Christian Wolff, Nines; concluded with open forum; read Composition in Retrospect (12 February, morning) and three other lectures (Lanier 1982; Roosevelt 1982; Stevenson, T. 1982).

19 February 1982. New York, Experimental Intermedia Foundation: attended concert by Joseph Celli (oboe), Malcolm Goldstein (violin, voice), and David Moss (percussion, voice) (Sandow 1982b).

25 February-2 May 1982. New York, Whitney Museum of American Art. “John Cage: Scores and Prints,” one-person exhibition; in conjunction with the exhibition, S.E.M. Ensemble gave three concerts with music by Cage (31 March, 1 April, and 2 April) (Ashbery 1982; Charles 1982; D’Harnoncourt 1982a).

28 February 1982. New York. Letter to Klaus Schöning (Cage/Schöning 1984-1985a).

March 1982 or later (see also 3 October 1982). Philadelphia, Pennsylvania, Philadelphia Museum of Art, director Anne D’Harnoncourt. John Cage – Scores and Prints, one-person exhibition; traveled to Buffalo, New York, Albright Knox Art Gallery, and Oakland, California, Crown Point Gallery.

1-5 March 1982. Río Piedras, Puerto Rico, Universidad de Puerto Rico, Actividades Culturales, Semana John Cage, organized by Francis Schwartz. Attended; presentations by Francis Schwartz, Richard Kostelanetz and Rafael Aponte-Ledée; concert of his music by Grupo Número 3 [Tres] (Nelson Rivera, Emmanuel “Sunshine” Logroño, Iván Martínez, Diana Nieves) including Cartridge Music, Branches, Empty Words (1 March, Teatro de la Universidad); workshop on voice and John Cage, Noemí Perugia and Daniel Charles (2 and 4 March, mornings, Facultad de Humanidades, Departamento de Música, Sala de Conciertos); Una noche con John Cage y Daniel Charles; Un encuentro con John Cage. Performed Composition in Retrospect and James Joyce, Marcel Duchamp, Erik Satie: An Alphabet [replacing the announced Writing for the Fourth Time through Finnegans Wake] (2 March, Teatro de la Universidad); participated in forum on “El futuro del arte” (The Future of Art) with Daniel Charles, Merce Cunningham, Richard Kostelanetz, David Tudor, Rafael Aponte-Ledée, Francis Schwartz, Rosa Luisa Márquez (3 March, morning, Nuevo Edificio de Pedagogia, Anfiteatro Num. 1 [New Education Building, Amphitheater No. 1]); performed with Merce Cunningham Dance Company (4-5 March, Teatro de la Universidad), Improvisation IV to Fielding Sixes; Inlets; Yasunao Tone, Geography and Music to Roadrunners (4 March); Improvisation III to Duets; Inlets; David Tudor, Phonemes to Channels/Inserts (announced; perhaps replaced by Improvisation IV to Fielding Sixes, Roadrunners, Channels/Inserts (5 March); Cunningham interviewed by Samuel B. Cherson (Carrera, C. 1982; Cherson 1982a; Cherson 1982b; Cherson 1982c; Cordero Avila 1982a; Cordero Avila 1982b; Homar 1982; Martinez Sola 1982; Morales-Nieva 1982; Mundo 1982a; Mundo 1982b; Nuevo Día 1982a; Nuevo Día 1982b; Reportero 1982; Rivera 1982; Thompson, D. 1982; Vocero 1982).

5-7 March 1982. Valencia, California, California Institute of the Arts, CalArts Contemporary Music Festival, directed by Renee Levine, presented by California Institute of the Arts, School of Music and University of California at San Diego, Department of Music. Attended, read James Joyce, Marcel Duchamp, Erik Satie: An Alphabet (5 March, Modular Theatre, CalArts Cafetaria); János Négyesy performed Freeman Etudes I-VIII (6 March, afternoon, Theatre II); panel discussion led by Michael Steinberg (7 March); performed with Maryanne Amacher, John Payne (electronics) and graduate students at the University of California at San Diego, CalArts and University of Southern California, Lecture on the Weather (7 March, Modular Theatre, Main Gallery); interviewed by David Felder (6 March, unpublished) and David Stanton (Cage/Stanton 1982; CalArts Today 1982; Herbort 1982b; La Barbara and Rich 1982).

8 March 1982. Beverly Hills, California, Betty Freeman’s Music Room. Recorded Composition in Retrospect (Bridge 9081B).

11 March 1982. Middletown, Connecticut, Wesleyan University, class “American Piano Music.” Neely Bruce performed HPSCHD.

12 March 1982. Berlin, Gelbe Musik (Schaperstraße 11). Vernissage of exhibition, “A Tribute to John Cage,” with scores and video, Nam June Paik, A Tribute to John Cage; on 20 March Eberhard Blum performed 45' for a Speaker.

13 March 1982 (from 11 am-1:15 am). New York, Symphony Space (Broadway and West 95th Street), Wall-to-Wall John Cage and Friends: A Seventieth Birthday Tribute, produced by Allan Miller and Vivian Perlis. Attended; performed Inlets with Martin Kalve, Takehisa Kosugi and David Tudor; and Child of Tree to Merce Cunningham, Solo; Cartridge Music to Changing Steps Et Cetera with Martin Kalve, Takehisa Kosugi, David Tudor, and Merce Cunningham Dance Company; Speech 1955 (radio) with Robert Ashley (reader) and Merce Cunningham, Don Gillespie, Mimi Johnson, and Vivian Perlis (radios); performed from Indeterminacy: New Aspect of Form in Instrumental and Electronic Music; first performance of For John Cage by Morton Feldman, by Paul Zukofsky (violin) and Aki Takahashi (piano); performances or music by Virgil Blackwell, Earle Brown, Cornelius Cardew, Joel Chadabe (Bird Cage), Henry Cowell (Pulse), Merce Cunningham, Alvin Curran, Dean Drummond (Harry Partch, Two Studies on Ancient Greek Scales [with flute]; Drummond, Copégoro), Gageego, Don Gillespie (Water Music), Lou Harrison, Paul Jacobs (Arnold Schönberg, Sechs kleine Klavierstücke, Op. 19, and participated in Credo in Us), Christopher Janney, Tom Johnson (three theatre pieces), Alison Knowles (Bean Sequence), Takehisa Kosugi, Joseph Kubera (from Etudes Australes), Alvin Lucier (Sferics), Charlotte Moorman, New Music Consort (Double Music, Third Construction), Ursula Oppens (Cornelius Cardew, Revolution Is the Main Trend in the World Today, Father Murphy, and Bethanien Song; Christian Wolff, Hay una mujer desaparacida; Alvin Curran, For Cornelius; on violoncello, with Wolff [director] and others, Wolff, Burdocks; with Paul Jacobs, Satie, Trois morceaux en forme de poire), Nam June Paik, Harry Partch, Erik Satie, Margaret Hee-leng Tan, David Tudor (4'33"), Christian Wolff, and others; Virgil Blackwell performed Sonata for Clarinet; Yvar Mikhashoff performed 49 Waltzes for the Five Boroughs; poets Clark Coolidge, Jackson Mac Low; Living Room Music, Winter Music, and Six Melodies performed; previously interviewed by John Rockwell (Davis, P.G. 1982; Ear 1982; Eberle 1982; Feldman/Gena 1982, 143-144; Goodman, P. 1982; Harris, D. 1982; Kandell 1982; Mitchell, I. 1982; Nagel 1982; Rockwell 1982d; Rockwell 1982e; Rothstein 1982; Sandow 1982b).

16-28 March 1982. New York, City Center (131 West 55th Street). Performed with Jon Gibson, Martin Kalve, Takehisa Kosugi, Yasunao Tone, David Tudor, and Merce Cunningham Dance Company: Instances of Silence (first performance) to Trails; Inlets to Inlets; Yasunao Tone, Geography and Music to Roadrunners (16-17 March); Event #1 (18 March); Improvisation IV to Fielding Sixes; Martin Kalve, All Happy Workers Babies & Dogs to 10’s with Shoes; Letters to Erik Satie with Sound Anonymously Received to Tango; Takehisa Kosugi, Interspersion to Locale (19 March and 20 March, matinee); Jon Gibson, Equal Distribution to Fractions; David Tudor, Phonemes to Channels/Inserts; Takehisa Kosugi, Cycles to Gallopade (20 March and 21 March, matinee); Instances of Silence to Trails; Improvisation III to Duets; Takehisa Kosugi, Interspersion to Locale; Takehisa Kosugi, Cycles to Gallopade (23-24 March); Event #2 (25 March); Improvisation IV to Fielding Sixes; Martin Kalve, All Happy Workers Babies & Dogs to 10’s with Shoes; Letters to Erik Satie with Sound Anonymously Received to Tango; David Tudor, Phonemes to Channels/Inserts (26 March and 27 March, matinee); Instances of Silence to Trails; David Tudor, Phonemes to Channels/Inserts; Takehisa Kosugi, Cycles to Gallopade (27 March and 28 March, matinee) (Barnes, C. 1982a; Barnes, C. 1982b; Belt 1982; Campbell, Mary 1982; Jowitt 1982; Kisselgoff 1982a; Kisselgoff 1982b; Kisselgoff 1982c; Kisselgoff 1982d; Kisselgoff 1982e; Mazo 1982; New Yorker 1982; Ostlere 1982; Rosen, L.F. 1982a; Rosen, L.F. 1982b; Tobias 1982; Walther 1982; Winer 1982a; Winer 1982b).

18 March 1982. New York. Interviewed by Stephen Montague (Cage/Montague 1982a; Cage/Montague 1982b; Cage/Montague 1983).

Before 21 March 1982. New York. With Merce Cunningham, interviewed by Anna Kisselgoff (Kisselgoff 1982).

Spring 1992. New York. Interviewed by Regina Vater (Cage/Vater 1982).

31 March 1982. New York. Interviewed by Peter Gena (Cage/Gena 1982).

31 March and 1-2 April 1982. New York, Whitney Museum. S.E.M. Ensemble, coordinated by Petr Kotik, in three concerts performed Song Books (31 March, attended by Cage); Atlas Eclipticalis and, with Joseph Kubera, Concert for Piano and Orchestra (1 April) (Harris, D. 1982; Sandow 1982c).

Prior to or during April 1982. Oakland, California, Crown Point Press: completed On the Surface, begun September 1980.

2 April 1982. New York, Church of St. Paul and St. Andrew (263 West 86th Street). Attended and introduced “An Evening of John Cage” with performances of his music (as well as music by others) in honor of his 70th birthday given by Gageego and guest artists.

3 April 1982. Buffalo, New York, Albright-Knox Gallery: attended 70th birthday concert with his music given by S.E.M. Ensemble; in conjunction with John Cage: Scores and Prints, one-person exhibition in the museum (Stiller 1982).

6 April 1982 (afternoon and evening). New York, Cooper Union, Great Hall: attended ‘John Cage Day’ performed by Bowery Ensemble (Barbara Held, flute; Leonard Krech, trombone; Cheryl Pesdan, soprano; Michael Pugliese, percussion; Nils Vigeland, piano) and guest artists Aki Takahashi, Yvar Mikhashoff (Concert for Piano and Orchestra), Frances Marie Uitti (Etudes Boreales), Jan Williams and Buffalo Percussion Ensemble; Etudes Australes (Book I) and Sixteen Dances performed; performed Branches (Sandow 1982c).

8-14 April 1982. Los Angeles, University of California, Center for the Performing Arts, Royce Hall. Performed with Martin Kalve, Takehisa Kosugi, David Tudor, and Merce Cunningham Dance Company: Improvisation IV to Fielding Sixes, Inlets, Yasunao Tone, Geography and Music to Roadrunners (9 April); Instances of Silence to Trails (alone), Martin Kalve, All Happy Workers Babies & Dogs to 10’s with Shoes, Letters to Erik Satie with Sound Anonymously Received to Tango (alone) (10 April); perhaps also performances on 11 April; Cunningham interviewed by Susan Reiter (Reiter 1982).

15-17 April 1982. Berkeley, California, University of California, Zellerbach Auditorium, organized by Committee for Arts and Lectures. Performed with Martin Kalve, Takehisa Kosugi, David Tudor, and Merce Cunningham Dance Company, Improvisation IV to Fielding Sixes, Letters to Erik Satie with Sound Anonymously Received to Tango (alone) (16 April); Instances of Silence to Trails (alone), Yasunao Tone, Geography and Music to Roadrunners (17 April).

18 April-Sommer 1982. Oakland, California, Crown Point Gallery, John Cage: Etchings 1978-1982. One-person exhibition (Diamond and Hicks 1982; Shere 1982b).

19-21 April 1982. Austin, Texas, Paramount Arts Center, Paramount Theatre. Presumably performed with Merce Cunningham Dance Company, repertory performances.

April 1982. Bremen. Prepared A House Full of Music (Brennecke 1982X, 25).

23 April 1982. Cologne, Westdeutscher Rundfunk, Klassik nach Wunsch: contributed, with Klaus Schöning (Cage/Schöning 1983; Stenger 1982b).

23-25 April 1982. Witten, Städtischer Saalbau (Bergerstraße 25), 14. Wittener Tage für neue Kammermusik. Attended; Grete Sultan gave first complete performance of Etudes Australes (23 April, 10.30 pm, and 25 April, 4 pm); performed Composition in Retrospect (24 April, 11.15 am; excerpt recorded, Gertraud Scholz Verlag GSV CD 002); Blackearth Percussion Ensemble, directed by Allen Otte, Dora Ohrenstein (soprano), Joseph Kubera (piano), S.E.M. Ensemble, directed by Petr Kotik, performed Amores, Aria, Fontana Mix, Credo in Us, Quartet, Concert for Piano and Orchestra (24 April, 3.30 pm); S.E.M. Ensemble and Petr Kotik performed Song Books (24 April, 8 pm) (Brennecke 1982a; 1982b; 1982c; 1982d; Cage 1982c, [1]; 1982q; Bachmann, C.-H. 1982a; Bachmann, C.-H. 1982d; Bachmann, C.-H. 1982e; Bachmann, C.-H. 1982f; Bachmann, C.-H. 1982g; Baucke 1982a; Bredow 2012; Brennecke 1982a; Brennecke 1982c; Buckinx 1983b; G.A. 1982; Donat 1982; Gronemeyer 1982a; Gronemeyer 1982b; Gronemeyer 1982e; Herbort 1982a; Jeitschko 1982a; Jeitschko 1982b; Jungheinrich 1982a; Kirchberg 1982a; Kirchberg 1982b; Lebič 1982; Lichtenfeld 1982a; Lück, R. 1982; Lumpe 1982a; Neue Musikzeitung 1982; Neukirchen 1982; Nyffeler 1982c; Panke 1982; Ramovš 1982; Schreiber, W. 1982a; Schüren 1982; Stenger 1982a; Stenger 1982b; Terschüren 1982; Wiltberger 1982a; Wiltberger 1982b).

27 April 1982. Bonn. S.E.M. Ensemble, coordinated by Petr Kotik, performed Song Books.

April 1982. Frankfurt am Main, Theater am Turm. Grete Sultan performed from Etudes Australes (XVII-XXXII) (Bredow 2012).

29 April 1982. Vienna, Konzerthaus, Mozart-Saal. Performed Composition in Retrospect. Grete Sultan performed from Etudes Australes (XVII-XXXII) (Bredow 2012).

May 1982. Zagreb, Yugo-Cage 82, organized by Muzički Salon (Nikša Gligo), bringing together several contributions by Yugoslavian arists (Željko Jerman, Milana Broš & KASP, Marko Ruždjak, Goran Trbuljak, Predrag Vrabec, Davorin Kempf, Branko B. Burza, Tonči Žarnić, Lazarov Miodrag Pashu, Saeta [Miloš Bašin, Aleš Gašparić, Bor Turel, Miha Vipotnik], Katalin Ladik, Masmantra [Josip Magdič and Mladan Milićević], Ivan Kožarić, Vladimir Gudac, Zoran Mirković) in honor of Cage’s seventieth birthday; presumably Cage was not in attendance.

1-10 May 1982. Bremen, Pro musica nova, organized by Radio Bremen (2-13 May). Attended; rehearsed and performed with Reinhild Hoffmann and Geta Bahrmann (dancers): from Empty Words to Solo mit Sofa; Hoffmann and Bahrmann also performed Bretter, Steine, and Auch; Herbert Henck performed excerpts from Sonatas and Interludes (7 May, evening, Theater am Goetheplatz, Bühne, presented by Theater der Freien Hansestadt Bremen); Herbert Henck performed Music of Changes; performed Composition in Retrospect (9 May, late afternoon, Packhaustheater); Gerd Zacher performed Variations I, Variations III (realization Gerd Zacher and Juan-Allende Blin) and Some of The Harmony of Maine (9 May, evening, Dom); attended first performance of A House Full of Music, given by children and youngsters from the Jugendmusikschule Bremen, broadcast by European Broadcasting Union (10 May, 8.30-10 pm, Überseemuseum); interviewed by Simon Neubauer (Baucke 1982c; Gehl 1982a; Gehl 1982b; Jungheinrich 1982b; Koch, G.R. 1982; Kühn, G.-F. 1982a; Kühn, G.-F. 1982b; Lesle 1982a; Lesle 1982b; Lesle 1982c; Lesle 1982d; Lück, H. 1982a; Lück, H. 1982b; Lück, H. 1982c; Lück, H. 1982d; Lück, H. 1982e; Meyer-Denkmann 2002; Neubauer, S. 1982; Oehlschlägel 1982; Schalz-Laurenze 1982; Schönberg 1982; Schreiber, W. 1982b; Steinway Information 1982; Weißbach 1986; Züghart 1982).

6-9 May 1982. Zurich, Switzerland, Zurich Opera House. Merce Cunningham Dance Company performances; presumably Cage did not participate.

11 May 1982. Oldenburg, Carl von Ossietzky Universität. Meeting with students (Meyer-Denkmann 2002).

18 May 1982. New York, American Ballet Theatre (890 Broadway). Improvisation III to Duets performed; Cage did not participate.

19 May 1982. New York. Conceived [Untitled], “happening sonore.”

27-31 May 1982. Rotterdam and Amsterdam, Holland Festival. Performed with Martin Kalve, Takehisa Kosugi, David Tudor, and Merce Cunningham Dance Company: Improvisation IV to Fielding Sixes; David Tudor, Phonemes to Channels/Inserts; Yasunao Tone, Geography and Music to Roadrunners (Rotterdam, Schouwburg, 27 June, evening); he did not participate in the other performances: Martin Kalve, All Happy Workers Babies and Dogs to 10’s with Shoes; Instances of Silence to Trails (Kalve, Kosugi, David Meschter, Tudor); Improvisation III to Duets; Takehisa Kosugi, Cycles to Gallopade (Kosugi) (28 May, evening, Rotterdam, Schouwburg); Improvisation IV to Fielding Sixes (Kalve, Kosugi and Tudor); Takehisa Kosugi, Interspersion to Locale (Kalve and Kosugi); Yasunao Tone, Geography and Music to Roadrunners (Kalve, Kosugi, Tudor) (30 May, evening, Amsterdam, Theater Carré); Martin Kalve, All Happy Workers Babies and Dogs to 10’s with Shoes; Instances of Silence to Trails; Improvisation III to Duets; Takehisa Kosugi, Cycles to Gallopade (Kosugi) (31 May, evening, Amsterdam, Theater Carré) (Nieuwpoort 1982; Rietstap 1982).

28-30 May 1982. London, Saint James’s Church, Chillingworth Road, N7, Almeida International Festival of Contemporary Music (Pierre Audi, Artistic Director), Cage at 70, The Almeida Theatre Cage Festival. Attended; performed Inlets and Roaratorio, an Irish Circus on Finnegans Wake with members of the Chieftains Band: Joe Heaney, voice; Seamus Ennis, uilleann pipes; Paddy Glackin, fiddle; Matt Malloy, flute [fiddles and pipes missing on 28 May], Mel Mercier and Paedar Mercier (28 May, evening, repeated on 29 and 30 May); Cornelius Cardew: A Musical Tribute, AMM performed Cardew, Treatise (29 May, morning); interviewed by Stephen Montague and Keith Potter (29 May, noon); John Tilbury performed Sonatas and Interludes; Music Projects/London, Keith Potter and Musicians, and Singcircle simultaneously performed Atlas Eclipticalis, Music Walk, Song Books, Sixty-two Mesostics re and not re Merce Cunningham, Experiences No. 2 (29 May, afternoon); gave lecture [perhaps question period or Composition in Retrospect] (30 May, afternoon, ‘The Composer Talks’); Michael Nyman Band, Circle, James Wood and Nigel Shipway (percussion), Penelope Walmsley-Clark (singer), Stephen Montague (piano), Ian Spink and Michele Smith (dancers) performed Variations IV, Chorals, Speech 1955, Living Room Music, A Flower, Forever and Sunsmell, Amores, In the Name of the Holocaust, Double Music, as ‘Musicircus’ (30 May, afternoon); Hugh Davies, Gregory Rose, Stephen Montague (also on piano), and James Fulkerson (live electronics and tapes) performed and presented Branches, Fontana Mix, Imaginary Landscape No. 1, Imaginary Landscape No. 5, Cartridge Music, Electronic Music for Piano (30 May, late afternoon); filmed by Peter Greenaway [films] (Cage/Montague 1982a; Cage/Montague 1983; Cairns 1982; Dallas 1982b; Gill, D. 1982; Griffiths, P. 1982; Harris, D. 1982; Mellers 1982; Perri 1982; Reeve 1982; Shimoda 1982).

Early June 1982. Tokyo and Sapporo. Music Today Festival in his honor. Attended and performed. Grete Sultan gave complete performance of Etudes Australes (Tokyo, Parco Theatre, Parco Part1 9F, 15-1 Udagawa-cho, Shibuya-ku); Toshi Ichiyanagi and Tōru Takemitsu in attendance (Bredow 2012; Cage/Darter 1982, 19, 26, 27; Perri 1982).

7 June 1982. interviewed by Tôru Takemitsu (Cage/Takemitsu 1982).

16-19 June 1982 (evenings). Durham, North Carolina, Page Auditorium, American Dance Festival. Performed with Martin Kalve, David Tudor, and Merce Cunningham Dance Company: Event; Cunningham received the Second Annual Samuel H. Scripps American Dance Festival Award (16 June); program A (17 June); program B (18-19 June).

22 and 24 June 1982. David Tudor performed Variations II and Solo for Piano from Concert for Piano and Orchestra (22 June, Amsterdam, De IJsbreker; 24 June, Utrecht, Centrum ’t Hoogt).

June-July 1982 [completed after 11 July]. New York. Composed Postcard from Heaven.

Summer 1982. Made Exquisite Corpse and untitled drawing with Lou Harrison and Virgil Thomson.

Summer 1982. New York, Mudd Club (77 White Street). Performed James Joyce, Marcel Duchamp, Erik Satie: An Alphabet (Fetterman 1996a, 220).

5-11 July 1982. Chicago, Illinois, New Music America 1982, dedicated to John Cage, under joint auspices of Mayor Jane M. Byrne, Chicago Tribune, Museum of Contemporary Art, and New Music Alliance, Peter Gena and Alene Valkanas, directors. Attended; members of the Chicago Symphony Orchestra, Dennis Russell Davies, conductor, performed Score (40 Drawings by Thoreau) and 23 Parts, in shared program with music by Alvin Lucier, Muhal Richard Abrams, Frederic Rzewski, and Steve Reich (5 July, evening, Orchestra Hall, 220 S. Michigan); Kronos Quartet performed String Quartet in Four Parts as well as music by Conlon Nancarrow, Terry Riley and Pauline Oliveros (6 July, afternoon, Chicago Public Library Cultural Center, Preston Bradley Hall); performances of A Dip in the Lake (6 July [opening reception] and 7-8 July, late afternoon, aboard S.S. Clipper docked at the Navy Pier) and of Song Books (7 July, afternoon, Chicago Public Library, Cultural Center, Preston Bradley Hall); contributed to panel symposium, “New Music and Our Changing Culture” with David Behrman, Kim Gordon, Dan Graham, Ben Johnston, Marjorie Perloff, Christian Wolff (9 July, afternoon, Chicago Public Library Cultural Center, Preston Bradley Hall), at which he publicly criticized a performance of Glenn Branca’s “Slow Mass” from Symphony No. 2 (7 July, evening, Navy Pier Auditorium); “John Cage and Others,” exhibition of visual works and manuscripts by Cage and other composers (Museum of Contemporary Art, 237 East Ontario Street, 6 July-29 August 1982); interviewed by Wim Mertens and by Han Reiziger and Marja Bloem (VPRO-radio, Netherlands); interviewed by John Von Rhein previously (Animal Kingdom 1983; Brandl and Homerin 1982-1883; Cage/Von Rhein 1982; Campana 1981-1982; Gagne 1985; Gagne 1990, 33-38; Gronemeyer 1982d; Herguth 1982; Jacobs, L.A. 1982; Klimovich 1982; La Barbara 1982; Merrick 1982-1983; Montano 1982-1983; Rockwell 1981; Rockwell 1982a; Rockwell 1982b; Rockwell 1982c; Stone, C. 1981-1982; Wilding-White 1982; Willis 1982).

6 July 1982. Cologne, Westdeutscher Rundfunk, 3. Programm, Hörspielstudio. First broadcast of James Joyce, Marcel Duchamp, Erik Satie: Ein Alphabet (radio play) by Klaus Reichert (narrator); John Cage (James Joyce); Daniel Charles (Erik Satie); George Brecht (Marcel Duchamp); Wiltrud Fischer (Rrose Sélavy); Teeny Duchamp (Teeny Duchamp); Buckminster Fuller and Franz Mon (Buckminster Fuller); Christian Wolff (Henry David Thoreau); Dick Higgins (Robert Rauschenberg); Nadja Schöning (Mao Tse-tung); Mauricio Kagel (Brigham Young); Jonathan Albert (Jonathan Albert); Frans van Rossum (Thorstein Veblen); Joanis Tzortzis (Oppian); John Cage (English), Klaus Schöning (German), Chang Chung Jen (Chinese), preface; recordings made by Klaus Schöning (voices) and Peter Behrendsen (noises); John Cage and John David Fullemann, realisation; Klaus Reichert, translation) (Karst 1982).

11-28 July 1982. Darmstadt, 31. Internationale Ferienkurse für Neue Musik included “Mushroom Finding” and “Lecture Event for John Cage.” Cage not in attendance (Fox, C. 1982).

Prior to or during August 1982. New York. Interviewed by Solomon Volkov (Cage/Volkov 1982).

August 1982. Santa Cruz, California. Commissioned by National Public Radio, represented by Ev Grimes (1947-2005), conceived Fifteen Domestic Minutes.

Prior to 20 August 1982. Interviewed by Rick Chatenever (Chatenever 1982).

August 1982. Aptos, California, Cabrillo Music Festival. Composer-in-residence; attended first performance of Dance/4 Orchestras by the Cabrillo Music Festival Orchestra, Dennis Russell Davies, Ken Harrison, Gregory Barber, James Shallenberger, conductors (22 August, Mission San Juan Bautista, California); lectured (presumably Composition in Retrospect); first performance of Party Pieces; interviewed by Paul Hertelendy (Cage/Hertelendy 1982; Hertelendy 1982; Hertelendy 1983; Shere 1982a).

5-8 September 1982. WKCR radio (89.9 FM) broadcast 75-Hour 70th Birthday Tribute (5 September, 3 pm to 8 September, 6 pm), featuring a complete performance of Empty Words by Ned Sublette (Anderson, Susan H. 1982).

10-12 September 1982. New York, Westbeth. Merce Cunningham Dance Company, Events.

11 September-31 October 1982. Philadelphia, Pennsylvania, Philadelphia Museum of Art. One-person exhibition, “John Cage: Scores & Prints.” In conjunction with the opening of the exhibition, David Tudor performed Solo for Piano from Concert for Piano and Orchestra and Variations II (11 September, afternoon, Van Pelt Auditorium) (D’Harnoncourt 1982a).

12 September 1982 (afternoon). New York, Washington Square Methodist Church (135 West 4th Street) [change of announced location, Saint Mark’s Church, Second Avenue at 10th Street], Jackson Mac Low Retrospective Concert in Celebration of His 60th Birthday. Participated; performed selections from Jackson Mac Low, Stanzas for Iris Lezak.

13 September 1982. Appointed Commandeur de l’Ordre des Arts et des Lettres by the French Ministre de la Culture, Jack Lang.

17-19 September 1982. Minneapolis, Minnesota, Walker Art Center (725 Vineland Place), Happy Birthday John Cage. Attended; unknown performers gave first performance of Postcard from Heaven.

17-19 September 1982. Westbeth (55 Bethune Street), Merce Cunningham Studio. Merce Cunningham Dance Company, Events.

23 September 1982. Paris, Théâtre du Rond-Point Renaud-Barrault, Célébration John Cage, under the aegis of Judith Pisar and the American Center du Boulevard Raspail. Received the certificate of his appointment as Commandeur de l’Ordre des Arts et Lettres by the French Minister of Culture, Jack Lang; Pierre Boulez gave a laudatory speech; on the occasion audiovisual presentations by Charles Amirkhanian and Daniel Charles; installation by Nam June Paik; Concerts Colonne [Kölner Rundfunk-Sinfonieorchester], Dennis Russell Davies, conductor, and David Tudor, piano, performed The Seasons; Concert for Piano and Orchestra; Dance/4 Orchestras; in conjunction with evening participated in a concert/debate at the American Center, where he read from one of the “Writings through Finnegans Wake,” and attended the opening of an exhibition, “John Cage, Graphic Works and Scores,” which ran to 23 October (Boulez/Cage 1976/2002, 271-272; Condé 1982; Drillon 1982; International Herald Tribune 1982; Lartigue 1982a; Nouvel Observateur 1982; Samuel 1982).

Prior to 26 September 1982. Paris. Interviewed by Suzy Patterson (Patterson, S. 1982a; Patterson, S. 1982b).

30 September-1 October 1982. Venice, La Biennale di Venezia, Festival Internazionale di Musica Contemporanea (27 September-8 October), International Computer Music Conference (27 September-1 October), Numero e Suono. Attended performance of Thirty Pieces for Five Orchestras by the orchestra of the RAI-Radiotelevisione Italiana di Torino, Lothar Zagrosek, Gabriele Bellini, Olivier Dujours, Ferruccio Lazer, and Marcello Rota conducting, in concert with music by York Höller and Iannis Xenakis (30 September, Chiesa di Santo Stefano); read Composition in Retrospect (1 October, 5 p.m., Ateneo Veneto); performed Writing for the Fourth Time through Finnegans Wake; interviewed by Mario Pasi (Pasi 1982; Restagno 1983; Valori 1982b; Zurletti 1982).

October 1982. New York, Margarete Roeder Fine Arts (Broadway). One-person exhibition, “Scores and Notations, 1943-1982.”

2-3 October 1982. College Park, Maryland, University of Maryland. Merce Cunningham Dance Company, Events.

3 October 1982. Philadelphia, Pennsylvania, Philadelphia Museum of Art, Van Pelt Auditorium. Relache Ensemble performed John Cage 70th birthday concert: The Wonderful Widow of Eighteen Springs; ‘Duet’ from She Is Asleep; Aria with Fontana Mix [instrumental version]; Earle Brown, Folio; Romulus Franceschini, Synastry; Christian Wolff, For 5 or 10 People; Robert Ashley, She Was a Visitor; Annson Kenney, Sonics in Situ II; Erik Satie, Ogives; Cage’s attendance uncertain; in conjunction with John Cage: Scores and Prints, one-person exhibition in the museum (Frank, P. 1983a).

October 1982. Villiers-sous-Grez. Wrote For Her First Exhibition with Love (text).

21-24 October 1982. Orléans, 14e Semaines musicales internationales d’Orléans (Premier Week-end), organized by la Maison de la Culture d’Orléans. Attended; performed with Martin Kalve, Takehisa Kosugi, David Tudor and Merce Cunningham Dance Company: Event (21 October, Théâtre Carré Saint-Vincent); Instances of Silence to Trails; Yasumao Tone, Geography and Music to Roadrunners; Tudor, Phonemes to Channels/Inserts (Tudor) (22 October, Théâtre Carré Saint-Vincent); ‘Soirée John Cage: 3 fois 70 minutes avec John Cage’, organized by Francis Miroglio; performed from Empty Words; Irène Jarsky and Geneviève Roblot, singers; Gérard Frémy and Richard Bachand, pianos; Ami Flammer and Xavier-Julien Laferrière, violins; ensemble Musique Oblique, Michel Decoust, conductor, performed Suite for Toy Piano, Credo in Us, The Perilous Night, Six Melodies, Sixteen Dances, 4'33", Les chants de Maldoror pulvérisés par l’assistance même [audience], Freeman Etudes, Book II, nos. 8, 9, 12, 15, Litany for the Whale; Richard Bachand, Jean-Pierre Bedoyan, Florent Jodelet, Thierry Miroglio performed Credo in Us; film by Jean-Michel Meurice shown, Cage against Order [1972] (23 October, evening, Hexagone, Carré Saint-Vincent); Lionel Fedrigo, organ recital included Some of The Harmony of Maine, assisted by Jacques Laboureur, Albert Tartarin, Christiane Forgeat, Isabelle Rouard, Jeanine Poulain, Benoît Bessé (24 October, late afternoon, Cathédrale Sainte-Croix d’Orléans); exhibition of plexigrams, scores, photographs, documents (Maison de la Culture d’Orléans, Hall); interviewed by Michel Moulis (Cage/Moulis 1982; Charles 1983d; Gagnard 1982; Moulis 1982; Ph.B. 1982; Rouard 1982).

25-29 October 1982. Paris, Théâtre des Champs-Elysées (15 Avenue Montaigne), Festival d’automne. Performed with Martin Kalve, Takehisa Kosugi, Yasunao Tone, David Tudor, and Merce Cunningham Dance Company: Improvisation IV to Fielding Sixes; David Tudor, Phonemes to Channels/Inserts; Yasunao Tone, Geography and Music to Roadrunners (25-26 October); Instances of Silence to Trails; David Tudor, Sextet for Seven to Quartet; Takehisa Kosugi, Interspersion to Locale (27-29 October); interviewed by Jean-Luc Pinard-Legry (Cage/Pinard-Legry 1982).

30 October and 1 November 1982. Paris, Musée Beaubourg = Centre Georges Pompidou, Festival d’automne. Performed with Merce Cunningham Dance Company: Event No. 1 (30 October); Event No. 2 (1 November).

November 1982. Interviewed by Risto Nieminen (Cage/Nieminen 1983).

Prior to 3 November 1982. Stuttgart, Kammertheater. Three concerts devoted to Cage’s music, including film and radio play presentations. Dennis Russell Davies (piano), Elisabeth Glauser, Kimmo Lappalainen, Raili Viljakainen (voices) and others performed Cheap Imitation (Piano), Double Music, A Flower, Music for Wind Instruments, String Quartet in Four Parts, and The Wonderful Widow of Eighteen Springs; Erik Satie, Socrate; presumably Cage was not in attendance (Urmetzer 1982).

4-6 November 1982. Grenoble, Maison de la Culture (4, rue Paul Claudel), Jacques Blanc and Georges Lavaudant, Directors. Performed with Merce Cunningham Dance Company: Events; organized untitled “happening sonore,” presented as “Bon anniversaire Monsieur Cage” (6 November, late evening).

5 November 1982. Washington, D.C., National Public Radio. First broadcast of Fifteen Domestic Minutes performed by John Cage (New York), Lisa Simioni (Washington, D.C.), voices, broadcast live via National Public Radio, Washington; KUSC, Los Angeles, California (Cage’s place of birth), KSFR, Denver, Colorado (place of birth of Cage’s grandfather); WNYC (Cage’s place of residence).

17 November 1982. Washington, D.C., John F. Kennedy Center for the Performing Arts, Terrace Theater, Arts Education Workshops, American Composers Series, Meet the Composer, lecture/discussion (5:00-9:30 pm) hosted and moderated by Fred Calland (National Public Radio) prior to evening performance of his music in the Terrace Theater including Branches by Nexus Percussion Ensemble (McLellan 1982a).

Prior to 18 November 1982. Washington, D.C., Library of Congress. Concert (McLellan 1982a).

18 November 1982. Washington, D.C. Interviewed by Laura Fletcher and Thomas Moore (Cage/Fletcher and Moore 1983).

19 November 1982. Washington, D.C., John F. Kennedy Center for the Performing Arts, American Film Institute Theater. AFI Video Tribute to John Cage, presented by the American Film Institute (evening).

20 November 1982 (11 am-11pm, announced). New York, Symphony Space (2537 Broadway at 95th Street), 5th Anniversary Wall-to-Wall. Read from his works; also included music by Cage.

20 November 1982 (7 pm-midnight). Washington, D.C., National Building Museum (Pension Building, 440 G Street and 5th Street, NW), 9th Street Festival, Cage, Cage, and More Cage (A Tribute to John Cage), produced by the Washington Performing Arts Society. Performed from texts; attended. David Tudor, Isabelle Ganz, New York Bowery Ensemble, Contemporary Music Forum and others performed Variations II (Tudor), Apartment House 1776, Concert for Piano and Orchestra with Aria; Credo in Us, Etudes Boreales (piano, Michael Pugliese, first performance), Nocturne, Six Short Inventions; Earle Brown, Calder Piece: Chef d’Orchestre (McLellan 1982b; Tuck 1982).

21 November 1982 (afternoon). Washington, D.C., Washington Project for the Arts (400 7th Street, NW). Performed Composition in Retrospect.

27 November 1982 (evening). Rallye Drouot, presented by Centre d’Animation Culturelle. Performed with Martin Kalve, Taskehisa Kosugi, David Tudor and Merce Cunningham Dance Company: Event.

28 November 1982 (late afternoon). Mulhouse, Salle de la Fraternité. Concert “Cage/Frémy”. Gérard Frémy and Bernard Geyer performed A Book of Music; Michel Gaechter performed Two Pieces for Piano (1946); Lara Erbes performed Dream; Gérard Frémy performed In a Landscape; Erbes, Frémy, Gaechter, Geyer, Evelyne Eibel and Bernadette Hofbeck performed Music for Piano 21-36/37-52 (21-24, 26-32, 34-46; version for six pianos); Cage in attendance.

1 December 1982. Palaiseau, Ecole Polytechnique (Plateau du Moulon), Amphi Poincaré, presented by Centre d’Action Culturelle Régional. Performed with Martin Kalve, Takehisa Kosugi, David Tudor, and Merce Cunningham Dance Company: Event.

5 December 1982. Back in New York.

8 December 1982. New York, Columbia University. With Joëlle Léandre (Auvidis Montaigne MO 782076 (recordings).

10-11 December 1982. New York. Brooklyn Philharmonic Symphony Orchestra performed Party Pieces in program with music by Rocco Di Pietro, Peter Tod Lewis, Bernard Rands, and Leo Smit (10 December, Cooper Union, Great Hall; 11 December, Brooklyn Academy of Music, Playhouse).

12 December 1982-23 or 24 January 1983. Kassel, Neue Galerie der Staatlichen Kunstsammlungen, ‘1962 Wiesbaden Fluxus 1982’, presented as ‘20 Jahre Fluxus’. Exhibition.

16 December 1982. Courbevoie, France, Le Compositeur dans la Ville. Music by Cage performed; his attendance unlikely.

20 December 1982. New York, Japan Society, Lila Wacheson Wallace Auditorium. Attended.

1983. Began another realization of __, _ __ Circus on __, on Franz Kafka’s Die Verwandlung, which he never finished.

1983. Elected honorary member of the International Society for Contemporary Music.

Early January 1983. Wrote Music and Dance [text].

January 1983. Oakland, California, Crown Point Press: visited; began Where R = Ryoanji (five etchings); HV (thirty-six monotypes).

20 January 1983. New York. Composed Ear for Ear.

22 January-20 February 1983. Berlin, daadgallerie (Kurfürstenstraße 58). Exhibition “70-50 ≈ 20: Eine kleine Geschichte von Fluxus in drei Teilen, 1: John Cage/Nam June Paik”; presumably Cage was not in attendance.

Prior to 4 February 1983. Wrote Diary: Inter-Arts [text].

4 February 1983. National Council on the Arts. Gave first reading of Diary: Inter-Arts.

11 February-30 April 1983. Zurich, Kunsthaus. Der Hang zum Gesamtkunstwerk: Europäische Utopien seit 1800: 17 Drawings by Thoreau, Not Wanting to Say Anything about Marcel, and Water Music (score) on exhibit (Häni et al. 1983; Muggler 1983).

12 February 1983 (evening). New York, Kitchen (484 Broome Street). Hosted a Benefit Piano Concert on the Steinway ‘B’ with Robert Ashley, Philip Glass, and ‘Blue’ Gene Tyranny.

Prior to 16 February 1983. Wrote FM 94.

16 February 1983. New York, Abraham Goodman House, Merkin Concert Hall, Americathon, presented by WNYC, hosted by Nancy Shear. Attended Credo in Us, performed by Gageego in shared program and read from his works: FM 94 [text] (Rothstein 1983).

20-23 February 1983. Indiana, Pennsylvania, Indiana University of Pennsylvania, Music and the Arts Today, A Festival (18-23 February), Cage and Feldman at IUP. Invited by Charles Casavant, in attendance with Morton Feldman. Pittburgh New Music Ensemble performed (20 February, evening, Gorell Recital Hall), reception afterwards (Blue Room); Feldman gave master class with music faculty (21 February, late afternoon, Gorell Recital Hall); Bowery Ensemble performed (21 February, Gorell Recital Hall); Feldman lectured (22 February, late afternoon, McVitty); Bowery Ensemble performed music by Morton Feldman (22 February, Gorell Recital Hall), reception afterwards (University Museum, John Sutton Hall); Cage lectured on “Arts of the 20th Century” (23 February, morning, 301 Sprowls); participated in open rehearsal with Bowery Ensemble (23 February, Gorell Recital Hall, morning); performed James Joyce, Marcel Duchamp, Erik Satie: An Alphabet (23 February, late afternoon, Gorell Recital Hall); Bowery Ensemble performed music by Cage: Etudes Boreales I-IV (piano, Michael Pugliese); Concert for Piano and Orchestra with Aria; Sixteen Dances (23 February, Gorell Recital Hall, Cage was special guest); Feldman and IUP Music Faculty’s Master Class (21 February, late afternoon, 127 Cogswell Hall); Morton Feldman, discussion of painters of the New York School (22 February, late afternoon, Sprowls Hall, McVitty Auditorium); performed James Joyce, Marcel Duchamp, Erik Satie: An Alphabet (23 February, late afternoon, Gorell Recital Hall); various other concerts; open reherasals; film festival, Dada and the New York School of Painters (18 February, McVitty); exhibition of graphic scores of Cage and Feldman in conjunction with the festival (University Museum, Sutton Hall, 15 February-3 March 1983).

7 March 1983. New York, Plaza Hotel, Grand Ballroom. Merce Cunningham Dance Company benefit “Arts Salute” Dinner Dance. Chairman with Jean Riboud.

11 March-16 April 1983. New York, Grommet Gallery (537 Broadway near String Street, 2nd Floor), Earworks: An Exhibition of Musical Scores and Sound Art (group exhibition).

Prior to 13 March 1983. New York. Interviewed by Jack Anderson (Anderson, Jack 1983).

15-27 March 1983. New York, City Center (131 West 55th Street). Performed with Martin Kalve, Takehisa Kosugi, David Tudor and Merce Cunningham Dance Company: Instances of Silence to Trails; Takehisa Kosugi, Interspersion to Locale; Takehisa Kosugi, Cycles to Gallopade (15 March); Instances of Silence to Trails; David Tudor, Sextet for Seven to Quartet; Takehisa Kosugi, Interspersion to Locale (16 March); Event #1 (17 March); Larry Austin, Beachcombers to Coast Zone (first performance of the dance); Improvisation III to Duets; David Tudor, Phonemes to Channels/Inserts (18 March and 19 March, matinee); Instances of Silence to Trails; David Tudor, Sextet for Seven to Quartet; Takehisa Kosugi, Interspersion to Locale (19 March and 20 March, matinee); Christian Wolff, Duo for Pianists I and Duo for Pianists II to Rune; Martin Kalve, All Happy Workers Babies & Dogs to 10’s with Shoes; Improvisation III to Duets; Takehisa Kosugi, Cycles to Gallopade (22-23 March); Event #2 (24 March); Larry Austin, Beachcombers to Coast Zone; Improvisation III to Duets; David Tudor, Phonemes to Channels/Inserts (25 March and 26 March, matinee); Instances of Silence to Trails; David Tudor, Sextet for Seven to Quartet; Takehisa Kosugi, Interspersion to Locale (26 March and 27 March, matinee); previously interviewed by Margot Mifflin (Kisselgoff 1983a; Kisselgoff 1983b; Mifflin 1983).

Spring 1983. Interviewed by Takahiko Iimura (Cage/Iimura 1985).

22 March 1983 (3 pm). New York, McMillin Theatre (116th Street and Broadway), presented by Columbia Composers Colloquia. Gave lecture-demonstration with Grete Sultan.

1981 or 1982-prior to 27 March 1983. Wrote Muoyce.

27-28 March 1983. Vancouver, British Columbia (presented by the Vancouver New Music Society). Gave first performance of Muoyce (27 March, Vancouver East Cultural Centre) and performed James Joyce, Marcel Duchamp, Erik Satie: An Alphabet (28 March, Robson Square Theatre); interviewed by Susan Mertens; A Concert for Cage with Radio Music, The Perilous Night, Telephones and Birds and Gavin Bryars, Jesus’ Blood Never Failed Me Yet; Cage’s attendance uncertain (26 March, Western Front) (Mertens, S. 1983).

1-2 April 1983. Miami, Florida, University of Miami, School of Music, Gusman Concert Hall, Meta-Music Festival. Guest composer; read Composition in Retrospect and Diary: How to Improve the World (You Will Only Make Matters Worse) Continued 1973-1982 (1 April, 11:00 am); opening concert with music by Cage and others (1 April, evening); concerts and events on School of Music campus (2 April, noon-6 pm); read James Joyce, Marcel Duchamp, Erik Satie: An Alphabet (2 April, evening).

Prior to 8 April 1983. Boston, Massachusetts. Etudes Australes, Freeman Etudes and Six Melodies performed (Dyer, R. 1983a; Dyer, R. 1983b).

