There’s another approach to realizing Two: completely determining everything using chance operations. I tried this out and describe the results.
Essays and posts on the music of American composer John Cage (1912-1992)
The notation makes it clear that Cage leaves various specific aspects of the continuity of Two up to the performer. What isn’t clear is how, as a performer, one is supposed to make those decisions.
I’m starting to work on learning John Cage’s Two for piano and flute (Frances is playing the flute part on shakuhachi). I thought I’d take a few posts to describe the process of learning the piano part.