For Pianist is an attempt to involve a single player in situations like those of pieces (such as Summer, Duo for pianists II) in which several players rely on what they hear from one another, unpredictably, for cues. The pianist, for example, is to make a sound \"as softly as possible.\" At the moment of playing he will make it just that way, or more loudly, or the sound will be inaudible. Whichever results will determine alternate paths he must directly follow. The piece is made up of ten pages of such paths or continuities, sometimes bifurcating, overlapping, and drawing the pianist into labyrinthian complications. The continuities are sequences of time lenghts, fractions of a second to half a minute, within which numbers of sounds are given with varying degrees of specification, e.g. giving for a single sound only its amplitude, or for several a choice of two or five pitches. The player, when he is free to do so, makes the final specifications, tending in the larger spaces of time to vary his choices at every performance. An interchange between the score's fixed determinations and the player's use of its free spaces and loopholes, between his dependence on suddenly arising necessities and his freedom to choose just as he plays underlies the music. --Christian Wolff