|
In New York, when I was setting out to write the
orchestral parts of my Concert for Piano and
Orchestra which was performed September 19, 1958, in
Cologne, I visited each player, found out what he
could do with his instrument, discovered with him
other possibilities, and then subjected all these
findings to chance operations, ending up with a part
that was quite indeterminate of its performance.
After a general rehearsal, during which the musicians
heard the result of their several actions, some of
them — not all — introduced in the actual performance
sounds of a nature not found in my notations,
characterized for the most part by their intentions
which had become foolish and unprofessional. In
Cologne, hoping to avoid this unfortunate state of
affairs, I worked with each musician individually and
in general rehearsal was silent. I should let you know
that the conductor has no score but has only his own
part, so that, though he affects the other
performers, he does not control them. Well, anyway,
the result was in some cases just as unprofessional
in Cologne as in New York. I must find a way to let
people be free without their becoming foolish. So
that their freedom will make them noble. How will I do
this? That is the question. |