Music for Cello and Piano

Year 1955
Publisher AMP/G.Schirmer
Program Notes NOTATION:
The notation which is used in this work is what I call a "time notation." I have developed and use this notation because it very clearly represents sound relationships in the score as I wish them to exist in time, independent of a strict pulse or metric system. It is a time notation in that the performer's relationship to the score, and the actual sound in performance, is realized in terms of the performer's "time sense perception" of the relationships defined by the score and not in terms of a strict, rational metric system of additive units.

MUSIC FOR CELLO AND PIANO is divided into 3 sections of 3 minutes each. There are 3 systems on each page; each system is to be performed in a total time of 15 seconds. The durations are extended visibly through their complete space-time of sounding and are precise relative to the space-time of the score. It is expected that the performer will observe as closely as possible the "apparent" relationships of sound and silence but act without hesitation on the basis of his perceptions. It must be understood that the performance is not expected to be a precise translation of the spatial relationships but a relative and more spontaneous realization through the involvement of the performer's subtly changing perceptions of the relationships. The resulting flexibility and natural deviations from the precise indications in the score are acceptable and in fact integral to the nature of the work. As the score is practiced, the performer will quickly discover the relative time of each duration as it relates to each of the other durations and to the total time of each system. The end of each system (15 seconds) is a point of orientation and the "time-sense" of this duration soon becomes accurate within one or two seconds. The performer may slightly increase or decrease his speed through each system to compensate for these differences. David Tudor, who will perform the piano part in the Darmstadt performance, is very familiar with the notation and the time aspect of the work and will further clarify the timing of the systems when the cellist and he rehearse the work together.
-Earle Brown
More Information For David Soyer
Audio Samples

Music for Cello and Pianodownload

Selected Performances 1957-07-27 Darmstadt, Germany
Soloist: Werner Taube, Alfons Kontarsky

1963-12-23 Bremen
Soloist: Siegfried Palm, Aloys Kontarsky

1966-05-05 Bremen
Soloist: Siegfried Palm, Aloys Kontarsky

1969-01-14 Peabody Conservatory of Music
Conductor: Earle Brown
Soloist: Ellen Te Selle, cello; Dean Boal, piano

1989-03-06 Weill Recital Hall at Carnegie Hall
Soloist: Michael Bach, cello; Aleck Karis, piano

1991-08-13 Frankfurt
Soloist: Frances-Marie UItti, Nils Vigeland

2001-01-13 Deutsch-Amerikanisches Institut Heidelberg
Ensemble: trio ascolto
Soloist: Dorothea von Albrecht, cello; Christine Olbrich, piano

2015-02-26 Barge Music, New York City
Michael Nicolas, cello
Aleck Karis, piano

20/21 - Intercomunicazione (released 2002)
Performed by: Siegfried Palm, Aloys Kontarsky
Produced by: Deutsche Grammophon

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A life in music - CONTEMPORARY SOUND SERIES Box 2 (released 2009)
Performed by: Various
Produced by: Wergo

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The New York School (released 1991)
Performed by: Eberhard Blum, Frances-Marie Uitti, Nils Vigeland
Produced by: Hat Hut Records

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zeitgenoessische Werke fuer Violoncello und Klavier (released 1995)
Performed by: Dorothea von Albrecht, Christine Olbrich
Produced by:

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American Masters Series: Earle Brown (released 1999)
Performed by: Various
Produced by: CRI (note: this has been reissued as "Selected Works 1952-1965" by New World Records)

Buy this recording CRI (note: this has been reissued as "Selected Works 1952-1965" by New World Records)