John Cage (1912-1992)
"A Flower"
"51'15.657"", pour percussionniste parlant (performance double de "45’", pour haut-parleur et "27’10.554”" pour percussion)
"Music for Two" (By One), pour voix et percussion seul
"The Wonderful Widow of Eighteen Springs"

Allen Otte (1950-)
"Connecting Egypt to madison through Columbus Ohio, Cage, and the History of the American labor Movement", pour voix, piano préparé et tambour sur cadre (intègre "Music for Marcel Duchamp" et "Variations 2" de J. Cage)

Bonnie Whiting, percussion, voix
Allen Otte, voix, piano préparé, tambour sur cadre

John Cage allowed for some of his works to be combined and performed simultaneously. Percussionist Bonnie Whiting has created uniquely virtuosic solo-simultaneous realizations of some of these works for "speaking percussionist." 51'15.657" for a speaking percussionist is Whiting's solo-simultaneous realization of all of 45' for a speaker and 27'10.554" for a percussionist. Cage wrote 45' for a speaker to perform himself. He wrote on thirty-two subjects and added a series of gestures (gargling, lighting a match, etc.) to be performed during the delivery. Like the percussion piece, each page is one minute long. Between 1984 and 1987 Cage composed 17 pieces called Music for ____. Any of these pieces can be performed alone or together in any combination. Here Whiting combines one of the percussion versions with the version for voice. Her recital is completed by Cage's two beautiful, classic, early pieces for voice and piano: The Wonderful Widow of Eighteen Springs and A Flower. Here the piano is used as a percussion instrument, never played on the keys but rather knocked and slapped on by th epianist. As in the larger works, Whiting gives a tour de force performance of both parts simultaneously. As a bonus, Whiting's mentor Allen Otte performs his work for speaking pianist/percussionist which is created around works of Cage and utlizing Cage's compositional "tools" for both the music and text.