8 April 1983. Buffalo, New York, State University of New York, Department of Music, North American New Music Festival 1983 (incorporating the CAN-AM Music Days, 5-15 April, organized by Lejaren Hiller, Yvar Mikhashoff, and Jan Williams). At encounter (afternoon seminar) read Composition in Retrospect, followed by question period; attended fifty-year retrospective concert including Litany for the Whale performed by Martha Herr and Jocelyn Alaimo, sopranos (evening [?], Slee Concert Hall); Cage exhibit (Music Library, Baird Hall) (Swartz 1982-1983).

8 April 1983 (evening). New York, Saint Bartholomew’s Church (Park Avenue at 50th Street), benefit concert for Ear Magazine East: members of The Western Wind (Ma Prem Alimo, Johana Arnold [replacing Janet Sullivan], sopranos; William Zukof, countertenor; Lawrence Bennett, William Lyon Lee, tenors; Elliot Levine, baritone) gave first performance of Ear for Ear; Cage in attendance (recorded Audio Arts).

11-12 April 1983. Houston, Texas, Rice University. Attended; television interview with Isabelle Ganz (11 April, Channel 8, ‘The Green Room’, broadcast same evening); interviewed by local papers (12 April, morning, Shamrock Hilton Hotel); John Cage Retrospective with The Perilous Night (John Hendrickson); String Quartet in Four Parts (Gabriel String Quartet); Aria with Fontana Mix (Isabelle Ganz, soprano; Arthur Gottschalk, engineer); read from Diary: How to Improve the World (You Will Only Make Matters Worse) (eighth installment); reception afterwards (12 April, Shepherd School of Music, Hamman Hall, presented by Syzygy) (Cunningham, C. 1983; Ward, C. 1983).

13 April 1983. New York, Solomon R. Guggenheim Musuem (Fifth Avenue at 89th Street): Brandeis University Creative Arts Awards Presentation: received Notable Achievement award from Brandeis University (afternoon).

14 April 1983. Detroit, Michigan, Detroit Institute of Arts (5200 Woodward Avenue), Auditorium, Lines: New American Poetry at the Detroit Institute of Arts. Performed.

15-17 April 1983. Oberlin, Ohio, Oberlin College, Conservatory of Music, Contemporary Focus Series, John Cage And the New York School of the ’50s: A (Re)View (14-17 April). Attended; Contemporary Chamber Ensemble, Daniel Asia, conductor, performed Cheap Imitation (Orchestra) and music by Earle Brown, Morton Feldman, and Christian Wolff; Mic Holwin performed from Sonatas and Interludes (14 April, evening, Warner Concert Hall; presumably Cage was not in attendance); Gallery Talk: William Olander, “In Honor of John Cage: Works by Cage, Duchamp, Rauschenberg, Johns, Oldenburg, Dine and others,” in conjunction with exhibition (until 17 April) of prints and drawings from the permanent collection, including etchings by Cage (15 April, afternoon, Allen Art Museum, Ripin Print Gallery); performed James Joyce, Marcel Duchamp, Erik Satie: An Alphabet (16 April, afternoon, Finney Chapel); Oberlin Percussion Group, Michael Rosen, conductor, performed First Construction (in Metal); student quartet coached by Richard Kapuscinski performed String Quartet in Four Parts; students coached by Patricia Giovenco, choreographer, performed Theatre Piece; Oberlin Orchestra and Kenneth Moore, Robert Baustian, Daniel Asia, Byron Pearson, conductors, performed Dance/4 Orchestras; reception (16 April, evening, Finney Chapel); John Cage: Multiple Perspectives: Marlene Ralis Rosen and Michael Rosen performed Duet from She Is Asleep and The Wonderful Widow of Eighteen Springs; brief essays Norman Care, Roger Copeland, Victor E. Friedberg, Ronald Gross, James A. Hepokoski, Ellen Johnson, introduced by David Boe; conversation with Cage, Randolph Coleman, moderator (17 April, afternoon, Finney Chapel); Oberlin Percussion Group, Michael Rosen, conductor, performed Amores; harp ensemble coached by Roderick Knight performed Postcard from Heaven; ensemble conducted by Daniel Asia performed Atlas Eclipticalis and music by Earle Brown (with Kenneth Moore, conductor) (17 April, evening, Warner Concert Hall); interviewed by Wilma Salisbury (Salisbury 1983).

18-19 April 1983. Galesburg, Illinois, Knox College. Performed James Joyce, Marcel Duchamp, Erik Satie: An Alphabet (18 April, evening, Kresge Recital Hall) and Themes and Variations (19 April, evening, Kresge Recital Hall); coffee talk (19 April, afternoon, Ferris Lounge); interviewed by Sean Bronzell and Ann Suchomski (Bruns, A. 1983; Cage/Bronzell and Suchomski 1986; Messer 1983; Olson, L. 1983).

May 1983 or earlier. Oakland, California and New York: completed Where R = Ryoanji (five etchings), begun January 1983.

May 1983 or earlier. Wrote Writing through Die Verwandlung I.

May 1983. New York, Town Hall. Three concerts devoted to his music (Anderson, Susan H. 1982).

Until 13 May 1983. Weilimdorf-Stuttgart, Galerie Brigitte March. Exhibition of Strings 1-62 (Wanner 1983).

25 April-1 May 1983 (evenings). Rome, Teatro Olimpico (Piazza Gentile da Fabriano), presented by Comune di Roma, Assessorato alla Cultura. Performed with Martin Kalve, Takehisa Kosugi, David Tudor, and Merce Cunningham Dance Company: Event 1 (25 April); Event 2 (26 April); Event 3 (28 April); Event 4 (29 April); Event 5 (30 April); gave solo performance of unidentified piece (1 May); interviewed by Landa Ketoff; Cunningham lectured on film dance (26 April, late afternoon); gave composition workshop for dancers (27 April, morning, Teatrocirco Spaziozero, Via Galvani) (Ketoff 1983).

2 May 1983. New York, Metropolitan Opera House. Improvisation III to Duets (Cunningham), performed by the American Ballet Theatre; Cage did not perform.

7 May 1983. Weston, Massachusetts, Music School at Rivers (333 Winter Street, now Rivers School Conservatory), Alumni Hall, Fifth Annual Seminar on Contemporary Music for the Young (7-8 May), Richard S. Robbins, Director. Darryll Rosenberg gave workshop on Sonatas and Interludes; Cage performed Composition in Retrospect (late afternoon).

14 May 1983. Cologne, Palazzo Schoko/Stollwerck (Annostraße 24-44), Hommage à Cage, Alternativveranstaltung, directed by Ingo Kümmel; included performance of Erik Satie, Vexations. Attended (Rost 1983).

15-16 May 1983. Cologne, Kölnischer Kunstverein, organized by Kölnischer Kunstverein and Kölner Gesellschaft für Neue Musik. Performed Themes and Variations and Muoyce (third performance?); Michael Obst and Pi-Chao Chen performed Morton Feldman, For John Cage (15 May, evening); attended opening of exhibition “Radierungen 1978-1983; Schriften” and “For John Cage: A Portrait Series” with visual works by Cage and photographs by Robert Mahon (16 May, exhibition ran 15 May-12 June); interviewed by Express (Baucke 1983; Cage/Hw 1983; Emmerik, P. van 1983; Erdmann 1983; Goertz 1983a; Goertz 1983b; Gronemeyer 1983b; Karst 1983; Kirchberg 1983; Kölner Gesellschaft 1983; Lumpe 1983; Nyffeler 1983a; Nyffeler 1983b; Reininghaus 1983a; Reininghaus 1983b; Rost 1983).

16 May 1983. Cologne: recorded Muoyce (whispered version) (Schäfermeyer 1984).

25 May 1983. Wrote By way of an Introduction [text].

6-11 June 1983 (evenings). New York, Park Avenue Armory (66th Street). Performed with Liz Phillips (6, 8, 10 June), Martin Kalve, Takehisa Kosugi, and David Tudor and Merce Cunningham Dance Company (7, 9, 11 June: Cage performed Branches): Event (6 June); Event (7 June); Event (8 June); Event (9 June); Event (10 June); Event (11 June) (Fetterman 1996a, 192; Vaughan 1997, 222).

15 June 1983 (beginning late afternoon). New York, Whitney Museum of American Art at Philip Morris World Headquarters Building (Park Avenue and 42d Street). S.E.M. Ensemble, Petr Kotik, director, performed Song Books in concert with music by others (Page, T. 1983).

26 July-6 August 1983. Viitasaari, 2nd Kansainvälinen Uuden Musiikin Kesäakatemia = International Summer Academy of Contemporary Music (26 July-8 August), organized by Timo Kinnunen. Attended; taught daily courses (mornings, with Paul Zukofsky, June Finch, Barry Guy, Jane Manning, Pierre-Yves Artaud, and Jukka Tiensuu); composed and gave first performance of R/13 (Where R = Ryoanji) (between 26-28 July; all concerts and lectures were scheduled in the late afternoons and evenings); performed Child of Tree (30 July); rehearsed Atlas Eclipticalis, Variations IV; Branches performed; Barry Guy (contrabass) performed 59 1/2" for a String Player in recital with music by others; ‘Cage Afternoon’ (2 August); ‘Cage Day’ (6 August); interviewed by Matti Tuomisto (Cage 1986e; Cage/Tiensuu 1983; Cage/Tuomisto 1983; Gronemeyer 1983a; Heikinheimo 1983a; Heikinkeimo 1983b; Kallioinen 1984; Määttänen 1983; O’Reilly 1984; Räsänen 1983; Suilamo 1983; Tuomisto 1983a; Tuomisto 1983b; Tuomisto 1983c; Uusi Suomi 1983).

14-15 August 1983. Plymouth, New Hampshire, New Hampshire Music Festival (12 July-20 August). Performed readings in concert where members of the New Hampshire Music Festival Orchestra, Thomas Nee, music director, performed Amores, Etudes Boreales (violoncello), Litany for the Whale, from Music for Piano (1953), Score (40 Drawings by Thoreau) and 23 Parts, Sonata for Clarinet, Three Pieces for Flute Duet, and The Wonderful Widow of Eighteen Springs (14 April, evening, Silver Hall); reception afterwards (Pemigewasset Hall); conducted mushroom hunt (15 April, morning, Squam Lakes Science Center).

27-28 August 1983. Cooperstown, New York, West Kortright Centre and Windfall Barn, Salt Springville, Otsego County. In attendance; Catskill Chamber Players (Carleton Clay, president) and guest artists Tim Perry (clarinet and recorder), Collin Walcott (percussion), Meredith Monk (singer), Fred Miller (speaker), Rebecca Kite (marimba) performed Sonata for Clarinet, String Quartet in Four Parts, Variations IV, as well as music by Minoru Miki, Henry Cowell, Wolfgang Amadeus Mozart (27 August, evening); interviewed by Bruce Kurtz (28 August, morning) (Cage/Kurtz 1983).

September 1983. New York. Composed Ryoanji (parts for oboe and percussion), Souvenir, and Thirty Pieces for String Quartet; interviewed by Aldo Brizzi (Cage/Brizzi 1985, 13; Cage/Shapiro 1985, 114).

September-October 1983. New York; Tulsa, Oklahoma; Mountain Lake, Virginia. Wrote Mushrooms et Variationes (text).

10 September-13 November 1983. Vienna, Museum moderner Kunst/Museum des 20. Jahrhunderts. Der Hang zum Gesamtkunstwerk: Europäische Utopien seit 1800: 17 Drawings by Thoreau, Not Wanting to Say Anything about Marcel, and Water Music (score) on exhibit (Häni et al. 1983; Muggler 1983).

29-30 September 1983. Tulsa, Oklahoma, John Cage in Tulsa!, presented by Living Arts of Tulsa with University of Tulsa. Attended; performed Themes and Variations (29 September, evening, Tulsa Performing Arts Center, John H. Williams Theatre); lunch (30 September, noon, Gilcrease Museum); informal meeting (30 September, afternoon, University of Tulsa); performed Muoyce (30 September, evening, University of Tulsa, Chapman Theatre, Kendall Hall).

1 October 1983. Minneapolis, Minnesota, Walker Art Center (725 Vineland Place), Auditorium, Word Works. Performed in program shared with Maria Cheng and Spalding Gray.

October 1983. Chicago, Illinois, Art Institute. Attended (Von Gunden 1986, 21).

5-8 October 1983. Blacksburg, Virginia, Mountain Lake Workshop. Mycological Foray with Orson Miller, Robert Berlind and Marie Cosindas participating.

8 October-6 November 1983. Blacksburg, Virginia, Virginia Polytechnic Institute and State University (Ray Kass). Exhibition of Cage’s etchings in conjunction with his visit.

13 October 1983. Roanoke, Virginia, Roanoke College, Olin Hall, Recital Hall. Performed Composition in Retrospect and from Diary: How to Improve the World.

20-22 October 1983. Leuven, Stadsschouwburg (Bondgenotenlaan 21). Presumably performed with Merce Cunningham Dance Company: Instances of Silence to Trails; David Tudor, Sextet for Seven to Quartet; Takehisa Kosugi, Interspersion to Locale (20 October); Larry Austin, Beachcombers to Coast Zone; David Tudor, Phonemes to Channels/Inserts; Yasunao Tone, Geography and Music to Roadrunners (21 October); Event (22 October).

24 October 1983. New York, Abraham Goodman House. Joseph Kubera performed Music of Changes in recital with music by Nils Vigeland and Robert Moran (Holland 1983).

26-28 October 1983. Roubaix, Le Colisée (31 Rue de l’Epeule), Festival de Lille. Performed with Joseph Heaney (singer), Paddy Glackin (fiddle), Mel Mercier and Paedar Mercier (bodhran), Liam og O’Floinn (uilleann pipes), Seamus Tansey (flute) and Merce Cunningham Dance Company: Roaratorio, an Irish Circus on Finnegans Wake to Roaratorio (first performance of the dance) and Inlets to Inlets 2 (first performance of the dance); press conference given previously (Brunel 1983a; Brunel 1983b; Cunningham/Anonymous 1983; Diricq 1983; Dupuis 1983; Fabre 1983; Gauville 1983; Gubernatis 1983; Lartigue 1983a; Mairel 1983; Marmin 1983; Michel 1983; Paulus 1983a; Paulus 1983b; Paulus 1983c; Penot 1983; Sirvin 1983; Sourgens 1983a; Sourgens 1983b).

October-November 1983. Paris. Gave first performance of Mushrooms et Variationes (possibly identical with 31 October 1983 presentation).

31 October 1983 (evening). Paris, Théâtre National de Chaillot, Grand Foyer, Rendez-vous de poésie. Performed from and presented Le livre des champignons (Anonymous 1983B; Cage 1983d).

1-2 November 1983 (evenings). Frankfurt, Alte Oper (Opernplatz 1), Großer Saal. Performed with Paedar Mercier, Mel Mercier, Paddy Glackin, Joseph Heaney, Liam O’Floinn, Mel Mercier, Paedar Mercier, Seamus Tansey and Merce Cunningham Dance Company: Inlets, to Inlets 2 (with Paedar Mercier and Mel Mercier); Roaratorio, an Irish Circus on Finnegans Wake to Roaratorio (with Paddy Glackin, Joseph Heaney, Liam O’Floinn, Mel Mercier, Paedar Mercier, and Seamus Tansey) (Cunningham/Anonymous 1983; Rohde, G. 1983-1984; Schmidt, J. 1983).

November 1983. Villiers-sous-Grez and Oslo. Wrote Haikus: Letters from the Seventeen Chapters of Finnegans Wake (text).

7-13 November 1983. Oslo and environs. Attended Oslo (8-9 November) and Henie-Onstad Kunstsentret [Art Center] (10-13 November, Høvikodden, Bærum Municipality near Oslo, Sonja Henies vei 31), invited by Per Hovdenakk (1935-2016); read Composition in Retrospect; discussion period (8 November, morning, Statens Kunstakademi [Norwegian State Academy of Music], Studio 10); lectured on “Duchamp, Johns, Rauschenberg, Tobey, Graves”; discussion period (9 November, afternoon, State Academy of Art, Auditorium); performed Muoyce (10 November, evening); performed James Joyce, Marcel Duchamp, Erik Satie: An Alphabet (11 November, evening); Per Øystein Berglund, Christian Eggen, Einar Fjærvoll, Magne Hegdal, Bjørn Løken, Kjell Samkopf, and Rob Waring performed Branches, First Construction (in Metal), Second Construction, Third Construction; Music for Marcel Duchamp (Hegdal) (12 November, afternoon); Ami Flammer performed Chorals and Freeman Etudes (no. 8, 9, 12, and 15); Mats Persson performed Sonatas and Interludes (13 November, afternoon) (Hegdal 1984).

8 November 1983. Middletown, Connecticut, Wesleyan University, class “American Piano Music.” Neely Bruce performed HPSCHD.

11 November 1983. New York, Cooper Union, “Carter, Cage and New Americans.” In concert by the Brooklyn Philharmonic Symphony Orchestra with music by others, Long Island University Singers under the direction of Jerry Forderhase, performed Hymns and Variations (New York Times 1983).

19 November 1983. New York. Conversation with Morton Feldman, Bunita Marcus and Francesco Pellizzi (Cage/Feldman, Marcus and Pellizzi 1983).

25 November 1983 (evening). San Francisco, California, Davies Symphony Hall (between Van Ness and Franklin, Grove and Hayes Streets), New and Unusual Music Concert Series, Speaking of Music, hosted by The Exploratorium and by the San Francisco Symphony. Read from Muoyce; Joseph Kubera, piano, members of the San Francisco Symphony, John Adams and Barry Jekowsky, conductors, performed Concert for Piano and Orchestra, Credo in Us, and First Construction (in Metal); exhibition of lithographs; interviewed by Charles Amirkhanian.

Late November 1983. Seattle, Washington. Composed Ryoanji (part for voice).

29 November-4 December 1983. Calgary, Alberta, Banff Centre, School of Fine Arts, Banff Centre Inter-Arts program, John Cage Week, directed by Robert Eakin and Michael Century: attended; rehearsed Song Books; performed James Joyce, Marcel Duchamp, Erik Satie: An Alphabet (29 November, evening, Margaret Greedham Theatre); mini-concert with his music (30 November, noon, Margaret Greedham Theatre); film Variations V (30 November, late afternoon, Margaret Greedham Theatre); public conversation (1 December, evening, Walter Phillips Gallery); Song Books performed (3 December, afternoon, Walter Phillips Gallery); concert (4 December, Eric Harvie Theatre, New Music Series); Hu Hohn convinced him of using a personal computer to generate random numbers; began composing Ryoanji (part for flute) (Earl 1986; Last Issue 1984; Monk 1984).

2 December 1983. New York, Asia Society (725 Park Avenue at East 70th Street), Lila Acheson Wallace Auditorium, East Meets West: New Japanese and American Music (Music from Japan Series, Naoyuki Miura, artistic director). James Ostryniec, oboe, and Michael Pugliese, percussion, gave first performance of Ryoanji in shared program with music by Terry Riley, Teruyuki Noda, Masaharu Kikuchi, Michio Mamiya, Donald Sosin, and Yoshio Hachimura; after-concert reception (Rockwell 1983b).

December 1983 (early). San Francisco, California. Engagement with the San Francisco Symphony.

December 1983 (at least 6-11 December). Seattle, Washington, Cornish Institute. Weeklong residency; Cornish Percussion Ensemble and Gamelan Pacifica gave retrospective concerts (6 and 7 December, Cornish Theater [710 East Roy]); lectured and conducted classes; conducted Atlas Eclipticalis, performed by the New Performance Group of the Cornish Institute (Paul Taub, flute; William Smith, clarinet; Jim Knapp, trumpet; Julian Priester, trombone; Matthew Kocmieroski and Jarrad Powell, percussion; Ella Gray, violin; Walter Gray, violoncello) with Winter Music (Thomasa Eckert, Bun-Ching Lam, pianos) (11 December, Cornish Theater, two performances, 6:30 pm and 8:30 pm) (Bargreen 1983a; Bargreen 1983b; Cage 1986e; Campbell, R. M. 1983a; Campbell, R. M. 1983b; Cross, C. R. 1984; Rockwell 1987; To Be Announced 1984).

13-14 December 1983. Portland, Oregon, Portland Center for the Visual Arts, director Randal Davis. Performed Muoyce in conjunction with exhibition of his prints (13 December); interviewed by Louise Klemperer (14 December); interviewed by Gideon Bosker (Bosker 1984; Klemperer 1983).

December 1983. Began to work with a personal computer, a Compaq 386. Most of the programs he employed were written by the Canadian composer Andrew Culver (born 30 August 1953), who had been working as Cage’s assistant since 1981 and who continued to do so until Cage’s death (Kendall, R. 1990, 95-96; Rossum 1988 [error]).

22 December 1983-19 February 1984. Berlin, Schloss Charlottenburg, Große Orangerie (Spandauer Damm 22) and DAADgallerie (Oranienstraße 161). Der Hang zum Gesamtkunstwerk: Europäische Utopien seit 1800: 17 Drawings by Thoreau, Not Wanting to Say Anything about Marcel, and Water Music (score) on exhibit (Häni et al. 1983; Muggler 1983; Rathert 1983).

1983-1984. Conceived HMCIEX.

1984. Made Weather-ed II.

January 1984. New York. Continued Ryoanji (part for flute).

January-April 1984. Wrote Writing through Howl.

1 January 1984. New York, during TV show, Good morning, Mr. Orwell! by Nam June Paik, performed Branches with Takehisa Kosugi (Green, J.M. 2020).

7-8 January 1984. Madras = Chennai, Madras Music Academy (New No. 168 [Old No. 306], T.T.K. Road). Performed with Merce Cunningham Dance Company: Event 1 (7 January); Event 2 (8 January).

10-11 January 1984. Bombay = Mumbay, Tata Auditorium (Nariman Point). Performed with Merce Cunningham Dance Company: Event 1 (10 January); Event 2 (11 January).

14-15 January 1984. New Delhi, Kamani Auditorium (1, Copernicus Marg, Opposite Doordarshan Bhawan, Mandi House). Performed with Merce Cunningham Dance Company: Event 1 (14 January); Event 2 (15 January).

19 January 1984 (evening). New York, Manhattan School of Music, Hubbard Hall. Isabelle Ganz (mezzo soprano), Michael Pugliese (percussion) performed Ryoanji; Ganz performed Aria with Fontana Mix in program with music by Charles Boone, Eric Ewazen, Leo Smit.

20-21 January 1984. Hong Kong, Queen Elizabeth Stadium (18 Oi Kwan Road, Wan Chai), Arena. Performed with Martin Kalve, Takehisa Kosugi, David Tudor and Merce Cunningham Dance Company: Event 1 (20 January); Event 2 (21 January) (Levine 1984).

24-27 January 1984. Taipei, Taiwan, National Dr. Sun Yat-Sen Memorial Hall (No. 505 Section 4, Ren’ai Road, Xinyi District), Auditorium, 5th New Aspect International Arts Festival. Performed with Merce Cunningham Dance Company: Event 1 (24 January); Event 2 (26 January); Event 3 (27 January); continued work on Ryoanji (part for flute).

24 January 1984. New York, Symphony Space. New Music Consort performed Second Construction in concert with works by others (Page, T. 1984).

30-31 January 1984. Seoul, Sejong Center for the Performing Arts (175 Sejong-daero, Sejongno, Jongno-gu). Performed with Merce Cunningham Dance Company: Event 1 (30 January); Event 2 (31 January).

4-29 February 1984. Lund, Galleriet Anders Tornberg (Kungsgatan 4). One-person exhibition of his etchings.

11-12 February 1984. Pittsburgh, Pennsylvania, Heinz Hall for the Performing Arts (600 Penn Avenue). Presumably performed with Merce Cunningham Dance Company: Event (11 February); Improvisation III to Duets; Takehisa Kosugi, Interspersion to Locale; Yasunao Tone, Geography and Music to Roadrunners (12 February).

17 February 1984. New York. Composed Perpetual Tango.

23 February 1984. New York, Plaza Hotel, “Arts Salute” Dinner Dance to benefit Merce Cunningham Dance Company. Honorary Dinner Chairman (cocktails, Terrace Room; dance performance Grand Ballroom; dinner and dancing following performance).

March 1984. New York. Composed Ryoanji (part for contrabass, orchestral obbligato); wrote Theme and Variations (text).

4 March 1984. Interviewed by Roni Feinstein (Feinstein 1986).

6-18 March 1984. New York, City Center (131 West 55th Street). Performed with Martin Kalve, David Tudor and Merce Cunningham Dance Company: Larry Austin, Beachcombers to Coast Zone; David Behrman, Interspecies Smalltalk to Pictures; Yasunao Tone, Geography and Music to Roadrunners (6 and 7 March); Maryanne Amacher, Remainder to Torse; Improvisation III to Duets; Inlets to Inlets 2; Takehisa Kosugi, Cycles to Gallopade (8 March); Maryanne Amacher, Remainder to Torse; David Tudor, Sextet for Seven to Quartet; Takehisa Kosugi, Interspersion to Locale (9 March); Instances of Silence to Trails; David Behrman, Interspecies Smalltalk to Pictures; Yasunao Tone, Geography and Music to Roadrunners (10 March, matinee); Instances of Silence to Trails; David Behrman, Interspecies Smalltalk to Pictures; David Tudor, Phonemes to Channels/Inserts (10 March); Maryanne Amacher, Remainder to Torse; Improvisation III to Duets; Inlets to Inlets 2; Takehisa Kosugi, Cycles to Gallopade (11 March, matinee); Maryanne Amacher, Remainder to Torse; David Tudor, Sextet for Seven to Quartet; David Tudor, Phonemes to Channels/Inserts (13 March); Maryanne Amacher, Remainder to Torse; David Behrman, Interspecies Smalltalk to Pictures; David Tudor, Phonemes to Channels/Inserts (14 March); Larry Austin, Beachcombers to Coast Zone; Inlets to Inlets 2; Yasunao Tone, Geography and Music to Roadrunners (15 March); Larry Austin, Beachcombers to Coast Zone; David Tudor, Sextet for Seven to Quartet; David Tudor, Phonemes to Channels/Inserts (16 March); Instances of Silence to Trails; David Tudor, Sextet for Seven to Quartet; David Tudor, Phonemes to Channels/Inserts (17 March, matinee); Inlets to Inlets 2; David Behrman, Interspecies Smalltalk to Pictures; David Tudor, Phonemes to Channels/Inserts (17 March); Larry Austin, Beachcombers to Coast Zone; David Behrman, Interspecies Smalltalk to Pictures; Yasunao Tone, Geography and Music to Roadrunners (18 March, matinee) (Kisselgoff 1984).

7 March 1984. New York, Whitney Museum of American Art, Composers’ Showcase. Performed Muoyce (Rothstein 1984; Vermeersch 1984).

13 March 1984. New York, Cooper Union, Great Hall: Isabelle Ganz and Bowery Ensemble (Barbara Held, flute; Leonard Krech, trombone [sic]; Michael Pugliese, percussion) performed Ryoanji; Cage possibly in attendance.

March or April 1984. New York. Interviewed by Lotte Möller (Möller, L. 1984).

April 1984. Composed Music for _ (Flute, Clarinet in B flat, Trombone, Percussion I, II, III, Piano I, Violin I, and Violoncello) and Musicircus for Children.

April-May 1984. New York and Turin. Wrote Mirage verbal.

May 1984. Cologne, Westdeutscher Rundfunk: realized HMCIEX.

3 May 1984 (evening; perhaps 4 May 1984). Madrid, La Caixa (Paseo de la Castellana, 51), Marcel Duchamp retrospective (May-June), organized by Fundación Caja de Pensiones. With Craig Adcock, María de Corrals, Gloria Moure, Siegfried Gohr, and Teeny Duchamp participated in round table discussion on Marcel Duchamp, read from his texts on Duchamp, question period; interviewed by Juan Carlos de Laiglesia; traveled to Turin via Milan (Cage/De Laiglesia 1984).

5-20 May 1984. Turin and Ivrea. Variously announced as “John Cage a Torino e Ivrea” or “John Cage in Piemonte,” presented by Regione Piemonte, Assessorato alla Cultura; Cabaret Voltaire/Progetto Toreat; Provincia di Torino, Assessorato alla Cultura, in collaboration with Città di Torino, Assessorato per la Cultura, Assessorato all’Instruzione, and Assessorato per lo Sport, Turismo e Problemi della Gioventù; Comune di Ivrea, Assessorato alla Cultura. Attended; press conference (5 May, morning); performed Muoyce (5 May, evening, Turin, Teatro Alfieri [Piazza Solferino, 4]); encounter with Cage (7 May, morning, Turin, Università degli Studi di Torino, Facoltà di Lettere e Magistero, Aula Magna [Via San Ottavio, 20]); Giancarlo Cardini performed Sonatas and Interludes, Winter Music, and Solo for Piano from Concert for Piano and Orchestra (8 May, evening, Ivrea, Teatro Civico Giuseppe Giacosa [Piazza del Teatro]; 17 May repeated in Turin, Auditorio); introduced by Gigliola Nocera, performed Mushroom Book [text] (9 May, evening, Turin, Teatro Infernotti, Unione Culturale Franco Anonicelli [via Cesare Battisti, 4b]); encounter with composition students (10 May, late afternoon, Turin, Conservatorio Giuseppe Verdi [Piazza Bodoni]); Janos Négyesy performed Freeman Etudes [I-XVI] (11 May, evening, Ivrea, Teatro Civico Giuseppe Giacosa); Janos Négyesy performed Freeman Etudes [I-XVI] (13 May, evening, Turin, Conservatorio Giuseppe Verdi); encounter with Cage, “Teatro, musica, spazio” (14 May, morning, Turin, Universtà di Torino, Facoltà Magistero, Aula Magna) [originally announced as “Techniche del Suono,” and as taking place in Politecnico di Torino, Facoltà di Architettura, Aula Magna]; Percussion Group Cincinnati (Allen Otte, James Culley, William Youhass) performed Amores, Branches, Credo in Us, Imaginary Landscape No. 2 in shared program with music by Herbert Brün and Frederic Rzewski (15 May) and Michael Udow and Michael Kowalski (16 May) (15 May, evening, Turin, Discoteca Big [Corso Brescia, 28]; 16 May, evening, Ivrea, Teatro Civico Giuseppe Giacosa); during his stay, assisted in Sergio Liberovici, Opera dei bambini (17 May, morning, Turin, Teatro Infernotti, Unione Culturale); press conference (19 May, Turin, Università di Torino, Facoltà Magistero, Aula Magna); supervised first performance of Musicircus for Children with eight hundred children from schools in Torino, Ivrea, and Montalto Dora (19 May, morning, Turin, Le Cupole [Via Artom, 111]); introduced by Gigliola Nocera, performed Mushrooms et Variationes (20 May, evening, Ivrea, Centro Congressi La Serra [Corso Botta, 30]); exhibition, “Photographs Cage,” by Roberto Masotti (opening 14 May, early evening, Turin, Galleria la Parisina [Corso Moncalieri 47]; through 2 June); interviewed by Giorgio Gervasoni, P.Gal. (La Stampa), Mario Pasi and Maurizio Spatola (possibly during press conferences); filmed by Luciano Martinengo (B.F. 1984; Bonomo 1993, 9; Brizio 1984; Cage/Sumner, Burch and Sumner 1986, 18; Cella 1984; E.B. 1984; Gerus 1984; Gervasoni 1984a; Gervasoni 1984b; Gervasoni 1984c; Giolito 1984a; Giolito 1984b; L.V. 1984; Lorrai 1984; M.Sp. 1984; Mila 1984; Négyesy/Hajdu 2007; Nocera 1983/1987-1988, 369n35, 369n46; P.Gal. 1984a; P.Gal. 1984b; P.Gal. 1984c; P.Gal. 1984d; Papini 1984; Pasi 1984; Piemonte Cultura 1984; Pulcini 1984a; Pulcini 1984b; Pulcini 1984c; Pulcini 1984d; R.G. 1984a; R.G. 1984b; Repubblica 1984; Restagno 1984a; Restagno 1984b; Restagno 1984c; Schiavazzi 1984; Spatola 1984; Stampa 1984a; Stampa 1984b; Unità 1984a; Unità 1984b; Unità 1984c).

18 May 1984. Seattle, Washington, Seattle Art Museum (Volunteer Park). New Performance Group performed Quartet, Inlets, and Ryoanji, in conjunction with exhibition, “Morris Graves: Vision of the Inner Eye” (through 8 July).

21-26 May 1984. New York, Westbeth (55 Bethune Street), Merce Cunningham Studio. Merce Cunningham Dance Company performed: Event (21 May); Event (22 May); Event (23 May); Event (24 May); Event (25 May); Event (26 May); Cage presumably did not participate.

30-31 May 1984. Copenhagen, Østre Gasværk Teater (Nyborggade 17). Performed with Martin Kalve, Takehisa Kosugi, David Tudor, and Merce Cunningham Dance Company: Event (30 May); Event (31 May); interviewed by Karl Aage Rasmussen (28 May) (Cage/Rasmussen 1985).

4-8 June 1984. Lyon, Théâtre du 8e (8 Avenue Jean Mermoz). Merce Cunningham Dance Company performed: Event d’inauguration (4 June, Place Charles de Gaulle); Larry Austin, Beachcombers to Coast Zone; David Behrman, Interspecies Smalltalk to Pictures; David Tudor, Phonemes to Channels/Inserts (5-6 June); Improvisation III to Duets; David Tudor, Sextet for Seven to Quartet; Inlets to Inlets 2; Takehisa Kosugi, Cycles to Gallopade (7-8 June); Cage’s participation uncertain.

6 June-9 September 1984. Lincoln, Massachusetts, DeCordova and Dana Museum and Park, exhibition, Henry David Thoreau As a Source for Artistic Inspiration; Francine A. Koslow, curator. Cage represented with Déreau, Drawings by Thoreau, Renga (reproduction from score), Score without Parts (40 Drawings by Thoreau): Twelve Haiku, Seventeen Drawings by Thoreau (Koslow 1984).

Prior to 9 June 1984. Interviewed by David Shapiro; Cynthia McCabe and Lindsay Stamm Shapiro participated (Cage/Shapiro 1985).

12-17 June 1984. Paris, Théâtre de la Ville (2 Place du Châtelet). Merce Cunningham Dance Company performed: Larry Austin, Beachcombers to Coast Zone; David Behrman, Interspecies Smalltalk to Pictures; David Tudor, Phonemes to Channels/Inserts (12-13 June); Improvisation III to Duets; David Tudor, Sextet for Seven to Quartet; Inlets to Inlets 2; Takehisa Kosugi, Cycles to Gallopade (14-15 June); Martin Kalve, All Happy Workers Babies & Dogs to 10’s with Shoes; David Behrman, Interspecies Smalltalk to Pictures; David Tudor, Phonemes to Channels/Inserts (16 June); Improvisation III to Duets; David Tudor, Sextet for Seven to Quartet; Martin Kalve, All Happy Workers Babies & Dogs to 10’s with Shoes; Yasunao Tone, Geography and Music to Roadrunners (17 June); Cage’s participation uncertain.

28-30 June 1984. Durham, North Carolina, Duke University, American Dance Festival. Merce Cunningham Dance Company performed: Inlets to Inlets 2; Takehisa Kosugi, Spacings to Doubles; David Behrman, Interspecies Smalltalk to Pictures (28-29 June); Takehisa Kosugi, Spacings to Doubles; David Tudor, Sextet for Seven to Quartet; Yasunao Tone, Geography and Music to Roadrunners (30 June); Cage’s participation uncertain.

29 June 1984. San Francisco, California, St. Mary’s Cathedral, American Guild of Organists National Convention (25 June-?, 1984). John Rose gave first [official] performance of Souvenir [it was performed unofficially previously] (American Organist 1984; Belt 1984; Gustafson 1984).

July 1984. New York. Composed Haikai (Flute and Zoomoozophone) and Nowth upon Nacht.

2-3 July 1984. Pasadena, California, Pasadena Civic Auditorium (300 East Green Street), Olympic Arts Festival (1 June-12 August 1984, Los Angeles). Presumably performed with Merce Cunningham Dance Company: David Tudor, Phonemes to Channels/Inserts; Improvisation III to Duets; David Behrman, Interspecies Smalltalk to Pictures (2 July); Takehisa Kosugi, Interspersion to Locale; David Tudor, Sextet for Seven to Quartet; Yasunao Tone, Geography and Music to Roadrunners (3 July).

6 July 1984. Hartford, Connecticut, University of Hartford, Lincoln Theater (evening), New Music America ’84 (1-7 July), produced by Real Art Ways (Joseph Celli and Mary Luft). Frances-Marie Uitti and Michael Pugliese performed Etudes Boreales (first performance of the duo version was announced, but apparently violoncello solo version was performed); included excerpts from the 1981 Neuberger Museum exhibition “Soundings” and exhibition “Scribing Sound: An Exhibition of Music Notation (1952-1984),” including manuscripts of Aria, Cartridge Music, Concert for Piano and Orchestra, Etcetera, Score (40 Drawings by Thoreau) and 23 Parts, and Sixty-two Mesostics re Merce Cunningham (Gronemeyer 1984b; Rockwell 1984; Wentz 1984).

10 July 1984. Cologne, Westdeutscher Rundfunk. First broadcast of HMCIEX with Cage (English) and Wiltrud Fischer (German), produced by WDR and ICA, Los Angeles; also broadcast from Los Angeles (KUSC) around this date.

12 July 1984 (evening). Lincoln, Massachusetts, DeCordova Museum Amphitheater, Paul J. Cronin Memorial Lecture Series, A Thoreau Birthday Celebration. Performed Empty Words, Part IV with Maryanne Amacher, Close Up; slides projected by Eric Shambroom.

14 July 1984. Supervised recording of Etudes Boreales performed by Frances-Marie Uitti, violoncello (Mode 1-2).

17 July 1984. Brooklyn, New York, Artmusic, 248 Sackett Street, Artmusic Benefit Concert & Art Auction. Performed.

27 July 1984. Darmstadt, Orangerie, 32. Internationale Ferienkurse für Neue Musik (15 July-1 August): Kronos Quartet: David Harrington, John Sherba, violins; Hank Dutt, viola; Joan Jeanrenaud, violoncello, gave first performance of Thirty Pieces for String Quartet; Cage not in attendance (Dominick 1985; Emmerik, P. van 1984a; Fox, C. 1985; Halbreich 1984; Löhlein 1984; Mazanec 1984; Oehlschlägel 1984a; Oehlschlägel 1984b; Oswald 1984a; Oswald 1984b; Oswald 1984c).

7-11 August 1984. Becket, Massachusetts, Jacob’s Pillow (358 George Carter Road), Ted Shawn Theatre, Festival ’84. Merce Cunningham Dance Company performed: Inlets to Inlets 2; Takehisa Kosugi, Spacings to Doubles; David Behrman, Interspecies Smalltalk to Pictures (7-8 August); Inlets to Inlets 2; David Tudor, Sextet for Seven to Quartet; David Behrman, Interspecies Smalltalk to Pictures (9-10 August); Inlets to Inlets 2; Takehisa Kosugi, Spacings to Doubles; David Behrman, Interspecies Smalltalk to Pictures (11 August, matinee); Inlets to Inlets 2; David Tudor, Sextet for Seven to Quartet; David Behrman, Interspecies Smalltalk to Pictures (11 August); Cage’s participation uncertain.

15 August 1984. New Milford, Connecticut, Canterbury School (101 Aspetuck Avenue), Chapel of Our Lady, American Music for Chamber Ensemble (13-18 August), organized by the Charles Ives Center for American Music, Roxbury, Connecticut, Richard Moryl, Joanne Moryl, Co-Directors (Cage was member of the Advisory Board). Resident Artist and Guest Composer of the Pittsburgh New Music Ensemble; introduced first performance of Music for _ (presented as Music for Six) performed by the Pittsburgh New Music Ensemble (David Stock, director): David Tessmer (flute), James Wilson (clarinet), Jan Fung (percussion), Beverly Nero (piano), Ray Eichenmuller (violin), Martin Bernstein (violoncello) in program with music by Ellen Zwillich, Edgard Varèse, and David Stock.

17 August 1984. Letter from BL Lacerta, a new music (non-jazz) improvisation quartet based in Dallas, Texas, eventually leading to Improvisation A + B.

26 August 1984 (afternoon). New York, Anspacher Theater at Joseph Papp Public Theater (425 Lafayette Street), Joseph Papp’s New Jazz at the Public, New Music Distribution Service 12th Anniversary Benefit Concert. In program shared with John Zorn and John Giorno, read Mirage verbal (Pareles 1984).

2 September 1984. Edinburgh, Fruitmarket Gallery, Edinburgh Festival. Attended vernissage of exhibition of his graphic work; arranged ‘musicircus’ performance of Whistlebinkies (Mark Hayward, Rab Wallace, Mick Broderick, Stuart Eydman, Eddie McGuire, Judith Peacock) which was to become Scottish Circus; conversation with Eddie McGuire and Stephen Arnold (Cage/McGuire and Arnold 1985; Fowler, J. 1984; Griffith 1985).

4 September 1984. Cologne, Römerkeller. Recorded Empty Words Part IV for Edition Michael Frauenlob Bauer.

September 1984. Berlin: visited (Cage/Charles 1976/1984, inside front cover).

8-9 September 1984. Berlin, Freie Volksbühne (Ruhrstraße 6). Performed with David Behrman, Takehisa Kosugi, David Tudor and Merce Cunningham Dance Company: Improvisation III to Duets; David Behrman, Interspecies Smalltalk to Pictures; David Tudor, Phonemes to Channels/Inserts (8 September); Inlets to Inlets 2; David Tudor, Sextet for Seven to Quartet; David Tudor, Phonemes to Channels/Inserts (9 September, matinee); Takehisa Kosugi, Spacings to Doubles; David Behrman, Interspecies Smalltalk to Pictures; Yasunao Tone, Geography and Music to Roadrunners (9 September).

14 September 1984. Supervised Etudes Boreales performed by Michael Pugliese (piano) (Mode 1-2).

14 September 1984. San Francisco, California, San Francisco Performing Arts Center, Herbst Theatre, Herbst Theatre. Kronos Quartet performed Thirty Pieces for String Quartet; Cage’s attendance uncertain.

21-30 September 1984. New York, Joyce Theater (175 Eighth Avenue). Presumably performed with Merce Cunningham Dance Company: Event (21 September); Event (22 September); Event (23 September); Event (25 September); Event (26 September); Event (27 September); Event (28 September); Event (29 September); Event (30 September) (Anderson, Jack 1984; Vaughan 1997, 225).

22 September 1984. New York, Cathedral of Saint John the Divine, The Grand Harp Event. Postcard from Heaven performed in concert with music by Wendy Chambers and Charlie Morrow (New Yorker 1984).

29 September 1984. New York, Symphony Space. Performed at The Kutztown Connection, to benefit the New Arts Program of Kutztown, Pennsylvania (afternoon).

October 1984. New York. Composed A Collection of Rocks.

October 1984. Wrote Writing through a text by Chris Mann (text).

October 1984. New York. Interviewed by Ryuichi Sakamoto [for film].

October 1984. New York. Interviewed by Melody Sumner, Kathleen Burch and Michael Sumner (Cage/Sumner, Burch, and Sumner 1986).

1 October 1984 (afternoon). New York, Manhattan School of Music, Hubbard Auditorium, presented by Group for Contemporary Music. Spoke about his work.

2 October 1984 (evening). New York, 92nd Street Y (1395 Lexington Avenue), Group for Contemporary Music: New Jersey Percussion Quartet, Raymond DesRoches, director, performed Third Construction; presumably Cage was in attendance.

10 October 1984. Providence, Rhode Island, Rhode Island School of Design. Read Mushrooms et variationes (Cage/Birkelund and Sichel 1984).

13 October 1984. New York. Interviewed via telephone by Olivia Birkelund and Axel Sichel (Cage/Birkelund and Sichel 1984).

13 October 1984. New York, Saint Mark’s Church (131 East 10th Street), A Decade of Dance, presented by the Danspace Project. Performed Dialogue with Merce Cunningham (announced as Dialog: An Improvisation) (Tobias 1984).

24 October 1984. New York, Carnegie Hall. Attended performance of Thirty Pieces for String Quartet by the Kronos Quartet in concert with music by Peter Sculthorpe, Terry Riley, and Béla Bartók (Holland 1984).

1 November 1984. Sacramento, California, California State University, Festival of New American Music. Unknown performers performed Sonata for Two Voices, possibly first performance.

1-4 November 1984. Ann Arbor, Michigan, University of Michigan, Percussive Arts Society International Convention [PASIC] 1984, hosted by Michael Udow. Attended; addressed convention as PAS Hall of Fame Member at Official PAS Banquet; Percussion Group/Cincinnati with the University of Michigan Symphony Band performed Renga with Music for Three in concert with music by Paul Creston and John Wyre (1 November, evening) (François 1987-1988).

Prior to or during November 1984. Wrote Eight Whiskus (text).

November 1984. New York. Wrote Agenku2, Mirakus2 (text), and Selkus2 (text).

November-21 November 1984. New York. Composed Eight Whiskus (voice).

November-26 December 1984. New York. Composed Selkus2 (music).

November-29 December 1984. New York. Composed Mirakus2 (music).

29-30 November 1984. Toronto, Ontario, University of Toronto, Convocation Hall, New Music Concerts, Orchestral Challenges in the Light. Attended rehearsals (29-30 November) and performance (30 November) of Dance/4 Orchestras by the Professional Training Program of the Royal Conservatory of Music, Robin Engleman, Robert Aitken, Paul Zukofsky, Russell Hartenberger conducting, in program with music by Gilles Tremblay, Roger Reynolds and Wallingford Riegger; various interviews (Canadian Broadcasting Corporation, 29 November and City-TV, 30 November); participated in Composers in Conversation series with Roger Reynolds, Music at Hart House, Music Room (29 November, evening) (Kraglund 1984; Littler 1984).

Late November or early December 1984. Toronto, Ontario. Interviewed by Anne Gibson for Canadian Broadcasting Corporation (Cage/Gibson 1989).

Prior to December 1984. Interviewed by Bill Shoemaker (Cage/Shoemaker 1984).

7-9 December 1984. Angers, Théâtre Municipal d’Angers (Place du Ralliement). Performed with Merce Cunningham Dance Company: Takehisa Kosugi, Spacings to Doubles; David Tudor, Fragments to Phrases; David Behrman, Interspecies Smalltalk to Pictures (7 December); Improvisation III to Duets; David Tudor, Fragments to Phrases; David Behrman, Interspecies Smalltalk to Pictures (8 December); Inlets to Inlets 2; Takehisa Kosugi, Spacings to Doubles; David Behrman, Interspecies Smalltalk to Pictures (9 December); attended exhibition of his visual art; interviewed by Irmeline Lebeer (7 December) (Cage/Lebeer 1995; Schöning 1985).

