Indeterminacy 17

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.

- John Cage