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Philip Corner (1933), a member of the Fluxus movement, composed Cage-an piano
music for improvising soloists and ensembles
described by verbal instructions and graphic notations.
The scores for pieces such as Solo Music and More and C Major Chord sound like aesthetic sermons rather.
Gestures populate the scores for the
Pieces for String Instrument of the late 1950s, and
the Soloist Piece (1961).
Plays the Piano (XI, 2000) collects a few short compositions of the
1960s (7 Joyous Flashes, Concerto for Housekeeper, in which the
pianist cleans the dirty keys of the keyboard,
three of the Short Piano Pieces,
Flux and Form No 2) and two of his most ambitious works:
the hypnotic crescendo and fast-moving texture of Pulse (which slowly
expands from a narrow cluster of notes to most of the keyboard), which segues
into the pulsing repetition of C Major Chord,
and the
sparse cacophony of Perfect (obtained by inserting round objects inside
the piano).
Metal Meditations (Alga Marghen) collects two live performances with
resonating metal objects (1974 and 1975).
Word-Voices (Alga Marghen) compiles
three works based on the human voice:
VOX (1981), Vocalize (1962), Air Effect.
On Tape From the Judson Days (Alga Marghen) collects
tape-music from 1962 and 1963
(Lucinda Pastime,
Memories Performances,
From Thais,
Oracle, a Cantata on Images of War,
Flares,
Circus Tape).
Gong + (Alga Marghen) collects
Metal Meditations with Listening Center (1974), a collaboration with
Bill Fontana, Gong and Pulse Polyphony.
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