13 December 1984. Supervised recording of Ryoanji (Mode 1-2).

December 1984. New York. Revised Exercise.

1984-March 1985. Wrote The First Meeting of the Satie Society.

1985. Composed Music for _ (Voice).

1985. Irvine, California, University of California at Irvine. Invited by the West Coast Branch of the American Academy of Arts and Letters, presented Inter-View.

January 1985. New York. Composed ASLSP.

January-February 1985. New York. Wrote Writings through the Essay: On the Duty of Civil Disobedience [text].

January-March 1985. New York. Wrote Variations with Interludes and Variations [text].

2-15 January 1985. Oakland, California, Crown Point Press. Made Fire, Mesostics: Earth, Air, Fire, Water, Ryoku.

13 January 1985. San Francisco, California, Museum of Modern Art. Performed Mushrooms et Variationes.

25 January 1985. New York, Alice Tully Hall, Focus! A World in Transition: The New Music, 1945-1955, organized by the Juilliard School (18-25 January). Participated in pre-concert roundtable with Milton Babbitt, David Diamond, Morton Feldman, Vivian Fine, Vincent Persichetti and William Schuman; Joel Sachs, moderator; Juilliard Orchestra Contemporary Music Ensemble; Paul Zukofsky, conductor; David Korevaar, piano, performed Concerto for Prepared Piano and Chamber Orchestra; concert also featuring works by Luigi Nono, Incontri, and William Schuman, Night Journey (Hughes, A. 1985).

February 1985. New York. Wrote and composed Sonnekus² [text, songs].

3 February 1985. Purchase, New York, State University of New York, SUNY-College, Performing Arts Center: Philharmonia Virtuosi; Richard Kapp, conductor; Robert Aitken, bamboo flute, performed Ryoanji; concert also featuring works by Haydn, Prokofiev, and Rameau.

6 February 1985. New York, Town Hall. Philharmonia Virtuosi; Richard Kapp, conductor; Robert Aitken, bamboo flute, performed Ryoanji; concert also featuring works by Haydn, Prokofiev, and Rameau; presumably Cage was in attendance.

7 February 1985. New York, Carnegie Hall. Performed at Meredith Monk’s 20th Anniversary Retrospective Party following her Carnegie Hall debut.

12 February 1985. Interviewed by Deborah Campana (Campana 1985, 149n9).

20-23 February 1985. Urbana, Illinois, University of Illinois at Urbana-Champaign. Four-day residency; performed with Merce Cunningham Dance Company; Composer Forum with John Cage (20 February, afternoon, Music Building Auditorium, 1444 West Nevada); performed with Cunningham: Dialogue; University of Illinois New Music ensemble performed music by Cage (20 February, evening, Krannert Center for the Performing Arts, Foellinger Great Hall); performed (22-23 February, Krannert Center for the Performing Arts, Colwell Playhouse); dance video showings (Eisenman 1985).

27-28 February 1985 (afternoons). New York, Merce Cunningham Studio (57 Bethune Street, Westbeth Building, 11th Floor). Open rehearsal of Merce Cunningham Dance Company; Cage’s attendance uncertain.

February-March 1985. New York. Wrote Cinekus², Mesdamkus², Musikus², and Relakus² [texts].

March 1985. New York. Composed Eight Whiskus (violin).

5-17 March 1985. New York, City Center (131 West 55th Street). Presumably performed with Merce Cunningham Dance Company: Improvisation III to Duets; David Tudor, Fragments to Phrases; David Behrman, Interspecies Smalltalk to Pictures (5 and 7 March); Instances of Silence to Trails; Takehisa Kosugi, Spacings to Doubles; David Behrman, Interspecies Smalltalk to Pictures (6 March); Instances of Silence to Trails; Takehisa Kosugi, Spacings to Doubles; Yasunao Tone, Geography and Music to Roadrunners (8 March); Inlets to Inlets 2; David Tudor, Fragments to Phrases; Yasunao Tone, Geography and Music to Roadrunners (9 March, matinee); Inlets to Inlets 2; David Tudor, Fragments to Phrases; David Behrman, Interspecies Smalltalk to Pictures (9 March); Improvisation III to Duets; David Behrman, Interspecies Smalltalk to Pictures; Takehisa Kosugi, Interspersion to Locale (10 March, matinee); Takehisa Kosugi, Spacings to Doubles; John King, Gliss in Sighs to Native Green; David Behrman, Interspecies Smalltalk to Pictures (12 March); John King, Gliss in Sighs to Native Green; Takehisa Kosugi, Spacings to Doubles; David Tudor, Fragments to Phrases (13 March); Takehisa Kosugi, Interspersion to Locale; David Tudor, Sextet for Seven to Quartet; David Behrman, Interspecies Smalltalk to Pictures (14 March); Takehisa Kosugi, Spacings to Doubles; David Tudor, Sextet for Seven to Quartet; David Behrman, Interspecies Smalltalk to Pictures (15 March); John King, Gliss in Sighs to Native Green; David Tudor, Fragments to Phrases; Yasunao Tone, Geography and Music to Roadrunners (16 March, matinee); Takehisa Kosugi, Spacings to Doubles; John King, Gliss in Sighs to Native Green; David Tudor, Fragments to Phrases (16 March); John King, Gliss in Sighs to Native Green; David Tudor, Fragments to Phrases; David Behrman, Interspecies Smalltalk to Pictures (17 March, matinee).

9-10 March 1985. New York, Theater of the Open Eye (316 East 88th Street); Newband (Stefani Starin, flute; Dean Drummond, zoomoozophone) gave first performances of Haikai (1984).

12 March-16 April 1985. New York, Margarete Roeder Gallery, exhibition, “Merce Cunningham: Choreographic Notations; John Cage, Takehisa Kosugi, David Tudor: Music Scores.” Reception (19 March).

Prior to 21 March 1985. Conceived [Untitled] installation for the Biennale de Paris.

21 March-20 May 1985. Paris, Espace Nord et entrée de la Grande Halle de la Villette (métro Porte-de-Plantin), La Biennale de Paris: untitled installation (possibly identical with Silent Environment) in empty S.N.C.F. [French railways] container with amplified sounds from outside the container. Also Postcard from Heaven performed (Declercq 1985).

26 March 1985. New York, Carnegie Recital Hall (154 West 57th Street), 10th Anniversary Season, New Music Consort. As guest speaker introduced Ryoanji, performed by New Music Consort (Rachel Rudich, flute; William Trigg, percussion) in shared program with music by Peter Maxwell Davies, Pierre Boulez, Joan Tower, Valerie Capers, and David Noon.

28 March 1985. Wayne, New Jersey, William Paterson College, Shea Center for the Performing Arts, Wayne Recital Hall, Midday Artists Series: artist-in-residence; read from his works during two concerts by the New Jersey New Music Ensemble at WPC and the New Jersey Percussion Ensemble at WPC, Raymond DesRoches, director: Amores, Sonata for Clarinet, Living Room Music, Sixteen Dances, Second Construction; Jeffrey Kresky performed 4'33" (afternoon and evening); participated in New Music Forum (late afternoon) (Avignone 1985; Groenfeldt 1985).

28 March 1985. New York [?]. Interviewed by Pratt Journal of Architecture (Cage/Anonymous 1985).

28-30 March 1985. Washington, D.C., George Washington University, Lisner Auditorium (730 21st Street NW). Merce Cunningham presented lecture and screening of Larry Austin, Beachcombers to Coast Zone (28 March); Merce Cunningham Dance Company performed Takehisa Kosugi, Spacings to Doubles; David Behrman, Interspecies Smalltalk to Pictures; Yasunao Tone, Geography and Music to Roadrunners (29 March); Takehisa Kosugi, Spacings to Doubles; David Behrman, Interspecies Smalltalk to Pictures; Yasunao Tone, Geography and Music to Roadrunners (30 March); Cage did not participate.

31 March 1985. Bonn, Rheinisches Landesmuseum, Satie-Workshop (29-31 March): gave first performance (voice) of The First Meeting of the Satie Society with Klaus Schöning (voice), Amy Leverenz (voice), Grete Wehmeyer (piano), Bonner Ensemble für Neue Musik, Toni Roeder (co-ordination), including first performance of Sonnekus², given by Amy Leverenz (afternoon); attended closing performances of the workshop (evening, Mosaiksaal) (Cage 1985c; Deckenbrock 1985a; Deckenbrock 1985b; Erdmann 1985; Hilger 1985; Kulturamt der Stadt Bonn 1985).

2 April 1985 (evening). Cologne, Sankt-Georg-Kirche (Georgsplatz 17), Raum Zeit Stille (exhibition and concerts as part of the Jahr der Romanischen Kirchen in Köln, 22 March-2 June, organized by Kölnischer Kunstverein and Kölner Gesellschaft für Neue Musik, produced by Westdeutscher Rundfunk WDR; including exhibition of drawings and scores by Cage and others). Performed Mushrooms et Variationes (Emmerik, P. van 1985a; Gronemeyer 1985b; Gronemeyer 1985c; Herzogenrath, W. 1985; Kölner Gesellschaft 1985).

2 April 1985. Europeras 1 & 2 commissioned by the Frankfurt Opera (fee 130,000.00 Deutschmark). As a first step, Cage wrote 12 Pairs of Synopses (Text).

3-6 April 1985. Berkeley, California, University of California, Berkeley, Zellerbach Hall (101 Zellerbach Hall #4800). Merce Cunningham Dance Company performed: Takehisa Kosugi, Spacings to Doubles; David Tudor, Sextet for Seven to Quartet; David Behrman, Interspecies Smalltalk to Pictures (3 April); Inlets to Inlets 2; David Tudor, Fragments to Phrases; Yasunao Tone, Geography and Music to Roadrunners (4 April); David Tudor, Fragments to Phrases; John King, Gliss in Sighs to Native Green; David Behrman, Interspecies Smalltalk to Pictures (5 April); Event (6 April); Cage’s participation uncertain.

15 April 1985. Bonn, Beethovenhalle, Studio, Tage Neuer Musik. In program shared with Gerhard Rühm, Gabriele Embe performed Postcard from Heaven with Klarenz Barlow (sound engineer).

16 April 1985. New York, Carnegie Recital Hall (154 West 57th Street), Two Modern Masters: John Cage and Donald Martino. New York New Music Ensemble (Daniel Druckman, percussion; Jean Kopperud, clarinet; and Mineko Yajima, violin) gave presumably first performance of Solo with Obbligato Accompaniment of Two Voices in Canon, and Six Short Inventions on the Subjects of the Solo; and perfomed Music for _ [Music for Six] (New York première commissioned by the ensemble) in shared program with music by Donald Martino.

16 April 1985. Chicago, Illinois, Goodman Theatre (170 North Dearborn Street). Merce Cunningham Dance Company performed: John King, Gliss in Sighs to Native Green; David Behrman, Interspecies Smalltalk to Pictures; Takehisa Kosugi, Interspersion to Locale (16, 18, and 20 April); Takehisa Kosugi, Spacings to Doubles; David Tudor, Fragments to Phrases; Yasunao Tone, Geography and Music to Roadrunners (17, 19 and 21 April); Cage did not participate.

19-21 April 1985. Zagreb, 13th Muzički Biennale (Music Biennale), International Festival of Contemporary Music. Attended; first performance of A Collection of Rocks given by the Symphony Orchestra, Wind Orchestra and Mixed Choir of the Zagreb Secondary Music Schools (19 April, Contemporary Music and Youth, Koncertna dvorana Vatroslav Lisinski, foyers); Zeitgeist: Bob Samarotto (clarinet and saxophone), Greg Theisen (keyboard), Jay Johnson (percussion), Joe Holmquist (percussion) performed Music for _, presented as Music for Four (21 April); performed from Mushrooms et Variationes, followed by a public conversation with Nikša Gligo (21 April, Chamber Hall); participated in symposium, “Compositional Syntheses of the Eighties” (22-24 April), with Keith Potter (introduction), Reinhard Oehschlägel, and Christoph von Blumröder (moderator); also participating were Ivanka Stoïanova, Ruben Radica, Nikša Gligo (22 April, Vatroslav Lisinski Concert Hall), and perhaps also on 23-24 April (Cage et al. 1986; Fuhrmann 1985; Gligo 2013; Gojowy 1985a; Gojowy 1985b; Johnson, Tom 1987-1988; Kneipel 1985).

19 April 1985. Commissioned by Les Percussions de Strasbourg (Jany van Gucht) to compose But What about the Noise of Crumpling Paper Which He Used to Do in order to Paint the Series of "Papiers froissés" or Tearing up Paper to Make "Papiers déchirés"? Arp Was Stimulated by Water (Sea, Lake, and Flowing Waters like Rivers), Forests..

25-28 April 1985. Roma, Teatro Olimpico (Piazza Gentile da Fabriano, 17), Omaggio a Merce Cunningham. Performed with Takehisa Kosugi, David Tudor and Merce Cunningham Dance Company: Event 1 (25 April); Event 2 (26 April); Event 3 (27 April, matinee); Event 4 (27 April); Event 5 (28 April, matinee) (Vaughan 1997, 228).

29-30 April 1985. Naples, Teatro San Ferdinando (Piazza Eduardo de Filippo, 20). Performed with Takehisa Kosugi, David Tudor and Merce Cunningham Dance Company: Event I (29 April); Event II (30 April).

3 May 1985. Modena, Teatro Comunale di Modena (Via del Teatro, 8). Performed with Takehisa Kosugi, David Tudor and Merce Cunningham Dance Company: New Events [sic]; received medal of the Comune di Modena (Vaughan 1997, 228).

10 May 1985. La Jolla, California, University of California, San Diego, Mandeville Auditorium. Janos Négyesy performed Freeman Etudes [I-XVI] (American première?) (Ulman 1986).

14 May 1985. New York, Symphony Space (2537 Broadway), New Works for the Contemporary Voice. Joan La Barbara gave first performance of Eight Whiskus, along with first performances of music by Rhys Chatham, Roger Reynolds, James Tenney.

14-25 May 1985 (evenings). London, Sadler’s Wells Theatre (Rosebery Avenue), American Festival. Performed with Takehisa Kosugi, David Tudor, and Merce Cunningham Dance Company: Improvisation III to Duets; David Behrman, Interspecies Smalltalk to Pictures; Takehisa Kosugi, Interspersion to Locale (14, 16, and 22 May); Inlets to Inlets 2; David Tudor, Fragments to Phrases; Yasunao Tone, Geography and Music to Roadrunners (15, 18, and 23 May); Takehisa Kosugi, Spacings to Doubles; David Tudor, Sextet for Seven to Quartet; David Behrman, Interspecies Smalltalk to Pictures (17, 21, and 24 May); Instances of Silence to Trails; John King, Gliss in Sighs to Native Green; David Tudor, Fragments to Phrases (20 and 25 May) (Crisp, C. 1985; Dougill 1985; Jordan 1985).

17 May 1985 (evening). New York, Asia Society, Auditorium (725 Park Avenue at 70th Street). Margaret Leng Tan (piano) and Andrea Goodman (voice) performed Four Walls, with new choreography by the Korean dancer Sin Cha Hong (Supree 1985).

21 May 1985. London, Bloomsbury Theatre.

23 May 1985 (afternoon). London, Institute of Contemporary Arts (The Mall), Seminar Room. In conversation with David Tudor and Dick Witts (chair) (Dickinson 2006a, 3).

Late May 1985. London, Institute of Contemporary Arts. Performed (Cage and Eno/Tannenbaum 1985, 65).

Late May 1985. London: with Brian Eno, interviewed by Rob Tannenbaum (Cage and Eno/Tannenbaum 1985).

Prior to 6 June 1985. Perhaps in London. Interviewed by Michael Norton (Cage/Norton 1985).

June 1985. London, Almeida Festival. Yvar Mikhashoff presumably gave first performance of Perpetual Tango.

July 1985. Istanbul and Montpellier. Wrote Songs for C.W. (text).

5-7 July 1985. Istanbul, Açikhava Tiyatrosu, International Istanbul Festival. Performed with Takehisa Kosugi, David Tudor, and Merce Cunningham Dance Company: Event (5 July); Event (6 July); Event (7 July).

July 1985. New York, Museum of Modern Art, Summergarden, Garden of Harps. Attended?. Postcard from Heaven performed on fifteen harps in concert with music by Charlie Morrow, Wendy Chambers, and R.I.P. Hayman (Hayman, R.I.P. 1994, 43, 46).

10-13 July 1985. Montpellier, Cour Jacques Coeur (24 Rue Bourrely), Festival International Montpellier Danse. Performed with Merce Cunningham Dance Company: Montpellier Event I (10 July); Montpellier Event II (11 July); Montpellier Event III (12 July); Montpellier Event IV (13 July).

14-18 July 1985. College Park, Maryland, University of Maryland, Tawes Theatre, University of Maryland International Piano Festival and Competition, 15th Anniversary (11-20 July), sponsored by the Maryland Summer Institute for the Creative and Performing Arts. Participants of the semi-final round gave first performances of ASLSP; Cage’s attendance uncertain.

16-19 July 1985. Avignon, Cour d’Honneur du Palais des Papes, XXXIXe Festival d’Avignon. Performed with Merce Cunningham Dance Company: Inlets to Inlets 2; Roaratorio, an Irish Circus on Finnegans Wake to Roaratorio (16-19 July, daily) (Harris, D. 1985).

22-27 July 1985. Barcelona, Teatre Grec de Montjuïc. Performed with Merce Cunningham Dance Company: Event (22 July); Event (23 July); Event (24 July); Event (25 July); Event (26 July); Event (27 July); made drawing for cover of Ártics.

25 July 1985. Barcelona. Wrote [Untitled], mesostic on ‘Artics’ [text].

Prior to August 1985. Interviewed by Jay Murphy (Cage/Murphy 1985).

August 1985. New York. Composed But What about the Noise of Crumpling Paper Which He Used to Do in order to Paint the Series of "Papiers froissés" or Tearing up Paper to Make "Papiers déchirés"? Arp Was Stimulated by Water (Sea, Lake, and Flowing Waters like Rivers), Forests. and Ryoanji (part for trombone); wrote Sculpture musicale.

24 August 1985. Oneonta, New York, Catskill Conservatory, West Kortright Centre. Attended and introduced performances of Solo with Obbligato Accompaniment of Two Voices in Canon, and Six Short Inventions on the Subjects of the Solo by Carleton Clay, trumpet, Robin Seletsky and Timothy Perry, clarinets; Aria by Meredith Monk; Litany for the Whale by Mary-Anne Ross and Janet England (Crutchfield 1985; Nilsson 1985).

17 September 1985. New York, De Menil town house. Attended Trisha Brown’s benefit gala (Tedeschi 1985).

24 September 1985. Cologne. Wrote [Untitled] (Text) (Cage 1989o).

27 September-1 October 1985. Cologne, 1. Acustica International, Komponisten als Hörspielmacher, organized by Klaus Schöning. Participated; performed Muoyce (28 September, 8 pm; Westdeutscher Rundfunk Köln, Funkhaus Köln [Wallrafplatz], Großer Sendesaal); participated in forum meeting, where he performed h² WDR (29 September, 3-5 pm, Westdeutscher Rundfunk, Kleiner Sendesaal); performed Roaratorio, an Irish Circus on Finnegans Wake with Peadher Mercier (percussion), Mell Mercier (percussion) and John David Fullemann (engineer) (30 September, Staatliche Hochschule für Musik, Aula) (Bühring 1985; Eggelsberg 1985; Emmerik, P. van 1985b; Funk-Korrespondenz 1985; Groenewald 1985; Gronemeyer 1985a; Hubert 1985a; Hubert 1985b; Huesmann 1985; Lüdenbach 1985; N.Sf. 1985; Rost 1985; Schmid 1985; Schöning 1986; Skoruppa 1985; Thieves 1985; Vormweg 1985; Wesemann 1985).

29 September 1985. Venice, La Biennale di Venezia, XLII Festival Internazionale di Musica Contemporanea (12 September-1 October), Teatro La Fenice. John Tilbury (piano) and Complesso Carmen, Luca Pfaff conducting, performed Concert for Piano and Orchestra in concert with music by Philippe Manoury.

October 1985. New York. Wrote [untitled] program notes on Atlas Eclipticalis with Winter Music.

5-10 October 1985. São Paulo, Brazil, 18a Bienal de São Paulo, attended (5-6 October); performed Muoyce (8 October); Jocy de Oliveira performed ASLSP (first official performance) and Music for Marcel Duchamp; Carol MacDavit (soprano) and Vera Terra (piano) performed The Wonderful Widow of Eighteen Springs; Henrique César, Vera Terra, Tato Taborda, Tim Rescala, Heitor Alimonda, and Jocy de Oliveira performed Winter Music; question period (10 October, early evening, Sala Cecília Meireles-Funarj, presented by Rádio Cidade FM); interviewed by Vera Terra (Anderson, Va. 2017; Cage/Terra 1985; Campos 1985b; Campos 1985c; Emert 1986).

9-13 October 1985. Madrid, Teatro Espanol (Plaza Santa Ana, Calle del Príncipe, 25). Merce Cunningham Dance Company performed: Takehisa Kosugi, Spacings to Doubles; David Tudor, Sextet for Seven to Quartet; David Behrman, Interspecies Smalltalk to Pictures (9, 10, 11, 12, and 13 October); Cage did not participate.

24 October 1985. Minneapolis, Minnesota, Walker Art Center (725 Vineland Place), Auditorium. With Zeitgeist: Bob Samarotto (clarinet and saxophone), Greg Theisen (keyboard), Jay Johnson (percussion), Joe Holmquist (percussion) performed Music for Five as vocalist twice; interviewed by Steven A. Kvaal; The Perilous Night presumably also performed (Cage/Kvaal 1985).

November 1985. Interviewed by Anne Gibson for Canadian Broadcasting Corporation (Cage/Gibson 1989).

4 November 1985. New York, Carnegie Recital Hall: with Charles Wuorinen and Elliott Carter, guest composer at concert of New Music Consort; Music for Five performed (Cage 1985k; Porter, A. 1985).

8 November 1985. Berlin, Sender Freies Berlin, Haus des Rundfunks, Kleiner Sendesaal. János Negyesy performed Freeman Etudes [I-XVI].

13 November-1 December 1985. New York, Henry Street Settlement, Harry De Jur Playhouse: with others provided backdrops for a production of Aaron Copland’s opera The Second Hurricane (libretto Edwin Denby).

16 November 1985 or earlier. New York. Interviewed by Jon Healey (Healey 1985).

19-20 November 1985. Winston-Salem, North Carolina, University of North Carolina, North Carolina School of the Arts: attended; discussions and informal performances with students, performed ‘CBC interview with Anne Gibson’ with Elizabeth Nunn (19 November, afternoon, School of Music, Gray Building, Recital Hall); attended Fall Dance Concert (19 November, Agnes deMille Theatre); discussion with visual arts students (20 November, Visual Arts area); discussion-interview-performance in Performance Hour (20 November, Crawford Hall); with design and production crew rehearsed and performed ‘Inter-View’ (first part consisted of a re-enactment of a 1983 interview by two students [Sean Bronzell and Ann Suchonski] at Knox College as though they were interviewing him live, followed by a complete playback of the earlier interview; middle part of the playback of a tape recording of h2 WDR; third and final part of a recent taped interview by Cage with Bronzell and Suchonski) (20 November, evening, Stevens Center, Joan Hanes Theatre) (Boul 1985; Healey 1985; Trotter 1985a; Trotter 1985b).

21 November 1985 (morning). Traveled to Los Angeles, California.

25 November 1985. New York, Joyce Theater (175 Eighth Avenue), A Tribute to Julian Beck. Contributed.

25 November 1985. New York, Limo Theater, Artmusic Benefit. East Coast Brass Quartet (Steve Gluzband, Will Olenik, Peter Gilford, Howard Levy) performed ‘premiere composition’ by Cage.

30 November-6 December 1985. New York, Joyce Theater (175 Eighth Avenue). Merce Cunningham Dance Company performed: Event #1 (30 November); Event #2 (1 December); Event #3 (2 December); Event #4 (3 December); Event #5 (4 December); Event #6 (5 December); Event #7 (6 December); presumably Cage did not participate.

December 1985. New York. Composed Etcetera 2/4 Orchestras. Wrote They Come (Text). Completed mesostics for Sports (the work remains unfinished).

1-2 December 1985. Washington, D.C., Embassy of France, Maison Française, District Curators’ Cross Currents Festival, The Vocal Music of John Cage: attended. lectured and performed A Brief Meeting of the Satie Society with Marilyn Boyd DeReggi (singing Sonnekus²) and the DeReggi InterArt Ensemble, preceded by a lecture, ‘Reflections on John Cage’, by Jillian Anderson, and followed by a discussion; performances various vocal compositions; interviewed by Lisa Serene Gelb previously (Gelb 1985).

6-8 December 1985. New York, Hunter College Playhouse (695 Park Avenue at 68th Street), Jean Erdman Retrospective 1942-1985, presented by Theater of the Open Eye (Anderson, Jack 1985).

15 December 1985 (early evening). Toronto, Ontario, New Music Concerts, Premiere Dance Theatre (Harbourfront), Re-Tuning. Guest composer. Presented Inter-View; Postcard from Heaven (with six harps) performed in shared program with music by James Tenney and Ben Johnston.

18 December 1985. New York, New York Studio School, An Evening With John Cage and Morton Feldman: Bowery Ensemble (Barbara Held, flute; Leonard Krech, trombone; Michael Pugliese, percussion; Nils Vigeland, piano) performed Music for Four and Morton Feldman, Why Patterns?; presumably Cage was in attendance.

22 December 1985 or earlier. Participated in Alvin Curran, Maritime Rites (broadcast 22 December).

22 December 1985. New York. Interviewed by Thomas Darian Moore (Moore, T. D. 1987, 4).

Prior to or during 1986. New York. Interviewed by Richard Kostelanetz (Cage/Kostelanetz 1986).

1986. New York, 545 Broadway. Margarete Roeder (1939-2023) opens her Margarete Roeder Gallery, representing Cage’s art.

1986. Tokyo, Watari Gallery. Exhibition.

1986. New York, Blum Helman Gallery. Exhibition.

1986. Worked at Crown Point Press. Made Eninka.

1986. New York. Interviewed by Peter R. Meyer for Swedish Radio (Cage/Meyer, P.R. 1992).

1986. Brooklyn, New York, City University of New York, Conservatory of Music, Brooklyn College, Center for Computer Music: as guest composer, [invited by Charles Dodge], completed realization of Essay, begun in 19??, with the assistance of Victor Friedberg, Frances White and Kenneth Worthy.

31 January 1986. Paris, Théâtre National de l’Opéra. In double bill with Rudolf Noureev, Merce Cunningham and Chris Komar presented revised version of Un jour ou deux (with Marius Constant, Philippe Nahon, and François Boulanger conducting Etcetera); repeats 2-12 March presumably (Hilger 1986; Michel 1986; Pesson 1986).

2 February 1986 (from 5 pm to 11 pm). Blanc-Mesnil, Centre Musical et Chorégraphique Erik Satie, Ecole Nationale de Musique du Blanc-Mesnil, Fernand Vandenbogaerde, director, Musique au Blanc-Mesnil, Concert Non-Stop John Cage, initiative Martine Joste and Philippe Piguet. Pupils of the Ecole Nationale and the Ensemble Instrumental du Centre Erik Satie; Quatuor de Percussions; Marie-Laure Weill-Reynal, voice, performed music by Cage; Cage in attendance; interviewed by S. Spekter and Sylvie (Deloche 1986; Pesson 1986; Renaissance 1986; Spekter 1986; Sylvie 1986).

Between 8-15 February 1986. Frankfurt am Main. Visited to prepare Europeras 1 & 2.

20-22 February 1986 (evenings; 22 February matinee as well); dress rehearsals 17-18 February (evenings). New York, Columbia University, Barnard College, Minor Latham Playhouse (119th Street and Broadway), Opera Uptown, presented by the Muse of Eloquence and the Barnard College Theatre Program, also part of Cage’s Gildersleeve lectureship at Barnard College. Participated (as ‘spoken orchestra’) in The Bus to Stockport and Other Stories: An Operatic Event with John Cage (based on stories from Indeterminacy: New Aspect of Form in Instrumental and Electronic Music), with Michelle Bobko (soprano), Donald Andrew Howell (baritone), Karen Krueger (mezzo soprano), Joel Mitchell (baritone); Risa Evans, contralto, and Ann Sera, soprano (chorus); Eric Valinsky, prepared piano and toy piano; Michael Taddei, contrabass; Don Yallech, percussion; Robert Stanley, clarinet; Chisa Hidaka, June Omura (dancers); directed by Rhonda Rubinson, music by Eric Valinsky, Peter Schubert, Richard Einhorn, and Johann Sebastian Bach, choreography by Pat Cremins (Omura 1986; Page, T. 1986b).

20 February 1986. Jacksonville, Florida, Florida Theatre (128 East Forsyth Street). Merce Cunningham Dance Company performed: Takehisa Kosugi, Spacings to Doubles; John King, Gliss in Sighs to Native Green; David Behrman, Interspecies Smalltalk to Pictures; Cage did not participate.

22-23 February 1986. Santa Fe, New Mexico, Armory for the Arts (1050 Old Pecos Trail). Merce Cunningham Dance Company performed: Event (22 February); Event (23 February); Cage did not participate.

27 February 1986. Dallas, Texas, Dallas Museum of Art, Auditorium. Gave first performance (voice) of Improvisation A + B (separated by an intermission) with BL Lacerta (Tom Green, violoncello; Kim Corbet [replacing Les Gay], trombone, low brass; David Anderson, percussion, flutes, electronics; Robert Price, clarinet, woodwinds).

1 March 1986. New York, Lincoln Center, Alice Tully Hall, Continuum is 20!, Continuum Ensemble gave first performance of Wishing Well.

2 March 1986. London, Daguerre’s Diorama, Regent’s Park, Camden Festival. Circle, Gregory Rose, director, performed Apartment House 1776 (Williams, N. 1986).

3-4 March 1986. Lewisburg, Pennsylvania, Bucknell University. Residency; performed (3 March, evening, Center Gallery, The Gallery Series, An Evening with John Cage); workshop/discussion (4 March, morning, Music and Art Building, Room 201).

3 March 1986. New York, Lincoln Center, Bruno Walter Auditorium, Conversations on the Dance with Merce Cunningham and Susan Sontag (1933-2004): Cage’s attendance unlikely.

5 March 1986. Interviewed by Jeffrey Goldberg (Goldberg, J. 1986, passim).

11-23 March 1986. New York, City Center (131 West 55th Street). Merce Cunningham Dance Company performed: Takehisa Kosugi, Spacings to Doubles; Etudes Boreales (Piano) to Arcade; David Behrman, Interspecies Smalltalk to Pictures (11 March); Takehisa Kosugi, Spacings to Doubles; David Tudor, Phonemes to Channels/Inserts; Yasunao Tone, Geography and Music to Roadrunners (12 March); Improvisation IV to Fielding Sixes; Etudes Boreales (Piano) to Arcade; David Behrman, Interspecies Smalltalk to Pictures (13 March); David Tudor, Fragments to Phrases; John King, Gliss in Sighs to Native Green; David Behrman, Interspecies Smalltalk to Pictures (14 March); Inlets to Inlets 2; David Tudor, Phonemes to Channels/Inserts; Yasunao Tone, Geography and Music to Roadrunners (15 March, matinee); David Tudor, Fragments to Phrases; John King, Gliss in Sighs to Native Green; David Behrman, Interspecies Smalltalk to Pictures (15 March); Takehisa Kosugi, Spacings to Doubles; Etudes Boreales (Piano) to Arcade; Yasunao Tone, Geography and Music to Roadrunners (16 March, matinee); Improvisation IV to Fielding Sixes; Takehisa Kosugi, Assemblage to Grange Eve; David Behrman, Interspecies Smalltalk to Pictures (18 March); Takehisa Kosugi, Spacings to Doubles; David Tudor, Sextet for Seven to Quartet; David Behrman, Interspecies Smalltalk to Pictures (19 March); Etudes Boreales (Piano) to Arcade; David Tudor, Phonemes to Channels/Inserts; Takehisa Kosugi, Assemblage to Grange Eve (20 March); Improvisation IV to Fielding Sixes; David Tudor, Phonemes to Channels/Inserts; Takehisa Kosugi, Assemblage to Grange Eve (21 March); John King, Gliss in Sighs to Native Green; David Tudor, Phonemes to Channels/Inserts; David Behrman, Interspecies Smalltalk to Pictures (22 March, matinee); Etudes Boreales (Piano) to Arcade; David Tudor, Sextet for Seven to Quartet; John King, Gliss in Sighs to Native Green; Takehisa Kosugi, Assemblage to Grange Eve (22 March); Improvisation IV to Fielding Sixes; Takehisa Kosugi, Assemblage to Grange Eve; David Behrman, Interspecies Smalltalk to Pictures (23 March, matinee); Cage’s participation uncertain.

5 April 1986. Houston, Texas, New Music America (5-13 April). Attended performance of Ryoanji (5 April, Lillie and Hugh Roy Cullen Sculpture Garden, 900 Bissonnet Street, on the occasion of its official opening); interviewed by Scott Sommers (Cage/Sommers 1986; De Barros 1984; Neue Musikzeitung 1986).

8 April 1986. New York. Interviewed by Richard Dufallo (Cage/Dufallo 1989).

13 April 1986 (late afternoon-evening). Buffalo, New York, State University of New York, Hallwalls Gallery (700 Main Street), North American New Music Festival (10-20 April), presented by Department of Music, The International Piano Tango Marathon. Yvar Mikhashoff performed selected premieres from a collection of tangos requested by him and possibly including Perpetual Tango.

15 April 1986. Buffalo, New York, State University of New York, Department of Music. Jan Williams and others gave first performance of But What about the Noise of Crumpling Paper Which He Used to Do in order to Paint the Series of "Papiers froissés" or Tearing up Paper to Make "Papiers déchirés"? Arp Was Stimulated by Water (Sea, Lake, and Flowing Waters like Rivers), Forests. (repeated 26 April 1986, Oneonta, New York, Henry Cowell Festival).

16 April 1986. New York, Mannes College of Music, Mannes Concert Hall, Mannes Contemporary Music Festival (15-16 April). Guest composer with Wendy Chambers; attended and introduced performances of Music for Five by the Mannes Contemporary Ensemble (soprano, cello, trombone, flute, piano) and of Third Construction by the Mannes Percussion Ensemble.

21 April 1986. New York, Diane Brown Gallery (100 Greene Street), Mondays at Diane Brown, produced by S.E.M. Ensemble, supported in part by Meet the Composer. Performed Mushrooms et Variationes (two performances, at 8 pm and at 10 pm) (Holden 1986).

23 April 1986. New York, Alternative Museum (17 White Street), Composers’ Forum. Malcolm Goldstein gave first performance of Eight Whiskus (violin) in concert with Frances-Marie Uitti (violoncello): Philip Corner, Malcolm Goldstein, Jackson Mac Low, Frances-Marie Uitti (Holland 1986a; Sanders 1986).

24-27 April 1986. Oneonta, New York, State University of New York, Catskill Conservatory and Hartwick College, The Musical World of Henry Cowell: Festival and Conference. Possibly participated in one or both informal discussions, “Remembering the Man,” with friends, colleagues, ex-students, and Sidney Cowell (24 April [early evening] and 27 April [morning], Morris Conference Center Lounge).

29 April-3 May (presumably), 1986. San Diego, California, University of California, Pacific Ring Festival (29 April-9 May), sponsored by the Department of Music. Attended; [THE] (Edwin Harkins and Philip Larson) gave first performance of Vis-a-Vis (Mandeville Auditorium, 29-30 April, evenings); public discussion with Tōru Takemitsu about the influence of technology on art (30 April, noon, Mandeville Auditorium); Sin Cha Hong (dance), Margaret Leng Tan (piano) and Carol Plantamura (voice) performed Four Walls (3 May, late evening, Mandeville Recital Hall); interviewed by Mark Swed (30 April or 1 May) (Rose, M. 1986; Saville 1986; Swed 1986b).

5 May 1986. New York. Composed Rocks.

9 May 1986. Valencia, California, California Institute of the Arts (24700 McBean Parkway). Trustees of the California Institute of the Arts (Robert J. Fitzpatrick, President) conferred the degree of Doctor of the Arts honoris causa on Cage (Schulte, P. 1986; Swed 1986b; Wierzbicki 1987).

Presumably prior to 14 May 1986. New York. Composed Hymnkus.

May 1986. Cologne, WDR Studio. Prepared tapes for “Truckeras” (part of Europeras 1 & 2).

17-20 May 1986. Munich, Kulturzentrum Gasteig (Rosenheimer Straße 5), Carl-Orff-Saal, sponsored by KultRef in collaboration with Spielmotor München e.V. Merce Cunningham Dance Company performed: Etudes Boreales (Piano) to Arcade; David Tudor, Phonemes to Channels/Inserts; Takehisa Kosugi, Assemblage to Grange Eve (17 and 18 May); Event (18 May, matinee); Takehisa Kosugi, Spacings to Doubles; John King, Gliss in Sighs to Native Green; David Behrman, Interspecies Smalltalk to Pictures (19-20 May); Cage’s participation uncertain.

8 June 1986 (afternoon). Coney Island, New York, Museum-Theater Sideshows By The Seashore, 1208 Surf Avenue (Boardwalk at West 12th Street), John Cage Meets Sun Ra, benefit for Meltdown Records. Invited by Rick Russo, performed from Part IV of Empty Words in concert with Sun Ra; interviewed by Jon Pareles previously (Brown, Kenneth 1986; Mandel 1986: Pareles 1986).

12-14 June 1986. Durham, North Carolina, Duke University, American Dance Festival. Merce Cunningham Dance Company performed: Takehisa Kosugi, Spacings to Doubles; David Behrman, Interspecies Smalltalk to Pictures; Takehisa Kosugi, Assemblage to Grange Eve (12 June); Etudes Boreales (Piano) to Arcade; David Behrman, Interspecies Smalltalk to Pictures; Yasunao Tone, Geography and Music to Roadrunners (13 June); David Tudor, Phonemes to Channels/Inserts; John King, Gliss in Sighs to Native Green; David Behrman, Interspecies Smalltalk to Pictures (14 June); Cage’s participation uncertain.

18 June 1986. Paris, Théâtre du Rond-Point Renard-Barrault, Hommage à Leonard Bernstein. Presumably attended.

20-22 June 1986. Singapore, Victoria Theatre and Concert Hall (9 Empress Place), Singapore Festival of the Arts. Presumably performed with Takehisa Kosugi, Michael Pugliese, David Tudor, and Merce Cunningham Dance Company: Takehisa Kosugi, Spacings to Doubles; David Behrman, Interspecies Smalltalk to Pictures; Takehisa Kosugi, Assemblage to Grange Eve (20 June); Etudes Boreales (Piano) to Arcade; David Behrman, Interspecies Smalltalk to Pictures; Yasunao Tone, Geography and Music to Roadrunners (21 June); David Tudor, Phonemes to Channels/Inserts; John King, Gliss in Sighs to Native Green; David Behrman, Interspecies Smalltalk to Pictures (22 June) (Cunningham/Khor 1986; Vaughan 1997, 232).

8-9 July 1986. Marseille, Vieille Charité, Galerie aile Nord, Salle Trigance de l’INA (Institut national de l’audiovisuel), Festival Vidéo & Multimédia: Soun-Gui Kim et ses invités, organized by the Institut Méditerranéen de Recherche et de Création (IMEREC) (25 June-10 July). Attended; dialogue with Daniel Charles; lectures by Marc Froment-Meurice and Daniel Charles (8 July); performed excerpt from Empty Words and Mirage verbal (9 July); Gérard Frémy performed Sonatas and Interludes (9 July); Forum Vidéo-Création-Récréation: Cage’s attendance uncertain (12 July, FNAC, Centre Bourse) (Abel 1986a; Abel 1986b; Charles 1987-1988, 222, 335, 544; Cousinou 1986; Froment-Meurice 1987-1988; Guallino 1986; Vialle 1986).

8-25 July 1986. Szombathely, 20th Nemzetközi Bartók Szeminárium = International Bartók Seminar (8-25 July). Attended; Conductor’s Course and various concerts devoted to his work; performed part IV of Empty Words (23 July, Bartók Terem = Bartók Hall); rehearsed and attended performance of Thirty Pieces for Five Orchestras performed by Szombatelyi Szimfonikus Zenekar = Szombathely Symphony Orchestra, László Tihanyi, Dieter Kempe, Zsolt Serei, Katalin Doman, Mark Foster, conducting, Péter Eötvös, director (15, 17, 19 July, Bartók Béla Zeneiskola = Bartók Music School; 21 July, 23 July, 25 July [morning, dress rehearsal; evening, gala concert], Müvelődési és Sportház = Culture and Sport Centre); András Wilheim lectured on Thirty Pieces for Five Orchestras (13 July, Tanárképző Főiskola = High School); made the acquaintance of György Kurtág; interviewed by János Malina (24 July); wrote For the S.S.O. (Cage/Malina 1986; Halász 1986; Sibinger 1986; Wilheim 1986a; Wilheim 1986b).

August 1986. New York. Interviewed by Wes Nisker (Nisker 1986).

August 1986. In Europe working on Europeras 1 & 2.

29-30 August 1986. Basle, Stadttheater, Foyer, Christoph Merian Stiftung, CMS Fescht, Kulturmarkt (29-31 August). Rehearsed A Collection of Rocks; read from Mushrooms et Variationes (Holliger/Bachmann 1991; Ollrogge 1986).

Until 31 August 1986. London, Serpentine Gallery, Eye Music [group exhibition with scores by Cage]; therafter traveled to Hull, Seres Art Gallery (13 September-19 October); Huddersfield Art Gallery (25 October-29 November); Newcastle, Hatton Art Gallery (17 January-21 February 1987) (Berkel and Bos 1986).

31 August 1986 (morning-afternoon). Cologne, Kölnischer Kunstverein und Kunsthalle (Josef-Haubrich-Hof 1), Neue Töne – Alte Hüte? Avantgarde der Sechziger. Performed 4'33" (new version without instruments, morning, Kölnischer Kunstverein) in program of music and performances in conjunction with opening of exhibition, “Die 60er Jahre – Kölns Weg zur Kunstmetropole – Vom Happening zum Kunstmarkt” (31 August-16 November) (catalog Herzogenrath, W. and Lueg 1986).

15 September 1986. New York, Christ and St. Stephen’s Episcopal Church (120 West 69th Street). Roger Zahab (violin) and Marcia Eckert (piano) performed “Thirteen Harmonies” from Apartment House 1776 in Zahab’s arrangement (Page, T. 1986a).

16 September 1986. Stuttgart, Württembergischer Kunstverein, Hans-Arp-Retrospektive. Les Percussions de Strasbourg performed But What about the Noise of Crumpling Paper Which He Used to Do in order to Paint the Series of "Papiers froissés" or Tearing up Paper to Make "Papiers déchirés"? Arp Was Stimulated by Water (Sea, Lake, and Flowing Waters like Rivers), Forests. (Forum für Zeitgenössische Musik 1986).

17 September 1986. New York, The Bessies, Third Annual New York Dance and Performance Awards, presented to Cage and Cunningham; Carolyn Brown read a tribute.

October 1986. New York. Composed Haikai (1986); wrote What You Say… [text].

October 1986 (evening). Boston, Massachusetts, Institute of Contemporary Art (955 Boylston Street). Presented with the first Nathaniel Saltonstall Award; wrote poem for the occasion; interviewed by D.C. Denison (Cage/Denison 1986).

6 October 1986. New York, Brooklyn Academy of Music (30 Lafayette Avenue), Opera House, Next Wave Festival (7 October-30 December), Opening Night Gala, Philip Glass and Rob Malasch, The Photographer/Far from the Truth; member of the post-performance Dinner Committee.

7-12 October 1986 (evenings; 12 October matinee). New York, Brooklyn Academy of Music (30 Lafayette Avenue), Opera House, Next Wave Festival (7 October-30 December). Performed with Paddy Glackin (fiddle), Mel Mercier (bodhran), Peadar Mercier (bodhran), Liam O’Floinn (uilleann pipes), Seamus Tansey (flute), and Merce Cunningham Dance Company: Inlets to Inlets 2 (Cage, Mel Mercier, Peadar Mercier, water-filled conch shells) and Roaratorio, an Irish Circus on Finnegans Wake to Roaratorio (Coe 1986; Copeland 1986; Daly 1986; Gerber 1987; Johnston, J. 1987a; Kostelanetz 1986a; Kriegsman, A. M. 1986; Maskey 1987; Rockwell 1986c; Rogoff 1986; Sandow 1986; Stuart 1986; Swed 1986a; Tobias 1986; Vaughan 1986a).

15 October 1986. Waterloo, Ontario, Wilfrid Laurier University (75 University Avenue West). Performed Writings through the Essay: On the Duty of Civil Disobedience (possibly first reading).

16-18 October 1986. Bowling Green, Ohio, Bowling Green State University, College of Musical Arts, Moore Musical Arts Center, 7th Annual New Music Festival. Featured Guest (with Pat Oleszko); performed Mushrooms et Variationes with But What about the Noise of Crumpling Paper Which He Used to Do in order to Paint the Series of "Papiers froissés" or Tearing up Paper to Make "Papiers déchirés"? Arp Was Stimulated by Water (Sea, Lake, and Flowing Waters like Rivers), Forests., performed by the Percussion Group/Cincinnati (Allen Otte, James Culley, Jack Brennan); the latter also performed Music for _ [Music for Three] ; question period (17 October, evening, Moore Musical Arts Center, Kobacker Hall); panel with Pat Oleszko, moderated by Robert Croan (music critic, Pittsburgh Post-Gazette) (18 October, afternoon, Toledo, Ohio, Toledo Museum of Art, Little Theatre); participated in panel, “Radio and the Living Composer” with William Engleke, Frank Hoffman, and Helen Thorington, moderated by Mark Yacovone (date unknown); Burton Beerman, John Sampen, and Marilyn Shrude performed Variations II (18 October, afternoon, Toledo, Ohio, Toledo Museum of Art, Great Gallery); Bowling Green Philharmonia, Robert Spano, Bridget Michaele Reischel, Blake Walter, and Mark Pretzel conductors, performed Dance/4 Orchestras (18 October, evening, Moore Musical Arts Center, Kobacker Hall) (Cook, S.C. 1987; Nelson, B. 1986; Richardson, G. 1986).

25 October-23 November 1986. Venice, La Biennale di Venezia, Palazzo Sagredo, exhibition Nuova Atlantida, Il Continente della Musica Elettronica 1900-1986. Fontana Mix played during the exhibition; presumably Cage was not in attendance (Bernardini 1988; Doati and Vidolin 1986).

