Question: Who did the romantic partner of Merce Cunningham compose a composition for in 1979?
Context: Roaratorio, an Irish circus on Finnegans Wake is a musical composition by American avant-garde composer John Cage.  It was composed in 1979 for Klaus Schöning of West German Radio, and premiered as one of the entries in Schöning's radio series. Barbara Dilley (Lloyd) (born 1938) is an American dancer, performance artist, improvisor, choreographer and educator, best known for her work as a prominent member of the Merce Cunningham Dance Company (1963-1968), and then with the groundbreaking dance and performance ensemble The Grand Union, from 1969 to 1976.  She has taught movement and dance at Naropa University in Boulder, Colorado, since 1974, developing a pedagogy that emphasizes what she calls “embodied awareness,” an approach that combines dance and movement studies with meditation, “mind training” and improvisational composition.  She served as the president of Naropa University from 1985 to 1993. American avant-garde composer John Cage (1912–1992) started composing pieces for solo prepared piano around 1938–40.  The majority of early works for this instrument were created to accompany dances by Cage's various collaborators, most frequently Merce Cunningham.  In response to frequent criticisms of prepared piano, Cage cited numerous predecessors (such as Henry Cowell).  In the liner notes for the very first recording of his most highly acclaimed work for prepared piano, "Sonatas and Interludes", Cage wrote: "Composing for the prepared piano is not a criticism of the instrument.  I'm only being practical."  This article presents a complete list of Cage's works for prepared piano, with comments on each composition. Valda Setterfield (born September 17, 1934) is a British postmodern dancer and actress, noted for her work as a soloist with the Merce Cunningham Dance Company and for her performances in works by her husband, postmodern choreographer and director David Gordon.  She has been described as his muse.  Their son, playwright and actor Ain Gordon, has worked with Setterfield on a number of projects as well. David Vaughan (born May 17, 1924, London) is a dance archivist, historian and critic.  He was the archivist of the Merce Cunningham Dance Company from 1976 until the company was disbanded in 2012.  In his long career, Vaughan has been a dancer, choreographer, actor and singer whose work has been seen in London, Paris, and in New York, both on- and off-Broadway, as well as in regional theatres across the United States, in cabarets, on television and on film.  Vaughan's ballet choreography was used in Stanley Kubrick's 1955 film "Killer's Kiss", danced by Kubrick's wife at the time, ballerina Ruth Sobotka.  He has worked with both modern dance and ballet companies. Ken Pierce is an American performer, teacher and historian of Renaissance and Baroque dance.  He trained in ballet and modern dance at the American Ballet Theatre School and the Merce Cunningham studio.  He has performed with the Court Dance Company of New York, the New York Baroque Dance Company, and Ris et Danceries (Paris).  He directs the Ken Pierce Baroque Dance Company, collaborating with Tafelmusik, Portland Baroque Orchestra, Concerto Copenhagen, The King's Noyse, and the Boston Early Music Festival.  He was assistant choreographer for "Quelques pas graves de Baptiste", Francine Lancelot's baroque-style piece for the Paris Opera Ballet, whose cast included Rudolph Nureyev.  Mr. Pierce directs the early dance program at the Longy School of Music in Cambridge, Massachusetts. Mark Applebaum (born 1967 in Chicago, Illinois) is an American composer and full professor of music composition and theory at Stanford University.  He received his PhD in music composition from the University of California, San Diego where he studied with Brian Ferneyhough, Joji Yuasa, Rand Steiger, and Roger Reynolds.  Prior to Stanford, Applebaum taught at UCSD, Mississippi State University, and Carleton College.  He has received commissions from Betty Freeman, the Merce Cunningham Dance Company, the Fromm Foundation, the Kronos Quartet, the Paul Dresher Ensemble, Spoleto USA, the Vienna Modern Festival, Antwerp’s Champ D’Action, Festival ADEvantgarde in Munich, Zeitgeist, Manufacture (Tokyo), the St. Lawrence String Quartet, the Jerome Foundation, and the American Composers Forum. John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer, music theorist, writer, philosopher, and artist.  A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde.  Critics have lauded him as one of the most influential composers of the 20th century.  He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage's romantic partner for most of their lives. Steve Paxton (born 1939 in Phoenix, Arizona) is an experimental dancer and choreographer.  His early background was in gymnastics while his later training included three years with Merce Cunningham and a year with José Limón.  As a founding member of the Judson Dance Theater, he performed works by Yvonne Rainer and Trisha Brown.  He was a founding member of the experimental group Grand Union and in 1972 named and began to develop the dance form known as Contact Improvisation, a form of dance that utilizes the physical laws of friction, momentum, gravity, and inertia to explore the relationship between dancers. Choreomusicology is a portmanteau word joining the words choreology and musicology.  As a discipline, choreomusicology emerged at the end of the twentieth century as a field of study concerned with the relationship between music and dance.  More precisely, choreomusicology grew out of Euro-American performance traditions that considered musical composition and dance choreography as separate specialties.  Not all performance genres separate music and dance into separate theoretical categories.  The directionality of the relationship between sound and movement is not always fixed.  Choreomusicologists hold that studying the variable relationships between sound and movement in diverse performance arts can provide insight into perceptual sensibilities, cultural processes, and interpersonal dynamics.  Famous artists whose works exhibit rich choreomusical relationships include: John Cage and Merce Cunningham, Igor Stravinsky and George Balanchine, and Louis Horst and Martha Graham.  Interesting choreomusical relationships also exist in West Sumatran Tari Piring, West Javanese Pencak Silat, and Afro-Brazilian Capoeira to name but a few examples.
Answer: Klaus Schöning