108 (1991)

This composition uses flexible time-brackets with single tones, which should be played in a single bow or breath, or a simulation of this by means of circular breathing or imperceptible bow changes. Tones can be short or long, since the beginnings and endings of the brackets overlap. Long sounds should be soft, short ones may be louder. The piece interpolates periods of silence with periods of sounds, i.e. 0'00"-1'30", 14'00"-18'00", 32'30"-34'30", 35'00"-39'00" and 42'00"- 43'30" are silent periods, whereas all others are periods of activity. When the work is performed as a cello concerto, that is, simultaneous with Cage's One8, the violoncello is sounded within the silent periods. In this case, the work is called One8 and 108. The percussion instruments are not named, but are distinguished from one another; all should be very resonant and played by bowing or by playing tremolos. Cage gives such possibilities as Chinese and Turkish cymbals, Japanese temple gongs, thunder sheets, and Balinese gongs. 108 may also be played with One9 for sho and/or Two3 for sho and conch-shells.