November 1986. New York. Wrote [Untitled] (autoku) [text].

8 November 1986. Munich, Gasteig, Black Box, Klang-Aktionen ’86. Marianne Schroeder performed ASLSP; Gabrielle Emde performed Postcard from Heaven; Jim Fulkerson and Robyn Schulkowsky performed Ryoanji; Schroeder and Schulkowsky performed Music for Two; David Tudor performed Tudor, Line and Cluster; Cage not in attendance.

16 November 1986. Strassburg, Palais de la Musique et des Congrès, Salle Erasme, Centenaire de Jean Arp, Hommage à Arp. Les Percussions de Strasbourg gave first official performance of But What about the Noise of Crumpling Paper Which He Used to Do in order to Paint the Series of "Papiers froissés" or Tearing up Paper to Make "Papiers déchirés"? Arp Was Stimulated by Water (Sea, Lake, and Flowing Waters like Rivers), Forests. in program with She Is Asleep (Quartet), First Construction (in Metal); piano music by Virgil Thomson performed by Andrée Plaine; poetry by Jean Arp recited by Michael Lonsdale; music by Gerald Busby performed by Les Percussions with Françoise Kubler (soprano), Jean-Philippe Marlière (baritone), Olivier Dejours (conductor) (Dernières Nouvelles d’Alsace 1986; M.M. 1986).

20 November 1986. New York, Greenwich House Music School (46 Barrow Street). Zeitgeist: Bob Samarotto (clarinet and saxophone), Greg Theisen (keyboard), Jay Johnson (percussion), Joe Holmquist (percussion) performed Music for _ (presented as Music for Four) in program with other music (Holland 1986b).

30 November 1986. Philadelphia, Pennsylvania, Painted Bride Art Center. Percussion Group of Cincinnati performed music by Cage.

2 December 1986-3 January 1987. New York, Bernice Steinbaum Gallery (132 Greene Street), Elders of the Tribe, travelling exhibition (with others), R2-2 from Where R = Ryoanji (etchings) on exhibit; hereafter, the exhibition went to Albany, State University of New York, University Art Gallery (3 February-1 March 1987); East Hanover, New Jersey, Nabisco Brands Gallery (7 March-7 April 1987); Davenport, Iowa, Davenport Art Gallery (19 April-31 May 1987); Long Beach, California, FHP Hippodrome Art Gallery (10 June-8 July 1987); Reno, Nevada (Sierra Nevada Museum of Art, 17 July-16 August 1987); Pensacola, Florida, Pensacola Museum of Art (1 September-1 November 1987); DeLand, Florida, DeLand Museum of Art (7 November-6 December 1987); Murray, Kentucky, Murray State University, Price Doyle Fine Arts Center, Clara M. Eagle Gallery (18 December 1987-25 January 1988); Moscow, Idaho, University of Idaho, Prichard Gallery (12 February-12 March 1987); Columbus, Ohio, Ohio State University, University Gallery of Fine Art (28 March-24 April 1988); Atlanta, Georgia, High Museum of Art (1 May-5 June 1988); Amarillo, Texas, Amarillo Art Center (15 June-31 July 1988); Williamsburg, Virginia, College of William and Mary, Joseph and Margaret Muscarelle Museum of Art (27 August-16 October 1988); Washington, D.C., National Council on the Ageing, NCOA Gallery Patina (25 October-30 November 1988).

Prior to 5 December 1986. Wrote Tokyo Lecture (Text).

5-8 December 1986. Tokyo, Suntory Hall (1 Chome-13-1, Akasaka, Minato-ku), Suntory International Program for Music Composition. Attended. Read Tokyo Lecture, Sculpture Musicale (Text), [Untitled] (Text, November 1986), and Songs for C.W. (Text) (5 December); City Harmonic Tokyo, Hiroyuki Iwaki, Toshi Ichiyanagi, Toshiro Mayuzumi, Joji Yuasa (conductors) performed Etcetera 2/4 Orchestras (first performance) as well as music by Christian Wolff, Erik Satie, and Anton Webern (8 December) (Cage 1988c, 6n).

13 December 1986. Back in New York.

1987. Composed Music for _ (Oboe, Horn in F, Percussion IV, Piano II, Trumpet in C, Violin II, and Viola).

1987. Conceived Wagner’s Ring.

1987. Conceived Stoperas 1 & 2.

1987 or earlier. Interviewed by Karen LeFrak (LeFrak 1995).

Circa 1987. Detroit. Read Sculpture musicale [text].

1987. New York. Recorded Sculpture musicale for Dog W/A Bone DWAB01; Edition Block EB 202 (reecordings).

1987. New York. Interviewed by Barbara Isenberg (Cage/Isenberg 1993).

Early 1987. Composed Voiceless Essay.

Early 1987. New York, University of New York, Brooklyn College, Center for Computer Music. In collaboration with Charles Dodge, Victor Friedberg, Frances White, Kenneth Worthy, Paul Zinmann realized Voiceless Essay.

January 1987. San Francisco, California, Crown Point Press (871 Folsom Street). Made Where There is Where There.

8 January 1987. San Francisco, California, Exploratorium (3601 Lyon Street), McBean Theater, Speaking of Music, “My Opera Europera.” Interviewed by Charles Amirkhanian on Europeras 1 & 2, Voiceless Essay, and Etcetera 2/4 Orchestras (broadcast 20 May 1987, KPFA [Berkeley, California], Ode to Gravity; program included Cage performing from Diary: How to Improve the World (You Will Only Make Matters Worse) as well as performances of Credo in Us and Ryoanji).

13 January 1987, late afternoon. San Francisco, California, Crown Point Press (871 Folsom Street). With Robert Hudson attended vernissage of exhibition, John Cage: Recent Etchings and Monotypes; Robert Hudson, New Releases (13 January-14 March).

15-18 January 1987. Düsseldorf, Kunstsammlung Nordrhein-Westfalen, Grosse Austellungshalle, Konzert-Performance-Ritual. Five concerts, including recital by Marianne Schroeder with music by Cage and Erik Satie (17 January).

18 January 1987. New York. Interviewed by Thomas Darian Moore (Moore, T.D. 1987, 76).

27 January 1987. New York. Interviewed by Nicholas Zurbrugg (Cage/Zurbrugg 1987).

7 February 1987. Essen, Evangelische Kirche Essen-Rellinghausen (Oberstraße): attended concert by Gerd Zacher: ASLSP, Variations I, from Some of The Harmony of Maine; Gerd Zacher, Hommecage à John Age, 75 EVENT(ualitie)S (K-g. 1987; U. Sch. 1987; Stenger 1987).

10 February 1987. New York, Grace Church (802 Broadway at 10th Street). Brian Schober in organ recital performed ASLSP in organ version, as well as music by Olivier Messiaen, William Albright, Jehan Alain and Brian Schober.

11 February 1987. Cologne, Stadtgarten. Attended concert by Malcolm Goldstein.

14-15 February 1987. Cologne, Staatliche Hochschule für Musik, Nachtcagetag (24-hour radio event): attended and performed James Joyce, Marcel Duchamp, Erik Satie: Ein Alphabet; Arditti Quartet performed String Quartet in Four Parts; Les Percussions de Strasbourg performed But What about the Noise of Crumpling Paper Which He Used to Do in order to Paint the Series of "Papiers froissés" or Tearing up Paper to Make "Papiers déchirés"? Arp Was Stimulated by Water (Sea, Lake, and Flowing Waters like Rivers), Forests. (14 February); First Meeting of the Satie Society; read text; Malcolm Goldstein performed Eight Whiskus (violin); performances of Thirty Pieces for Five Orchestras and Music of Changes (Herbert Henck); interviewed by Georges van Gucht and Christian Hamouy (15 February, Kirche Sankt Maria im Capitol) (ARD Magazin 1987; Baucke 1987; Bosma 1987; Cage/Gucht and Hamouy 1987; Emmerik, P. van 1987c; E-s 1987; Express 1987a; Express 1987b; Gersmann 1987; Glauber 1987; Gronemeyer 1987b; Gronemeyer 1987f; Herbort 1987b; Hörzu 1987; Jeitschko 1987; Johnson, Tom 1987-1988; Js 1987; Kipphoff 1987; Leukert 1987a; Lüdenbach 1987; Mattner 1987a; Mattner 1987b; Müller; J. 1987; N.Sf. 1987; Oehlschlägel 1987a; Ruhr-Nachrichten 1987; Schmid 1987; Schöning and Becker-Carsten 1987a; Schöning and Becker-Carsten 1987b; Schreiber, W. 1987b; Schreiber, W. 1987c; Siepmann 1987; Skoruppa 1987; Spangemacher 1987; T.B. 1987; U.Sch. 1987; WDR Print 1987; Wittersheim 1987a; Wittersheim 1987b; Wittersheim 1987d).

25 February 1987. New York, Manhattan School of Music (120 Claremont Avenue), John C. Borden Auditorium, A Tribute to Paul Price, sponsored in part by Meet the Composer. Special guest in concert by the Manhattan Percussion Ensemble, Claire Heldrich, director, including Double Music in program shared with music by Richard Trythall, Lou Harrison, Lukas Foss, and Frank Zappa.

3-15 March 1987. New York, City Center (131 West 55th Street). Merce Cunningham Dance Company performances; presumably Cage did not participate; first performance of Voiceless Essay to Points in Space (Cunningham) (10 March).

4-9 March 1987. Visited Los Angeles, California, and Valencia, California. Attended CalArts Twentieth Century Players, Stephen Mosko conducting, performing Sixteen Dances and Pierre Boulez’s Domaines (5 March, Los Angeles, Japan America Theatre, 11th Annual CalArts Contemporary Music Festival, as part of New Music Los Angeles 1987); with Charles Amirkhanian, Michael Peppe, and Kenneth Atchley attended booksigning session for Sumner, Burch, Sumner 1986 (7 March, afternoon, Los Angeles Contemporary Exhibitions Bookstore, 1804 Industrial Street); vernissage of exhibition of Cage’s music manuscripts and etchings (7 March, California Institute of the Arts); publicly interviewed by Frans van Rossum (8 March, Valencia, California, California Institute of the Arts, 24700 McBean Parkway, CalArts Auditorium, Los Angeles New Music Festival); afterwards attended concert by the California E.A.R. Unit, devoted to his works, including Credo in Us, Etcetera, Theatre Piece (8 March, Modular Theatre); performed text to benefit the work of Nicolas Slonimsky; coached an ad hoc ten-minute radio “musicircus” for records; interviewed by Donna Perlmutter; presumably around this date interviewed by Ton van der Lee and filmed by Frank Scheffer (Cage/Lee 1988; Perlmutter 1987a; Perlmutter 1987b; Slonimsky 1988, between pp. 120-121; Wierzbicki 1987).

5-8 March 1987. New York, City Center (131 West 55th Street), Merce Cunningham Dance Studios (Westbeth), New York University, Tisch School of the Arts (2nd Avenue at 6th Street), State University of New York, Fashion Institute of Technology (27th Street between 7th and 8th Avenues), presented by the State University of New York, Merce Cunningham and the New Dance: The Modernist Impulse in Dance, Festival with Symposia; Cage not in attendance.

10-31 March 1987. Presumably in Frankfurt for preparation of Europeras 1 & 2.

Spring 1987. New York. Made the acquaintance of Laura Kuhn (1953), who would assist him with preparations for the costumes to be used in Europeras 1 & 2 and later became his personal assistant.

23 March 1987. New York. Interviewed by Nelson Rivera (Cage/Rivera 1993).

27-28 March 1987. St. Louis, Missouri, Kiel Opera House (1400 Market Street). Merce Cunningham Dance Company performed: Improvisation III to Duets; David Tudor, Phonemes to Channels/Inserts; David Behrman, Interspecies Smalltalk to Pictures; Cage presumably did not participate.

31 March 1987. Lincoln, Nebraska, University of Nebraska (1400 R Street). Merce Cunningham Dance Company performed: Voiceless Essay to Points in Space; David Behrman, Interspecies Smalltalk to Pictures; Takehisa Kosugi, Assemblage to Grange Eve; Cage presumably did not participate.

April 1987. New York. Composed Two.

2-3 April 1987. New York Studio School Studio (8 West 8th Street), Composers’ Forum. Bowery Ensemble, Nils Vigeland, director, performed music by Earle Brown, Cage, Morton Feldman, and Christian Wolff; Cage’s attendance uncertain (Gann 1987b).

4 April 1987. New York, City University of New York, Lehman Center for the Performing Arts (250 Bedford Park Boulevard West, The Bronx), on the occasion of exhibition, Merce Cunningham and His Collaborators (19 March-26 April, Lehman College Art Gallery). Presumably performed with Merce Cunningham Dance Company: Event; benefit reception afterwards.

4 April 1987. Philadelphia, Pennsylvania, Mandell Theater. Relâche performed unidentified composition by Cage.

5 April 1987 [one source gives 8 April] (8 pm). Ann Arbor, Michigan, Michigan Theatre (603 East Liberty), Orchestra Hall, Twice: Festivals of Contemporary Music, Festival II, presented by Sinewave Studios (Gerald Pape and Kurt Carpenter) in association with Chris Jaszczak. Attended and performed as guest composer; read Mirage verbal; Michael Pugliese (guest percussionist) and Mark Eeles (guest violoncellist) gave first performance [according to program] of Etudes Boreales [version for piano and violoncello]; Robert Conway (piano) performed from Etudes Australes; Ann Arbor Chamber Orchestra with Michael Pugliese (percussion), Robert Conway (piano) and Janet Pape (soprano) performed Music for _, presented as Music for Ten, and Concert for Prepared Piano and Chamber Orchestra (Robert Conway, piano; Carl Daehler, conductor), in shared program with music by Sharon Hershey, Gerard Pape, and Kurt Carpenter.

5 April 1987. Toronto, Ontario, Premiere Dance Theatre. Evergreen Club Gamelan Ensemble (as of 1985: Jon Siddall, Mike Bakan, Bill Brennan, Miguel Frasconi, Gordon Monahan, Robert Stevenson, Andrew Timar, Hedy Wong; circa 1987 presumably: Bill Brennan, Mark Duggan, Paul Houle, Blair Mackay, Andy Morris, Paul Ormandy, Bill Parsons, Andrew Timar) gave first performance of Haikai (1986) in shared program with music by Henry Kucharzyk, Jon Siddall, James Tenney, and Andrew Timar; Cage’s attendance uncertain.

10-12 April 1987. Los Angeles, California, University of California, Los Angeles. Merce Cunningham Dance Company performed: Voiceless Essay to Points in Space; David Tudor, Webwork to Shards; Takehisa Kosugi, Assemblage to Grange Eve (10 April); Improvisation III to Duets; David Tudor, Phonemes to Channels/Inserts; David Behrman, Interspecies Smalltalk to Pictures (11 April); Etudes Boreales (Piano) to Arcade; David Behrman, Interspecies Smalltalk to Pictures; Emanuel Dimas de Melo Pimenta, Short Waves 1985 and SBbr to Fabrications (12 April); Cage presumably did not participate.

17-18 April 1987. San Diego, California, University of California, San Diego (9500 Gilman Drive, La Jolla). Merce Cunningham Dance Company performed: Improvisation III to Duets; David Tudor, Phonemes to Channels/Inserts; David Behrman, Interspecies Smalltalk to Pictures (17 April); Voiceless Essay to Points in Space; David Tudor, Webwork to Shards; Takehisa Kosugi, Assemblage to Grange Eve (18 April); Cage presumably did not participate.

19 April 1987. Nice (33 Avenue Jean-Médecin), MANCA New RivierA – Festival ’87 (17-27 April). Frances-Marie Uitti performed Music for _ (presented as Music for One Cello, Two Bows) and Etudes Boreales in program with other music.

23 April 1987. Annandale-on-Hudson, New York, Bard College. Attended concert with his music by Bard students, organized by Benjamin Boretz: Winter Music (Chapel) and Variations IV (Bard Hall); reception afterwards (Annandale House) (Boretz 1993).

24-26 April 1987. Buffalo, New York, State University of New York, Department of Music, North American New Music Festival (21-30 April), A Day With John Cage: A Celebration in Honor of the Composer’s Seventy-Fifth Birthday Year (25 April). Performed and attended; Janos Négyesy performed Freeman Etudes [I-XVI] (afternoon, Nina Freudenheim Gallery, 560 Franklin); Yvar Mikhashoff (piano) and Jan Williams (percussion) performed Music for _ (presented as Music for Two, two performances); Cage performed Songs for C. W. and Scenario for M. F. (late afternoon, Hallwalls, 700 Main Street); UB Percussion Ensemble, Jan Williams, director; East Buffalo Media Association, Donald Metz, director; Stephen Bradley, electronic realizations co-ordinator, performed Imaginary Landscape No. 1; Imaginary Landscape No. 2; Imaginary Landscape No. 3; Imaginary Landscape No. 4; Imaginary Landscape No. 5; Négyesy, Mikhashoff, Williams, Nils Vigeland (piano), Kirk Brundage, Robert Schulz, and Timothy Moon (percussion) performed Music for _, presented as Music for Seven (evening, Slee Concert Hall, SUNY at Buffalo, North Campus).

27-28 April 1987. In New York.

29 April-7 May 1987. In Kassel and Turin.

May 1987. New York. Interviewed by Peter Wicke (Cage/Wicke 1988).

May 1987. Strassburg. Attended (presumably).

May 1987. Padua. Performed Muoyce (presumably).

May 1987. Turin. Wrote Stanzas for T. T.

5 May 1987. Montréal, Québec. Association pour la Création et la Recherche Électroacoustique du Québec. HPSCHD performed.

5-6 May 1987. Turin, Chiesa di San Filippo Neri (Via Maria Vittoria, 5), Giornate della Nuova Musica 1987, “Il Suono e lo Spazio” (6-8 May and 10-12 June), organized by the RAI Radio Televisione Italiana and sponsored by the Assessorato alla Cultura della Regione Piemonte e dalla Fiat. Attended performance of Thirty Pieces for Five Orchestras by the Orchestra Sinfonica di Torino della RAI conducted by Luciano Berio, Mark Foster, Vittorio Parisi, David Robertson (replacing Stephen Harrap), and Arturo Tamayo in shared program with music by Charles Ives and Luciano Berio (6 May); press conference with Berio, chaired by Claudio Ambrosini (5 May, late afternoon, Circolo della Stampa); interviewed alone and with Berio by Alberto Sinigaglia (prior to 5 May); interviewed by Daniele A. Martino and Gianfranco Vinay (Cage/Martino and Vinay 1987; Cage/Sinigaglia 1987; Cage and Berio/Sinigaglia 1987).

8 May 1987. Fort Myers, Florida, Barbara B. Mann Performing Arts Hall (8099 College Parkway), lobby. Vernissage of exhibition of avant-garde theatre dance notes/ scores, performance visuals by Brown, Cage, Hay, Jonas, Kluver, Paxton, Petronio, Rainer, Cunningham (curator: Robert Rauschenberg).

19 May 1987. New York, Paula Cooper Gallery (155 Wooster Street), Music by John Cage and Marcel Duchamp. S.E.M. Ensemble, Petr Kotik, director; Cage performed Sculpture musicale [text].

19 May 1987. New York, Symphony Space (2537 Broadway), Harpsichord Mania! Kenneth Cooper, Wendy Young, Gerald Ranck, Linda Kobler, Peter Hendrickson, and Eric Kinsley performed HPSCHD (Kimmelman 1987).

19-31 May 1987. Paris, Théâtre de la Ville (2 Place du Châtelet). Merce Cunningham Dance Company performed: Voiceless Essay to Points in Space; David Tudor, Webwork to Shards; Takehisa Kosugi, Assemblage to Grange Eve (19-21 May); Improvisation III to Duets; David Tudor, Phonemes to Channels/Inserts; Emanuel Dimas de Melo Pimenta, Short Waves 1985 and SBbr to Fabrications (22-23 May and 24 May, matinee); Etudes Boreales (Piano) to Arcade; David Tudor, Sextet for Seven to Quartet; David Behrman, Interspecies Smalltalk to Pictures (26-28 May); Takehisa Kosugi, Spacings to Doubles; _ _ Week of _ to Signals; Emanuel Dimas de Melo Pimenta, Short Waves 1985 and SBbr to Fabrications (29-30 May and 31 May, matinee); Cage’s participation uncertain.

Mid-May 1987. Kassel, Karlskirche: made statement (films).

21 May 1987. Kassel, Karlskirche, documenta 8. Prepared Stratified Essay (Meyer, B. 1987c).

June 1987. New York. Composed Organ2/ASLSP.

June 1987. Interviewed by Bruce Duffie (Cage/Duffie 2016).

3 June 1987. New York (evening). Grand Tour of Grand Central Terminal followed by Supper at the Oyster Bar with special guest Merce Cunningham to benefit Grand Central Dances, presented by Dancing in the Streets.

5 June 1987, morning. New York, John Dewey High School (50 Avenue X, Brooklyn), Room A-1, New Music at John Dewey High School. A Session with John Cage. Attended. John Dewey High School Wind Ensemble, with S.E.M. Ensemble guest musicians and Dora Ohrenstein, voice, simultaneously performed Aria; Solos from Concert for Piano and Orchestra; Atlas Eclipticalis.

12 June-20 September 1987 (daily 10 am-8 pm). Kassel, Karlskirche, documenta 8: first installation of Essay, as Stratified Essay (Gembris 1988; Goedl, Frohne, and Lemanczyk 1987; Kipphoff 1987; Metken 1987; Meyer, B. 1987a; Meyer, B. 1987b; Meyer, B. 1987c; Müllmann 1987d; Schöning 1987b; Wilson, P.N. 1987).

26 June 1987. Nottingham, Music Studio, New Music at Nottingham (22-26 June). Jane McDouall (soprano) and Frank Denyer performed Ryoanji; James Fulkerson with the University of Nottingham John Cage Seminar Ensemble performed Song Books; Madelaine Bird (flute), Frank Denyer (piano), Tristan Honsinger (violoncello) and James Fulkerson (trombone) performed Music for Four.

29 June 1987. New York, BBC Studios. Interviewed by Peter Dickinson (Cage/Dickinson 2006).

July 1987. New York. Wrote For n. [text].

18 July 1987. BBC 2. First broadcast of Merce Cunningham’s Points in Space with Cage’s Voiceless Essay (Crisp, C. 1987; Dougill 1987; Walker, K. S. 1987).

17-19 July 1987. London, Royal Albert Hall (Kensington Gore, South Kensington), BBC Promenade Concerts (Proms 87). Rehearsed (18-19 July) and performed (19 July) with Paddy Glackin (fiddle), Mel Mercier (bodhran), Peadar Mercier (bodhran), Liam O’Floinn (uilleann pipes), Seamus Tansey (flute), and Merce Cunningham Dance Company: Roaratorio, an Irish Circus on Finnegans Wake to Roaratorio in shared program with music by Igor Stravinsky, broadcast live at BBC Radio 3; Cage stayed with David Sylvester and flew back to New York on 20 July (Allenby 1987; Crisp, C. 1987; Dougill 1987; Driver 1987; Harris, D. 1987; Jordan 1987; Kenyon 1987; Macaulay 1987; Northcott 1987; Parry 1987; Percival 1987; Times 1987).

21 July-1 August 1987. London, Sadler’s Wells Theatre (Rosebery Avenue). David Tudor, Takehisa Kosugi, Michael Pugliese, and Merce Cunningham Dance Company performed: Voiceless Essay to Points in Space (stage version); David Behrman, Interspecies Smalltalk to Pictures; Takehisa Kosugi, Assemblage to Grange Eve (21-23 July); Improvisation III to Duets; David Tudor, Webwork to Shards; Emanuel Dimas de Melo Pimenta, Short Waves 1985 and SBbr to Fabrications (24-25 and 27 July); _ _ Week of _ to Signals; David Tudor, Phonemes to Channels/Inserts; Takehisa Kosugi, Assemblage to Grange Eve (28-29 July); Etudes Boreales (Piano) to Arcade; David Tudor, Sextet for Seven to Quartet; David Behrman, Interspecies Smalltalk to Pictures (30-31 July and 1 August); Cage did not participate (Cruikshank 1987; Dougill 1987; Mackrell 1987; Potter, K. 1987; Walker, K.S. 1987).

27 July 1987. New York, Columbia University, Ferris Booth Hall, WKCR studios. Assisted by students prepared “Truckera” tapes for Europeras 1 & 2 during live broadcast as part of a fourteen-hour John Cage Festival hosted by Brooke Wentz (Henahan 1987; Raimi 1987).

18-22 August 1987. Becket, Massachusetts, Jacob’s Pillow  (358 George Carter Road). Merce Cunningham Dance Company performed: Erik Satie, Trois morceaux en forme de poire to Septet; Emanuel Dimas de Melo Pimenta, Short Waves 1985 and SBbr to Fabrications; Takehisa Kosugi, Rhapsody to Carousal (18-20 August); Voiceless Essay to Points in Space; David Behrman, Interspecies Smalltalk to Pictures; Takehisa Kosugi, Rhapsody to Carousal (21 August; 22 August, matinee; 22 August); Cage’s participation uncertain.

5-12 September 1987. Los Angeles, California, Los Angeles Festival (3-27 September), John Cage Celebration. Attended (traveled to Los Angeles 4 September, stayed at Embassy Hotel & Theater); Musicircus, produced by Larry Stein and performed by CalArts Gadon with Ed Dorsey, Greg Alan McCourt, & Donmee Choi, Woodyard/Waldren Duo, Primary Colors Children’s Dance directed by Colleen Phalen, Kinnara Taiko Drummers, Penthouse Players, Ltd. with Mr. Gilmer & Mr. Milo, Singer/Guitarist Michael Holt, Robinwood Flute Trio directed by Ginny Atherton, Blind Joe Hill One Man Band, Blob & Snakepit Synthesizers & Saxophone, Electronics by Bernardo Feldman, Spindrifters directed by Kathy Brocklehurst, Jazz Winds directed by Mr. Woodyard, Trio Expressive directed by Teresa Grenot, Kubist Tier Jazz directed by Daryl Tewes, Creative Percussion with Terrance Laine, Electronics & Synthesizer by Scott Fraser, Sampling Keys & Tape by Charlie Buel, Lapidary with Harry Gilbert & Ken Rosser, North Indian Sarod by Fred Siciliano, Cambridge Singers directed by Alex Ruggieri, Singer/Pianist DaShiek Woodard, The Harmonica Virgins directed by Sharon Schroeder, Hans E. Hansen Classical Pianist, Crossroads Arts Academy Players directed by Rabia Jibri, Matt Easton Radio & Tapes, Sweet Blues directed by Linda Huertas and Jonnette Newton, Marimbist Curtis Kelly, Jr., Inflatable Art Wall with Michael Marks, Jerry Danielson & Steve Small, Mime Jules Ross, Los Angeles County High School for the Arts Music Students directed by John Waddell (5 September, afternoon, Fletcher Bowron Square [310 North Main Street], Triforium Plaza, Embassy Theatre [851 South Grand Avenue]); performed (5 September); Takehisa Kosugi performed Kosugi, 75 Letters and Improvisations; Michael Pugliese performed from Etudes Boreales; simultaneous performance of 0'00" (Kosugi), 45' for a Speaker (Pugliese), and first performance of Haiku given by David Tudor (on ‘electronic web’); Cage in attendance (6 September, afternoon, Japan America Theatre [244 South San Pedro Street], “Cage and Colleagues I”); performed (vocalized from Empty Words, Part IV) with Takehisa Kosugi, Michael Pugliese, David Tudor, and Merce Cunningham Dance Company, Event (6 September, evening, Japan America Theater, “Cage and Colleagues II”); concert ‘Cage: The Next Generation’, CalArts 20th Century Players, Stephen Mosko, conductor, Quartets I-VIII (24 Instruments), Atlas Eclipticalis with Winter Music (Bryan Pezzone, piano) and Solo for Voice 45 from Song Books (La Barbara), Music for Eight; Joan LaBarbara, Eight Whiskus (voice), Solo for Voice 67 from Song Books (with Larry Stein, electronic drum); Malcolm Goldstein, Eight Whiskus (violin) (7 September, evening, Japan America Theater); “An Evening of Words About, For, and By John Cage”: read Other People Think and What You Say… (first performance), spoke in commemoration of Morton Feldman and read Scenario for M. F.; M.C. Richards read; Herbert Henck performed Music of Changes; Grete Sultan performed from Etudes Australes (four) (9 September, Los Angeles Theatre Center [514 South Spring Street], Tom Bradley Theatre); at concert ‘Percussion: That Unexpected Touch’ by Nexus and Repercussion Unit, performed Child of Tree, and, with William Cahn and Larry Stein, Inlets; also Third Construction, Trio, Double Music, Music for _, presented as Music for Two, She Is Asleep, and But What about the Noise of Crumpling Paper Which He Used to Do in order to Paint the Series of "Papiers froissés" or Tearing up Paper to Make "Papiers déchirés"? Arp Was Stimulated by Water (Sea, Lake, and Flowing Waters like Rivers), Forests. (11 September, Tom Bradley Theatre); at concert ‘Sound Collage’ given by Joan LaBarbara, Nexus, Repercusion Unit, and CalArts 20th Century Players, performed part IV of Empty Words, as part of Musicircus, and conducted performance of the booklet Twenty-one Pages for John Cage on the occasion of his 75th birthday (12 September, Embassy Theatre); exhibition “John Cage: Changing Art”: Changes and Disappearances, Déreau, Where R = Ryoanji [drypoints], Ryoku (Los Angeles Theater Center, 3-12 September); interviewed previously by Mary Campbell, Lewis Macadams, and Mark Swed; Merce Cunningham previously interviewed by R.M. Campbell 1987; departed 13 September (Bernheimer 1987; Buendler 1987; Cage/Macadams 1987; Campbell, Mary 1987; Campbell, R. M. 1987; Cariaga 1987; Chute 1987a; Chute 1987b; Chute 1987c; Chute 1987d; Colker 1987; Dierks 1987; Ginell 1987a; Ginell 1987b; Henken 1987a; Henken 1987b; Henken 1987c; Leader 1987; Muchnic and Cariaga 1987; Shere 1987b; Shulgold 1987a; Shulgold 1987b; Smoliar 1987; Spiegel 1987; Stein, L. 1987; Stone, C. 1987; Swed 1987a; Swed 1987b; Swed 1987c; Swed 1987d; Swed 1987e; Swed 1987f; Swed 1987g; Ulrich, A. 1987).

12-13 September 1987. Rovereto, Teatro Zandonai (Corso Bettini, 78). Merce Cunningham Dance Company performed: Improvisation III to Duets; David Tudor, Phonemes to Channels/Inserts; Emanuel Dimas de Melo Pimenta, Short Waves 1985 and SBbr to Fabrications (12 September); Voiceless Essay to Points in Space; David Behrman, Interspecies Smalltalk to Pictures; Takehisa Kosugi, Assemblage to Grange Eve (13 September); Cage’s participation uncertain.

13 September-1 November 1987. Duisburg, Niederrheinisches Museum der Stadt Duisburg (Friedrich-Wilhelm-Straße 64). Exhibition, ‘Charles Ives und die amerikanische Musik bis zum Gegenwart’. Manuscripts of Etudes Australes (VIII) and Cartridge Music on exhibit as no. 41 and 42 (group exhibition with others).

14 September 1987. New York, Printed Matter (7 Lispenard Street). Burning Books’ Signing Party.

16 September (travel to Frankfurt)-December 1987. Frankfurt am Main. Began production of first performance of Europeras 1 & 2 (Anonymous 1987KULTUR).

After 16 September 1987. Interviewed by Heinz-Klaus Metzger and Rainer Riehn about Europeras 1 & 2 (Cage/Metzger, H.-K. 1987; Cage, John/Metzger, H.-K. and Riehn 1987b).

16-20 September 1987. Antwerpen, De Singel (Desguinlei 25), Rode Zaal. Merce Cunningham Dance Company performed: Improvisation III to Duets; David Tudor, Phonemes to Channels/Inserts; Emanuel Dimas de Melo Pimenta, Short Waves 1985 and SBbr to Fabrications (16-17 September); Voiceless Essay to Points in Space; David Behrman, Interspecies Smalltalk to Pictures; Takehisa Kosugi, Assemblage to Grange Eve (18 and 20 September, matinee); Event (19 September); Cage did not participate (De Roeck 1987; Korteweg 1987).

28 September 1987. Storrs, Connecticut, University of Connecticut, School of Fine Arts, Music Department, Von der Mehden Recital Hall, Music at UConn. Robert Black gave preview performance of c Ȼomposed Improvisation, in program shared with music by Jon Deak, Lawrence Dillon, Hans Werner Henze, James Sellars, and Iannis Xenakis.

2 October 1987. Philadelphia, Pennsylvania, Port of History Museum, Ninth Annual New Music America Festival. Opening concert featured music by Cage (Ear 1987).

2-3 October 1987. St. John’s, Memorial University of Newfoundland. Cage 75th birthday celebration with student concerts of his music; Cage not in attendance (Behrens 1987).

11 October 1987. Munich, Symposium, Nehmen Sie an, es gäbe keine Fragen – was wäre die Antwort?/Suppose, there were no questions – what would the answer be? (10-11 October), round-table discussion, Gertrude Stein – Wirkungen (Musik, Literatur, bildende Künste. Presumably performed and participated with Ernst Jandl, Sylvia Lichtenberg, Hans Otte, Ginka Steinwax, Klaus Reichert, moderated by Peter Krumme (it is unclear whether this event actually took place).

6 October 1987. California, Pennsylvania, California University of Pennsylvania, Reed Arts Center, Reed Arts Center Recital Series. Robert Black gave world premiere of c Ȼomposed Improvisation, in program shared with music by Robert Black, James Sellars, Stuart Smith, Reynold Weidenaar, Christian Wolff, and Iannis Xenakis.

9-10 October 1987. New York, Grand Central Terminal, Main Concourse, ‘Grand Central Dances’, presented by Dancing in the Streets. Merce Cunningham Dance Company and Lucinda Childs Dance Company performed; Cage’s participation or attendance uncertain.

23 October 1987. Cologne, Philharmonie, Weltmusiktage. Attended concert by the Kölner Rundfunkchor and the Kölner Rundfunk-Sinfonie-Orchester, Hans Zender conducting with compositions by Giacinto Scelsi: Pfhat, Hurqualia, Hymnos, Uaxuctum (Wittersheim 1987c).

25 October 1987. Frankfurt am Main: wrote statements and answers to questions posed by Heinz-Klaus Metzger and Rainer Riehn (Cage/Metzger, H.-K. and Riehn 1987a).

27 October 1987. New York, Cooper Union. Bowery Ensemble gave retrospective concert in honor of Cage’s 75th birthday, including Credo in Us and Sixteen Dances, as well as Erik Satie’s Nocturnes (Palmer, R. 1987).

Prior to November 1987. New York. Interviewed by Kees Polling (Cage/Polling 1987).

1 November 1987 (matinee). Frankfurt am Main, Städtische Bühnen, Schauspielhaus (Untermainanlage 11), IGNM Weltmusiktage 1987 = ISCM World Music Days 1987 (23 October-1 November). Performed What You Say… (recording: Mode 84-85); Eberhard Blum (flute), Catherine Milliken (oboe), Michael Riessler (clarinet), Jim Fulkerson (trombone), Michiko Hirayama (voice), Robert Regös and Marianne Schroeder (pianos), Stefan Froleyks, Isao Nakamura, Robyn Schulkowsky, and Ulrik Spies (percussion), Peter Rundel (violin), Frances-Marie Uitti (violoncello) performed Music for _, presented as Music for Thirteen (twice) (Anonymous 1987k[ERROR***]; Bouliane 1988; Briner 1987b; Chłopecki 1988; Emmerik, P. van 1987a; Gießener Anzeiger 1987a; Gießener Anzeiger 1987b; Gn 1987; Knessl 1988; Musikhandel 1987; Oehlschlägel 1987c; Papaioannou 1988; Stäbler 1994).

8 November 1987, morning. Frankfurt am Main. With Gary Bertini and Heinz-Klaus Metzger gave press conference on Europeras 1 & 2 (Nicol 1987).

10 November 1987. Performance of c Ȼomposed Improvisation.

12 November 1987 (early morning). Frankfurt am Main, Städtische Bühnen, Oper Frankfurt destroyed by a fire, necessitated transferring the production to another hall, thus delaying first performances of Europeras 1 & 2 (originally planned for 15, 20, 23, and 30 November, 3 December, 4, 8, and 11 January, 10 and 14 April, and 19 May 1988), until 12 December (Anonymous 1988OPER; Frankfurter Allgemeine 1987a; Frankfurter Allgemeine 1987b; Frankfurter Allgemeine 1987c; Frankfurter Allgemeine 1987d; Frankfurter Neue Presse 1987; Frankfurter Rundschau 1987; Freund, A. 1987; Herbort 1987a; Hoffmann, H./Zwillinger 1987; Jungheinrich 1987b; Jungheinrich 1988b; Kölner Stadt-Anzeiger 1987; Nürnberger Nachrichten 1987; Reinke-Nobbe 1987; Reißinger 1987a; Scheele 1987).

Prior to 15 November 1987. Conceived Wagner’s Ring (Art).

17 November 1987. Munich, Kulturzentrum am Gasteig, Carl-Orff-Saal, Neue Musik München, organized by Kulturreferat, Jugendkulturwerk-Stadtjugendamt Jeunesses Musicales, Josef Anton Riedl, program. Performed What You Say… in shared program with David Tudor, performing Solo for Piano from Concert for Piano and Orchestra and Tudor, Web for John Cage II; music by Josef Anton Riedl and others; question period; interviewed by Peter Michael Hamel (Cage/Hamel 1988; H.L. 1987; Reißinger 1987b; Schulz 1988).

21-22 November 1987. Metz, Seizièmes Rencontres internationales de musique contemporaine, organized by Centre européen pour la recherche musicale (19-22 November), attended (traveled to Metz 21 November, morning); first performance of Organ²/ASLSP, by Gerd Zacher in shared program with music by Juan Allende Blin and Griffith Rose (21 November, evening, Temple Neuf); public conversation with Claude Lefebvre (22 November, morning, Buffet de la Gare, Salon Charlemagne); Cheap Imitation (Orchestra), Ensemble of the Musikhochschule Köln, Markus Stenz, director, in program with music by Volker Staub (22 November, afternoon, Théatre Municipal); back to Frankfurt 22 November, evening (Bitz 1987; Döpke 1987; Emmerik, P. van 1987d; Est Républicain 1987; Frisius 1987; Frisius 1988; Hamel, S. 1987; J. V. 1987; Jungheinrich 1987c; Jungheinrich 1988a; Kański 1988; Koch, G.R. 1987b; Koch, G.R. 2001; Lonchampt 1987; Mal. 1987; Massin 1987; Masson 1987a; Masson 1987b; Masson 1987c; Masson 1987d; Opitz 1988; R. B. 1987; Tellart 1987).

22 November 1987 (late evening). Munich, Gasteig, Black Box. Nam June Paik, A Tribute to John Cage shown.

22 November 1987 (afternoon). New York, Brooklyn Academy of Music, Carey Playhouse, Next Wave Festival, Happy Birthday Meredith, orgazined by the House Foundation for the Arts. Performance by Meredith Monk and Vocal Ensemble followed by birthday party for Monk; Cage, although not in attendance, was member of the 1987 Honorary Committee and with others provided recipes for “special desserts.”

27-29 November 1987. Weingarten, Pädagogische Hochschule Weingarten, Tage für Neue Musik Weingarten/Ravensburg, organized with Gesellschaft für Neue Musik Oberschwaben. Attended; Heinz-Klaus Metzger, “Reflexionen über Alles und Nichts” (27 November, afternoon, Aula); Maria Luisa Lopez-Vito performed Sonatas and Interludes (27 November, evening, Festsaal); workshop by Metzger on preparation (28 November, morning, Aula); dicussion with Metzger about Europeras 1 & 2 (28 November, afternoon, Aula); Ensemble Musica Negativa; Marianne Schroeder (piano); Rainer Riehn (conductor and director) performed Credo in Us; Variations I; Living Room Music; Music for _, and Concert for Piano and Orchestra (28 November, evening, Kloster Weißenau, PLK, Festsaal); Variations VIII performed and concluding debate (29 November, morning, Aula); performed from Empty Words (Audienzsaal, apparently unplanned) (Buhles 1988; Mindener Tageblatt 1987; Schwarzwälder Bote 1987; Zuber 1988).

December 1987. Composed One.

3 December 1987 or earlier. Frankfurt am Main, Städel, Nazarenersaal. Eberhard Blum, flutes, Nils Vigeland, piano and celesta, and Jan Williams, percussion, performed Morton Feldman, For Philip Guston; Cage in attendance; spoke in commemoration of Feldman (Heller 1987).

12, 17, 30 December 1987 [and 11 January 1988?; earlier planning foresaw eleven performances]. Frankfurt am Main, Städtische Bühnen, Schauspielhaus: directed first performances of Europeras 1 & 2, given by Harolyn Blackwell, soprano lirico coloratura; Michal Shamir, soprano lirico; Eliane Coelho, soprano lirico spinto; June Card, soprano dramatico; Marianne Rørholm, mezzosoprano coloratura; Anny Schlemm, mezzosoprano dramatico; Willy Müller, tenore character or buffo; Seppo Ruohonen, tenore lirico spinto; Rodney Gilfry, basso dramatico; Heinz Hagenau, basso profondo; Kathy Gamberoni, soprano coloratura; Ilse Gramatzki, mezzosoprano lirico; Margit Neubauer, contralto; Valentin Jar, tenore lirico; Thomas Booth, tenore dramatico; William Workman, basso lirico; Michael Glücksmann, basso-baritono; Tom Fox, basso lirico; Vladimir De Kanel, basso buffo; Peter Bavoni, Wendi Beckwitt, Carlos Iturrioz, David Kern, Marie-Luise Kersten, Irene Klein, Bodo Laube, Andris Plucis, Klaus Senn, Thomas Stache, Peter Vesco, Rosemary Williams, assistants; soloists of the Frankfurter Opernhaus- und Museumsorchester; Gary Bertini, musical director; Cage in attendance at the premiere performance; presumably not at later performances. During the preparations Cage repeatedly expressed his dissatisfaction with the project; prior to first performance interviewed by Gisela Gronemeyer (quoted in Gronemeyer 1987g) (Akt 1987-1988; Bauer, E.E. 1987; Bumann 1987; Diederichs 1988; Durner 1988; Emmerik, P. van 1987b; Geitel 1987; Glossner 1987; Gmi 1987; Gronemeyer 1987d; Gronemeyer 1987e; Gronemeyer 1987g; Henahan 1987; Herbort 1987c; Hmn 1987; Huber, A. 1987; Jöckle 1987; Jungheinrich 1987a; Jungheinrich 1987d; Jungheinrich 1988b; Kaiser, J. 1987; Kirchberg 1987a; Koch, G.R. 1987a; Koegler 1987; Lewinski 1987; Lewinski 1988; Lg. 1987; Linde 1987; Löhlein 1987; Ludwig 1988; Metzger, H.-K. and Riehn/Feuchtner 1987; Müller, F. K. 1987; Nyffeler 1987; Plaan 1987a; Plaan 1987b; Polling 1987; Rehn 1987; Reininghaus 1987; Reininghaus 1988; Ricker 1987; Rieth 1987b; Rohde, G. 1987a; Rohde, G. 1987b; Rohde, G. 1988; Scherzer 1987; Schreiber, W. 1988; Spiegel 1987; Stegen 1988; Süddeutsche Zeitung 1987; Swed 1988d; Teuteberg 1988; Thaler 1987; Thaler 1988; Vaitl 1987a; Vaitl 1987b; Wagner, Ra. 1987; Welt 1987; Westdeutsche Zeitung 1987; Wild 1987).

18 December 1987. Frankfurt am Main. Interviewed by Henning Lohner (Cage/Lohner1989).

Prior to 21 December 1987. Frankfurt am Main, Schillerschule. Attended performance and exhibition as part of educational project, Kunstkurs 13 Ho, focused on Europeras 1 & 2 (Römer 1987).

1987-1988. Conceived One¹¹ [art].

1988. New York. Wrote Art is Either a Complaint or Do Something Else.

1988. New York. Wrote Painting Relates to Any Moment.

1988. Extended Composition in Retrospect.

1988-1989. Appointed Charles Eliot Norton Professor of Poetry at Harvard University for the academic year 1988-1989.

January 1988. New York. Composed Five.

12 January 1988. New York, United Nations Building, Delegates’ Dining Rooms (First Avenue and 45th Street), musicale, preview of the First New York International Festival of the Arts (11 June-11 July) and reception. Presumably attended; Merce Cunningham Dance Company performed at the festival.

15 January 1988 (afternoon). Rochester, New York, University of Rochester, Rochester Conference, Will You Be On Time (10-17 January). With David Epstein participated in panel, Time and Music. Presumably read (from) Time (Three Autokus) (text).

15-18 January 1988. Hagen, Karl Ernst Osthaus Museum (Hochstraße 73), exhibition “Silence.”

29 and 31 January 1988. Cambridge, Massachusetts, Wiesner Building, MIT Experimental Media Facility (20 Ames Street), MIT Media Laboratory Music & Cognition Group 1987-88 Concert Series, Rewind/Fast Forward. Essay presented in program of music involving electronics.

February 1988. Made Where R = Ryoanji, R/10 (drawing).

3 February 1988 (morning). New York, Columbia University, Dodge Hall (2960 Broadway and 116th Street). Invited by Jane Wilson, presumably gave graduate class.

4 February 1988. Concert presented by New Music Consort, originally scheduled for this date, moved to 21 March 1988.

12-14 February 1988. Claremont, California, Pomona College, Bridges Hall. Music in Post-Modern America: Celebrating Contradiction and Diversity: Pomona College Centennial Symposium (four concerts and four sessions). Participated; Music for Fourteen performed (13 February, evening, Bridges Hall of Music); with Jonathan Condit, H. Wiley Hitchcock, John Rahn, participated in session “Reactions: A Look Toward the Future,” moderated by Lynne Rogers (14 February, afternoon, Lyman Hall).

20 February 1988. New York, Lincoln Center for the Performing Arts, Alice Tully Hall, John Cage 75th Birthday Retrospective. Attended; gave post-intermission talk; Continuum, Cheryl Seltzer and Joel Sachs, directors, performed The Wonderful Widow of Eighteen Springs, Nowth Upon Nacht, Composition for Three Voices, Five Songs, Credo in Us, Aria with Concert for Piano and Orchestra (solos for clarinet and trombone), Experiences No. 2, from Etudes Australes (Etude X, three realizations), Chorals, Wishing Well, and Three Dances (Hagen, D. 1988; Kimmelman 1988).

