Reinhardt has put the evening together as he might do his radio programme, and the audience are invited to "become their own radio receiver". This is one of the gallery's Late at Tate events, curated by Max Reinhardt, a musician and regular presenter of Radio 3's Late Junction. Imaginary Landscape No 4 is seldom performed – and will not be performable at all when analogue radio is switched off in a few years – but on Friday 7 August, at Tate Britain, the public will get a rare opportunity to hear it as part of an evening entitled Late Night Radio. As Cage inked random notes on to manuscript paper, Jackson Pollock was splattering house paint on canvas and William Burroughs was folding the pages of magazines to throw up unimaginable combinations of words. This embrace of indeterminacy was commonplace in the arts during the early 50s. Radios were used in his later pieces and the idea was picked up by other composers, such as Karlheinz Stockhausen and even the Beatles in Revolution No 9. His idea was to liberate music from his own taste, his concerns and his ego. This was one of his first works that used chance operations to determine structural elements. The piece was scored for radios because Cage had absolutely no idea what sounds would come from their speakers. No precedent had been set for the presentation of this new area of music. The sight of a conductor, wearing white tie and tails, at an electronic music concert would be considered bizarre today, but in the early 1950s, that's how things were done. But the sounds coming from the 12 loudspeakers were a random mix of the everyday along with the glitches, bleeps and fizzes now associated with electronica. This was one of the first concerts of electronic music, although Cage didn't really think of it in those terms at the time.
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