4Â'33Â" is a three movement composition by John Cage in which the performer makes no intentional sounds for the duration of the piece: four minutes and thirty three seconds. It was premiered on August 29th, 1952 by David Tudor at the Maverick Concert Hall in Woodstock, New York. CageÂ's comments regarding the premiere and the audienceÂ's reaction hint at his intent in composing this work. Â"They missed the point. ThereÂ's no such thing as silence. What they thought was silence, because they didnÂ't know how to listen, was full of accidental sounds. You could hear the wind stirring outside during the first movement. During the second, raindrops began pattering the roof, and during the third people themselves made all kinds of interesting sounds as they talked or walked out.Â" This is a special edition to mark John Cage's 100th Birthday! It includes all previously published versions of 4'33" - both typed and calligraphic versi, as well as the edition in proportional notation created for Irwin Kremen, to whom Cage had dedicated the piece.

Arranged for String Quartet by Irvine Arditti. Full Score.

Arranged for string quartet by Irvine Arditt. Set of Parts.

Cage created the painting, "Chess Pieces", in 1944 with black and white ink and gouache on masonite. Within the sixty-four squares of the 19 x 19 inch chessboard that comprises the painting, is a musical score in Cage's hand. Only recently re-discovered, the painting resides in a private collection. The score was deciphered, transcribed, and recorded on Mode Records by Margaret Leng Tang.

Cage composed seven Haiku for piano. The manuscripts are extremely sketchy but can be deciphered, with only a few minor rhythmic details open to speculation. In contrast to the familiar Seven Haiku of 1951Â-52, which Cage copied out carefully and later published in Edition Peters (P6745), these earlier Haiku use the sequence of 7-plus-5-plus-7 sound events (in nine measures) as a structural underpinning, rather than the 5-plus-7-plus-5 sequence of the later composition. One wonders whether Cage would have eventually found time to recopy these little pieces for publication. They reflect a fascinating musical path from the almost tonal Haiku I, reflecting a language similar to the Sixteen Dances (1950Â-51), to a completely atonal style akin pitch-wise to the Music of Changes (1951), but without ostensibly using chance methodology. The first of the four volumes of Music of Changes was completed on May 15, 1951, two months after Haiku V.The dates of these early Haiku confirm the powerful influence on Cage of the Zen Buddhist master Daisetz Teitaro Suzuki, who gave three lectures at Columbia University in March 1951. It cannot be a coincidence that Cage composed Haiku II, III, IV, and V during that month. The titles of the pieces present a number of puzzles for the transcriber. Although using literary themes similar to those found in traditional Japanese haiku (a dear friend, stillness, frogs), no specific allusion to Japanese haiku in print in 1950 can be found. Haiku IV references the River Plurabelle of JoyceÂ's Finnegans Wake; Haiku I might refer to a 'dear friend,' David Tudor, whom Cage met at the beginning of 1950, and who, it is said, once performed this piece. One should note that the initial one and a half measures of the piece appear on the title page of CageÂ's manuscript of Sixteen Dances (1950Â-51), though no thematic reference to Sixteen Dances has been found. Curiously, the manuscript of Haiku V contains Arnold SchoenbergÂ's Los Angeles address in its right-hand margin..The sixth Haiku is untitled and undated, but was likely also composed in March 1951; an alternative version of the first Haiku (undated) seems to have been rejected. These two pieces are included here as addenda." (Don Gillespie, Editor)

more than the score...is a series of classic piano music, covering much of the essential repertoire from Bach through Mozart, Schubert, Mendelssohn, Chopin and Debussy, right up to John Cage. Each volume focuses on one piece, with written masterclasses and background information encouraging an exploration of the music - beyond the printed score.

All titles in the Edition Peters more than the score...series include written masterclasses from one of our panel of internationally-renowned pianists including Joanna MacGregor, Roy Howat, Daniel Grimwood, Clare Hammond and Adam Tendler.

more than the score...draws on material released on Tido Music, a revolutionary web resource and iPad app. Visit tido-music.com/editionpeters for a 30-day free trial!

Quest, Two Pieces (1935), Metamorphosis, A Room, Ophelia, Two Pieces (1946), In a Landscape, Dream.

Bacchanale; And the Earth Shall Bear Again; In the Name of the Holocaust; Primitive; Tossed As It is Untroubled; Our Spring Will Come; The Perilous Night.

Root of an Unfocus; Prelude for Meditation; The Unavailable Memory of; A Valentine Out of Season; Spontaneous Earth; Mysterious Adventure; Daughters of the Lonesome Isle; Music for Marcel Duchamp.

This is a reduction of a chamber work that Cage did for rehearsal and occasional performance with Cunningham Company. It was discovered by Walter Zimmerman in the Cage Collection at the New York Public Library. Zimmerman has edited. It is considered a major find.Solo (fast), Trio/3 girls, Solo "The Mad Dog", Delicate Leaves, Monk's Sarabande, Fleeting Images, Hero's Dance, Jig for John, Odious Warrior, Blues, Medicine Man, Basket Dance, Solo--fear, Quartet---chance, Duet--erotic, Quartet--tranquility.

Three Easy Pieces, Totem Ancestor, Jazz Study Ad lib, Triple Paced (1st & 2nd versions), Soliloquy, The Seasons, Suite for Toy Piano, Works of Calder, Waiting.