Prior to 22 February 1988. Interviewed by Felix Schmidt (Cage/Schmidt 1988).

22-27 February 1988. Middletown, Connecticut, Wesleyan University, Center for the Arts, “John Cage at Wesleyan: A Festival/Symposium about Cage’s work and influence,” organized by Neely Bruce. Attended; workshop by Electric Phoenix (22 February, afternoon, Crowell Concert Hall); opening reception and banquet; Electric Phoenix performed Hymns and Variations (22 February, evening, President’s House); panel, “The Cultural Impact of Cage’s Work,” with Michael Wolff, Leonard B. Meyer, John Fuegi, Susan Hammond, chaired by Jeffrey Jones (23 February, morning, Crowell Concert Hall); lecture on John Cage by Norman O. Brown (23 February, early afternoon, Crowell Concert Hall); panel, “Cage and the University,” with Richard K. Winslow, Vivian Perlis, Melvin Strauss, Neely Bruce, chaired by Richard Vann (23 February, afternoon, Crowell Concert Hall); Margaret Leng Tan (piano), Isabelle Ganz (voice), and Sin Cha Hong (choreography and dance) performed Four Walls (23 February, late afternoon, ’92 Theater); Jon Barlow and Christopher Oldfather (pianists) performed Morton Feldman, Piano (Barlow); Karlheinz Stockhausen, Klavierstück Nr. 6 (Oldfather); and 31'57.9864" for a Pianist with 34'46.776" for a Pianist, presented as 34'46.776" for Two Pianists (23 February, evening, Crowell Concert Hall); panel, “Cage and the Intellectual Climate of the Sixties,” with Charles Lemert, Heidi Von Gunden, Rita Bottoms, Sidney Monas, chaired by Tony Keller (24 February, morning, Crowell Concert Hall); lecture, by Richard Kostelanetz, “The Anarchist Art of the Polyartist” (24 February, early afternoon, Crowell Concert Hall); panel, “Writers and Cage,” with Dick Higgins, Noel Carroll, Jackson Mac Low, Arthur Sabatini, chaired by Keith Waldrop (24 February, afternoon, Cinema); musical interlude: Heidi Yenney (violin) and Paul Orgel (piano) performed Six Melodies; Evan Miller, Ophelia; Cory Pike, Dream; and Stephen Dick, Susan Matheke, and Wille Feuer (voices) performed Stephen Dick, The Man Who Is Not John Cage, based on the writings of Cage and others; Phyllis Bruce, David Barron, Tim Wolf, and Neely Bruce performed Song Books; (24 February, late afternoon, Crowell Concert Hall); papers on individual compositions presented by Deborah Campana (on String Quartet in Four Parts), James Pritchett (on Concerto for Prepared Piano and Chamber Orchestra), and Daniel Wolf (on Cheap Imitation), chaired by Don Gillespie (25 February, morning, Crowell Concert Hall); roundtable on Cage research with Rita Bottoms, Deborah Campana, Elizabeth Swaim, chaired by James Farrington (25 February, early afternoon, Cinema); panel, “Cage and Other Composers,” with Alvin Lucier, Christian Wolff, Gordon Mumma, William Duckworth, chaired by Earle Brown (25 February, afternoon, Cinema); musical interlude: Isabelle Ganz performed Aria; Jon Barlow (piano) and others performed Concert for Piano and Orchestra (25 February, afternoon, Crowell Concert Hall); performed with Alvin Lucier, Christian Wolff and others; 0'00" (with Lucier, electronics); Alvin Lucier, Music for Solo Performer (electronics, with Lucier, performer); Christian Wolff, For 1, 2 or 3 People (with Lucier and Wolff); Rozart Mix (Chris Schiff, splicer; members of Music 110, Electronic Music Studio; members of Music 236, Composition and Performance of Electronic Music; Jon Schoenoff, technical co-ordinator); technical assistance at all compositions involving electronics: Mladen Milicevic (25 February, evening, Crowell Concert Hall); panel, “The Impact of Cage’s Aesthetic on European Culture,” with Keith Potter, Daniel Charles, Nikša Gligo, Reinhard Oehlschlägel, chaired by Zbigniew Skowron (26 February, morning, Crowell Concert Hall); extended performance of 4'33" or 0'00" (performer or performers unknown, early afternoon, Crowell Concert Hall); panel, “Cage and World Music,” with David McAllester, Pauline Oliveros, Margaret Leng Tan, Sumarsam, chaired by Mark Slobin (26 February, afternoon, Cinema); musical interlude: Ross French, John Kennedy, Joe Rasmussen, and Melvin Strauss performed Amores; Imaginary Landscape No. 5 presented (realization by Mitchell Clark); Mitchell Clark performed Suite for Toy Piano; Jon Barlow performed Water Music, presented as February 26, 1988; Mitchell Clark, Joe Rasmussen, Christopher Schiff and Daniel J. Wolf performed Inlets (26 February, late afternoon, World Music Hall); Wesleyan [Symphony] Orchestra, Arditti Quartet, Hartt Contemporary Chamber Players, Melvin Strauss conducting, performed Atlas Eclipticalis; conducted Etcetera, performed by ad hoc ensemble, with Alvin Lucier, Richard K. Winslow; Jon Barlow (piano) and ad hoc ensemble conducted by Melvin Strauss performed Concerto for Prepared Piano and Chamber Orchestra (26 February, evening, Crowell Concert Hall); Cagian disco, with three bands and two DJ’s performing simultaneously (26 February, late night, McConaughy Hall); papers and presentations on “Technology and the Evolution of Cage’s Music,” by Billy Klüver, Ron Kuivila, Doug Kahn, chaired by Edward F. Jones (27 February, morning, Cinema); gave first performance of Anarchy (27 February, early afternoon, Cinema); panel, “The Performance of Cage,” by William Brooks, Irvine Arditti, Isabelle Ganz, Jon K. Barlow, chaired by Sally Banes (27 February, afternoon, Cinema); musical interlude: Michael Pugliese performed Etudes Boreales; with Isabelle Ganz performed Ryoanji; with Nils Vigeland, Mark Rendon, and Hal Reed performed Credo in Us (27 February, late afternoon, Crowell Concert Hall); Fontana Mix (live version with tape loops) performed; Arditti Quartet performed Music for _, presented as Music for Four; String Quartet in Four Parts; Thirty Pieces for String Quartet (27 February, evening, Crowell Concert Hall); interviewed by Richard Wood Massi (26 February); during conference, exhibitions of prints by Cage (Ezra and Cecile Zilkha Gallery), on John Cage and Wesleyan (Olin Library, main level), and of Mushroom Book (Olin Library, lower level) (Fontes Artis Musicae 1987; Gann 1988c; Gerrard 1988; Gronemeyer 1988; Holzaepfel 1991; Massi 1988a; Massi 1988b; Massi 1988c; Massi 1993; Potter, K. 1988; Tempo 1988).

27 February 1988. Essen, Museum Folkwang, Alter Saal (Nr. 5). Kammerkonzert zum 60. Geburtstag von Juan Allende-Blin. Thomas Günther gave first performance of One, in shared program with music by Pedro Humberto Allende Saron, Mauricio Kagel, Klaus Linder, Jean Cébron, Gerd Zacher, Hans Otte, Hans-Joachim Hespos, Juan Allende-Blin, Fré Focke, Dieter Schnebel, Gary Verkade, and Giuseppe G. Englert; Cage not in attendance.

March 1988. New York. Wrote Parts II and III of Time (Three Autokus).

1-27 March 1988. New York, Joyce Theater (175 8th Avenue). Merce Cunningham Dance Company performed with Takehisa Kosugi, Joseph Kubera, Michael Pugliese, David Tudor, Nils Vigeland; Cage did not participate (Macaulay 1988).

6 March 1988 (afternoon). New York, New York Studio School (8 West 8th Street). Possibly attended performance by Aki Takahashi of Morton Feldman, For Bunita Marcus.

6 March 1988. New York, Asia Society. Attended and introduced Pro Musica Nipponia performance of Ryoanji on Japanese instruments (Mostel 1988).

11 March 1988. New York, City University of New York Graduate Center Auditorium (33 West 42nd Street). Guest speaker, with Christian Wolff, at Morton Feldman Memorial Concert by Gageego (Susan Rotholz, flute; Paul Hoffman, piano; Tom Goldstein, percussion), performing Feldman, Crippled Symmetry.

14 March 1988. Buffalo, New York, State University of New York, Department of Music, North American New Music Festival (10-19 March). Performed Anarchy; concert, “John Cage and Friends,” with music by Cage, Josef Matthias Hauer, and Giacinto Scelsi.

18 March-17 April 1988. Kansas City Art Institute, Charlotte Crosby Kemper Gallery (4415 Warwick Boulevard). Installation (presumably Stratified Essay).

19 March 1988. University of Nottingham. Music by Cage performed; presumably Cage was not in attendance.

19 March-24 May 1988. Florence, Galleria Vivita: exhibition ‘John Cage: Happening & Fluxus’, with others (manuscript of Quartet) (Pedrini 1988).

21 March 1988. New York, Symphony Space (95th and Broadway). Guest composer at performance of Third Construction given by New Music Consort’s Pulse Percussion Ensemble and Manhattan Percussion Ensemble in shared program with music by Charles Wuorinen, David Olan, and Dan Levitan (originally scheduled for 4 February 1988).

27-30 March 1988. Albuquerque, New Mexico, University of New Mexico, College of Fine Arts, Department of Music, 16th Annual Composer’s Symposium. Attended and participated; rehearsed his music (29-30 March, afternoon, Keller Hall); Christopher Shultis gave lecture (28 March, morning, B-117); panel discussion with William Hill, István Láng, John Donald Robb, Robert Suderburg on ‘Important Trends in American Music of the 20th Century’ (30 March, morning, Fine Arts Center, B-120); ask the composer (30 March, afternoon, Fine arts Center, B-117); three-hour retrospective concert of his music: UNM Symphony Orchestra and Christopher Shultis (conductor) performed Atlas Eclipticalis; Dawn Chambers performed Water Music; UNM Percussion Ensemble performed Quartet and Credo in Us; Kathy Clawson (voice) and Dick Orr (electronics) performed selections from Song Books; Christopher Shultis performed Child of Tree; various students performed Variations III, Speech 1955 and Fontana Mix (tape realization by Jerome Maes and Robert See) (30 March, evening, Fine Arts Center, Popejoy Hall Lobby [Atlas at the beginning and Variations at the end] and continued in Keller Hall) (College of Fine Arts 1988).

31 March 1988. Santa Fe, New Mexico, presented by Center for Contemporary Arts of Santa Fe (291 East Barcelona Road). Performed Anarchy (St. Francis Auditorium).

April 1988. New York. Composed Four Solos for Voice.

3-10 April 1988. Blacksburg, Virginia, Miles C. Horton Sr. Research Center for Arts and Sciences, Mountain Lake Workshop of the Virginia Tech Foundation. At the invitation of Ray Kass, conducted workshop and made, assisted by seven students, New River Watercolors (DeBell 1988; Kass 1988; Lewallen 2001, 238).

12 April 1988. Kansas City, Missouri, All Souls Unitarian Church (4500 Warwick Boulevard). Performed James Joyce, Marcel Duchamp, Erik Satie: An Alphabet; followed by a reception (Kansas City Art Institute, Epperson Auditorium) to open the Kansas City American Arts Festival (12-24 April).

24 April 1988 (afternoon). Purchase, New York, State University of New York, Neuberger Museum, Seventh Helen and Leonard Yaseen Lectures. Performed Time (Three Autokus).

28-30 April 1988. Lawrence, Kansas, University of Kansas, Twenty-third Annual Conference of the Society of Composers, Inc. (27 April-1 May), presented by the University of Kansas Symposium of Contemporary Music. Attended; attended “Grand Happening” in his honor (28 April, afternoon, lawn in front of Stauffer-Flint Hall, east of Wescoe Hall, Wescoe Beach); introduced by Stephen Addiss, read Anarchy (28 April, evening, Crafton-Preyer Theatre, Murphy Hall, A Meet the Composer/Mid-America Arts Alliance Program); performed with Yvar Mikhashoff: Souvenir (piano transcription by Mikhashoff, Mikhashoff); from Empty Words (Cage) with excerpts from Music for Piano (Mikhashoff); Perpetual Tango (Mikhashoff) in shared program with music by Frederic Rzewski, Larry Austin, Sydney Hodkinson, Conlon Nancarrow, Elliott Schwartz, Ralph Shapey, Brian Fennelly, and Robert Berkman (29 April, afternoon, Swarthout Recital Hall) (Carolan and Dilmore 1988).

May 1988. New York. Composed Seven.

18 May 1988. Attended Moscow (Cage/Emmerik 1991).

19-23 May 1988. Leningrad, Tretiy Mezhdunarodnïy Muzykal’nïy Festival’ v SSSR = Third International Music Fesival in the USSR (20 May-1 June), organized by the Youth Commission of the Union of Soviet Composers, secretary Alexander Tchaikovsky. Invited by Alexander Ivashkin, attended; concert of traditional music (19 May, late afternoon, Composers Club [45 Gertsen Street]); symphony concert with music by Sergei Prokofiev, Luigi Nono, Yashushi Akutagawa, Giya Kancheli performed by Leningrad Philharmonic Orchestra, Boys Choir of the Sveshnikov Moscow Choral School, Viktor Tretyakov, violin, conductors Jansugg Kakhidze en Valery Gergiev (20 May, evening, Leningrad Philharmonia, Bolshoi Hall [2, Brodsky Street]; presumably Cage was not in attendance); concert of chamber music with Music for _, presented as Music for Fourteen, performed by Ensemble of the Bolshoi Theatre Orchestra Soloists; also music by Mauricio Kagel, George Crumb, Sergei Slonimsky, and Valentin Silvestrov (21 May, noon, Leningrad Philharmonia, Maly [Glinka] Hall [30, Nevsky Prospect]), lunch with Luigi Nono and Giya Kancheli; symphony concert with music by Solomon Lulu, Franco Mannino, Franz Hummel, and Manfred Weiss, performed by the USSR State Symphony Orchestra and the Leningrad Glinka Chapel, Ulf Hoelscher, violin, conductors Vasily Sinaisky and Franco Mannino (21 May, evening, Leningrad Philharmonia, Bolshoi Hall; presumably Cage was not in attendance); attended Hermitage with Afrika (pseudonym of Sergei Bugaev) and musicians from Pop Mechanics; performed with musicians from Pop Mechanics (22 May, Africa’s Studio); chamber music concert with music by Jordi Cervello, Rodion Shchedrin, Daniele Lombardi, Krzysztof Penderecki, performed by Virtuosos of Moscow Chamber Orchestra; Daniele Lombardi, piano; conductor Vladimir Spivakov (22 May, noon, Leningrad Philharmonia, Maly [Glinka] Hall]; presumably Cage was not in attendance); chamber music concert with music by Karl Amadeus Hartmann, Yuri Falik, Lucian Prigozhin, Boris Arapov, Elie Siegmeister, performed by Bernhard Böttner, piano; String Quartet of the Leningrad Philharmonia; T. Sergeyevna, piano; Lev Mikhailov, clarinet; Inna Monolova, viola; Dmitri Berlinsky, violin; Aleksey Orlovetsky, piano (22 May, late afternoon, Composers Club; presumably Cage was not in attendance); attended symphony concert with music by Quang Hai, Horst Ebenhöh, Byanbasurengiin Sharav, Duangmixai Lykaiya, Teizo Matzumura, and Boris Tchaikovsky, performed by the Lithuanian Philharmonic Orchestra, Leningrad Glinka Chapel, Juozas Domarkas, conductor; Nguen Thi Zieu Quang, dan chan; M. Nodzima, piano; M. Pekarsky, percussion; A. Suvorov, percussion (22 May, evening, Leningrad Philharmonia, Bolshoi Hall); interviewed by Alexander Ivashkin and Claire Polin (Cage/Emmerik 1991; Ivashkin 2013a; Polin 1989; Porwoll 1988; Ullmann 2012b).

24 May 1988. Attended Moscow (Cage/Emmerik 1991).

6 June 1988. Interviewed by Barry Michael Williams (Cage/Williams 1993; Williams, B.M. 1990).

16 June 1988. New York, Henry Lindenbaum Center (270 West 89th Street), basement theater. Guest speaker (with Jane Dudley and Lou Harrison) at a Gala Benefit Evening for the Jean Erdman Video Project, presented by The Open Eye: New Stagings, hosted by William Como. Jean Erdman gave choreographer’s message; choreographies by Erdman were danced by Nancy Allison, Leslie Dillingham, and Dianne Howarth, music performed by Jerry Benton (piano), Maura Ellyn (voice), Elizabeth Brown (flute): Passage (music Otto Janowitz), Ophelia (music by Cage), Creature on a Journey (music by Lou Harrison, presented as a recording made by Cage, Merce Cunningham, and Doris Halpern), Hamadryad (music by Claude Debussy), and Daughters of the Lonesome Isle (music by Cage) (Jowitt 1988a).

16 June 1988. Berlin, Freie Volksbühne. Michael Pugliese, clay pots and tapes; David Tudor, live electronics, gave first partial performance of Five Stone Wind, presented as Five Stone to Merce Cunningham’s dance of the same title (Schmidt, J. 1988).

June 1988. Merce Cunningham Dance Company on tour in Germany: among others Cartridge Music to Changing Steps (Bielefeld, Bühnen der Stadt; Neuss, Stadhalle, Leverkusen, Forum); Cage’s participation uncertain.

16 June-30 July 1988. New Brunswick, New Jersey, Rutgers University, Douglas College Campus, Walters Hall Art Gallery, 1988 Summerfest, group exhibition, Art after Silence: Where R = Ryoanji (four pencil drawings).

Prior to 19 June 1988. New York. Composed Twenty-Three.

19 June 1988. Amsterdam, American Hotel, Off Holland Festival. Frances Marie Uitti performed Etudes Boreales; Mifune Tsuji from Freeman Etudes; Frederic Rzewski from Etudes Australes; together, they performed Music for _ [Three] (Mijnheer 1988a).

19-20 June 1988. London, Almeida Theatre, Eighth Almeida Festival of Contemporary Music and Performance (9 June-9 July). Attended rehearsal of Four Solos for Voice with Electric Phoenix (19 June, morning, October Gallery); performed Anarchy (19 June, afternoon); performed with Yvar Mikhashoff: from Empty Words (Cage) with Music for Piano (nos. 3, 2, 20, 21, 37, 43, 51, 57, 58, 63, 73, 80, 81, 84) (Mikhashoff); Yvar Mikhashoff and the Arditti Quartet performed Music for _, presented as Music for Five; Irvine Arditti performed Freeman Etudes [I-XVI] (20 June); interviewed by Brian Morton (Ansell 1988; Maycock 1988; Morton 1988; Oakes 1988).

Prior to summer 1988. Wrote response to request for remarks about Marshall McLuhan (Cage, John et al./Anonymous 1988).

21 June 1988. Amsterdam, De IJsbreker. Attended closed premiere of Frank Scheffer, Time is Music (film); interviewed by Pay-uun Hiu and Leo Samama (Cage/Hiu 1988; Cage/Samama 1988; Dosogne 1988; Naarding 1988).

21 June 1988. Amsterdam, American Hotel, Off Holland Festival. Gerard Bouwhuis performed Sonatas and Inerludes (Mijnheer 1988b).

22 June 1988. Amsterdam, De Balie. Performed from Part IV of Empty Words and met with art students of the Rietveld Academie (Dosogne 1988).

23-24 June 1988. Amsterdam, around Leidseplein, Holland Festival: attended Musicircus, presented as De nacht van Cage (Beer, Hiu, and Waa 1988; Bouwmeester 1988; Dosogne 1988; Franje 1988; Holland Festival Dagkrant 1988a; Holland Festival Dagkrant 1988b; Holland Festival Dagkrant 1988c; Kijne 1988; Malasch 1988; Ven 1988a; Vermeulen 1988c).

24 June 1988. Traveled to Middelburg.

25 June 1988. Middelburg. Composed Chessfilmnoise.

26 June 1988. Middelburg, Kloveniersdoelen. Chessfilmnoise, in which Cage plays chess with Stephen Lowy, filmed.

27 June-2 July 1988. Middelburg, Netherlands, Kloveniersdoelen (if not specified otherwise), Festival Nieuwe Muziek. Attended, gave masterclass; gave first performance of Five (plucked piano) with Kronos Quartet (27 June, Oostkerk); public conversations with Paul van Emmerik (27 June), Frans van Rossum and Stephen Lowy (28 June), John Papaioannou (29 June); Xenakis Ensemble performed Music for _ [Eleven], One, Litany for the Whale, Two (29 June); collected wild plants and cooked a meal from them (30 June, afternoon); attended performances, première of Chessfilmnoise and films of his choice (1 July, afternoon, Schuttershoftheater); public conversation with Misha Mengelberg (2 July, afternoon); Klaas Hoek performed organ music; Spyros Sakkas en Koor Nieuwe Muziek, Huub Kerstens conducting, performed music by Cage, Feldman, Barbara Monk Feldman (1 July, evening); conducted Five, performed by members of the Radio Philharmonisch Orkest; the orchestra, with Lucas Vis conducting, performed Quartets I-VIII (93 Instruments) (2 July, Oostkerk); closing reception afterwards (De Abdij, Abdijplein); interviewed previously by Henk Postma (Blaha 2019; Broekert 1988a; Broekert 1988b; Cage/Postma 1988; Cijsouw 1988a; Cijsouw 1988b; Cijsouw 1988c; Cijsouw 1988d; Cijsouw 1988e; Hebbelinck 1988; Hiu 1988b; Hiu 1988c; Hiu 1988d; Oehlschlägel 1988a; Postma 1988; Provinciale Zeeuwse Courant 1988a; Provinciale Zeeuwse Courant 1988b; Reichenfeld, K. 1988; Riemens 1988; Scheldebode 1988; Schneeweisz 1988c; Ven 1988a; Vermeulen 1988a).

29 June 1988. New York, Abraham Goodman House, Merkin Concert Hall (129 West 67th Street), First New York International Festival of the Arts, Avant-Garde Vocal Series, presented by the Hebrew Arts School. Electric Phoenix (Judith Rees, soprano; Meriel Dickinson, mezzo-soprano; Daryl Runswick, tenor; Terry Edwards, bass; John Whiting, sound engineer) gave first performance of Four Solos for Voice; also performed music by Neely Bruce, Luciano Berio, Trevor Wishart, Daryl Runswick, and William Brooks (Dalton 1988; Kerner 1988; Kozinn 1988d; Swed 1988b).

July 1988. Nottingham, Nottingham University, Nottingham Festival. HPSCHD performed.

1 July 1988. Duisburg, Theater der Stadt Duisburg. Merce Cunningham Dance Company performed repertory pieces; Cage did not participate.

3 July 1988. Cologne, Opernhaus Köln. Merce Cunningham Dance Company performed repertory pieces; Cage’s participation uncertain.

Between 3 July-November 1988. New York. Composed 1O1.

8-31 July 1988 (performances on 14, 16-17 July). Purchase, New York, State University of New York, Performing Arts Center, Theater A, Pepsico Summerfare: staged Europeras 1 & 2, performed by Christina Andreou, June Card, Eliane Coelho, Marianne Rørholm, Michal Shamir, Anny Schlemm, Rodney Gilfry, Heinz Hagenau, Willy Müller, Seppo Ruohonen (Europera 1); Harolyn Blackwell, Ilse Gramatzki, Margit Neubauer, Tom Fox, Michael Glücksmann, Valentin Jar, Keith Mikelson, William Workman, Jurij Zinovenko (Europera 2); Heinz-Klaus Metzger and Rainer Riehn, dramaturgy; Roberto Goldschlager, staging preparation; Gary Bertini, musical preparation; Andrew Culver, assistant (Durner 1988; Dyer, R. 1988c; Everett-Green 1988; Firincioğlu 1988; Gann 1988a; Goodman, P. 1988a; Goodman, P. 1988b; Gouveia 1988a; Gouveia 1988b; Harris, D. 1988; Kostelanetz 1988e; Kostelanetz 1988f; Mayer, M. 1988; Porter, A. 1988; Rich 1988a; Rich 1988b; Rockwell 1988a; Swed 1988a; Swed 1988b; Swed 1988e; Sweeney, J.S. 1988; Taylor, M. 1988).

9-10 July 1988. New York, The Plaza, World Financial Center [or Battery Park City], First New York International Festival of the Arts (11 June-11 July). First complete (preview) performances of Five Stone Wind to Merce Cunningham’s dance of the same title (Vaughan 1997, 241, 300).

21 July-26 August 1988. New York. Wrote Bolivia Mix [text].

22-23 July 1988. Putney, Vermont, Yellow Barn Music Festival. Lectured (22 July, Yellow Barn); attended first performances of Twenty-Three given by the festival’s participants (22-23 July, Yellow Barn); Grete Sultan performed from Etudes Australes; in conjunction with Cage’s residency Anthony Rauche gave a mini-course, “The Revolutionary Work of John Cage in Twentieth-Century Music” at Norwich University in Putney (7 and 22 July).

30 July-4 August 1988. Avignon, Palais des Papes, Cour d’honneur, Festival d’Avignon (9 July-4 August). Merce Cunningham Dance Company performed; Takehisa Kosugi, amplified violin, live electronics, bamboo flute; Michael Pugliese, clay pots and tapes; David Tudor, live electronics, and Merce Cunningham Dance Company performed Five Stone Wind (first official performance) to Merce Cunningham’s dance of the same title (30 July) (Vaughan 1997, 300).

August 1988. New York, Museum of Modern Art, Abby Aldrich Rockefeller Sculpture Garden (14 West 54th Street), Summergarden concerts, directed by Paul Zukofsky, featured music by Cage and related composers (Henry Cowell, Morton Feldman, Josef Matthias Hauer, Zoltan Jeney, Jo Kondo, Erik Satie, Alberto Savinio, Giacinto Scelsi, Arnold Schoenberg, Anton Webern, Christian Wolff), many of them performed by Juilliard School 20th-Century Players: Hymnkus (1 July); Rudolf Meister performed Sonatas and Interludes (5-6 August); early percussion music (12-13 August); Quartets I-VIII (24 Instruments) (12-13 August) (Haverstock 1988; Kozinn 1988c; Swed 1988b).

6 August 1988. Gibellina, Sicilia [Sicily], Palazzo di Lorenzo. Roberto Fabbriciani (flute) and Carlo Neri (piano) gave first performance of Two.

10 August 1988. New York, Lincoln Center, North Plaza, Cage Outdoors: attended performances of his music given by Margaret Leng Tan, Alvin Lucier, Isabelle Ganz, Joseph Rasmussen, Mattabasset Percussion Ensemble (Strauss, N. 1988).

20 August 1988. New York, Lincoln Center, Out-of-Doors series, Cage on Stage. Participated with Solo for Voice 8 (by working on Charles Eliot Norton Lectures) in performance of Song Books with Winter Music, Atlas Eclipticalis (Ricciotti USA; Melvin Strauss, conductor), Concert for Piano and Orchestra (John Barlow, piano; Chris Schiff, trombone) and Rozart Mix with David Barron, Neely Bruce, Phyllis Bruce, Isabelle Ganz (mezzo soprano, Aria) and others (afternoon, Cage al Fresco, North Plaza); Ricciotti USA, Isabelle Ganz, and Toby Twining, baritone, performed Apartment House 1776; Isabelle Ganz and Joseph Rasmussen performed Forever and Sunsmell and Ryaonji; Margaret Leng Tan performed One, In A Landscape (piano), Water Music, In the Name of the Holocaust; quintet directed by Alvin Lucier performed Cartridge Music; Mattabasset Percussion Ensemble performed Third Construction (evening, Cage on Stage, Damrosch Park) (Fetterman 1996a, 88, 156 [error]; Kozinn 1988a; Strauss, N. 1988).

30 September 1988. New London, Connecticut, Connecticut College, Cummings Arts Center, Dana Hall, Twentieth Century in Retrospect. Presumably attended performance, New London Contemporary Ensemble.

October 1988. Provo, Utah, Sundance Institute and Orem, Utah, Sunrise Studios: Merce Cunningham Dance Company performed. Cage’s participation uncertain.

3 October 1988. New York, Marymount Manhattan Theater (221 East 71st Street), Gageego Presents The Noble Snare. Brian Johnson gave first performance of c Ȼomposed Improvisation for snare drum in a concert presenting a collection of seventeen pieces published in The Noble Snare; Cage not in attendance (Baker, J.C. 2004; Johnson, Brian 1989; Kozinn 1988b).

12 October 1988, late afternoon. Cambridge, Massachusetts, Harvard University, Sanders Theatre, Memorial Hall. Gave first of six Charles Eliot Norton Lectures, I-VI. Concurrently, Cage received commissions of works by the Boston Symphony Orchestra, Musica Viva, the Harvard University Orchestras and Alea III; exhibition of Cage’s paintings at Le Corbusier’s Carpenter Visual Arts Center (Harvard Crimson 1988; Swed 1988c; Tommasini 1989; Wulf 1988; FOR ALL SIX: Anonymous 1988DICHTUNG; Bouchard 1989; Cage 1990f; Cage/P. van Emmerik 1990ICH, CHECK; Gazette 1989; McLellan 1989; Tommasini 1988).

19 October 1988, late afternoon. Cambridge, Massachusetts, Harvard University, Music Department, John Knowles Paine Concert Hall. Gave first of six seminars in conjunction with the Charles Eliot Norton Lectures (Swed 1988c).

24 October 1988. Richmond, Virginia, Virginia Museum of Fine Arts (2800 Grove Avenue). Attended concert of his music by Currents and opening of traveling exhibition, “John Cage/New River Watercolors” (24 October-27 November) (Church 1988; DeBell 1989; West 1988).

26 October 1988, late afternoon. Cambridge, Massachusetts, Harvard University, Sanders Theatre, Memorial Hall. Gave second of six Charles Eliot Norton Lectures, I-VI (Swed 1988c).

2 November 1988, late afternoon. Cambridge, Massachusetts, Harvard University, John Knowles Paine Concert Hall. Gave second of six seminars in conjunction with the Charles Eliot Norton Lectures (Swed 1988c).

4 November 1988 (afternoon). Cambridge, Massachusetts, Harvard University, North House, Holmes Hall, Living Room, Learning from Performers. Participated in reunion discussion with Earle Brown and Christian Wolff.

4 November 1988 (evening). Cambridge, Massachusetts, Longy School of Music, Edward M. Pickman Concert Hall. Boston Musica Viva Twentieth Anniversary Birthday Celebration with performances of Dream, Radio Music, Water Walk, and possibly first performance of Seven (see 18 November 1988); Cage in attendance.

6 November 1988 (possibly conflicts with next item). Philadelphia, Pennsylvania, Philadelphia Museum of Art, Van Pelt Auditorium, Looking at Jasper Johns: A Celebration (morning and afternoon). Read Art Is Either a Complaint or Do Something Else [text] (presumably first performance); other speakers were Anne d’Harnoncourt, Nan Rosenthal, Barbara Rose, and Jill Johnston (recording: Mode 84-85).

6 November 1988 (evening). Cambridge, Massachusetts, Harvard University, Sanders Theatre, presented by Fromm Music Foundation at Harvard. Attended performance of Music for _, presented as Music for Nine, given by Boston Musica Viva in shared program with music by Earle Brown, Christian Wolff, and Morton Feldman.

7 November 1988. New York, Weill Recital Hall, Week of Italian Music in New York. Attended concert with performance of Two in shared program; performers unknown (Rockwell 1988b).

9 November 1988. New York, Cooper Union for the Advancement of Science and Art (Cooper Square). Performed Anarchy.

10 November 1988. Richmond, Virginia, Virginia Museum of Fine Arts (2800 Grove Avenue). Performed James Joyce, Marcel Duchamp, Erik Satie: An Alphabet.

13 November 1988 (evening). Cambridge, Massachusetts, Harvard University, John Knowles Paine Concert Hall. Group for New Music at Harvard performed music of Cage, John Clement Adams, Mel Powell, Eric Sawyer, John Armstrong, and Robert Kyr.

14-28 November 1988. The Hague, Koninklijk Conservatorium (Juliana van Stolberglaan 1), John Cage Project (7-28 November): attended performances of his music and music by students, taught, lectured; led composition workshop (22 November); performed from part IV of Empty Words simultaneously with selections from Music for Piano, performed by Reinbert de Leeuw; Ensemble van het Koninlijk Conservatorium, Reinbert de Leeuw conducting, performed Sixteen Dances; Ives Ensemble with Joan La Barbara (voice) performed Atlas Eclipticalis with Winter Music, Solo for Voice 2, Solos for Voice 43, 11, 36, 40, 73, 52, 49 from Song Books and Eight Whiskus (15 November, Amsterdam, Paradiso, as part of “Acht Proms in Paradiso”); same program 16 November, Utrecht, Pieterskerk); also concerts on 20 and 22 November (Amsterdam) and 23 November (Utrecht) [?]; Herbert Henck performed Music of Changes (19 November); staged Song Books with twelve students, assisted by Ivo van Emmerik and Ron Ford, as the culmination of a vocal and theatre workshop by Joan La Barbara (24 November, Conservatorium, Kees van Baarenzaal); concert with percussion music; Cage’s performance from Empty Words, planned for 25 November, was cancelled (25 November, Kees van Baarenzaal, 11 pm); presentation of results from the compostion workshop, Book Three – The New Media (26 November, upper Foyer and Schönbergzaal, 8 pm); Bob van Wely, carillon, performed music for carillon by Cage; Gerd Zacher performed organ music; Orkest van het Koninklijk Conservatortium, Reinbert de Leeuw conducting, performed Dance/4 Orchestras (27 November, Grote of St.-Jacobskerk, 2 pm); lectures by James Pritchett (25 and 26 November, both at 5 pm); interviewed by Doron Nagan (Amersfoortse Courant 1988; Beer 1988; Besier 1988a; Besier 1988b; Besier 1988c; Degens 1988a; Degens 1988b; Derks 2014, 206-209; Emmerik, I. van and Ford 1988-1989; Emmerik, I. van, Ford, and Rijnvos/Horst 1989; Hager 1988a; Hager 1988b; Hager 1988c; Hazendonk 1988; Hilst 1988; Hiu 1988a; Hiu 1988d; Hiu and Waa 1988; Kokee 1988a; Kokee 1988b; Leidsch Dagblad 1988; Luttikhuis 1988; Mensink 1989; Nagan 1988a; Nagan 1988b; Rosier 1988; Rotterdams Nieuwsblad 1988; Ruch Muzyczny 1989; Schneeweisz 1988a; Schneeweisz 1988b; Schneeweisz 1988d; Schneeweisz 1988e; Schreuder 1988a; Schreuder 1988b; Straatman 1988; Ven 1988b; Ven 1988c; Ven 1988d; Vermeulen 1988b; Vermeulen 1989).

Prior to 18 November 1988. Wrote Ryoanji (program note).

18 November 1988 (evening). Cambridge, Massachusetts, Longy School of Music, Edward M. Pickman Hall. The Boston Musica Viva: Leone Buyse, flute; William Wrzesien, clarinet; Pat Hollenbeck, percussion; Bruce Brubaker, piano; Nancy Cirillo, violin; Katherine Anderson, viola; Kim Scholes, violoncello; Richard Pittman, director, gave first performance of Seven [some sources give 4 November 1988 as date of first performance] in shared program with music by Henry Cowell, Lou Harrison, and Arnold Schoenberg (Dyer, R. 1988b).

28 November 1988. Returned to New York via Frankfurt am Main and Paris.

2-10 December 1988. Miami, Florida, New Music America-Miami Festival, organized by New Music Alliance, Joseph Celli and Mary Luft. Attended; participated in afternoon panel, “Regarding Morton,” in tribute to Morton Feldman with Renee Levine, Jan Williams and others; read from Radio Happenings (6 December, afternoon, Miami-Dade Community College/Wolfson Campus, Building 1, 4th floor Terrace, 300 N.E. Second Avenue, 1st International Music Critics Conference Panel); attended performance on clay pots by Michael Pugliese of Five Stone Wind as Five Stone Solo (announced as world premiere) in program with first performances by Relache (Philadelphia) of Critical Band by James Tenney (1934-2006) and music by John King and Mary Ellen Childs [possibly substituted by Tenney] (choreography Robert Kovich) (6 December, evening, Gusman Center for the Performing Arts, 174 East Flagler Street) (Cage 1991e; Franklin, J. 2006, 248-249; Friedman, Sydney 1989; Gronemeyer 1989b).

19 December 1988. New York. Letter to Henning Lohner (Cage/Lohner 1989, 254-255).

1989. San Francisco, Crown Point Press: made 75 Stones; Global Village 1-36; The Missing Stone.

1989. Phoenix, Arizona: attended conference.

1989. New York. Composed Swinging.

1989-November 1990. New York. Composed Freeman Etudes (XVII-XXXII).

8 January-17 February 1989. Radford, Virginia, Radford University, Flossie Martin Art Gallery. Exhibition, “John Cage/New River Watercolors” (West 1988).

26 January 1989. New York, Symphony Space. Guest composer (with Glen Velez, Ge Gan-ru, Bright Sheng, and George Crumb) in New Music Consort performance of Double Music in shared program with music by Ge Gan-ru, Glen Velez, George Crumb, and Bright Sheng.

February-August 1989. New York. Wrote An Autobiographical Statement (Text).

8 February 1989. Cambridge, Massachusetts, and Boston, Massachusetts. Presented third of six Charles Eliot Norton Lectures, I-VI (late afternoon, Harvard University, Sanders Theatre, Memorial Hall); attended concert with his music given by Stephen Drury and New England Conservatory of Music students: Apartment House 1776, Concert for Piano and Orchestra, Fontana Mix, Postcard from Heaven, Seven, Sonata for Clarinet, Song Books (evening, New England Conservatory, Brown Hall); interviewed the day after by Lisa Rochon (ALL SIX?: Bouchard 1989; Drury 1989; Dyer, R. 1989e; MusikTexte 1988; Rochon 1989).

February 1989. Somerville, Massachusetts, Rugg Road Papers and Prints. Invited by Bernie Toale and Joe Zina, made Edible Drawings (Dyer, R. 1989a; Giuliano 1990YOUR, 16; Tommasini 1989).

14 February 1989. Cologne, Westdeutscher Rundfunk, 3. Programm. First broadcast of Mirage verbal [text]; broadcast included Cage interviewed by Klaus Schöning (Olbert 1989).

15 February 1989, late afternoon. Cambridge, Massachusetts, Harvard University, John Knowles Paine Concert Hall. Gave third of six seminars in conjunction with the Charles Eliot Norton Lectures.

22 February 1989, late afternoon. Cambridge, Massachusetts, Harvard University, Sanders Theatre, Memorial Hall. Presented fourth of six Charles Eliot Norton Lectures, I-VI; vernissage reception of exhibition with recent etchings by Cage in conjunction with his professorship (22 February-19 March 1989, Cambridge, Massachusetts, Harvard University, Carpenter Center for the Visual Arts, 24 Quincy Street).

28 February-12 March 1989. New York, City Center (131 West 55th Street). Takehisa Kosugi, Joseph Kubera, Rob Miller, Michael Pugliese, David Tudor, and Nils Vigeland performed with Merce Cunningham Dance Company: David Tudor, Rainforest to RainForest and Five Stone Wind (28 February); Points in Space, Cargo X, Fabrications (1 March); Eleven, Five Stone Wind (2 March); Points in Space, Cargo X, Pictures (3 March); Shards, Septet, Pictures (4 March, matinee); Shards, Septet, Fabrications (4 March, evening); Points in Space, Five Stone Wind (5 March, matinee); David Tudor, Rainforest to RainForest, Field and Figures, Grange Eve (7 March); Eleven, Field and Figures, Grange Eve (8 March); Shards, Native Green, Fabrications (9 March); Five Stone Wind, Cargo X (10 March); David Tudor, Rainforest to RainForest, Cargo X, Fabrications (11 March, matinee); Field and Figures, Pictures, Cargo X (11 March, evening); Field and Figures, Native Green, Pictures (12 March, matinee); Cage did not participate [at least not on 28 February and 5 March] [contrary to Berman] (Berman 1989; Kisselgoff 1989).

1 March 1989, late afternoon. Cambridge, Massachusetts, Harvard University, John Knowles Paine Concert Hall. Gave fourth of six seminars in conjunction with the Charles Eliot Norton Lectures; evening concert with Stephen Drury and others performing 49 Waltzes for Memorial Hall, presumably Inlets, and Ryoanji; Pauline Easy-Off performed eight from Sixty-two Mesostics re Merce Cunningham (Memorial Hall) (Dyer, R. 1989c).

March 1989. Wrote ISCMkus.

6 March 1989. New York, Carnegie Hall, Weill Recital Hall. Michael Bach and Aleck Karis performed Etudes Boreales, as well as music by Caspar Johannes Walter, Toshio Hosokawa, Earle Brown, and Bernd Alois Zimmermann; Morton Feldman, Intermission 4 as an encore.

9 March 1989. New York, Renee Weiler Concert Hall at Greenwich House Music School (46 Barrow Street). In a retrospective concert of Cage’s songs from 1938 through 1985, the Alliance for American Song, directed by Peter Perrin, performed Song Books; Cage in attendance (Fetterman 1996a, 155).

15 April 1989. New York, The Kitchen, Cologne-New York/New Music-Neue Musik, Marathon (2-5 and 6-10 pm), presented by Compoers’ Forum, Goethe House, The Kitchen, and WNYC. In program shared with amny others, participated with readings (afternoon).

April-May 1989 or earlier. Interviewed by David Sylvester (Sylvester 1989a).

Before 2 April 1989. New York. Interviewed by Richard Dyer via telephone (Dyer, R. 1989a).

5 April 1989, late afternoon. Cambridge, Massachusetts, Harvard University, Sanders Theatre, Memorial Hall. Gave fifth Charles Eliot Norton Lecture, I-VI (Bouchard 1989; Cage 1990f; Drury 1989; MusikTexte 1988).

6-8 and 11 April 1989. Boston, Massachusetts, Symphony Hall. Boston Symphony Orchestra, One Hundred and Eighth Season 1988-1989, Seiji Ozawa, director, gave first performances of 1O1 in shared program with music by Claude Debussy and Igor Stravinsky (7 April matinee) (Dyer, R. 1988a; Dyer, R. 1989d; Tommasini 1989).

10 April 1989. New York, Kathryn Bache Miller Theater (Broadway and 116th Street), Columbia University Music Uptown Series. Boston Musica Viva performed Seven in shared program with music by Lou Harrison, Vivian Fine, John Huggler, Olly Wilson, and Steven Stucky; Cage’s attendance uncertain.

10 April 1989. Cambridge, Massachusetts, Harvard University, Sanders Theatre, presented by the Adams House Music Society and the Harvard Department of Music. Song Books performed, Louise Cloutier, director, with other works by Cage (Dyer, R. 1989b).

12 April 1989, late afternoon. Cambridge, Massachusetts, Harvard University, John Knowles Paine Concert Hall. Gave fifth of six seminars in conjunction with the Charles Eliot Norton Lectures.

12-13 April 1989. New York, Carnegie Hall. Boston Symphony Orchestra, Seiji Ozawa, coaching, performed 1O1 in shared program with music by Claude Debussy and Igor Stravinsky; Cage in attendance (at least 12 April) (Dyer, R. 1989f [reflecting on Cage’s and Stephen Drury’s activities throughout the season]; Henahan 1989; Wechsler 1989).

19 April 1989, late afternoon. Cambridge, Massachusetts, Harvard University, Sanders Theatre, Memorial Hall. Gave sixth of six Charles Eliot Norton Lectures, I-VI (Tommasini 1989).

21 April 1989 (late evening). Witten, Saalbau (Bergerstraße 25), Festsaal, Wittener Tage für neue Kammermusik (21-23 April), 3 x 7 – 21 Jahre Witten, first set. S.E.M. Ensemble gave official first performance of Five in shared program, “3 x 7: 21 Jahre Witten”; Cage not in attendance.

26 April 1989 (late afternoon). Cambridge, Massachusetts, Harvard University, John Knowles Paine Concert Hall. Gave sixth of six seminars in conjunction with the Charles Eliot Norton Lectures (McLellan 1989).

Prior to 30 April 1989. New York. Composed Four.

May 1989. Received Key, City of Kansas City, Missouri.

2-7 May 1989. Washington, D.C., Kennedy Center, Eisenhower Theater. Seven performances by Merce Cunningham Dance Company; Cage’s participation uncertain.

5-6 May 1989. Rockville, Maryland, Strathmore Hall Arts Center (10701 Rockville Pike), Cage-Fest, Marilyn Boyd DeReggi, artistic director. Attended John Cage Symposium: panel discussion, John Cage: Writer and Philosopher (Joan Retallack, David Antin, Daniel Herwitz, moderated by Marjorie Perloff) and Lecture-Demonstration, “Ten Thousand Things: The Time-length Pieces of 1953-56” (James Pritchett, morning, Session I, Salle I); Lecture-Demonstration, “Perilous Night” (Jutta Eigen); Lecture-Demontration: Rhythmic Structures in Amores” (Thomas Moore); Lecture: “The I in Intra-View” (Marjorie Perloff, morning, Session I, Salle II); Panel Discussion, John Cage and the Intellectual Climate of the ’50s and ’60s (Deborah Campana, Robert Ellis Dunn, Alice Denney, Fred Waldhauer, moderated by Jackson Mac Low); Lecture-Demontration, “The John Cage Archives: A Slide Show Presentation” (Deborah Campana, morning, Session II, Salle I); Lecture-Demonstration: Europeras I and II (Leah Durner); Lecture-Demonstration: To reach the impossibility of transferring from one like image to another in the memory imprint (Andrew Culver, morning, Session II, Salle II); concert Thoreau-ly Cage (5 May); performed (lunchtime) presumably Composition in Retrospect at Cage-a-Thon, performances on three stages (including Song Books performed by the American Music/Theatre Group, Neely Bruce, director, Gudelsky Pavilion) and closing gala concert, A Tribute to John Cage, followed by question period (6 May, Rockville, Maryland, Montgomery College, Performing Arts Center); included exhibition Sightings/Soundings: The Art of John Cage (20 April-27 May); previously interviewed by Betty Penzner Kirkland (prior to 19 April), Joseph McLellan (prior to 30 April) and Octavio Roca (prior to 4 May) (Antin 2005; Clements, M.M. 1989; King 1989; Kirkland 1989; McLellan 1989; Roca 1989a; Roca 1989b; Sparber 1989).

11 May 1989. New York, R.A.P.P. Arts Center (220 East 4th Street). Bang on a Can Festival (7-14 May 1989). Compositions and talks by Cage.

13 May-16 July 1989. Roanoke, Virginia, Roanoke Museum of Fine Art. Exhibition, “John Cage/New River Watercolors” (West 1988).

17 May 1989 (afternoon). New York, American Academy and Institute of Arts and Letters, Auditorium (632 West 156th Street). Attended Ceremonial Program. With Jasper Johns, induced by Mary McCarthy as new Academy Member.

17 May-11 June 1989. New York, American Academy and Institute of Arts and Letters, Art Galleries, South Gallery (Audubon Terrace, Broadway between 155th and 156th Streets): exhibition of work by newly elected members and recipients of awards (with others): various manuscripts, books, photograph.

19 May 1989. New York. Interviewed by Mitch Corber and Arleen Schloss (Cage/Corber and Schloss 1990).

25 May 1989. New York, The Pierre Hotel (2 East 61st Street and Fifth Avenue), Grand Ballroom. Celebrate Cage: An Evening Honoring John Cage (benefit night for the Merce Cunningham Dance Company), intended as a formal recognition of Cage’s retirement from performing and touring with the Company. David Barron, Neely Bruce, Phyllis Bruce, and Toby Twining performed Song Books simultaneously with Rozart Mix, coordinated by Alvin Lucier, using tapes provided by, among others, Laurie Anderson, David Bowie, Peter Gabriel, Allen Ginsberg, Bobby McFerrin, Meredith Monk, Yoko Ono, Nam June Paik, Lou Reed and Susan Sontag (Fetterman 1996a, 131-133, 156-157; Pimenta 1989b).

2 June 1989. Wrote Stufen: An Autoku for Siegfried Unseld [text].

After 2 June 1989. Frankfurt am Main, members of the Ensemble Modern: Hermann Kretzschmar, Hubert Machnik, Catherine Milliken, Rainer Römer, Annette Stricher, Dietmar Wiesner, voices gave first performance of Stufen: An Autoku for Siegfried Unseld [text].

9 June 1989. Roanoke, Virginia, Center in the Square: attended "A Day with John Cage"; performances of his music by Victoria Bond and Roanoke Symphony String Quartet, read from Indeterminacy (Mill Mountain Theater); reception in conjunction with exhibition of New River Watercolors (Roanoke Museum of Fine Arts, 13 May-16 July) (DeBell 1989).

16 June 1989. New York, Paula Cooper Gallery. S.E.M. Ensemble, directed by Petr Kotik, performed Variations IV (Fetterman 1996a, 128-129).

29 June 1989. Boston, Massachusetts, WNEV-TV, Channel 7. First broadcast of Silent Shadows (art), as part of 60 Minutes, produced by Studio 7 (Andrew Schulman) (Kahn, J.P. 1989).

July 1989. New York. Completed One².

July 1989. New York. Composed Three.

11-12 July 1989. Torino, Parco Rignon (Corso Orbassano, 200). Merce Cunningham Dance Company performed: Torino Event (11 July); Torino Event (12 July); presumably Cage did not participate.

Prior to 23 July 1989. Composed Sculptures Musicales.

19-23 July 1989. Arles, Théâtre Antique (8 Rue du Cloître), Festival d’Arles. Merce Cunningham Dance Company performed: Arles Event (19 July); Sculptures Musicales to Inventions (preview performance without décor); Emanuel Dimas de Melo Pimenta, Short Waves 1985 and SBbr to Fabrications (Tudor); Takehisa Kosugi, Spectra to Cargo X (23 July); Cage did not participate.

21 July 1989. New York. Interviewed by Edward Dudley Hughes (Hughes, E. D. 1990).

28 July 1989. New York. Interviewed by Olivia Mattis (Mattis 1992).

After 28 July 1989. New York. Completed Two².

August 1989. The Hague, Gemeentemuseum. Exhibition “Anti Qua Musica” (Voeten 1989).

August 1989. New York. Wrote [untitled] preface to Guido Facchin, Le percussioni (Text).

August 1989. New York and Telluride, Colorado. Composed The Beatles 1962-1970.

14-20 August 1989 (Cage presumably arrived 15 August). Telluride, Colorado, Composer-to-Composer Festival, hosted by Charles Amirkhanian and John Lifton. Participated with Anthony Davis, Julio Estrada, Ricardo Dal Farra, Jin Hi Kim, Tom Johnson, Joan La Barbara, Tania León, Annea Lockwood, Conlon Nancarrow, Laurie Spiegel (observer), Morton Subotnick, Trimpin, and Walter Zimmermann in private sessions (14-17 August, Telluride Elementary School) followed by public panels and concerts (18-20 August, Sheridan Opera House); Joan La Barbara (vocalist) performed from Prologue to the Book of Knowing... (and) of Overthrowing; Jin Hi Kim (komungo) performed Two Improvisations; Joan La Barbara (vocalist) and Morton Subotnick (electronics) performed Subotnick, Jacob’s Room, Part II; Tom Johnson (piano) performed Pascal’s Triangle; Anthony Davis (piano) performed Davis, Wayang No. 4; Trimpin (sound sculptor) performed Untitled (Klompen) (18 August, evening, Concert I); Panel/Demonstration, Classical Music in Evolution: Unconventional Instruments and Non-European Influences, with Cage, Anthony Davis, Julio Estrada, Jin Hi Kim, Tania León, Annea Lockwood, Conlon Nancarrow, Trimpin, moderated by Charles Amirkhanian (19 August, morning); Panel, New Directions in Vocal Music and Opera, with Cage, Anthony Davis, Tom Johnson, Joan La Barbara, Morton Subotnick, Walter Zimmermann, moderated by John Lifton (19 August, afternoon); Panel, Summary: Composer to Composer 2 (19 August, late afternoon); John Lifton (vocalist) performed Lifton, Love Song for Unaccompanied Parrot; Charles Amirkhanian presented his Never Say Die (Homage to Nicolas Slonimsky) (tape); Jin Hi Kim (komungo) and Ricardo Dal Farra (electronic processors) performed Dal Farra, Come ’n Go (first performance); Tania León (piano) performed Momentum; Laurel Wyckoff (flute) and Velia Nieto (piano) performed Two; Conlon Nancarrow, Study No. 37 in arrangement for pianola and klompen (first performance) and Study No. 48 a-b-c (pianola) presented John Lifton (baritone) and Ulli SirJesse (piano) performed Lifton, The 4 Elements (first performance) (19 August, evening, Concert II); public conversation with Conlon Nancarrow, moderated by Charles Amirkhanian (20 August, morning); Panel, Computers in Music: Present and Future Alternatives, with Ricardo Dal Farra, Julio Estrada, Joan La Barbara, Laurie Spiegel, Morton Subotnick, Trimpin, moderated by John Lifton (20 August, around noon); Velia Nieto (piano) performed Julio Estrada, Memorias; Charles Amirkhanian presented Politics as Usual (tape, first performance in concert); Walter Zimmermann performed Zimmermann, Abgeschiedenheit; Laurie Spiegel presented Spiegel, Three Sonic Spaces (tape); Jin Hi Kim, Tchong (20 August, afternoon); New Music Films and Videos presented (Elliot Caplan and Merce Cunningham, Points in Space; Michael MacIntyre, West Coast Story; Ed Emshwiller, Hungers (with music by Morton Subotnick) (20 August, evening) (Cage and Nancarrow/Amirkhanian 1989; Gronemeyer 1989a; Hayman, R.I.P. 1989; Oehlschlägel 1989a; Rich 1989a; Rich 1989b; Shockley, L. 1989).

29-31 August 1989. Nicasio, California, Skywalker Ranch, Sprocket Systems (Lucas Valley Road), Sound Design: An Invitational Conference on the Uses of Sound for Radio Drama, Film, Video, Theater and Music, hosted by Bay Area Radio Drama (Eva Soltes, Eric Bowersfeldt, Randy Thom, and Susan Sanders). Participated; conceived and gave first performance of How to Get Started (text) with sound engineers Dennis Leonard and Bob Schumacher (31 August).

15 September 1989. San Francisco, California, Fort Mason, Cowell Theatre: participated in ‘An evening with M.C. Richards and friends’ (Anonymous 1989j).

16 September 1989. San Francisco, California, Fort Mason, Cowell Theater, organized by Zakros Productions/New Music Theatre. Attended Cagefest, program of his music theatre, electronic and multi-media works, with Judith Bettina, Chris Brown, Gordon Mumma, Ramon Sender, William Winant (Wolff, K. 1989).

16 September-26 November 1989. Lincoln, Massachusetts, DeCordova Museum and Sculpture Park. Exhibition, Explorations in Handmade Paper: A Selection from Rugg Road (with others): Edible Drawings.

15-23 September 1989. Berkeley, California, University of California, Cal Performances, Celebrating Merce Cunningham: A Festival & Symposium on the Contemporary Arts. Attended; Merce Cunningham Film/Video Evening (16 September, Pacific Film Archive); public conversation with Merce Cunningham, moderated by David Vaughan (18 September, Wheeler Hall); panel discussion with Takehisa Kosugi, Gordon Mumma, Michael Pugliese, David Tudor, moderated by Charles Amirkhanian (19 September, Wheeler Hall); open rehearsal (20 September, afternoon, Zellerbach Auditorium); presumably performed with Takehisa Kosugi, Rob Miller, Michael Pugliese, David Tudor, and Merce Cunningham Dance Company: Sculptures Musicales to Inventions (22-24 September, Zellerbach Auditorium [24 September matinee]); exhibition in conjunction with this festival, ‘Etching and Monotypes by John Cage, 1982-1989’ (September-October, University Art Museum, Theater Gallery) (Cum Notis Variorum 1989a; Cum Notis Variorum 1989b; Cum Notis Variorum 1989c).

October 1989. New York. Composed One³.

2 October 1989. New York. Interviewed by Vincent Katz (Cage/Katz 1990).

31 October-2 December 1989. London, Anthony d’Offay Gallery, Dancers on a Plane: Cage, Cunningham, Johns. Exhibition of Solo for Piano from Concert for Piano and Orchestra; fourteen videos by Cunningham; fourteen artworks by Johns; around the time of the vernissage, Cage performed Art is Either a Complaint or Do Something Else (Adam 1989; Russell, J. 1989; Vaughan 1997, 249).

31 October-11 November 1989. London, Sadler’s Wells Theatre, Dance Umbrella 89. Merce Cunningham Dance Company performed David Tudor, Rainforest to RainForest, Fabrications, Cargo X (31 October-2 November); Doubles, Field and Figures, Carousal (3-4 and 6 October); Eleven, Fabrications [replaced by August Pace], Cargo X (7-8 November); Points in Space, Native Green, Pictures (9-11 November); Cage’s participation or attendance uncertain (Vaughan 1997, 249).

2-4 November 1989. Montréal, Québec, Galerie Graff. Invited by Pierre Ayot and the Maîtrise en arts plastiques de l’Université du Québec à Montréal (UQAM), in collaboration with the Chapelle historique du Bon Pasteur (Guy Soucie, director), visited; exhibition of visual works; Robert Léonard performed Credo in Us as a dance performance with members of the GAM87; wrote Canada, November 1989, Montreal (3 November); interviewed by Gilles Daignault (FM de Radio-Canada) and George Nicholson (4 November, for the Société Radio-Canada) (Cage/Nicholson 1997; Rivest 1997b).

10 November 1989. Kyoto, Kyoto International Conference Hall (Takaragaike, Sakyo-ku), organized by the Inamori Foundation. Laureate of the Kyoto Prize in Creative Arts and Moral Sciences in the field of music (45 million yen, the equivalent of $380.000) in a medal ceremony; as Kyoto Prize Lecture read An Autobiographical Statement (Text) (Cage 1991b; Dalton 1989).

14 November 1989. Nagoya, Bijutsukan. Gave first performance of One³.

16-26 November 1989. Huddersfield, Yorkshire, West Riding, 11th Huddersfield Contemporary Music Festival, organized by The Polytechnic, Department of Music. Resident composer, together with visiting composers Pierre Boulez and Oliver Messiaen; Amadinda Percussion Group with James Wood (piano) performed Amores and Second Construction in shared program (17 November, late afternoon, St Paul’s Hall, Queensgate); Music Projects/London, Richard Bernas conducting, performed The Seasons in shared program (18 November, late evening, St Paul’s Hall); Anthony De Mare performed The Wonderful Widow of Eighteen Springs, Nowth upon Nacht, and ASLSP in shared program (18 November, evening, St Paul’s Hall); public conversation with Stephen Montague (19 November, late afternoon, Polytechnic Lecture Theatre); Margaret Leng Tan performed Four Walls; Irvine Arditti performed Freeman Etudes I-XVI (19 November, evening, St Paul’s Hall); Michael Bach performed 26'1.1499" for a String Player, presented as 6'34 3/4" for a String Player and Etudes Boreales in shared program (20 November, late afternoon, St Paul’s Hall); Robert Black performed c Ȼomposed Improvisation in shared program (20 November, late evening, Arts Centre, Venn Street); Margaret Leng Tan gave first performance of One² (using three pianos) and performed 4'33", Etude VIII from Etudes Australes, In the Name of the Holocaust, One, and Water Music (21 November, early afternoon, Saint Paul’s Hall); Accroche Note performed Fontana Mix, Forever and Sunsmell, and Sonata for Clarinet; Gerard Bouwhuis and Cees van Zeeland performed Three Dances (22 November, early afternoon, St Paul’s Hall); public conversation on Roaratorio, an Irish Circus on Finnegans Wake with John Fullemann, Peadar Mercier, and others (22 November, afternoon, Recital Hall); Imaginary Landscape No. 1 performed; with Paddy Glackin (fiddle), Mel Mercier and Peadar Mercier (bodhran), Liam O’Floinn (uillean pipes), Noirin ní Ríaín (singer, with hurdy-gurdy and harmonium), Seamus Tansey (flute) and John Fullemann (sound engineer) performed Roaratorio, an Irish Circus on Finnegans Wake (22 November, evening, Huddersfield Town Hall); Arditti String Quartet performed String Quartet in Four Parts in shared program (23 November, late evening, St Paul’s Hall); Arditti String Quartet (Irvine Arditti, David Alberman, violins; Levine Andrade, viola; Rohan de Saram, violoncello) gave first performance of Four in shared program (24 November, evening, Saint Paul’s Hall); interviewed by Simon Cargill, Gerald Larner, and Steve Sweeney-Turner (Cage/Sweeney-Turner 1990; Cage/Sweeney-Turner 1991; Cargill 1989a; Cargill 1989b; Cargill 1989c; Cruise 1989; Driver 1989; Fanning 1989; Harrison, M. 1989; Huddersfield Daily Examiner 1989; Kennedy 1989; Larner 1989a; Larner 1989b; Lockett 1990; Potter, K. 1990b; Revill 1989; Walker, L. 1989).

17 November 1989-17 January 1990. Columbus, Ohio, Ohio State University (30 West 15th Avenue), Wexner Center for the Visual Arts, Wexner Performance Space. Installation of Essay (thirty-six channels).

4 December 1989 (7:30 pm). New York, Library of the Performing Arts at Lincoln Center (111 Amsterdam Avenue). American Music Center, 50th Anniversary Concert and Reception and presentation of Letters of Distinction awarded to Minna Lederman Daniel, Leo Ornstein, and Jean DeGaetani (posthumous). Possibly attended.

1990. New York. Composed One⁴.

1990. New York, Margarete Roeder Gallery. Exhibition.

16 January 1990 (evening). Columbus, Ohio, Ohio State University, Wexner Center for the Visual Arts, Weigel Hall Auditorium. Attended his sound installation; performed Essay [text] in conjunction with Essay installation, followed by question period (Schieber 1990; Sparks, A. 1990).

22 January 1990. San Francisco, California, Veteran’s Building, Green Room, San Francisco Contemporary Music Players performed Seven in shared program with music by Milton Babbitt, Bernard Rands, Frederic Rzewski, and Olly Wilson (Tucker, M. 1990).

23 January-25 March 1990. Liverpool, Tate Gallery. Exhibition, Dancers on a Plane (Adam 1989).

30 January 1990. Lincoln, Nebraska, Lied Center for Performing Arts. Merce Cunningham interviewed by Marcia B. Siegel (Cunningham/Siegel 1990).

February 1990. New York. Wrote Percussion Music Seattle ’38-NYC ’90 [Text].

6 February 1990. New York, Paula Cooper Gallery, auspices of the S.E.M. Ensemble. Read excerpt from Part IV of Empty Words (Fetterman 1996a, 211; recorded on Dog W/A Bone DWAB05).

12 February 1990. New York, Manhattan School of Music (Broadway and 122nd Street), Borden Auditorium. Guest composer in concert by the Manhattan Percussion Ensemble, performing Third Construction and music by other composers.

16-17 February 1990. Columbus, Ohio, Ohio State University (30 West 15th Avenue), Wexner Center for the Visual Arts, Mershon Auditorium. In conjunction with the opening of the Wexner Center’s inaugural exhibition, Art in Europe and America: The 1950s and 60s, Merce Cunningham Dance company performed; Cage’s participation or attendance uncertain.

18 February 1990. Minneapolis, Minnesota, Walker Art Center (725 Vineland Place), Auditorium. Vernissage of the exhibition “Jasper Johns: Printed Symbols,” curated by Elizabeth Armstrong. Invited by John R. Killacky, contributed to “Leo Castelli and John Cage: Two Perspectives on Jasper Johns” by reading Art is Either a Complaint or Do Something Else (3 pm); Margaret Leng Tan performed In the Name of the Holocaust, music by Henry Cowell and One² (7 pm) (Killacky 2017; Smith, Ro. 1990).

21-22 February 1990. New York, Japan Society (333 East 47th Street). Tokyo International Music Ensemble, Toshi Ichiyanagi, artistic director, performed Ryoanji in a version for hichiriki and percussion (Mostel 1990).

13-25 March 1990. New York, City Center Theater (131 West 55th Street). Merce Cunningham Dance Company performed August Pace, Fabrications, Cargo X (13 March); David Tudor, Rainforest to RainForest, Sculptures Musicales to Inventions, Pictures (14 March); Trails, Five Stone Wind (15 March); Shards, August Pace, Fabrications (16 March); David Tudor, Rainforest to RainForest, August Pace, Pictures (17 March, matinee); Trails, Inventions, Fabrications (17 March, evening); Five Stone Wind, Cargo X (18 March, matinee); Points in Space, Polarity [first performance], Fabrications (20 March); Inventions, Quartet, Field and Figures (21 March); Points in Space, Polarity, Pictures (22 March); Shards, August Pace, Fabrications (23 March); Field and Figures, Polarity, Cargo X (24 March, matinee); Inventions, Quartet, Cargo X (24 March, evening); Polarity, August Pace, Pictures (25 March, matinee); Cage’s participation uncertain.

8-15 April 1990. Blacksburg, Virginia, Miles C. Horton Sr. Research Center for Arts and Sciences, Mountain Lake Workshop of the Virginia Tech Foundation. Second visit; made New River Rocks and Smoke and New River Rocks and Washes (Kass 1991a; Kass 1993; Kass 2001).

14-16 April 1990 (15 April matinee). Amsterdam, Muziektheater. Merce Cunningham Dance Company performed; Cage did not participate.

14 April-27 May 1990. Washington, D.C., Phillips Collection. Exhibition, “John Cage/New River Watercolors” (West 1988).

16-17 April 1990. Dallas, Texas, Southern Methodist University, Meadows School of the Arts, as part of the yearlong celebration of the Algur H. Meadows award for excellence in the arts given to Robert Rauschenberg. In residence as guest composer at Southwest première performance, by Voices of Change (Harvey Boatright, flute; Ross Powell, clarinet; Deborah Mashburn, percussion; Robert Davidovici, violin; Barbara Hustis, viola; Carter Enyeart, violoncello; Jo Boatright, piano), of Seven (Meet the Composer/Reader’s Digest Commission) in shared program with music by Henry Brant, Donald Grantham, William Kraft, and Robert Xavier Rodriguez, “Contemporaries of Note” (16 April, evening, Meadows Building, Caruth Auditorium); read An Autobiographical Statement (17 April, Meadows Building, Caruth Auditorium); interviewed by Bill Marvel; interviewed by Laurie Shulman for program notes; silent auction of original pages from Seven signed and dated by Cage (Marvel 1990).

19 April 1990. Washington, D.C. Read Series re Morris Graves [text] (recording: Mode 84-85).

24 April 1990. New York, Plaza, Ballroom, 1990 Skowhegan Awards Dinner. Awarded Skowhegan Medal for Alternate Genre (presented by Robert Rauschenberg) by the Skowhegan [Maine] School of Painting and Sculpture (Cunningham, B. 1990).

29 April 1990. New York, Whitney Museum of American Art at Equitable Center (787 Seventh Avenue between 51st-52nd Street), Auditorium, Sound Art Festival 2nd Acustica International (27-29 April), presented by Goethe House and Whitney Museum: read excerpt from IV of I-VI and directed (with Klaus Schöning) and co-performed James Joyce, Marcel Duchamp, Erik Satie: An Alphabet as James Joyce, with Klaus Reichert (Narrator), Alvin Curran (Erik Satie), Charles Dodge (Marcel Duchamp), Mimi Johnson (Rrose Sélavy), Melissa Curran (Teeny Duchamp), Dick Higgins (Buckminster Fuller), Christian Wolff (Henry David Thoreau), Jerome Rothenberg (Robert Rauschenberg), Park Tao Fay (Mao as child), Jackson Mac Low (Brigham Young), David Vaughan (Jonathan Albert), Malcolm Goldstein (Veblen), Philip Corner (Oppian), Charlie Morrow (Ibsen), Richard Kostelanetz (Isidor Isou) (29 April); concurrent with exhibition, American Audio Art on WDR (1-29 April 1990, Whitney Museum of American Art, 945 Madison Avenue at 75th Street) (Fetterman 12996a, 220-223).

May 1990. New York. Composed One⁵.

4 May 1990. New York, Cooper Union, Great Hall (7 East 7th Street). Double Edge: Edmund Niemann and Nurit Tilles gave first performance of Two²; also performed ‘Blue’ Gene Tyranny, The Great Seal (Transmigration); Kyle Gann, I’itoi Variations; Meredith Monk, Phantom Waltz, Stefan Wolpe, March and Variations; Cage’s attendance likely.

12 May 1990 or earlier. New York. Composed Fourteen.

12-13 May 1990 (12 May afternoon and evening concert, 13 May morning concert). Wetzikon, Kantonsschule Zürcher Oberland (Bühlstrasse 36); program partly repeated in Schaffhausen, Kammgarn, and in Sankt Gallen, Tonhalle and Stadttheater (12-19 May), produced by Musikkollegium Zürcher Oberland, Musica viva, and Contrapunkt (IGNM-Ortsgruppe). Attended first performance of Fourteen (12 May, Wetzikon, Kantonsschule Zürcher Oberland, Aula; Werner Bärtschi, piano; Ensemble Studio für Neue Musik Konservatorium Zürich; René Müller, director) and other performances of his music; performed from Part IV of Empty Words with Winter Music and One³ (13 May, Wetzikon, Kantonsschule Zürcher Oberland, Aula); Variations VI performed (Barras 1990; Bärtschi/Häusermann and Ronner 1990; Ronner and Häusermann 1990).

14 May 1990. Zurich, Pro Musica: Retrospektive John Cage (19-21 May). Attended.

16 May 1990. Presumably back in New York.

17 May 1990. New York, Symphony Space (Broadway at 95th Street). Guest composer (with Bright Cheng, Anne LeBaron, and James Primosch) at concert by New Music Consort performance of Five Stone Wind.

1 June 1990. Completed Europera 3 of Europeras 3 & 4.

June 1990. New York. Composed One⁶.

Prior to 17 June 1990. Completed Europeras 3 & 4.

17 June 1990. London, Almeida Theatre (Almeida Street, Islington), Tenth Almeida International Festival of Contemporary Music (14 June-14 July). Read from Bolivia Mix, question period (afternoon) and attended first performance of Europeras 3 & 4 (evening, repeated on 19-20 June), given by Catherine Denley, Sarah Leonard, Jane Manning, Hilary Western, sopranos; Eleanor Bennett, mezzo soprano; Paul Wilson, tenor; Adrian Clarke, baritone; Roger Bryson, bass; James Clapperton, Yvar Mikhashoff, pianos; Michael Finnissy, Stephen Montague, Michael Parsons, David Sawer, Howard Skempton, Andrew Toovey, phonograph operators; Erika Fox, horn phonograph operator; Andrew Culver, director; Richard Bernas, musical preparation; interviewed by Daniel Caux, Jacques-Emmanuel Fousnaquer and Steve Sweeney-Turner (Berg, E. van den 1990; Bowen 1990; Cage/Caux 1990; Cage/Fousnaquer 1990; Cage/Sweeney-Turner 2003; De Visscher 1990a; Driver 1990a; Driver 1990b; Elyashiv 1990; Henderson 1990; Kenyon 1990; Maycock 1990; Millington 1990; Potter, K. 1990a; Wohlfahrt 1990a; Wohlfahrt 1990b).

24-25 June 1990. Berlin, Hebbel-Theater (Stresemannstraße): Europeras 3 & 4 performed; Cage not in attendance; interviewed previously by Arleen Schloss (Cage/Schloss 1990; Geitel 1990a; Geitel 1990b; Grünewald 1990; Kühn, G.-F. 1990; Nauck 1990a; Niederdorfer 1990; Peitz 1990; Wilkening 1990).

6 July 1990, late afternoon. Santa Fe, New Mexico, Sena Galleries East (125 East Palace Avenue). Attended opening reception of exhibition (co-exhibition with Doris Cross) of his drawings, prints, and watercolors (6-30 July); Woody Vasulka and Doris Cross presented Voice Environment; Chris Shultis, John Bartlit and Doug Notingham (and presumably Cage) performed Branches; interviewed previously by Simone Ellis (Ellis, S. 1990).

Prior to 23 July 1990. Composed Seven².

23-27 July 1990. Darmstadt, Internationale Ferienkurse für neue Musik (15 July-1 August). Attended, received Schönberg-Medal; performed from Part IV of Empty Words; Marianne Schroeder, Nils Vigeland, pianos; Robyn Schulkowsky, percussion; Frances-Marie Uitti, violoncello; Eberhard Blum, voice, performed 26'1.1499" for a String Player, 27'10.554" for a Percussionist, 31'57.9864" for a Pianist, 34'46.776" for a Pianist and 45' for a Speaker; Eberhard Blum, flute; Marianne Schroeder, piano, performed Two; Arditti Quartet performed Four (24 July, Sporthalle am Böllenfalltor); panel with Friedrich Hommel, Henning Lohner, Walter Maas, Heinz-Klaus Metzger, Gertrud Meyer-Denkmann, Reinhard Oehlschlägel, Ernstalbrecht Stiebler; read ‘Darmstadt Mesostics’ (Readymade Boomerang) (25 July, morning, Georg-Büchner-Schule, Aula); Irvine Arditti gave first performance of several Freeman Etudes (XV-XVI); Trio Dolce (Christine Brelowski, Geesche Geddert, Dorothea Winter) gave first performance of Three (27 July, Speyer, Dom, Konzert-Meditation); made the acquaintance of shô player Mayumi Miyata; Martine Joste performed from Etudes Australes; interviewed by Bert Hensel (Arditti 2004; Badische Neueste Nachrichten 1990; Cage 1990v; Cage/Hensel 1990; Clemens 1990; Gollasch 1990; Gorodecki 1990; Gronemeyer 1990a; Gronemeyer 1990b; Hebbelinck 1990; Kienzle 1990; Lenz, S. 1990; Maggi 1990; Meyer-Denkmann 2002; Oehlschlägel 1990; Piras 1990; Spahn 1990; Thaler 1990; Trudu 1991; Trudu 1992, 293-301; Verdonk 1990a; Verdonk 1990b).

28 July 1990 (presumably). Berlin, Berlinische Galerie. Eberhard Blum performed Sixty-two Mesostics re Merce Cunningham; Cage in attendance (Blum 2012; Blum/Barthelmes and Sanio 1992).

29 July-1 August 1990. Berlin, Akademie der Künste, John Cage in Ostberlin, sponsored by the Gesellschaft für Neue Musik der DDR, the Deutschlandfunk (“Grundton D” concert series), and the Akademie der Künste der DDR. Attended; gave press conference; Nancy Bello (voice) performed Sonnekus²; Jakob Ullmann (organ) performed Erik Satie, Messe des pauvres (organ version); Arnold Schoenberg, Zwei Fragmente; Some of The Harmony of Maine (30 July, 8 pm, St.-Bartholomäus-Kirche, Friedenstraße 1); attended performance of Musicircus (31 July, 7 pm, Theater ohne Namen, Kollwitz-Platz, Prenzlauerberg), realized by Nico Bauer; Marianne Schroeder (piano), Isao Nakamura (percussion), and Frances-Marie Uitti (violoncello) performed 26'1.1499" for a String Player, 27'10.554" for a Percussionist, and 34'46.776" for a Pianist, presented as 30' for a String Player, a Percussionist, and a Pianist; read excerpt from I-VI; Marianne Schroeder (piano), Frances-Marie Uitti (violoncello), Eberhard Blum (flute), Isao Nakamura (percussion), and Friedrich Schenker (trombone) performed Music for _ as Music for Five; Eberhard Blum (flute) and Marianne Schroeder (piano) performed Two (1 August, 7 pm, Akademie der Künste der DDR, Konrad-Wolf-Saal, Hermann-Matern-Straße 58-60) (Klingbeil 1990; Kloppenburg, J. 1990; Meyer-Denkmann 2002; Nauck 1990b; Schneider, F. 1992; Ullmann 2012b).

Early August 1990. Visited Paris (Klingbeil 1990).

August 1990. Burnsville, North Carolina. With Beverly Plummer, Bernie Toale and Joe Zina, made Wild Edible Drawings [art] (Giuliano 1990; Toale 1992).

28 August 1990. New York. Interviewed by John Palmer (Cage/Palmer 2015).

6-7 September 1990. New York. Interviewed by Joan Retallack (Cage/Retallack 1991).

11 September 1990. New York. Via video connection participated in panel 2, Art Meets Science and Sprituality in a Changing Economy (10-14 September, Amsterdam, Stedelijk Museum) with Ilya Prigogine, Huston Smith, and F. Wilhelm Christians.

12 September 1990. Geneva, Alhambra (10, rue de la Rôtisserie), La Bâtie/Festival de Genève (29 August-16 September), Concert John Cage (initiative Vincent Barras). Performed from Empty Words (Part IV); Musikkollegium Oberland, René Müller, conductor, and Werner Bärtschi, piano; Schweizer Schlagzeugensemble; Studio für Neue Musik Konservatorium Zürich performed Concerto for Prepared Piano and Chamber Orchestra; Imaginary Landscape No. 4; Double Music; Concert for Piano and Orchestra; Fourteen; introduced by Daniel Charles prior to concert; interviewed by Isabelle Mili and Daniel Robellaz; in program shared with Ania Walwicz, Valeri Scherstjanoi, and Biagio Cepollaro, poetry by Cage presented, but presumably not by himself (14 September, l’Usine, 4, place des Volontaires) (Mili 1990a; Mili 1990b; Robellaz 1990a; Robellaz 1990a).

13 September 1990. Basle, Paul Sacher Stiftung. Visited (Klingbeil 1990).

September 1990. Glasgow (and presumably elsewhere and later). Composed One⁷.

Late, 1990. Gave first performance of One⁷ (for voice).

15-22 September 1990. Glasgow. Composed Scottish Circus; attended 8th Musica Nova as composer in residence (with James MacMillan, Nigel Osborne, and Wolfgang Rihm), presented by the Scottish National Orchestra in association with the University of Glasgow and BBC Scotland; Scottish National Orchestra, Matthias Bamert, conductor, performed Atlas Eclipticalis in shared program with music by Wolfgang Rihm and Nigel Osborne (15 September, evening, SNO Centre, Henry Wood Hall); BBC Scottish Symphony Orchestra performed The Seasons and, with Allan Feinberg, Concerto for Prepared Piano and Chamber Orchestra, in shared program with music by Rihm (16 September, evening, SNO Centre, Henry Wood Hall); Music Projects performed Solo with Obbligato Accompaniment and Composition for Three Voices in program shared with music by MacMillan, Osborne, and Rihm (17 September, evening, SNO Centre, Henry Wood Hall); panel discussion with the four composers in residence (19 September, late afternoon, University Senate Room); Paragon Ensemble performed Five in shared program with music by MacMillan, Osborne, and Rihm (19 September, evening, SNO Centre, Henry Wood Hall); lectured (presumably Composition in Retrospect or An Autobiographical Statement, followed by question period (20 September, morning, University Senate Room); the Whistlebinkies (Peter Anderson, Scottish side drum, sticks; Mick Broderick, bodhran, voice; Stuart Eydmann, concertinas, fiddle; Eddie McGuire, flutes, piccolo, metal string fiddle; Judith Peacock, clarsach, voice; Mark Hayward, violin; Rab Wallace, Lowland bagpipes, Scottish smallpipes, Highland bagpipes) gave first performance of Scottish Circus and performed 4'33" (using their “inner clock” rather than stopwatches) in shared program with music by Rab Wallace and Edward McGuire (20 September, afternoon, University Concert Hall); Capella Nova, Alan Taverner, conductor, performed from Song Books in shared program with music by MacMillan, Osborne, and Rihm (21 September, afternoon, University Chapel); Scottish Chamber Orchestra, Paul Daniel, conductor, performed Etcetera in shared program with music by MacMillan and Osborne (21 September, evening, SNO Centre, Henry Wood Hall); Scottish National Orchestra, Matthias Bamert, conductor, performed Etcetera 2/4 Orchestras in shared program with music by Martin Dalby, MacMillan, and Rihm (22 September, evening, SNO Centre, Henry Wood Hall); interviewed by Steve Sweeney-Turner (Alexander 1990; Cage/Sweeney-Turner 1991; Canning 1990; Warnaby 1990; Wilson, C. 1990).

15 September-16 December 1990. Boston, Massachusetts, Museum of Fine Arts, The Lois and Michael Torf Gallery, 70s into 80s: The Unique Print: The Missing Stone on exhibit (Ackley 1990).

17-19 September 1990. Lyons, Biennale de la Danse. Merce Cunningham Dance Company performed; Cage’s participation uncertain.

25 September 1990. Erlangen, Große Stadthalle, Festival des Hörens (20-30 September). Attended; participated in roundtable with Helmut Lachenmann and Heinz-Klaus Metzger (morning); Gérard Frémy and Bernard Geyer performed A Book of Music; Ensemble Musica Negativa performed Speech 1955, Concert for Piano and Orchestra with Aria and gave first performance of Seven²; films shown (Bronnenmeyer 1990a; Bronnenmeyer 1990b; Erlanger Nachrichten 1990a; Erlanger Nachrichten 1990b; Höllinger 1990; Löhlein 1990; Neubauer, H. 1990; Schneider, N. 1990; Schulz 1990; Stosch 1990a; Stosch 1990b; Union 1990; Zieten 1990).

25 September-6 October 1990. Paris, Théâtre de la Ville (2 Place du Châtelet), Festival d’automne (15 September-7 October). Attended and presumably participated in performances of Merce Cunningham Dance Company: Ivan Tcherepnin, The Creative Act to Field and Figures; Sculptures Musicales to Inventions; Emanuel Dimas de Melo Pimenta, Short Waves 1985 and SBbr to Fabrications (Tudor) (25, 26, 27, 28, 29, and 30 September); David Tudor, Virtual Focus to Polarity; Michael Pugliese, Peace Talks to August Pace; David Behrman, Interspecies Smalltalk to Pictures (2, 3, 4, 5, and 6 October) (Di Forti 1990a; Fischer, E.-E. 1990).

29-30 September 1990. Strassburg, Palais des Fêtes, Musica: Festival international des musiques d’aujourd’hui de Strasbourg. Attended performances of Europeras 3 & 4, given by Catherine Denley, Sarah Leonard, Jane Manning, Hilary Western, sopranos; Eleanor Bennett, mezzo soprano; Paul Wilson, tenor; Adrian Clarke, baritone; Roger Bryson, bass; James Clapperton, Yvar Mikhashoff, pianos; seven phonograph operators; Andrew Culver, director; Richard Bernas, musical preparation; Bernhard Wambach performed One; Pierre-Yves Artaud and the Orchestre du Rhin-Mulhouse, Luca Pfaff conducting, performed Ryoanji (25 September; Cage’s attendance here uncertain) (Caux 1990; Doucelin 1990; Elkomoss 1990; Fruchart 1990; Hammel 1990; Hmn 1990; Rosset, D. 1990; Thion 1990; Wicker 1990a; Wicker 1990b).

2-3 October 1990. Paris, Opéra de Paris Bastille, Amphithéâtre, Festival d’automne à Paris: Europeras 3 & 4 performed by same personnel as 29-30 September, except Hilary Western, who was replaced by Marie Atger; Cage in attendance; interviewed by Massimo di Forti (Caux 1990; Di Forti 1990b; Fischer, E.-E. 1990; Rey 1990).

6-7 October 1990. Hempstead, New York, Hofstra University, Hofstra Museum, Bamboo and Oak: The Impact of East Asia on American Society and Culture: An Interdisciplinary Conference (5-7 October), as part of group exhibition, The Transparent Thread: Asian Philosophy in Recent American Art (16 September-11 November 1990, Axinn Library, South Campus, Emily Lowe Gallery and Hofstra Cultural Center Gallery). Attended An Evening with John Cage; lecture by George J. Leonard, ‘The Two Cages’; performed; conversation with William Duckworth (6 October, evening, Hofstra Cultural Center, Axinn Library, Lecture Hall); with Robert Arneson, John Baldessari, Robert Irwin, Patricia Johanson, Eric Orr, Larry Rivers, Carolee Schneemann, Richard Serra, Michael Singer, Michelle Stuart, William Wiley and others participated in Round Table Discussion: Artists Panel (7 October, 11 am, Monroe Hall, South Campus, Monroe Lecture Hall) (Leonard 1990-1991).

October 1990. New York. Composed Four².

18 October 1990 (evening). Somerville, Massachusetts, Rugg Road Prints and Papers (Brickbottom Building, 1 Fitchburg Street B154). Attended exhibition of Wild Edible Drawings [art] (8-27 October).

23 October 1990. New York, RAPP Arts Center (220 East 4th Street). Essential Music (Jackson Mac Low as “The Voice,” Anna Kohler, Thomas Regan, Dawn Saito, and Michael Stumm, voices; Gary Fieldman, Cliff Hardison, John Kennedy, Eric Kivnick, and Charles Wood, sound orchestra; Linda Bouchard, conductor) performed The City Wears a Slouch Hat as well as work by Kurt Schwitters and Robert Ashley; Cage in attendance (Gann 1990a).

24 October 1990. München, Gasteig. Gérard Frémy and Bernard Geyer performed A Book of Music, Daughters of the Lonesome Isle, Suite for Toy Piano, The Perilous Night; Cage’s attendance uncertain.

25 October 1990. Innsbruck. Les Percussions de Strasbourg performed But What about the Noise of Crumpling Paper Which He Used to Do in order to Paint the Series of "Papiers froissés" or Tearing up Paper to Make "Papiers déchirés"? Arp Was Stimulated by Water (Sea, Lake, and Flowing Waters like Rivers), Forests.; Cage’s attendance uncertain.

28 October 1990. Mürzzuschlag. Les Percussions de Strasbourg performed But What about the Noise of Crumpling Paper Which He Used to Do in order to Paint the Series of "Papiers froissés" or Tearing up Paper to Make "Papiers déchirés"? Arp Was Stimulated by Water (Sea, Lake, and Flowing Waters like Rivers), Forests.; Cage’s attendance uncertain.

1 November 1990. Chicago, Illinois, Stephen Solovy Fine Art. Attended vernissage of exhibition, John Cage Works on Paper (1 November-December).

1 November 1990. Prague, Dům U Kamenného zvonu. András Wilheim performed pieces for prepared piano and with ensemble Agon performed Concert for Piano and Orchestra (Št’astný 2012).

1-11 November 1990. Montréal, Québec, Montréal Musiques Actuelles/11th New Music America 1990, Musée d’Art Contemporain: exhibition “Broken Music” included 33 1/3.

December 1990. Made Where R = Ryoanji, R/3, R/5, and R/6 (drawings).

2 December 1990. New York, InHouse (474 Greenwich Street), Drum Key Festival (29 November-2 December 1990), presented by InHouse Productions and Friends of New Music, sponsored by Meet the Composer: Glen Velez & Frame Drummers performed c Ȼomposed Improvisation (possibly first performance of version for one-sided drums).

4 December 1990. New York, Symphony Space (2537 Broadway at 95th Street), Face the Music. Performed One³ and from Empty Words; performances by Dean Drummond, zoomoozophone, and Stefani Starin, flute, Haikai; Stefani Starin and Stephen Drury performed Two; conversation with Allan Miller; question period (announcement; program may have been subject to change) (Moore, P. 1991).

5 December 1990, and several days after. New York. Interviewed by Barbara Basting; she also interviewed Don Gillespie, Paul Sadowski, Paul Zukofsky (Basting 1991).

8 December 1990-19 January 1991. New York, Sandra Gering Gallery (14 West 11th Street), exhibition, William Anastasi, Dove Bradshaw, John Cage, Tom Marioni, Robert Rauschenberg, Mark Tobey. Cage is represented by one print from Signals and six drawings from Where R = Ryoanji; interviewed by Richard Kostelanetz for the catalog (Cage/Kostelanetz 1990-1991).

[Presumably 10] December 1990. Hood River, Oregon, Hood River Valley High School (1220 Indian Creek Road). Madrigal Choir of the Hood River Valley High School, coached by Mark Steighner, gave first performance of Four² (Gresser 2014b, 595 n. 16).

Late 1990. Made [untitled] drawing for announcement of exhibition and installation in the Espai Poblenou in Barcelona, 16 January-late April 1991.

December 1990-April 1991. Composed Europera 5.

1990-1991. Conceived Museumcircle [art].

1991. Made Essay Barcelona [artwork].

1991. Houston, Texas, University of Houston: exhibition.

1991. Laguna Beach, California, Laguna Beach Museum of Art: exhibition.

1991. Sacramento, California, Crocker Art Museum: exhibition.

1991. New England Conservatory, John Cage Festival: supervised recordings of Etcetera and Etcetera 2/4 Orchestras.

1991. Recorded Diary: How to Improve the World (You Will Only Make Matters Worse) for Wergo WER 6231-2-Wergo WER 6238-2 (recordings).

2 January 1991. New York, Merkin Concert Hall, presented by Composers’ Forum. Christine Schadenberg, Dora Ohrenstein, and Joan La Barbara shared program; Joan La Barbara performed Mirakus2 (presumably first performance); Cage in attendance (Rockwell 1991).

Early January 1991. San Francisco, California, Crown Point Press. Visited and made Smoke Weather Stone Weather; conversation with Constance Lewallen (Lewallen 2001, 236n3).

9 January 1991. San Francisco, California, San Francisco Art Institute (800 Chestnut Street), auditorium. Performed One⁷; question period afterwards (Klatte 1991; Nixon 1991).

16 January 1991. Barcelona, Espai Poblenou (Passatge Saladrigas 5-9), initiative of Gloria Moure. Attended vernissage of one-person exhibition of Mesostics: Earth, Air, Fire, Water, River Rocks and Smoke (among others) and installation of Stratified Essay (16 January-late April 1991), with press conference; interviewed by Albert Mallofré (Cage/Mallofré 1991; Diari de Barcelona 1991; Fancelli 1991; Fontova 1991; Iges 1993, 77; M. F. C. 1991; Vidal 1991).

Between 17-19 January 1991. Visited Teeny Duchamp.

19 January 1991. London, Tate Gallery, Art & Chess. Participated on platform with Teeny Duchamp, Richard Eales, Richard Hamilton, Raymond Keene, Barry Martin, George Steiner; an all-day event of talks, films, music and simultaneous chess displays (Curtis 1991).

30 January 1991. München: Anna Clementi performed from Song Books.

17 February 1991. New York. Wrote [Untitled], mesostic on ‘Demetrio Stratos’.

3-7 March 1991. Boston, Massachusetts, New England Conservatory of Music, New England Conservatory 1991 Festival, Instantaneous and Unpredictable: A Festival around John Cage (4-7 March 1991). Attended; Music for Keyboards, 1935-1990, performed by NEC students (4 March, afternoon, Brown Hall); Introduction to John Cage, with performances of 1O1 by the NEC Philharmonia; NEC Honors Woodwind Quintet, Music for Wind Instruments; NEC ensembles, Variations III and Variations IV; Fenwick Smith (flute), Anthony D’Amico (contrabass), Nemours Duteau (voice), Michael Miller (oboe), Petur Eiriksson (bass trombone), the John Cage Festival Rock Garden, Ryoanji; Three Pieces for Flute Duet; Williams Mix; Erik Satie, Pièces froides I; John Zorn, Bézique; Henry Cowell, The Banshee (4 March, evening, Jordan Hall); Open Forum with John Cage: panel discussion with Robert Cogan, John Heiss, Stephen Drury, moderator (NEC faculty members); Vivian Perlis (Yale University); Richard Dyer (music critic, Boston Globe) (5 March, afternoon, Williams Hall); NEC Chorus and NEC Wind Ensemble performed Ear for Ear; Concerto for Prepared Piano and Chamber Orchestra; Concert for Piano and Orchestra; Song Books; Four²; Arnold Schoenberg, Theme and Variations, Op. 43a; Edgard Varèse, Density 21.5 and Hyperprism (5 March, evening, Jordan Hall); Electronic and Percussion Music, 1939-1989, with NEC Percussion Ensemble, Frank Epstein, conductor, performing First Construction (in Metal); Imaginary Landscape No. 4; Fontana Mix; One³; Cartridge Music; Living Room Music (6 March, Brown Hall); Simultaneous Music: NEC Percussion Ensemble, NEC Contemporary Ensemble, NEW jazz ensembles, members of the NEC Symphony and Philharmonia, with guest conductors Hisao Watanabe, Charles Peltz, Stephen Drury, and Tamara Brooks, performed Double Music, Etcetera, Apartment House 1776; Charles Ives, Central Park in the Dark; George Russell, Vertical Form IV (6 March, evening, Jordan Hall); All-Day Environmental Concert: continous program of his music included NEC Composer Event, in which several compositions by NEC composers were performed simultaneously; 49 Waltzes for the Five Boroughs; A Collection of Rocks; Sonata for Clarinet; But What about the Noise of Crumpling Paper Which He Used to Do in order to Paint the Series of "Papiers froissés" or Tearing up Paper to Make "Papiers déchirés"? Arp Was Stimulated by Water (Sea, Lake, and Flowing Waters like Rivers), Forests.; Seven²; Speech 1955; Nocturne; One⁴; One⁵; Fourteen; Four Walls; Music for _; Litany for the Whale; Erik Satie, Socrate (two piano-arrangement by Cage) (7 April, afternoon, Brown Hall); New England Conservatory Symphony Orchestra, Grant Llewellyn, conductor, performed Mozart, Overture to Don Giovanni; Anton Webern, Symphony, Op. 21; Tamara Brooks, Charles Peltz, Marsha Hassett, and Laurie K. Redmer conducted Etcetera 2/4 Orchestras; Cheap Imitation (Orchestra) (7 March, Jordan Hall) (Tommasini 1991).

13-19 March 1991. New York, City Center (131 West 55th Street). Merce Cunningham Dance Company performed; presumably Cage was not in attendance.

17-19 March 1991. Brussels, Maison de la Radio = Radiogebouw Flagey, Ars Musica 1991 (6-29 March). Performed and attended [attendance at all concerts uncertain]. Music by Cage performed? (10 March); Geneviève Foccroulle performed ASLSP (11 March, Brussels, FNAC, Auditorium); Jean-Luc Fafchamps performed from Etudes Australes (12:30 pm); Yvar Mikhashoff performed music by Cage (8:30 pm) (12 March, Brussels, FNAC, Auditorium); in shared program performed One⁷ (rather than Empty Words as announced); Irvine Arditti gave first performance of Freeman Etudes nos. XVII-XXIV (17 March, Flagey, Studio 4); Ensemble Music Projects performed music by Cage (18 March); meeting with Cage, Tom Johnson, Frederic Rzewski, and Henri Pousseur (6 pm, Foyer); Arditti Quartet performed Four (8:30 pm, Grande Salle) (19 March, Liège, Conservatoire, Festival de Liège); Szigmond Szathmary performed Variations I (21 March, ND des Grâces-Chant d’Oiseau/OLV van Genade-Vogelzang); ad hoc youth ensemble [Jeunesses musicales] performed Music for _ and Ryoanji (22 March, Flagey / Studio 1); Ensemble Musique Nouvelle, Jean-Pierre Peuvion (conductor), performed Sixteen Dances (27 March, Brussels, Atelier Sainte-Anne) (Arditti 2004; De Visscher 1991a; Goldé 1991).

April 1991. New York. Composed One⁸ and 108.

3 April 1991. New York. Mirakus² [songs] performed.

4-5 April 1991. Miami, Florida, Miami-Dade Community College, Wolfson Campus, Third Annual Subtropics Music Festival (1-14 April), presented by South Florida Composers Alliance: attended concert of his music by Robert Black, double bass; Joseph Celli, double reeds; Lisa LaCross, flute; Tony de Mare, piano; and Jan Williams, percussion; One, Two, Ryoanji, c Ȼomposed Improvisation, Five) and macrobiotic dinner in his honor following the concert (4 April, evening, Wolfson Campus Auditorium, Suite 1261); book signing reception (5 April, Books & Books, Coral Gables); performed from Part IV of Empty Words, One³, and One⁷ (5 April, Wolfson Campus Auditorium, Suite 1261; recording Subtropics vol. 1 ele005) (Levin, J. 1992).

6-7 April 1991. Madison, Wisconsin, University of Wisconsin-Madison. Attended vernissage of exhibition, “John Cage: Works on Paper, 1982-90” (6 April, Elvehjem Museum of Art, 800 University Avenue, 5-7 pm; exhibition ran 6 April-19 May), and recital given by Ellsworth J. Snyder: Quest (2d movement), Two Pieces for Piano, The Perilous Night, Dream, Water Music, and first performance of One⁵ (6 April, First Unitarian Society Meeting House, 900 University Bay Drive); interviewed previously by Kevin Lynch; panel discussion on Cage’s influence on the arts (9 April, Elvehjem, Room 140); lecture on Cage’s music and art by Ellsworth Snyder; interviewed by Ellsworth Snyder (1 May, Elvehjem, Room 140) (Cage/Snyder 1992; Lynch 1991; Powell, P. 1991).

Prior to 14 April 1991. Commissioned by the Nizza Centre International de Recherche Musicale, composed Lullaby.

14 April 1991. New York. Wrote Meister Duchamp or Living on Water [text].

18 April 1991. Buffalo, New York, State University of New York, Department of Music, Ninth Annual North American New Music Festival (18-24 April), Cage Day. Attended; performed One⁷ (afternoon, Baird Recital Hall); Martha Herr, soprano; Gary Burgess, tenor; Yvar Mikhashoff, piano; Jan Williams, victrola; Don Metz, tape, television, radio; Andrew Culver, director, Johan Kolsteeg, assistant director; gave first performance of Europera 5; Cage in attendance (evening, Amherst Campus, Slee Concert Hall); Robert Black performed c Ȼomposed Improvisation [Steinberger bass guitar and snare drum] (21 April, afternoon, Hallwalls); recorded excerpt from Empty Words, performed simultaneously with selection from Music for Piano, performed by Yvar Mikhashoff, issued, with the performance of One⁷, on Mode 200 (recording) (Monjeau 1991; Valverde 1991).

22 April 1991. New York, Dia Center for the Arts, Composers’ Forum 55th Anniversary Benefit. Hosted; Irvine Arditti performed Freeman Etudes nos. 17-24; Leroy Jenkins and Takehisa Kosugi performed original works; reception following the program.

May 1991. New York. Composed Five², Four³, commissioned by the Junifestwochen Zurich, and Three².

7 May 1991. San Diego, California, University of Southern California at San Diego, Warren Studio A. Performed.

9-10 May 1991. Los Angeles, California, University of California, Royce Hall. Merce Cunningham Dance Company performed; Cage’s participation uncertain.

Before 14 May 1991. New York. Commissioned by the Trisha Brown Dance Company, composed Eight.

14-18 May 1991. Washington, D.C., the Mall steps outdoors at the National Gallery of Art, West Building. First performances of Eight, as music to Trisha Brown, Astral Converted, commissioned by the National Gallery of Art on the occasion of the exhibition Rauschenberg Overseas Culture Interchange (ROCI) (12 May-2 September); program also included Accumulation and Lateral Pass; Cage attended first performance (14 May) (Friedman, Kim 1991; Kriegsman, A.M. 1991; Mills, B. 1991; Pierce, A. 1991; Supree 1991).

17 May 1991. Cologne, Westdeutscher Rundfunk, Wege elektronischer Musik. David Tudor & Friends (Ichiyanagi, Cage, Kosugi). Cage’s participation uncertain.

20 May 1991. New York, Knitting Factory (147 East Houston Street between Mott and Mulberry). Glen Velez Trio (Glen Velez, Steve Gorn, Randy Crafton), An Evening of Frame Drum Music. Possibly included performance of c Ȼomposed Improvisation.

21 May 1991. New York, Town Hall (123 West 43rd Street), New Sounds Concert, presented by John Schaefer (WNYC/New York Public Radio), to benefit Ear. Performed Haikus: Letters from the Seventeen Chapters of Finnegans Wake, in program shared with David Van Tieghem, Kazue Sawai Koto Ensemble and Les Misérables Brass Band; followed by Gala Reception at the New Yorker Club (adjacent to Town Hall) (Hayman, R.I.P. 1994, 45).

22 May 1991 (late afternoon). La Jolla, California, University of California, San Diego, Department of Music, Warren Studios, Studio A. Attended first performance of One⁶, by János Négyesy, with kinetic audible sculpture by Mineko Grimmer, Untitled (Herman, K. 1991a; Herman, K. 1991c; Négyesy/Hajdu 2007; Valiton 1991).

23 May 1991. Los Angeles, California, Los Angeles County Museum of Art. Received Lifetime Achievement Award as part of the Frederick R. Weisman Art Awards 1991 Gala; Master of Ceremonies: Henry T. Hopkins; presenter: Joan La Barbara, who read tribute and performed Eight Whiskus; interviewed previously by Kenneth Herman (Herman, K. 1991b; Muchnic 1991).

June 1991. Milan. Irvine Arditti gave first performance of Freeman Etudes (XVII-XXVI) (Arditti 2004).

28 May-30 June 1991. Zurich, Junifestwochen, James Joyce/John Cage, initiated by Werner Bärtschi. Attended: opening; spoke about James Joyce; Daniel Mouthon (voice) and Thomas Häusermann (piano) performed The Wonderful Widow of Eighteen Springs and Nowth upon Nacht (28 May, 7 pm, Restaurant Kaufleuten, Saal); staged Europeras 1 & 2 with Zurich Opera, Roberto Goldschlager, Andrew Culver, Mehri Raad, Ralf Weikert (conductor), Adrian Stern (assisant conductor), Ensemble and Orchester der Oper Zürich (given 1, 5-9, 12, 14-16, 27, 29 June and 2 July, Opernhaus); several singers complained about their work in a publication in Opernhaus-Gazette or Opern-Zeitung; performed One⁷ (17 June, Rote Fabrik, Shedhalle); performed Muoyce; Werner Bärtschi performed The Perilous Night and ASLSP (30 June, morning, Tonhalle, Kleiner Saal); public conversation with Klaus Reichert, read from James Joyce, Finnegans Wake (28 June, evening, Rote Fabrik, Shedhalle); attended first performances of Four³, by Takehisa Kosugi, oscillator and rainsticks; Rob Miller, rainsticks; Michael Pugliese, piano; David Tudor, piano and rainsticks, to Merce Cunningham’s Beach Birds, by Merce Cunningham Dance Company (20-25 June [two different programs, both including Beach Birds: 20-22 June with Voiceless Essay to Points in Space (all four musicians) and David Tudor, Sextet for Seven to Quartet (Tudor); 23-25 June with Sculptures Musicales to Inventions (all four musicians) and Emanuel Dimas de Melo Pimenta, Gravitational Sounds to Trackers (Tudor)], Theater 11, Thurgauerstrasse 7), and first complete performance of Freeman Etudes, by Irvine Arditti (29 June, Tonhalle, Kleiner Saal); attended other performances of his music: Twenty-three, Zürcher Kammerorchester, Edmond de Stoutz (16 June, Tonhalle, Grosser Saal); Concert for Piano and Orchestra, Werner Bärtschi, piano, Tonhalle-Orchester, Michel Tabachnik (27 June, Tonhalle, Grosser Saal); Branches by Ensemble Daswirdas (12 June [not 12 May]); attended exhibitions of scores and visual works (8 June-18 August, Kunsthaus [vernissage 7 June, where Chris Robson (altus), Petra Ronner and Franz Rüfli (percussion) and Ernst Thoma (engineer) performed Ryoanji; Claudia Rüegg, Regula Stibi and Thomas Häusermann performed Variations IV]; 12 June-8 July, Stähli Gallery); Grete Sultan performed Etudes Australes (12 June, Kunsthaus, Vortragssaal); invited by Roman Hess, attended Steinklavier an der Heureka (25 June, morning); Lecture on Nothing and Lecture on Something performed (after 6 June, Theater an der Winkelwiese); further performances of Branches (28 June, Architektur Forum (Neumarkt) and Telephones and Birds; wrote letter to the orchestra musicians of the Oper Zürich; interviewed by René Ammann (31 May), Thomas Meyer, Charlotte Peter, and Martina Schaak (Aargauer Tagblatt 1991; Ammann 1991; Anzeiger 1991; Arditti 2004; Basellandschäftliche Zeitung 1991; Bergflödt 1991a; Bergflödt 1991b; Billeter 1991; Böhi 1991; Bonik 1991; Bucher 1991; Bugmann 1991; Bür 1991; Burgauer 1991; Büttiker 1991; Cage 1991AUF; Cage/Meyer, T. 1991; Cage/Meyer, T. 1992; Cage/Peter 1991; Cage/Schaak 1991; Cunningham, M./Bucher 1991; Cunningham, M./Porzio 1991; Ehrismann 1991b; Ehrismann 1991c; Eidenbenz 1991; Fässler 1991; Feller 1991; Giger 1991; Hagmann 1991; Hmn 1991a; Hmn 1991b; Joho 1991; Jolles and Woerdehoff 1991; Keil, E. 1991; Keller, P. 1991; Koch, H. W. 1991; Krukowski 1991; Lang, G. 1991; Leiser 1991; Lenoir, D. 1991; Lienert 1991a; Lienert 1991b; Lienert 1991c; Mattenberger 1991a; Mattenberger 1991b; Mattenberger 1991c; Mattenberger 1991d; Mattenberger 1991e; Mattenberger 1991f; Mattenberger 1991g; Michot 1991; Mili 1991; Muggler 1991; Müller, Matthias 1991; Orlando 1991a; Orlando 1991b; Pauli 1991; Pellaton 1991; Plessing 1991a; Plessing 1991b; Porzio 1991; Pp 1991; Richard 1991; Rüegger 1991; Schaub 1991; Schibli 1991; Schweizer 1991; Sonns 1991; Speich 1991; Stevens, D. 1991; Tétaz 1991; U. Fr. 1991; Ulmer, B. 1991; Vachtova 1991; Wächter 1991; Weder-Arlitt 1991; Wijers 1991; Ws 1991; Zimmerlin 1991).

2-5 June 1991. Salzburg, Hochschule Mozarteum, Großes Studio (Aichernpassage), Aspekte Salzburg 1991: 15. Internationales Festival zeitgenössischer Musik = 15th International Festival of Contemporary Music (1-8 June), ‘John Cage &’. Attended; reception by Internationale Salzburg Association at Villa Schmederer; drove ‘Klangmobil’ by Otto Beck, Klaus Ager and Herbert Grassl upon arrival Flughafen Salzburg (2 June, late afternoon); Bewegungsensemble Lopidre and Werner Raditschnig performed from Sonatas and Interludes (Second, Fifth and Tenth Sonata, Third Interlude) as well as music by Klaus Ager and Werner Raditschnig (1 June, evening); Essential Music performed A Chant with Claps, Credo in Us, and Five, as well as music by Peter Garland, William Russell, and Charles Wood (2 June, evening); Essential Music performed Amores, In a Landscape and Inlets, as well as music by Johanna M. Beyer, Kyle Gann, Lou Harrison, John Kennedy, and James Tenney (3 June, evening); Ensemble für Perkussive Kunst München, Peter Sadlo, director, performed First Construction (in Metal), Living Room Music, Quartet, She Is Asleep, Trio (3 June, late evening, Mozarteum, Großes Studio); lectured [Darmstadt 1990 lecture?] (4 June, late afternoon, Mozarteum, Kleiner Hörsaal); Ensemble Continuum, Joel Sachs, director, performed Branches, Five (twice), Five Songs, Music Walk, Sonata for Clarinet, as well as music by Henry Cowell, Philip Corner, and Lou Harrison (4 June, evening); Grete Sultan performed from Etudes Australes (Etudes 1-10, 12, 17-18, 30-32) (4 June, late evening); Österreichisches Ensemble für Neue Musik, director, Herbert Grassl, and Werner Bärtschi, piano, performed Concert for Piano and Orchestra, Concerto for Prepared Piano and Chamber Orchestra, and Fourteen (5 June, evening); Bernard Fort presented Roaratorio, an Irish Circus on Finnegans Wake (tape realization) (5 June, late evening); Ensemble Continuum, Joel Sachs, director, performed 4'33", Aria with Concert for Piano and Orchestra (Solos for Clarinet and Violin), Chorals, Composition for Three Voices, Suite for Toy Piano, Wishing Well, The Wonderful Widow of Eighteen Springs and Nowth upon Nacht, as well as music by Earle Brown, Morton Feldman and Christian Wolff (6 June, evening); music by Gordon Monahan and Andrew Culver (6 June, late evening); Ensemble Kreativ, Bruno Strobl, director, performed ASLSP as well as music by Roman Haubenstock-Ramati, Anestis Logothetis, Alfred Peschek, Bruno Strobl (7 June, evening); Stefan Hussong, accordion, and Franziska König, violin, performed Six Melodies and Souvenir (Hussong alone) as well as music by Klaus Huber, Nicolaus A. Huber, Joachim Krebs, and Magnus Lindberg (7 June, late evening); Österreichisches Ensemble für Neue Musik, Oswald Sallaberger, director, performed Variations I, Variations VI (realization by Alberto Caprioli), as well as music by Herbert Grassl, Josef Maria Horvath, Andor Losonczy, Boguslaw Schaeffer (8 June, evening); Ensemble Acesantez (Zagreb) performed works by Cage and others (8 June?); public rehearsals; interviewed by Wolfgang Fuhrmann and Karl Harb (Cage/Fuhrmann 1991; Gratzer 1991a; Gratzer 1991b; Gratzer 1991c; Gratzer 1991d; H. R. 1991a; H. R. 1991b; Harb 1991a; Harb 1991b; Harb 1991c; Kalchmair 1991a; Kalchmair 1991b; Kriechbaum 1991a; Kriechbaum 1991b; Kriechbaum 1991c; Kriechbaum 1991d; Kurier 1991; Neue Kronen-Zeitung 1991; Ruch Muzyczny 1991; Salzburger Nachrichten 1991; Standard 1991; Strobl 1991a; Strobl 1991b; WO 1991a; WO 1991b; WO 1991c).

14-15 June 1991. Krems an der Donau, Theaterhaus, Wachauer Theaterfestival. Merce Cunningham Dance Company performed Wachauer Theaterfestival Event No. 1 (14 June); Wachauer Theaterfestival Event No. 2 (15 June); Cage’s participation uncertain.

25 June 1991. Macerata, IX Rassegna di Nuova Musica (20-26 June). Omaggio a John Cage with performances by Frances-Marie Uitti (violoncello); Giancarlo Cardini (piano); Stefano Scodanibbio (contrabass).

1 July 1991. Ferrara, Aterforum Festival ’91 (25 June-7 July), dates of Cage’s attendance unclear. Public conversation with Betty Freeman (1 July, Casa Romei); attended performance of Freeman Etudes XVII-XXXII by János Négyesy (1 July, evening, Casa Romei); Ives Ensemble performed Seven and Music for Nine, as well as music by Charles Ives (29 June, evening, Castello Estense); Linda Hirst (mezzo soprano), Omar Ebrahim (baritone), Johan Kolsteeg (phonograph operator), Bart Mesman (lighting), Rutger Wip (sound engineer), Yvar Mikhashoff (piano and director) performed Europera 5 (2 July, evening, Castello Estense); exhibition of photographs by Betty Freeman, ‘Music People & Others,’ in conjunction with the festival (Freeman, B. and Palazzoli 1987; Négyesy/Hajdu 2007).

Early July 1991. Munich, Staatliche Graphische Sammlung Neue Pinakothek. Attended in connection with exhibition of Museumscircle (Hahn, C.W. 1991).

5 July 1991. Back in New York.

July 1991. New York. Composed One⁹, Two³, and Two⁴.

5 July 1991. Lee, Massachusetts, Ted Shawn Theater, Jacob’s Pillow Dance Festival. Trisha Brown Company performed Accumulation, Lateral Pass, and Astral Coverted (with Eight) (Berman 1991).

18 July-27 October 1991. Munich, Staatliche Graphische Sammlung Neue Pinakothek (Theresienstraße), Kunst als Grenzbeschreitung: John Cage und die Moderne. Exhibition of Museumcircle; Where R = Ryoanji (pencil drawings) and River Rocks and Smoke (watercolors); installations by Rolf Julius and Takehisa Kosugi; Cage attended [perhaps vernissage, 17 July] (Ey 1991; Hahn, C.W. 1991; Knaute 1991; Müller-Mehlis 1991; Rein 1991; Roelcke 1991a; Schürmann 1991; Schreiber, W. 1991; Weski 1991).

Prior to September 1991. New York. Interviewed by Mark Gresham (Cage/Gresham 1991).

September 1991. New York. Composed 103 and Six.

6-11 September 1991. Pieve Caina, Quaderni Perugini di Musica Contemporanea, John Cage Symposium, organized by Alfonso Fratteggiani Bianchi and Ulrike Brand. Participants Paul van Emmerik, Martin Erdmann, Heinz-Klaus Metzger, Rainer Riehn, András Wilheim; concert (11 September, Perugia); Cage not in attendance (Frankfurter Allgemeine 1991; Nazione 1991).

10-21 September 1991. Paris, Théâtre de la Ville (2 Place du Châtelet). Merce Cunningham Dance Company performed: David Tudor, Weatherings to Exchange; John King, Gliss in Sighs to Native Green; Michael Pugliese, Mixed Signals to Loosestrife (10-15 September); Four³ to Beach Birds; Takehisa Kosugi, Streams to Neighbors; Emanuel Dimas de Melo Pimenta, Gravitational Sounds to Trackers (17-21 September); Cage did not participate.

13-22 September 1991. Zurich, Winterthur, Boswil and Burgdorf, ISCM World Music Days. presumably Cage was not in attendance.

29 September 1991, Sacramento, California, Unitarian Universalist Society Auditorium, Music Now. Anna Carol Dudley, soprano, and Brenda Tom, piano, give possibly first complete performance of Three Songs.

Fall 1991. Boston, Massachusetts, Rugg Road Papers and Prints. Made Medicine Drawings (Toale 1992).

October 1991. New York. Composed Five³; Five⁴; Five⁵; Five Hanau Silence; Four⁴; Four⁵; Ten, and Two⁵.

5 October 1991. New York. Interviewed by José Antonio Alcaraz (Cage/Alcaraz 1991).

19 October 1991-16 February 1992. Pittsburgh, Pennsylvania, Mattress Factory (500 Sampsonia Way, fourth floor), as part of the 1991 Cargenie International Exhibition of the Carnegie Museum of Art (group exhibit). Invited by Barbara Luderowski and Michael Olijnyk presented Changing Installation. Traveled to Pittsburgh one week before the opening of the exhibition for preparation (Fornel 2019, 611-616; Odom 1991).

22 October 1991. München, Neue Pinakothek, Kunst als Grenzbeschreitung: John Cage und die Moderne, Veranstaltungszyklus der Bayerischen Staatsgemäldesammlungen: Josef Anton Riedl, Klang-Aktionen; Cage’s attendance uncertain.

25 October 1991. New York, Kitchen, Twentieth-Anniversay Celebration; Talking Drums (Kory Grossman, Michael Hinton, Michael Pugliese) gave first performance of Three², as music to solo from Loops, danced by Merce Cunningham (Cage probably in attendance).

31 October-2 November 1991 (program repeated on successive evenings). New York, The Kitchen, Five Generations of Composers. Performed excerpt from Muoyce II in shared program with music by Meredith Monk with Robert Een, Jon Gibson, Michael Gordon, Jim Staley, Peter Gordon, Philip Glass, Zeena Parkins, Tim Berne, Lee Ranaldo and Leah Singer, and Electric Owthaus, mostly performed by the composers.

5-10 November 1991. Madrid, Círculo de Bellas Artes (Marqués de Casa Riera, 2), Festival de Otoño 1991 en el Círculo. Attended.

6-9 November 1991. Madrid, Teatro Albéniz (Calle de la Paz, 11). Presumably performed with Merce Cunningham Dance Company: Four³ to Beach Birds; Michael Pugliese, Peace Talks to August Pace; Emanuel Dimas de Melo Pimenta, Gravitational Sounds to Trackers (6-7 November); Takehisa Kosugi, Streams to Neighbors; Sculptures Musicales to Inventions; Emanuel Dimas de Melo Pimenta, Gravitational Sounds to Trackers (8-9 November).

11-12 November 1991. Colombes, MJC-Théâtre de Colombes (96 rue Saint Denis). Merce Cunningham Dance Company performed: Merce Cunningham and David Vaughan presented screening of David Tudor, Phonemes to Channels/Inserts; Voiceless Essay to Points in Space (11 November); performed: Takehisa Kosugi, Streams to Neighbors; Michael Pugliese, Peace Talks to August Pace; Emanuel Dimas de Melo Pimenta, Gravitational Sounds to Trackers (12 November); Cage’s participation uncertain.

15 November 1991. Washington, D.C., National Academy of Sciences (2100 C Street NW), Cagefest (presented by Library of Congress): Paul Zukofsky, violin, and Stephen Drury, piano gave first performance of Two⁴; also Ryoanji [double bass, oboe, percussion], Two, c Ȼomposed Improvisation (percussion and Steinberger bass guitar), and Five [all except Zukofsky] performed by Stefani Starin, flute; Robert Black, contrabass; Joseph Celli, oboe; Jan Williams, percussion; Cage in attendance, question period afterwards (McLellan 1991; Swed 1993b, 139).

Prior to 15 November 1991. Stuttgart. Südwestfunkchor, directed by Rupert Hubner, performed 4'33" (Pschera 1991b).

26 November 1991. Munich, Theater im Marstall: Xsemble München performed Radio Music, Music Walk with WBAI; Cage’s attendance uncertain.

30 November 1991. Stuttgart, Messe Stuttgart Killesberg, Kongreßzentrum B, Saal Straßburg, Musik unserer Zeit. Attended first performances of One⁸ and of 108, performed simultaneously by Michael Bach and the Radio-Sinfonieorchester Stuttgart, Alexander Winterson, coaching, in program with music by Edison Denisov and Bernd Alois Zimmermann (Baruch 1991; Cage/Retallack 1996, 264; Fiedler 1991a; Fiedler 1991b; Frisch 1991; Hoffmann, S. 1991a; Hoffmann, S. 1991b; Hoffmann, S. 1991c; Hoffmann, S. 1991d; Jungheinrich 1991b; Mezger 1991; Oehlschlägel 1992b; Pschera 1991a; Roelcke 1991b).

December 1991 or earlier. Wrote Notations for A. K. [text].

December 1991. New York. Commissioned by the Frankfurt Feste and the Saarländischer Rundfunk with support of the Gesellschaft der Freunde der Alten Oper, composed Twenty-eight, Twenty-six, and Twenty-nine; wrote Overpopulation and Art.

2 December 1991 (8 pm). New York, Merkin Concert Hall (129 West 67th Street), Composers’ Forum. Fritz Hauser gave first US performance of One⁴ in recital with music by Joey Baron, Pauline Oliveros, Warren Smith and others.

4 December 1991 (late evening). Nizza [Nice], France, Musée d’Art Moderne et d’Art Contemporain, Auditorium, Les Journées Manca (Musiques Actuelles Nice Côte d’Azur) (4-7 December), organized by Centre International de Recherche Musicale (CIRM), Michel Redolfi, director, Berceuses par le CIRM & La Muse en Circuit (Luc Ferrari, Henri Foures, Michel Musseau, David Jisse). In program with twenty-one first performances, first presentation of Lullaby.

7 December 1991. New York. Conversation with Gisela Gronemeyer (Gronemeyer 1993).

1992. Pittsburgh, Pennsylvania, Carnegie Institute. Exhibition of his visual works.

8-23 January (or earlier) 1992. San Francisco, California, Crown Point Press. Made HV2, Variations III and Without Horizon (Revill 1992, 299).

January-February. New York. Composed Eighty.

18 January-8 March 1992. Berlin, Inventionen; Irvine Arditti performed Freeman Etudes I-XXXII (21 January, Staatsbibliothek zu Berlin, Postdamer Straße 33, Otto-Braun-Saal); Les Percussions de Strasbourg performed But What about the Noise of Crumpling Paper Which He Used to Do in order to Paint the Series of "Papiers froissés" or Tearing up Paper to Make "Papiers déchirés"? Arp Was Stimulated by Water (Sea, Lake, and Flowing Waters like Rivers), Forests., First Construction (in Metal), Edgard Varèse, Ionisation (25 January, Akademie der Künste, Hanseatenweg 10); Kroumata-Ensemble performed Third Construction and music by Åke Parmerud, Lars Ekström, and Anders Blomqvist (28 January, Akademie der Künste); Arditti String Quartet performed Music for _ (presented as Music for Four), String Quartet in Four Parts and Four (29 January, Kammersaal der Philharmonie, Matthäikirchstraße 1); Herbert Henck performed from Music for Piano 1, Music for Piano 2, Music for Piano 3, Music for Piano 4-19, Music for Piano 20, Music for Piano 21-36/37-52, Music for Piano 53-68, and Music for Piano 69-84 (14 February, Staatsbibliothek zu Berlin, Otto-Braun-Saal); Cage not in attendance (Naujocks 1992).

18 January-15 March 1992. Ludwigshafen am Rhein, Wilhelm-Hack-Museum, Zufall als Prinzip (exhibition): installation, Roaratorio, an Irish Circus on Finnegans Wake (Nabakowski 1992; Schädler 1992a; Schmidt, F. 1992).

17 January 1992. San Francisco, California, Old First Presbyterian Church. Attended piano recital by Tom Schultz performing early prepared piano pieces, One, Swinging; interviewed by Jerry Young (Young, J. 1992).

18 January 1992, Japan. Mayumi Miyata gave first performance of One⁹; presumably Cage was not in attendance.

19 January 1992 (morning). Cologne, Kölner Philharmonie (Bischofsgartenstrasse). ‘Mauricio Kagel: Homme: Age 60’, Michael Niesemann, English horn; John Corbett, Hans Deinzer, clarinets; Michael Riessler, bass clarinet; Manos Tsangaris, timpani, gave first performance of Five²; Cage not in attendance.

23-25 January 1992. Seattle, Washington, Cornish College of the Arts (710 East Roy Street), Poncho Concert Hall, Cornish Series. Joint residency with Lou Harrison; three concerts, The Music of John Cage and Lou Harrison, performed by Cornish faculty and guest artists; Gamelan Pacifica performed Haikai (1986) (24 January, evening).

24 January-14 February 1992. New York, Juilliard School of Music, Library. Exhibition of Cage’s works in honor of his 80th birthday, conjunction with the Focus! 92 Festival (Gottlieb, J. 1992).

January 1992. Berkeley, California: visited.

27-31 January 1992. Palo Alto, California, Stanford University, Humanities Center in conjunction with the Departments of Art, Drama, English, and Music, John Cage at Stanford: Here Comes Everybody, presented by Continuing Studies. Attended as Marta Sutton Weeks distinguished Visitor; with Kathan Brown, presented informal talks at reception (27 January, Cummings Art Building Foyer, 5-7 p.m., including dance performance of 27'10.554" for a Percussionist, with Gordon Mumma, Heather Leslie Sloan, and Wendy Rogers) for the exhibition of his prints and other works (10 December 1991-9 February 1992, Stanford Art Gallery); panel discussion, The Making of Americans, with Norman O. Brown, Marjorie Perloff, Caroline A. Jones, and Jann Pasler, moderated by Jerzy Kutnik (28 January, Braun Music Center, Campbell Hall, afternoon); gave first performance of Overpopulation and Art [in two parts] (28 and 30 January, Campbell Hall, late afternoon); panel discussion, Poethics, with Gerald Burns, Katherine Hayles, Daniel Herwitz, and Joan Retallack (29 January, afternoon, Campbell Hall); performed Muoyce as part of performance of Musicircus (29 January, evening, Braun Music Center); open panel discussion (30 January, afternoon, Campbell Hall); Janos Négyesy performed One⁶ with sculpture by Mineko Grimmer; Alan Johnson, lighting (30 January, evening, Little Theatre, Memorial Auditorium [two performances]); performed James Joyce, Marcel Duchamp, Erik Satie: An Alphabet at concert, Performing Cage/John Cage Performing, with his music by the Stanford Symphony Orchestra, Robert Black, conductor; San Francisco Contemporary Players; Judith Bettina, David Abel, and Julie Steinberg (31 January, evening, Dinkelspiel Auditorium) (Baker, K. 1992; Dworkin, A. 1992; Fine 1992; Jones, Caroline A. 1993; Junkerman 1993; Junkerman 1994; Kosman 1992; Milliken 1992; Négyesy/Hajdu 2007; Perloff, M. and Junkerman 1994b; Revill 1992, 299; Seawell 1992).

30 January 1992. Frankfurt am Main, Städel, Nazarenersaal. Hildegard Kleeb, piano; Roland Dahinden, trombone gave first performance of Two⁵; concert also featured compositions by Peter Ablinger and by Hildegard Kleeb and Ronald Dahinden; Cage not in attendance (Nicol 1992; Olschewski 1992; Thaler 1992a).

31 January-1 February 1992. Austin, Texas, University of Texas, College of Fine Arts, Bass Concert Hall. Residency of Merce Cunningham Dance Company. Performed Loosestrife, Change of Address (first performance), Neighbors (31 January); Beach Birds, Change of Address, Trackers (1 February); Cage did not participate (Young, J. 1992).

2 February 1992. Back in New York.

February 1992. New York. Composed Sixty-eight.

8 February-19 April 1992. Chicago, Illinois, Museum of Contemporary Art. Exhibition “John Cage: Scores from the Early 1950s,” prepared by Peter Gena (Gena 1992a).

13-15 February 1992. Baton Rouge, Louisiana, Louisiana State University, School of Music, 47th Annual Festival of Contemporary Music (13-22 February), held in conjunction with the Sonneck Society for American Music’s Eighteenth Annual Conference (13-16 February): visited as guest composer; performed The First Meeting of the Satie Society and Overpopulation and Art and question period (13 February, afternoon, School of Music, Recital Hall); reception for Cage afterwards (School of Music Faculty Lounge); concert by LSU Orchestra with music by Arlen Speights, Samuel Barber, Howard Hanson (13 February, evening, Union Theater); received Honorary Member Award of 1992 from the Sonneck Society for American Music from the Society’s President Deane Root; his speech was written by Vivian Perlis (15 February); concert with Credo in Us, Third Construction, Three Pieces for Flute Duet, Concerto for Prepared Piano and Chamber Orchestra by LSU Percussion Ensemble, John Raush, director, and LSU Symphony Orchestra, Timothy Muffitt, conductor (15 February, evening, Union Theater); concert by the LSU Electro-Acoustic Music Studios, included Williams Mix (22 February, evening, Recitall Hall); interviewed by Cynthia V. Campbell previously (Campbell, Cynthia V. 1992; Carroll, J. 1992; Coco 1992; Sonneck Society Newsletter 1992).

20 February 1992. New York. Completed One¹⁰.

24 February 1992. Amsterdam, De IJsbreker. In shared program with music by Ivo van Emmerik, Ives Ensemble (Rik Andriessen, flute; Esther Probst, oboe; Hans Petra, clarinet; Coen van ’t Hof, trombone; Arnold Marinissen, percussion; John Snijders, piano; Josje ter Haar, Franc Polman, violins; Susanne van Els, viola; Job ter Haar, violoncello) gave first performance of Ten; Cage not in attendance (Hazendonk 1992a; Vermeulen 1992a; Voermans 1992c).

February-June 1992. New York. Composed One¹².

March 1992. New York. Completed Four⁶ and composed Fifty-Eight and Seventy-Four.

2-7 March 1992. Evanston, Illinois, Northwestern University and Chicago, Illinois, Arts Club, John Cage Now, organized by Northwestern University School of Music in affiliation with the Arts Club of Chicago, co-ordinated by Deborah Campana. Visited and attended performances of his works; performed Composition in Retrospect (2 March, Chicago, Illinois, Arts Club); performed Sports (text) (4 March, Evanston, Illinois, Northwestern University, Lutkin Hall); performed (5 March, Evanston, Illinois, Northwestern University, Pick-Staiger Concert Hall); Through the Night: An Homage to John Cage, multimedia work by Northwestern University’s Center for the Study of Education and the Musical Experience (6-7 March); Michael Bach performed One⁸ with 108 (6 March); performances by the Arditti Quartet; Yvar Mikhashoff (Europera 5); William Brooks (Song Books); lecture by Charles Hamm; interviewed by John Corbett (Cage/Corbett 1992; Cage/Retallack 1996, 264; Campana 1993; Dura 1994; Hamm 1995, 381; Sweet 1992; Wierzbicki 1992).

17-29 March 1992. New York, City Center (131 West 55th Street), Reach Beyond Modern, performances of Merce Cunningham Dance Company: Neighbors, Beach Birds, Trackers (17 March); Exchange, Native Green, Loosestrife (18 March); Neighbors, Channels/Inserts, Loosestrife (19 March); August Pace, Beach Birds, Trackers (20 March); Neighbors, Inventions, August Pace (21 March, matinee); Inventions, Channels/Inserts, Loosestrife (21 March, evening); Exchange, Beach Birds, August Pace (22 March, matinee); Inventions, Change of Address, Trackers (23 March); Channels/Inserts, Change of Address, Loosestrife (25 March); Change of Address, Beach Birds, Trackers (26 March); Channels/Inserts, Native Green, Loosestrife (27 March); Beach Birds, Change of Address, August Pace (28 March, matinee); Beach Birds, Change of Address, Loosestrife (28 March, evening); Beach Birds, Change of Address, Trackers (29 March, matinee); presumably Cage did not participate.

Spring 1992. New York, Asia Society. Mayumi Miyata (shô) and Midori Takada (conch shells) presumably gave first performance of Two³.

21-22 March 1992. Munich, Bayerischer Rundfunk (Hopfenstraße), co-organized by Bayerischer Rundfunk, musica viva, Kulturreferat, Jugendkulturwerk, Jeunesses Musicales, and Neue Musik München: video presentations: Helms, Birdcage; Lohner, John Cage in Berlin; Defilla What You Say… (21 March, 6 pm, Studio 2); Xsemble München (Stefan Blum, Markus Steckeler, Harald Lillmeyer, Wulf Schaeffer, Frank Reinecke) (percussion) Barton Weber (piano), Ensemble für Percussive Kunst (Cornelius Hirsch, Werner Hofmeister, Dieter Poll) (percussion), Nicolaus Richter de Vroe (conductor), performed Credo in Us, Imaginary Landscape No. 1, Imaginary Landscape No. 2, Imaginary Landscape No. 3, Imaginary Landscape No. 4, Imaginary Landscape No. 5, Quartet, Water Walk (21 March, 8 pm, Studio 2); Anna Clementi (voice) and Werner Hofmeister (piano) performed The Wondeful Widow of Eighteen Springs and Nowth upon Nacht; Dieter Schnebel gave lecture, “Der fremde Cage”; Peter Sadlo performed c Ȼomposed Improvisation for snare drum (22 March, 11 am, Studio 2); and “audiovisual exhibition’ (Nauck 1992).

April 1992. New York. Composed Two⁶.

16 April 1992. New York, Greenwich House, Rare Cage. Essential Music (Joseph Kubera, Margaret Leng Tan, Charles Wood; John Kennedy, director) performed Greek Ode and The Preacher (sung by Thomas Buckner), Four Dances, Sounds of Venice, Ophelia; Cage’s attendance uncertain (Gann 1992b).

25 April 1992 (afternoon). Witten, Städtischer Saalbau, Theatersaal, Wittener Tage für neue Kammermusik (24-26 April). In program devoted to Stefan Wolpe, David Smeyers (soprano saxophone), Marcus Weiss (alto saxophone), and Christian Dierstein, Thomas Oesterdieckhoff, and Seth Josel (percussion) gave first performance of Five⁴; Cage not in attendance (Baucke 1992b; Linde 1992a; Stenger 1992c).

May 1992. New York. Commissioned by the City of Gütersloh, composed Thirteen for the Ensemble 13.

May 1992. Bremen, Pro Musica Nova, Schwerpunkt Cage; Cage not in attendance (Roelcke 1992).

7 May 1992 (evening). San Francisco, California, Herbst Theatre (Veterans Building, Van Ness Avenue at McAllister), John Cage 80th Birthday Celebration. San Francisco Contemporary Music Players, Stephen L. Mosko, director, with Joan La Barbara (soprano), performed A Flower, Mirakus2, Music for Fourteen, Quartets I-VIII (24 Instruments); Cage in attendance; discussion with Stephen L. Mosko and question period preceding the concert (Papageorge 1992; Tucker, M. 1992; Ulrich, A. 1992).

2-16 May 1992. San Francisco, California, Composers Anonymous Spring Concert. Possibly attended as guest composer.

14 May-29 June 1992. Prague, John Cage: Mezinárodní Setkání Praha ’92. Symposium on Cage, with Milan Adamčiak, Paul van Emmerik, Martin Erdmann, Jaroslav Št’astný, Jiří Valoch and András Wilheim participating (15 May, Maďarské Kulturní Středisko, Rytířská 25-27, 10 am-5 pm); Pražké Jaro ’92, Hommage à John Cage: concert by Amadinda Percussion Group (15 May, Valdštejnský Palac, 8 pm) (Št’astný 2012).

21 and 23 May 1992. New York. Interviewed by Thomas S. Hines (Hines 1994).

Prior to 18 June 1992. Wrote [Untitled] (mesostic on “Bratislava”) and [Untitled] (mesostic on “Večery Novej Hudby”).

18-19 June 1992 (arrival Vienna 18 June, morning). Bratislava, Večery Novej Hudby = Evenings of New Music III (13-19 June), Koncertná sieň Slovenskej filharmónie, Reduta and other locations. Accompanied by Laura Kuhn; gave two press conferences, one at Slovak Radio; attended exhibition of his scores, ‘John Cage 80’ (Slovenská Národná Galéria), afternoon and evening concerts (18 June); performed Composition in Retrospect (19 June, Slovenská Národna Galéria = Slovak National Gallery); interviewed by Viera Polakovičová and Daniel Matej; performances by the VENI Ensemble, Agon, Prague Percussion Group, John Tilbury, Bernhard Wambach, András Wilheim, Ulrike Brand and Martin Erdmann, who also gave a workshop; Cage traveled via Vienna to Florence (19 June, afternoon) (Adamčiak 1992; Adamčiak/Murin 1992; Beneš et al./Smetanová 1992; Bokes 1992; Cage/Polakovičová and Matej 1992; Cseres 1992; Matej 1992a; Matej 1992b; Smetanová 1992; Št’astný 2007; Št’astný 2012; Št’astný 2013).

19 June 1992. The Hague, Dr. Anton Philipszaal, Slagwerkfestival Den Haag: Percussion Group The Hague (Niels van Hoorn, Murk Jiskoot, Bouwe de Jong, Arnold Marinissen, Emiel Matthijsse, Ger de Zeeuw) gave first performance of Six; Cage not in attendance (Vermeulen 1992b; Voermans 1992b).

19-27 June 1992. Perugia and Pieve Caina, Quaderni Perugini di Musica Contemporanea, John Cage e l’Europa (22-26 June). Attended and rehearsed; also attended concert in Florence (21 June); gave first performance of One¹²; Michael Bach performed One⁸ (22 June, Palazzo dei Priori, Sala dei Notari, recorded Galerie Rupert Walser); gave press conference (23 June, Palazzo dei Priori, Sala del Grifo e del Leone); Compositori e Strumentisti dei Quaderni Perugini di Musica Contemporanea (including Giorgio Battistelli, Jean-Luc Darbellay, Heinz-Klaus Metzger, Rainer Riehn, András Wilheim, Hans Wüthrich-Mathez) performed Music Walk as well as Mauricio Kagel, from Rrrrrrr (two versions, at least one of which multiple-piano version, 23 June, Palazzo dei Priori, Sala dei Notari); lecture by Heinz-Klaus Metzger (24 June, afternoon, Università per Stranieri, Sala Goldoniana); Mayumi Miyata, shō, and Isao Nakamura, percussion, gave first complete performance of Two³ (24 June, evening, Tempio di San Michele Arcangelo); Marianne Schroeder performed Etudes Australes (complete, 25 June, evening, Palazzo dei Priori, Sala dei Notari); András Wilheim performed In a Landscape, The Perilous Night, Suite for Toy Piano, Two Pastorales; International Ensemble of the Quaderni Perugini di Musica Contemporanea, Rainer Riehn, director, performed Seven² and Mauricio Kagel, Sonant (26 June, evening, Università per Stranieri) (Bonomo 1993; Brand and Fratteggiani Bianchi 1993; Cage 1993dD; Cage/Anonymous 1993b; Corriere della Sera 1992; Metzger, H.-K. 1993; Ketoff 1992; Muggler 1992a; Muggler 1992b; Polaczek 1992; Raybaud 1995).

22 June 1992. Aalst, Cultuurcentrum De Werf (Molenstraat 51). Johan Huys, Elpidia Giardina, Annette Sachs, Frank Agsteribbe, Piotr Lachert, Yves Senden and the Logos Ensemble performed HPSCHD.

28 June 1992. Innsbruck. Presumably attended piano recital by Ursula Kneihs; 29 June traveled home via Munich.

28 June 1992. Middelburg, Netherlands, Kloveniersdoelen, Festival Nieuwe Muziek (25 June-18 July). James Fulkerson, trombone; Mondriaan Kwartet: Jan-Erik van Regteren Altena, Edwin Blankenstijn, violins; Annette Bergman, viola; Eduard van Regteren Altena, violoncello, gave first performance of Five³; Cage not in attendance.

Prior to 2 July 1992. New York. Interviewed by Allan Kozinn (Kozinn 1992d).

3-4 July 1992. New York, Museum of Modern Art, Abby Aldrich Rockefeller Sculpture Garden (14 West 54th Street), Summergarden 1992 John Cage Celebration began [ten-week series of Friday and Saturnay evening concerts] (3 July-29 August), performed by students of the Juilliard School of Music directed by Paul Zukofsky. Beth Albert, Matt Basset, Paul Hostetter, Ben Ramirez performed Four⁴ (presumably first performance).

Prior to 9 July 1992. New York. Interviewed by Matthew Flamm (Flamm 1992).

10-11 July 1992. New York, Museum of Modern Art, Abby Aldrich Rockefeller Sculpture Garden (14 West 54th Street), Summergarden 1992 John Cage Celebration. Recited from Empty Words Part IV (first half on 10 July, second half on 11 July) (Berswordt-Wallrabe 1992; Fetterman 1996a, 224; Flamm 1992).

17-18 July 1992. New York, Museum of Modern Art, Abby Aldrich Rockefeller Sculpture Garden (14 West 54th Street), Summergarden 1992 John Cage Celebration. Michael Bach performed One⁸; Michael Torre performed ASLSP.

23 July 1992. New York, Central Park, Summerstage. With Joan La Barbara (voice, percussion), Leonard Stein (piano, whistles, voice, percussion) and William Winant (percussion), gave first performance of Four⁶ (voice and ‘shocking things’); it was his last public performance (Fetterman 1996a, 225).

24-25 July 1992. New York, Museum of Modern Art, Abby Aldrich Rockefeller Sculpture Garden (14 West 54th Street), Summergarden 1992 John Cage Celebration. Cheryl Marshall performed Mirakus² and Selkus²; Michael Torre and Pedja Muzijevic performed Two²; Cheryl Marshall and Michael Torre performed Sonnekus², Eight Whiskus, The Wonderful Widow of Eighteen Springs, and Nowth Upon Nacht.

31 July-1 August 1992. New York, Museum of Modern Art, Abby Aldrich Rockefeller Sculpture Garden (14 West 54th Street), Summergarden 1992 John Cage Celebration. Yvar Mikhashoff (piano), Cheryl Marshall and Lisa Willson (voices), Melanie Monios (Victrola), Aaron Winslow (sound), Kris Randall (lights), and Andrew Culver (director) performed Europera 5 (Swed 1992a).

7-8 August 1992. New York, Museum of Modern Art, Abby Aldrich Rockefeller Sculpture Garden (14 West 54th Street), Summergarden 1992 John Cage Celebration. Benjamin Herrington (trombone) and Eric Ewazen (piano) performed Two⁵; Nick Eanet and Eric Grossman (violins), Richard Brice (viola), and Wendy Sutter (violoncello) performed Four; Cage in attendance (at one evening or both).

Prior to 12 August 1992. Interviewed by Detlev Reinert and by Geoff Smith and Nicola Walker-Smith (Cage/Reinert 1992; Cage/Smith, Ge. and N.W. Smith 1993).

12 August 1992. New York, Saint Vincent’s Hospital. Died around 2:40 pm after suffering a massive cerebral hemorrhage at home (11 August, late afternoon). The stroke had left him unconscious, and he died without having regained consciousness. His death was announced by hospital spokeswoman Valerie Gundersen (obituaries: ABC 1992; Aharonián 1993; Algemeen Dagblad 1992; American Organist 1992; Amersfoortse Courant 1992; Amirkhanian et al. 1993; Atlanta Journal 1992; Austin, W.W. 1994; B. 1992; Bach, H.E. 1992a; Barden, Kreidler and Schüttler/Naujocks 2012; Barkin 1993; Barlow, J. 1993; Bärtschi 1992; Berio 1992; Berio et al. 1993; Beyer, A. 1992-1993; Blumenstein 1992; Boretz 1993; Bosseur, J.-Y. 1992a; Bruce 1993; Brumange and Rutten 1992; Bussotti 1992; Campana 1993; Caux 1992; Clavier 1992; Clements, A. 1992; Cogan 1993; Cole 1992; Cole and Harris 1992; Computer Music Journal 1992; Crescendo & Jazz Music 1992-1993; Daily Telegraph 1992; Darter 1992; De Visscher 1992a; Dobnik 1992a; Dobnik 1992b; Donau-Kurier 1992; Doucelin 1992; Driver 1992; Driver et al. 1992; Dyer, R. 1992; Economist 1992; Ekbom 1992; Elliott, S. 1992; Erdmann 1995b; Fancelli 1992; Fayenz 1992; Feuchtner 1992a; Folkart 1992; Fong 1992; G. Fer. 1992; Gann 1992d; Gann 1992e; Gazet van Antwerpen 1992; Gena 1992b; Gilbert, P. 1993; Goertz 1992; Gosselin 1992; Gramophone 1992; Gratzer 1992b; Haase 1992; Have 1992; Helguera 1992; High Performance 1992; Hilberg 1992; Hilst 1992; Hiu 1992; Hmn and R.G. 1992; Hoffmann, J. J. 1993; Hoffmann, S. 1992; Holland 1992; Hufner 2012; Hughes, E.D. 1993; Husarik 1992; Jacoby 1992; Jöckle 1992; Johnson, G. 1992; Jungheinrich 1992b; K. A. 1992; Kaprow 1987/1993; Kaprow et al./Zeit 1992; Kennicott 1992; Ketoff 1992a; Keyboard 1992; Klein, E. 1992; Koch, G.R. 1992; Kostelanetz 1992c; Kostelanetz 1993b; Kozinn 1992b; Kozinn 1992c; Kramer, H. 1992; Kuhn, L.D. 1993b; Kuivila 1993; Leblé 1992; Leclerq 1992; Leeuw, G. van der 1992; Lesle 1992b; Lincoff 1992-1993; Marshall 1992; Maue 1993; Metzger, H.-K. 1992a; Metzger, H.-K. 1992c; Meyer, T. 1992; Michel 1992; Mörchen 1992a; Müllmann 1992b; Nagy 1993; Nuova Rivista Musicale Italiana 1993; New Yorker 1992; Orchester 1992; Oskamp 1992; Pablo 1992; Parool 1992a; Parool 1992b; Pasi 1992; Passarini 1992; Patterson, D.W. 1993; Pestelli 1992; Petäjä 1992; Pierre-Petit 1992; Polling 1992; Pöllmann 1992; Porter, A. 1992; Pschera 1992; Rasmussen 1992-1993; Räther 1992; Reimers, R. 1992; Reinboud 1992; Reininghaus 1992a; Reininghaus 1992b; Rey 1992; Rockwell 1992; Rosen, M. 2012; Rossum 1992a; Rossum 1992b; Rothstein 1992a; Rothstein 1992b; Ruch Muzyczny 1992; Sabbe 1993; Salzburger Nachrichten 1992; Sanio 1992-1993; Sauerwein 1992; Schaefer, H. 1992; Schibli 1992; Schnebel 1992; Schreiber, W. 1992; Schulz 1992; Shoemaker 1992; Sinkovicz 1992; Sonneck Society Bulletin 1992; Spiegel 1992; Stadeus 1992; Stenger 1992b; Swed 1992a; Swed 1992b; Swed 1993c; Swinkels 1992; Tageszeitung 1992; Tashiro 1994; Telegraaf 1992; Times 1992a; Times 1992b; USA Today 1992; Verdonk 1992; Vidovszky 1992; Wagner, Renate 1992; Walsh 1992; Weber, C. 1992; Weber, M. 1992; Webster 1992; Wesleyan 1993; Westfalenpost 1992; Westfälische Nachrichten 1992; White, M. 1992; Willems 1992; Williams, Jan 2012; Winslow 1993; Winslow 1997; Zimmermann, U. 1992a; Zimmermann, U. 1992a; Zschunke 1992; Zurletti 1992).

14-15 August 1992. New York, Museum of Modern Art, Abby Aldrich Rockefeller Sculpture Garden (14 West 54th Street), Summergarden 1992 John Cage Celebration. Yvar Mikhashoff (piano), Cheryl Marshall and Lisa Willson (voices), Melanie Monios (victrola), Aaron Winslow (sound), Kris Randall (lights), and Andrew Culver (director) performed Europera 5 (Oestreich 1992a; Swed 1992a).

21-22 August 1992. New York, Museum of Modern Art, Abby Aldrich Rockefeller Sculpture Garden (14 West 54th Street), Summergarden 1992 John Cage Celebration. Yvar Mikhashoff (piano), Cheryl Marshall and Lisa Willson (voices), Melanie Monios (victrola), Aaron Winslow (sound), Kris Randall (lights), and Andrew Culver (director) performed Europera 5 (Horvath 1992; Swed 1992a).

28-29 August 1992. New York, Museum of Modern Art, Abby Aldrich Rockefeller Sculpture Garden (14 West 54th Street), Summergarden 1992 John Cage Celebration. David Fedele (flute), Derek Floyd (oboe), José Herring-Colon (clarinet), Benjamin Herrington (trombone), Bethn Albert (percussion), Michael Torre (piano), Nick Eanet and Denise Stillwell (violins), Ralph Farris (viola), Wendy Sutter (violoncello) performed Ten (twice) and But What about the Noise of Crumpling Paper Which He Used to Do in order to Paint the Series of "Papiers froissés" or Tearing up Paper to Make "Papiers déchirés"? Arp Was Stimulated by Water (Sea, Lake, and Flowing Waters like Rivers), Forests..

28 August-21 September 1992. Frankfurt am Main, John Cage Anarchic Harmony Frankfurt Feste ’92 (15 August-27 September); Twenty-eight, Twenty-six and Twenty-nine first performed by Radio-Sinfonie-Orchester Saarbrücken, Hans Zender, director; same personnel with Helen Schneyer and Nico Castel, also performed Renga with Apartment House 1776 (5 September, Alte Oper, Grosser Saal) (Bomba 1992; Fischer, E.-E. 1992; Hauff 1992a; Hauff 1992b; Jungheinrich 1992a; Langer, R. 1992; Linde 1992b; Löhlein 1992a; Löhlein 1992b; Potter, K. 1992; Ruhr-Nachrichten 1992; Schmidt, J. 1992; Thaler 1992b; Thaler 1992c; Uske 1992; Weber, O. 1992a; Weber, O. 1992b; Wp 1992).

4-5 September 1992. Bratislava, Moyzesova Sieň SF (Vajanského nábrežie 12). Why Cage? Portrait ’80. Lectures by Peter Graham (Jaroslav Št’astný) and Paul van Emmerik (3 pm); concert by VENI Ensemble (5 pm); Morgan O’Hara presented installation, Open Cage; Gene Carl performed Sonatas and Interludes (8 pm) (Št’astný 2012).

10-16 September 1992. Groningen, Muziekcentrum Oosterpoort, Cage-Festival But What about the Noise, organized by Prime. Various concerts, exhibition of visual art organized by Centrum Beeldende Kunst (11 September-1 November) (Beer 1992; Berg, Y. van den 1992; Herruer 1992a; Herruer 1992b; Herruer 1992c; Herruer 1992d; Lakke 1992; Ruijfrok 1992).

19 September 1992. Cologne, Kölner Philharmonie (Bischofsgartenstrasse), Musik der Zeit, John Cage: 80. 103 first performed by the Kölner Rundfunk-Sinfonieorchester, Arturo Tamayo, director, with simultaneous first showing of One¹¹ (Bach, H.E. 1992b; Hazendonk 1992b; Krekeler 1992; Mörchen 1992b; Potter, K. 1992; Stenger 1992a; Weber, C. 1992).

20 September-18 October 1992. Wiesbaden, Nassauischer Kunstverein and Galerie Kessel (20 September-1 November). Exhibition, John Cage: Arbeiten auf Papier (Gries 1992; Herborn 1992).

1-11 October 1992. Dresden, 6. Dresdner Tage der zeitgenössischen Musik, organized by the Dresdner Zentrum für zeitgenössische Musik, partially devoted to Cage. Rundfunksinfonieorchester Saarbrücken, Hans Zender, director, performed Twenty-eight and Twenty-six with Twenty-nine as well as Renga with Apartment House 1776, soloists: Jeanne Lee, Helen Schneyer, Nico Castel, Matoaka Little Eagle, Powhatan Swift Eagle (2 October, Semperoper).

2 October 1992. Athens. Cage Festival with performances by Margaret Leng Tan and Ensemble Musica Negativa (Swed 1993c, 141).

Late 1992. Princeton, New Jersey, Richardson Auditorium, Alexander Hall. The Chamber Symphony of Princeton performed Atlas Eclipticalis in shared program with music by Johann Sebastian Bach, Joan La Barbara and Georges Bizet.

11 October 1992. Graz, Landhaus, Hof, Steirischer Herbst (2-26 October), Musikprotokoll ’92, Österreichischer Rundfunk. Pannonisches Blasorchester Oberschützen, Wim van Zutphen, director, gave first performance of Fifty-Eight (Kager 1992; Krieger, G. 1992).

23-24 October 1992. Brooklyn Philharmonic Orchestra, Lukas Foss conducting, performed Atlas Eclipticalis (Goodman, P. 1992; Ross, A. 1992).

29 October 1992 (evening). New York, Carnegie Hall. The Orchestra of the S.E.M. Ensemble, Petr Kotik, conductor, performed Atlas Eclipticalis with Winter Music (David Tudor) (Goodman, P. 1992; Ross, A. 1992).

1 November 1992 (afternoon). New York, Symphony Space (2537 Broadway at 95th Street). Musicircus performed, presented by Essential Music and Andrew Culver, presented as “Cagemusicircus”; among the participants were Laurie Anderson, Larry Austin, Irvine Arditti, Earle Brown, Neely Bruce, Wendy Chambers, Continuum, The Downtown Ensemble, Stephen Drury, William Duckworth, Essential Music, Don Gillespie, Takehisa Kosugi, Annea Lockwood, Jackson Mac Low, Yvar Mikhashoff, Gordon Mumma, The New Music Consort, Pauline Oliveros, Yoko Ono, Jean Rigg, Ned Sublette, Margaret Leng Tan, Anne Tardos, James Tenney, Christian Wolff (Fetterman 1996a, 225-226; Gann 1992a; Gann 1992c; Ross, A. 1992).

6 November 1992. Frankfurt am Main, Hessischer Rundfunk, Funkhaus am Dornbusch, Sendesaal, Forum Neue Musik. Radio-Sinfonie-Orchester Frankfurt, Lucas Vis, conductor, gave first performance of Sixty-eight.

8 November 1992. New York, Carnegie Hall. American Composers Orchestra, Dennis Russell Davies, director, gave first performance of Seventy-Four in shared program with music by Richard Wernick, Robert Beaser, Andrew Imbrie (Kozinn 1992a).

5 December 1992. Orléans, Musée des Beaux-Arts, Semaines Musicales Internationales d’Orléans, ‘John Cage Meets Erik Satie’. Ami Flammer, violin; Martine Joste, piano gave first performance of Two⁶; also performed were Three Dances; Erik Satie, Vexations and Cinéma (Joste, piano version with film Entr’acte by René Clair) and other music by Cage and Satie (Spenle 1992).

15 December 1992. New York, Brooklyn College, George Gershwin Theatre. Memorial concert. Grete Sultan performed from Etudes Australes (four of them) (Bredow 2012).

16 December 1992-16 January 1993. New York. A team of five musicologists (Paul van Emmerik, Martin Erdmann, Laura Kuhn, James Pritchett, and András Wilheim) worked on the inventory of the music manuscripts in Cage’s private collection at the time of his death (Emmerik, P. van 2018).

17 February 1993. Gütersloh, Stadthalle (Friedrichstraße 10). Ensemble 13: Gunhild Ott, flute; Alexander Ott, oboe; Uwe Stoffel, clarinet; Thomas Held, bassoon; Wolfgang Bauer, trumpet in C; Sven Strunkeit, tenor trombone; Stefan Bender, tuba; Franz Lang, Sylwia Zytynska, xylophones; Ulrich Gröner, Michael Wieder, violins; Wolfgang Wahl, viola; Susanne Eychmüller, violoncello; Manfred Reichert, director, gave first performance of Thirteen.

April-May 1993. Tokyo, P3 Art and Environment. Installation of Essay.

4 April 1993. Towson, Maryland, Goucher College, Merrick Hall. János Négyesy gave first performance of One¹⁰ (Haskins 1993).

13 May 1993. Columbus, Ohio, Ohio State University, Wexner Center for the Arts (North High Street at 15th Avenue). The second annual Wexner Prize ($ 50,000 award and a commemorative sculpture designed by Jim Dine), awarded to Cage and Cunningham, presented to Merce Cunningham.

19 May 1993. Berlin, Schauspielhaus Berlin, Grosser Konzertsaal, Amerikanische Kunst im 20. Jahrhundert. Orchestra of the S.E.M. Ensemble, Kammerensemble Berlin and guests, Petr Kotik, conductor, and David Tudor (piano) performed Atlas Eclipticalis with Winter Music.

May-June 1993. Berlin. Installation of Essay.

9 June-10 October 1993. Venice, La Biennale di Venezia, Internazionale d’Arte Ovverro, Il Suono rapido delle cose, an exhibition of and tribute to the work of John Cage (Veroli 1993).

20 June 1993. Venice, Teatro Le Fenice, Sala Grande, La Biennale di Venezia, XLV Festival Internazionale di Musica Contemporanea (11-20 June). Orchestra del Teatro La Fenice, prepared by Arturo Tamayo, performed 103 with One¹¹ in shared program with music by Luigi Nono and Luis de Pablo (Cane 1993; De Pirro 1993; Petazzi 1993a; Petazzi 1993b; Van Kerkhoff 1994).

12 September-28 November 1993. Los Angeles, California, Los Angeles Museum of Contemporary Art (250 South Grand Avenue). Traveling exhibition entitled Rolywholyover: A Circus for Museum, conceived by Cage (Advani 1994; Baker, K. 1993; Belcher 1993; Blažeković 1992; Bonetti 1994; Chan, M. 1993; Cheung 1993; Diroll 1993; Donohue 1993; Fernández 1993; Fernández 1994; Goodwin, B. 1993; Hanson 1992; Henken 1992; Herzogenrath, W. 1993b; Herzogenrath, W. 2012d; Hodgins 1993; Jacobs, R. 1993; Jarrell 1994; Johnston, J. 1994; Knaff 1993; Knight 1993; Latham, W.P., Lazar, and Mostoller 1993; Lazar 1993a; Lazar 1993b; Lewis, U.D. 1993; Littlejohn 1993; Littlefield, K. 1993a; Littlefield, K. 1993b; Masion 1993; McKenna 1993a; McKenna 1993b; Rand 1993; Rich 1993; Rico 1993; Schenk-Sorge 1994; Schwartz, P.E. 1993; Shackelford 1993; Seigel 1993; Skelley 1993a; Skelley 1993b; Smith, Ri. 1993; Sullivan 1993a; Sullivan 1993b; Swed 1993b; Walsh 1993; Woodard 1993).

4-9 October 1993. Warsaw, Zamek Ujazdowski, “Days of Silence” (Cage conference), presented by the Center for Contemporary Art. David Revill gave first performance of Muoyce II (Writing through Ulysses) (5 October) (Gann 1993b).

4-7 November 1993. San Francisco, California, Yerba Buena Gardens, Center for the Arts, Other Minds, Symposium and Festival, included panel, “John Cage and His Legacy,” in which Don Gillespie, Julie Lazar, Meredith Monk and others participated (Brooks, I. 1994).

10 October 1993. Dresden, Dresdner Zentrum für zeitgenössische musik, 7. Dresdner Tage der zeitgenössischen Musik. Michael Bach gave first performances of One¹³ and his realization of the unfinished Ryoanji for violoncello.

13 November 1993. Long Beach, California. Long Beach Opera produced Europeras 3 & 4, staged by Andrew Culver (Ginell 1994).

4 December 1993. New York, Alice Tully Hall. S.E.M. Ensemble, Petr Kotik, conductor, and David Tudor performed Concert for Piano and Orchestra, as well as music by Claudio Monteverdi, Morton Feldman and Edgard Varèse (Holland 1993; Ross, A. 1993a).

1994. One¹¹ won the National Educational Media Silver Apple Award.

14 January-2 April 1994. Houston, Texas, The Menil Collection (1515 Sul Ross Street). Rolywholyover (Chadwick 1994; Johnson, Pa. C. 1994; Kalil 1994; McEvilley 1994; Odom 1994; Schiche 1994; Sieber 1994).

March-April 1994. München = Munich, Theater Marstall (Marstallplatz 5). Installation of Essay.

3 April 1994. Amsterdam, Westergasfabriek, Klavecimbelweek. Guus Janssen, Thora Johansen, Annelie de Man, Kristian Nyquist, Jacques Ogg, Vivienne Spiteri and Jukka Tiensuu and others performed HPSCHD (Oskamp 1994; Polling 1994; Voermans 1994).

9 April-31 July 1994. New York, Solomon R. Guggenheim Museum (SoHo, 575 Broadway at Prince Street). Rolywholyover (Baker, K. 1994b; Gann 1994b; Kennicott 1994; Kostelanetz 1996i; Kramer, H. 1994; Levin, K. 1994; Smith, Ro. 1994; Wallach 1994).

18-21 May 1994. Brussels, Koninklijk Circus, KunstenFestivaldesArts. Musicians from the Nederlands Balletorkest and thirty Belgian musicians (coached by George-Elie Octors and Arturo Tamayo, 112 musicians) gave first performance of Ocean, music by Andrew Culver (Ocean 1-95) and David Tudor (Ocean Diary), choreography by Merce Cunningham; danced by Merce Cunningham Dance Company (Cunningham/Lamoree 1994; Erdmann 1994a; Erdmann 1994b; Genter 1994; Kottman 1994a; Kottman 1994b; Kroon 1994; Mallems 1994; Rutten 1994; T’Jonck 1994; Verduyckt 1994a; Verduyckt 1994b).

27-30 June 1994. Amsterdam, Muziektheater, Holland Festival. Merce Cunningham Dance Company gave repeat performances of Ocean.

14 October 1994 (late night). Donaueschingen, Donauhalle B, Donaueschinger Musiktage (14-16 October). Michael Bach-Bachtischa performed sketches and Part 3 from Ryoanji for violoncello (unfinished, reconstruction by Bach-Bachtischa, with David Revill) and One⁸ (arranged by Bach-Bachtischa, simultaneously with his Notation 2 and an installation by Renate Hoffleit) (on Friday) (Nauck 1994).

28 October-30 November 1994. Wien Modern, Musik der Gegenwart, John Cage Retrospektive, organized by Berno Odo Polzer.

3 November 1994-26 February 1995. Mito, Japan, Art Tower Mito Contemporary Art Center. Rolywholyover (Shalala 1994).

13 January 1995. New York. The New York Public Library for the Performing Arts acquired the music manuscripts in Cage’s private collection at the time of his death (American Record Guide 1995; Boziwick 1995; Ross, A. 1995).

10 May-10 June 1995. Perugia, Galleria Nazionale dell’Umbria, Quaderni Perugini di Musica Contemporanea. Exhibition (Polaczek 1995).

4 June-30 July 1995. Philadelphia, Pennsylvania, Philadelphia Museum of Art (26th Street and Benjamin Franklin Parkway). Rolywholyover (Barna 1995; Caruso 1995; Chapman, F. 1995; Mullinax 1995).

4 July 1995. Venice, La Biennale di Venezia, XLVI Festival Internazionale di Musica Contemporanea (1-30 July), Teatro La Fenice, Sala Grande. Klangforum Wien performed Ryoanji (version with instrumental ensemble).

28-30 July 1995. Venice, La Biennale di Venezia, XLVI Festival Internazionale di Musica Contemporanea (1-30 July), Teatro La Fenice, Sala Grande. David Tudor (electronics), the Orchestra del Teatro La Fenice (prepared by Arturo Tamayo) and Merce Cunningham Dance Company performed Ocean (three performances); Cunningham received Leone d’Oro alla Carriera.

15-19 November 1995. Oakland, California, Mills College. Here Comes Everybody: The Music, Poetry, and Art of John Cage; conference (five panels), concerts (five), and exhibition, “The Structure of Chance: John Cage” (15 November-30 December, Mills College Art Gallery), curated by Constance Lewallen (Alburger 1996b; Azenied 1995; Bernstein, D. W. and Hatch 2001; Defendorf 1995; Rivest 1996c; Shultis 1996).

23-25 November 1995. Berlin, Hochschule der Künste, John Cage Symposium (Castine 1996; Straebel 1996b).

19-20 April 1996. Berkeley, California, University of California, Harmon Gymnasium. Ad hoc orchestra performed Ocean, music by Andrew Culver and David Tudor (Tudor’s music due to illness performed by Takehisa Kosugi), choreography by Merce Cunningham; danced by Merce Cunningham Dance Company (George, P. 1996b).

31 May-19 July 1996. Bonn, Kunstraum MI Posselt (Kurfürstenstraße 50). Exhibition of various late artworks (Diehl 1996).

14 July-15 September 1996. Kaiserslautern, Pfalzgalerie. Exhibit “John Cage, Terry Fox, Gudrun Wassermann: Texte – Bilder – Musik, Raum – Text – Skulptur, Schatten – Licht – Klang” (Buhlmann 1996).

30 July 1996. New York, outside Lincoln Center, Lincoln Center Festival ’96. David Tudor and Merce Cunningham Dance Company performed Ocean (Mejias 1996).

13 August 1996. David Tudor died.

5 November 1996. Berlin, Hamburger Bahnhof Museum für Gegenwart (Invalidenstraße 50-51). Takehisa Kosugi gave first performance of [Untitled] (1953) for voice at the occasion of the opening of the Joseph Beuys Medien-Archiv (Straebel 1996a).

7-11 May 1997. Saarbrücken, Musik im 20. Jahrhundert, ‘Satie, Cage: Weitergelesen’ (Korb and Spangemacher 2001).

1998. Bremen, Kunsthalle. Installation of Essay (Herzogenrath, W. 2012e).

12 March 1998. Manchester Metropolitan University, Alsager Campus (Hassall Road). HPSCHD performed.

20 June 1998. Dettenhausen. Rundum Cage: Ein Tag für John Cage (organized by the Dettenhausener Gesellschaft für Neue Musik). Introduction to Four⁶ (2 pm, Johanneskirche, Kirchstraße 18); One¹¹ with 103 (3 pm, Festhalle, Karlstraße 1-4); introduction and public dress rehearsal of Ryoanji (4.30 pm, Johanneskirche); String Quartet in Four Parts, Four⁶, Sonata for Two Voices, Radio Music, Ryoanji (7 pm, Johanneskirche).

26-27 June 1998. Montpellier, Zénith de Montpellier, Domaine de Grammont (Avenue Albert Einstein). l’Orchestre Philharmonique de Montpellier, Takehisa Kosugi, Jim O’Rourke performed Ocean, music by Andrew Culver and David Tudor, choreography by Merce Cunningham; danced by Merce Cunningham Dance Company (Martin, A. 1998).

21 July 1999. New York, Lincoln Center, New York State Theater (20 Lincoln Center Plaza). Merce Cunningham and Mikhail Baryshnikov performed Cunningham’s Occasion Piece (first performance) to Music for Marcel Duchamp.

27 October 1999. Columbus, Ohio, Percussive Arts Society International Convention (27-30 October): New Music/Research Day, A John Cage Retrospective, Benjamin Toth, co-ordinator and host; lectures and performances by various percussion ensembles; concluded with evening concert, ‘A 57-year Retrospective Musicircus of the Percussion Music of John Cage’ (Toth 1999).

25 March-2 April 2000. Utrecht, Huis aan de Werf (Boorstraat 107), Cage Week (Hiu 2000).

6 April 2000. Washington, D.C., Kennedy Center, Eisenhower Theater (2700 F Street NW). Merce Cunningham Dance Company performed Cunningham’s Interscape (first performance) to One⁸ with or without 108.

10 May 2000. Venice, La Biennale di Venezia, Settore Music (3 May-1 October), Palazzo Labia. Ensemble del Teatro La Fenice performed Music for Amplified Toy Pianos.

6 June 2000. New York. At a press conference, the New York Public Library announced its acquisition of the Merce Cunningham Dance Foundation Collection, as a gift from the foundation (Dunning 2000).

20 December 2000-22 April 2001. San Francisco, California, California Palace of the Legion of Honor (100 34th Avenue). One-person exhibition, The Visual Art of John Cage: To Sober and Quiet the Mind (Rapko 2014).

5 September 2001-2640. Halberstadt, St.-Burchardi-Kirche. The city of Halberstadt launched an ongoing performance of Organ²/ASLSP, which is accomplished mechanically, lasting six hundred thirty-nine years; the city maintains its own website for the project, www.aslsp.org/de/home (Byrd, Je. and Fritch 2012; Darnielle 2016; Ericsson 2000; Fricke, S. 2002b; Gastell 2000; Herzogenrath, W. 2012a; Herzogenrath, W. 2012f; Heyer, Sonja 2013; Maassen 2010; Mertes 2008; Mörchen 2000a; Pfeiffer 2011; Pfeiffer 2014; Philippi 1999; Philippi 2001; Rebhahn 2009; Röhring 2000; Solare 2001-2002; Spronck 2017; Ullmann 2000; Ullmann 2002; Wakin 2006).

10 February-14 April 2002. Bremen, Kunsthalle, exhibition Klänge des inneren Auges = Sounds of the Inner Eye: John Cage, Mark Tobey, Morris Graves (Herzogenrath, W. 2001; Herzogenrath, W. and Kreul 2002).

10-12 April 2002. Bremen, Hochschule für Künste Bremen. Symposium “John Cage und die Zukunft der Künste” (10-11 April). Concert, “Ein Fest für John Cage: ‘A House Full of Arts’” (12 April) (Rautmann and Schalz 2002a).

6 July-6 October 2002, Tacoma, Washington, Museum of Glass: International Center for Contemporary Art, exhibition Klänge des inneren Auges = Sounds of the Inner Eye: John Cage, Mark Tobey, Morris Graves (Herzogenrath, W. and Kreul 2002).

21 September 2002. University of Southampton, Music Department, “Cage 2002: 90/10,” study day orgazined by Stephen Chase, Clemens Gresser, and Danae Stefanou.

14 September 2003. Venice, La Biennale di Venezia, XLVII Festival Internazionale di Musica Contemporanea (12-21 September), Teatro alle Tese (10.30 p.m.). Curtis Macomber (violin) and Aleck Karis (piano) performed Six Melodies for Violin and Keyboard.

16-18 January 2004. London, Barbican, January Composer Weekend, “John Cage Uncaged,” organized by the BBC Symphony Orchestra. BBC Symphony Orchestra, Lawrence Foster, conductor, performed 4'33" and The Seasons as well as works by George Antheil, Aaron Copland, Henry Cowell, Charles Ives, and William Schuman; Nicolas Hodges performed Concert for Piano and Orchestra (Solo for Piano) and works by Morton Feldman, Arnold Schoenberg, and Christian Wolff (16 January); Duke Quartet performed Four and String Quartet in Four Parts; BBC Symphony Orchestra, David Porcelijn, conductor, John Tilbury, piano, performed Atlas Eclipticalis with Winter Music and Cartridge Music (Sound Intermedia, sound design) as well as works by Carl Ruggles, Erik Satie and Edgard Varèse; Loré Lixenberg, soprano, performed Aria; performances of Imaginary Landscape No. 3, First Construction (in Metal), Living Room Music, Credo in Us, Child of Tree, Third Construction, as well as works by Peter Garland, Henry Cowell, and David Tudor (17 January); BBC Symphony Chorus, Stephen Jackson, conductor, and Deborah Miles-Johnson, mezzo-soprano performed Variations I, choral music by William Billings, Virgil Thomson, Alan Hovhaness, Charles Ives, and Randall Thompson; Rolf Hind performed prepared piano pieces by Cage; London Sinfonietta, David Porcelijn conducting, and Ralph van Raat, prepared piano, Clio Gould, violin, performed Concerto for Prepared Piano and Chamber Orchestra and Apartment House 1776 as well as works by Morton Feldman, Christian Wolff, Earle Brown; BBC Symphony Orchestra, Pierre-André Valade conducting, Rolf Hind, piano, Frances M. Lynch and Nicole Tibbels, sopranos, Paul Watkins, violoncello, Annilese Miskimmon, director, performed Song Books, 1O1, and various songs and piano pieces, as well as works by Morton Feldman and Lou Harrison (18 January); performances of Musicircus, Erik Satie’s Vexations, several films and discussions (Driver 2004; Gresser 2004a; Guardian 2004; Hewett 2004; Montague et al. 2004).

27-29 January 2005. Calgary, Alberta, University of Calgary. Conference, “Cage: Pushing the Boundaries of Music and Art” (DeLong 2005).

16 April 2005. Manchester, Royal Northern College of Music. Conference “John Cage, Thinker-Performer,” organized by Martin Dixon and Anthony Gritten (Gresser 2005).

26 June 2005. New York. Grete Sultan died.

22 October 2005. Ludwigshafen, Festspiele Ludwigshafen (22 October-18 December). Musicircus performed, co-ordinated by Sigune von Osten (Hauff 2006a; Hauff 2006b; Rønningsgrind 2012).

21 October 2005-16 April 2006. New York, Noguchi Museum (9-01, 33rd Road, Queens), The Imagery of Chess Revisited; expanded version of the 1944 exhibition organized by Marcel Duchamp and Max Ernst at the Julien Levy Gallery. Chess Pieces (group exhibition).

4 February 2006. Huddersfield, University of Huddersfield, Department of Music, Queensgate Campus. “Hung Up on the Number 64,” A one day international conference on John Cage, organized by Simon Anderson; on 3-4 February, Erik Satie, Vexations was performed by staff and students of the university as well as visiting artists from the United States (among them Simon Anderson, Christopher Fox, Rob Haskins, Ian Pace, Laurel Karlik Sheehan, Philip Thomas, and others), simultaneously with Empty Words, performed by Simon Anderson, James Saunders, Philip Thomas and visiting keynote speaker Bill Brooks (University of York). The conference included a mixture of academic presentations and live performances, including performances of Cage’s music by Christopher Fox; Philip Thomas; Ian Pace; Mieko Kanno; Rob Haskins and Laurel Karlik Sheehan (Two²).

4 May-9 July 2006. Cambridge, Massachusetts: MIT List Visual Arts Center. Exhibit, 9 Evenings Reconsidered: Art, Theatre, and Engineering, 1966 (Morris, C. 2006).

24 November 2006-7 January 2007. Madrid, La Casa Encendida (Ronda de Valencia, 2). Exhibit with Essay installation (John Cage 2006).

5 October 2007. Hanover, New Hampshire, Dartmouth College, Hopkins Center for the Arts (4 East Wheelock Street). Merce Cunningham Dance Company performed Cunningham’s XOVER (first performance) to Aria with Fontana Mix.

8-13 October 2007. Venice, La Biennale di Venezia, LI Festival Internazionale di Musica Contemporanea (4-13 October). JACK Quartet performed String Quartet in Four Parts (8 October, 6 p.m., Magazzini del Ferro, Arsenale); Klangforum Wien, Beat Furrer conducting, performed Concert for Piano and Orchestra briefly in concert with film (10 October, Teatro alle Tese, Arsenale); Margaret Leng Tan performed 4'33", Bacchanale, Chess Pieces, Dream (arrangement for piano and toy piano by Tan), Etudes Australes (no. VIII), In the Name of the Holocaust, Suite for Toy Piano, and Water Music (11 October, Tese delle Vergini, Arsenale); Amelia Cuni, dhrupad vocals, clapping, Werner Durand, drones, live electronics, Federico Sanesi and Raymond Kaczynski, percussion, performed Song Books (Solo for Voice 58) (13 October, 10 p.m., Teatro Piccolo, Arsenale).

17 June-5 October 2008. Barcelona, Museu d’Art Contemporani de Barcelona, Centre d’Estudis I Documentació = MACBA Study Centre (Plaça dels Àngels 8). Possibilitat d’Acció: La Vida de la Partitura = Possibility of Action: The Life of the Score. Group exhibition (Held and Subirà 2008).

20 September-16 November 2008. Berlin, Akademie der Künste (Hanseatenweg 10). Notation: Kalkül und Form in den Künsten. Group exhibition (first station) (Amelunxen et al. 2008).

14 February-26 July 2009. Karlsruhe, Zentrum für Kunst und Medientechnologie Karlsruhe (Lorenzstraße 19). Notation: Kalkül und Form in den Künsten. Group exhibition (second station) (Amelunxen et al. 2008).

17 June 2009. Winnipeg, Manitoba, UMFM Campus Radio 101.5. First broadcast of recorded performance of Eighty.

26 July 2009. Merce Cunningham died.

2 October 2009-7 April 2010. Richmond, Virginia, University of Richmond, Joel and Lila Harnett Museum of Art and Print Study Center. Exhibit, “John Cage: Zen Ox-Herding Pictures” (Addiss and Kass 2009).

23 October 2009-10 January 2010. Barcelona, Museu d’Art Contemporani de Barcelona (MACBA). Traveling exhibition The Anarchy Of Silence: John Cage and Experimental Art (Blanning 2010; Robinson, Julia 2009a).

25 February-30 May 2010. Høvikodden near Oslo, Sonja Henie-Onstad Art Centre (1311 Høvikodden), Exhibition The Anarchy Of Silence: John Cage and Experimental Art (Young, Rob 2010).

June 2010-September 2011. Every Day Is a Good Day: The Visual Art of John Cage. Exhibition at BALTIC Centre for Contemporary Art, Gateshead (18 June-5 September 2010); Kettleʼs Yard. Cambridge (25 September-14 November 2010); Museum and Art Gallery, Huddersfield (20 November 2010-8 January 2011); Hunterian Art Gallery, Glasgow (19 February-2 April 2011); De La Warr Pavilion, Bexhill-on- Sea (16 April-5 June 2011); Project Space, Hayward Gallery, London (12 August-18 September 2011); commissioned by Hayward Touring exhibitions (Dillon, B. 2010; Millar 2010).

3 September-28 November 2010. Heerlen, Netherlands, Museum Schunck. Exhibition The Anarchy Of Silence: John Cage and Experimental Art (Fiumara 2010; Lambrecht 2010; Otter 2010; Robinson, Julia 2009a).

16 April-5 June 2011. Bexhill, East Sussex, De La Warr Pavilion, Gallery 1. Exhibition Every Day Is a Good Day.

28 October 2011. Munich, Residenz, Herkulessaal (Residenzstraße 1). Symphonieorchester des Bayerischen Rundfunks, prepared by David Robertson, gave first performance of Eighty.

19-21 March 2012. Berlin, Haus der Berliner Festspiele (Schaperstraße 24), Berliner Festspiele/MaerzMusik. Symposium John Cage und die Folgen/Cage & Consequences (Dietz 2012; Schröder, J.H. and Straebel 2012).

29 March-17 June 2012. Berlin, Akademie der Künste, exhibit “John Cage und…” included 33 1/3 and Essay (Herzogenrath, W. 2012a; Herzogenrath, W. and Nierhoff-Wielk 2012).

14-15 April 2012. Chicago, Illinois, Curtiss Hall (410 South Michigan Avenue), Chicago History Museum (1601 North Clark Street) and Collaboraction (1579 North Milwaukee Ave, room 300). John Cage Festival, produced by Nomi Epstein (Epstein/Margasak 2012; Margasak 2012b; Time Out 2012).

16-19 May 2012. Lublin. Cage 100: Symposium in Celebration of Cage’s Centenary. Organized by Jan Bernad and Jerzy Kutnik. With Katarzyna Bazarnik, Zenon Fajfer, Michelle Fillion, Anne de Fornel, Kyle Gann, Hee Sook Kim, Peter Jaeger, Jerzy Luty, Gordon Mumma, David Nicholls, Pauline Oliveros, David Revill, Christopher Schultis, Volker Straebel, Krzysztof Szwajgier, Margaret Leng Tan, Fred Turner (Kutnik 2015a).

6 July 2012-July 2013. Cage100: 100 künstlerische Ereignisse weltweit. International Art and Music Project of the Forum Zeitgenössischer Musik Leipzig.

14-28 July 2012. Darmstadt, Darmstädter Ferienkurse für Neue Musik. Cage 100: concerts and discussions devoted to music by Cage (Rebhahn 2012a; Rebhahn 2012b).

14 July-7 October 2012. Salzburg, Museum der Moderne, exhibit “John Cage und…”, John Cage als Bildender Künstler: Einflüsse, Anregungen.

21 July-11 November 2012. Stuttgart, Staatsgalerie (Konrad-Adenauer-Straße 30-32), Graphische Sammlung. Exhibition, “It’s John. John Cage:” Zum 100. Geburtstag (Kunz and Six 2012).

25 August 2012-6 January 2013. Dortmund, Hartware MedienKunstVerein (HMKV) at the Dortmunder U (Leonie-Reygers-Terrasse), curated by Inke Arns and Dieter Daniels. Exhibition Sounds like Silence: John Cage 4'33" Silence Today 1912-1952-2012 (Daniels, D. and Arns 2012).

31 August 2012. Durham, New Hampshire, University of New Hampshire, Johnson Theater, John Cage Centenary Concert. Rob Haskins and others performed (excerpts from) 0′00′′, Bacchanale, Cheap Imitation (Piano), Diary: How to Improve the World (You Will Only Make Matters Worse) Continued, 1973-1982, Sculptures Musicales, Song Books, Two.

4-10 September 2012. Washington, D.C. John Cage Centennial Festival.

5 September 2012. Berlin, Akademie der Künste, “A Long Night” (Herzogenrath, W. 2012a).

5 September 2012. Darmstadt, Museum Künstlerkolonie (Olbrichweg 13a). “Happy Birthday, Mr. Cage!” Discussion Concert as part of exhibit, “A House Full of Music,” with Barry Guy (contrabass) and Christopher Dell (vibraphone).

5 September 2012. Klosterneuburg/Wien, Essl Museum. “Greetings to John Cage,” multimedia concert performance by the Campus Ensemble (Klagenfurt), led by Simone Heilgendorff and Claudius von Wrochem: Atlas Eclipticalis, Five, Sonatas and Interludes, Song Books, as well as music by Dieter Schnebel and Karlheinz Stockhausen.

5 September-31 October 2012. San Juan, Puerto Rico, Universidad de Puerto Rico, Río Piedras, Museo de Historia, Antropología y Arte. Exhibition “John Cage: Museum Circle [sic]” (Rivera 2012a; Rivera 2012b; Rivera 2012c; Rodríguez 2012; Toro 2012).

6-7 September 2012. Moscow, Moskovskaya Gosudarstvennaya Konservatoriya imeni P.I. Chajkovskogo, International Festival Musicircus Dzhona Kejdzha, Conference Dzhon Kejdzh: Tvorcheskie Pejzazhi (Pereverzeva 2012b).

8 September 2012. Bremen, Hochschule für Künste (Dechanatstraße 13-15). Ein Tag mit John Cage: workshop, lecture, concerts.

12 September 2012-13 January 2013. New York, National Academy Museum, exhibit, “The Sight of Silence: John Cage’s Complete Watercolors” (Kass 2011b).

15 September 2012. Bonn, Bundeskunsthalle/Kunstmuseum Bonn/Haus der Geschichte der Bundesrepublik Deutschland, Beethovenfest Bonn, “In the Bird Cage,” Cage-Nacht.

20-22 September 2012. Paris, Institut National d’Histoire de l’Art, Auditorium de la Galerie Colbert, international conference, “Cage transatlantique: Centenaire de John Cage à Paris = Transatlantic Cage: John Cage’s Centennial in Paris,” organized by Antoine Cazé, Ulrike Kasper, and Antonia Rigaud. Hélène Aji, Isabelle Alfandary, Vincent Barras, Vincent Broqua, Judith Delfiner, Mathieu Duplay, Jean-Louis Houchard, Laura Kuhn, Abigail Lang, Emma Lavigne, Mario Lorenzo, Clark Lunberry, Olivier Lussac, Éric Mangion, Clément Oudart, Marjorie Perloff, Jean-Michel Rabaté, Joan Retallack, Julia Robinson, Matthieu Saladin, Peter Szendy participated (Université Paris 3 and Université Paris 7). (Lunberry 2012a; Patoyt 2012).

28 September-30 December 2012. Lyon. Exhibition, Cage’s Satie, Composition for Museum.

5-6 October 2012. Dresden, Europäisches Zentrum der Künste Hellerau, Tonlagen-Festival Spezial, “Für die Vögel,” a weekend with music by John Cage; dance, film, chamber music, performances, orchestral music.

10-11 October 2012. Napoli, Biblioteca Nazionale di Napoli, Sala Rari. Conference “Il caso, il silenzio, la natura: La ricerca di John Cage,” in collaboration with the Biblioteca Nazionale di Napoli, the Dipartimento di Filosofia “A. Aliotta” of the Università degli Studi Federico II di Napoli, the online philosophy review Kainos, L’Università degli Studi L’Orientale di Napoli and sponsored by the Centro Interdipartimentale di Ricerca Laboratorio di Urbanistica e di Pianificazione Territoriale (Cuomo and Distaso 2013).

November 2012. University of Cincinnati, College-Conservatory of Music. Cage Centennial Celebration, sponsored by The Otto M. Budig Family Foundation. Festival (5-9 November): Erik Satie, Vexations (eighteen-hour performance, 5 November, 6 a.m.-11:59 p.m., Corbett Center for the Performing Arts, Atrium); Percussion Group Cincinnati, “John Cage: A 50-Year Retrospective” (7 November, evening, Faculty Artist Series, Cohen Family Studio Theater); Deborah Campana, lecture “A Ping Qualified by a Thud: Reflections on the Life and Work of John Cage” (Thinking About Music Lecture Series, 9 November, afternoon, Baur Room); performances of HPSCHD, Ryoanji (with Audrey Luna, soprano), and The City Wears a Slouch Hat (9 November, evening, Cohen Family Studio Theater); Philharmonia Orchestra (Mark Gibson, music director, Neal Gittleman, guest conductor): 4'33", Renga with Music for Three (with Percussion Group Cincinnati) as well as Charles Ives, Three Places in New England; Lou Harrison, Piano Concerto (with Kris Rucinski, piano) (CCM Orchestra Series; “American Voices XV”, 29 November, evening, Corbett Auditorium).

14-17 November 2012. Heslington, York, University of York, Department of Music. Festival-Conference celebrating the centenary of John Cage, organized by William Brooks.

15-17 November 2012. Evanston, Illinois, Northwestern University, John Cage Festival, presented and hosted by the Henry and Leigh Bienen School of Music and the Institute for New Music, included a symposium, “Interpreting Cage,” participants: Seth Brodsky, Deborah Campana, Stephen Drury, Rob Haskins, Charles Junkerman, David Nicholls, Julia Robinson, and Adam Sliwinski; concert performances by the Bienen Contemporary/Early Vocal Ensemble led by Donald Nally; pianist Stephen Drury; So Percussion; guitarist and vocalist Grey Mcmurray; Cenk Ergun; Loud Objects and Bienen School percussion students; and an exhibition, “Sound & Silence: John Cage Composing Himself” (17 November-21 December, curators: D.J. Hoek, Greg MacAyeal, and Nina Barrett) (Haskins 2013b; Margasak 2012a).

15 February-19 May 2013. Roanoke, Virginia, Taubman Museum of Art, exhibit, “The Sight of Silence: John Cage’s Complete Watercolors” (Kass 2011b).

3-4 May 2013. New York, Eyebeam Art and Technology Center. HPSCHD performed, organized by Joel Chadabe and Bradley Eros (Hallett 2013; Smith, Steve 2013).

7 April 2016. Los Angeles, California, Roy and Edna Disney/CalArts Theater (REDCAT) (631 West 2nd Street). CalArts Ensemble gave first performance of All Sides of the Small Stone (Riefe 2016; Swed 2016).

2 July-6 November 2016. Hamburg, Nationalgalerie im Hamburger Bahnhof and Berlin, Museum für Gegenwart Berlin. Exhibit “Das Kapital: Schuld, Territorium, Utopie” included Museumcircle (Blume and Nichols 2016).

11 November 2017-25 February 2018. Reggio Emilia, Palazzo Becchi-Magnani. “Kandinsky –> Cage: Musica e Spirituale nell’arte,” group exhibit curated by Martina Mazzotta, featuring an anechoic chamber and the manuscript of Concert for Piano and Orchestra (Solo for Piano).