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!!!Cardew & Stockhausen {html} <TABLE BORDER="0"> <TR> <TD WIDTH="700" VALIGN="top"> Cornelius Cardew began his musical education as a chorister at Canterbury Cathedral, and later at King’s School Canterbury, joining in 1946 and continuing through 1950. His father was the potter <A HREF="https://youtu.be/kS7JEKMgZFQ" target="_blank">Michael Cardew</A> [<A HREF="https://youtu.be/mKqoCcg0jek" target="_blank">other ref</A>]. In 1953, at the age of 17, Cardew followed a boyhood passion for classical music all the way to the Royal Academy of Music. From 1953-57, Cardew studied piano with Percy Waller, cello, and composition with Howard Ferguson, and developed an interest in electronic music. A setting of Blake’s “On Another’s Sorrow” dates from his teenage years. <!-- But it was his gig after graduation that put him in a nexus of ground breaking music.--> Although Cardew proved an exceptional interpreter of Bach and Schubert, his natural dissidence soon led him to the European avant-garde – Webern, Boulez and Stockhausen –. The mecca for music students in those days was Stockhausen’s headquarters at Darmstadt, where the ‘Darmstadt Headbangers’ treated Britten and Shostakovich with derision as traditionalists, and serialism reigned supreme.<br><br> After his graduation from the academy in 1957, at the age of 22, having won a scholarship to study at the Studio für Elektronische Musik des Westdeutschen Rundfunks (under Gottfried Michael Koenig), then considered the most advanced outpost of Western musical thought and practice, Cardew traveled to Germany and studied in Cologne with composer Karlheinz Stockhausen, known for his electronic compositions. He also worked as assistant with Gottfried Michael Koenig on Ligeti's electronic soundworks "Glissandi" (1957) and "Artikulation" in 1958. He continued on as Stockhausen's assistant from 1958-60, and the two collaborated on Stockhausen's multi-orchestral composition, <i><A HREF="http://www.karlheinzstockhausen.org/carre_english.htm" target="_blank">Carré</A></i> for 4 orchestras (1959-60). Stockhausen was opening up a new world of music making machinery, electronically generated sounds, and compositions that made full use of these developments. Their close creative relationship lasted for three years.<br><br> <i>"As a musician he was outstanding because he was not only a good pianist but also a good improviser and I hired him to become my assistant in the late 50s and he worked with me for over three years. I gave him work to do which I have never given to any other musician, which means to work with me on the score I was composing. He was one of the best examples that you can find among musicians because he was well informed about the latest theories of composition as well as being a performer". </i><small> — (Karlheinz Stockhausen).</small><br><br> For a year Cardew worked closely with Stockhausen, particularly on <i><A HREF="http://www.karlheinzstockhausen.org/carre_english.htm" target="_blank">Carré</A></i>. Stockhausen had work out the plans and had left a certain amount of latitude of discovering shapes or structures within given limits and provisions. Cardew undertook this work. In the realization of the score Cornelius Cardew worked out some of the composition plans independently. As Stockhausen noted : « The score was written in collaboration with Cornelius Cardew. » A close comparison can be made between this situation and that of the architect’s studio or with teaching in an artist’s atelier. Stockhausen conceived a kind of composition school, as nothing nor less than a kind of laboratory, an uninterrupted collaboration over a period of a few weeks, a teacher-pupil work team. But a second possibility of instruction in composition as it might be understood by Stockhausen is founded on the idea of collective work, such as was developed in his collaboration with Cardew and of which his touring ensemble is the most notable example to date. The participants would be selected composers, in other words those who have previously presented themselves to Stockhausen by sending in their scores. The collective work would have to be pursued throughout a long period of time. <br> Here is an example of the work done on <i><A HREF="http://www.karlheinzstockhausen.org/carre_english.htm" target="_blank">Carré</A></i> : for a particular structure it is specified that it should last ‘very long’, and also the instruments, the pitches, the intensity and the nature of transformation processes are specified. The conductor change should take place, say, in the dynamics. For a chord of four specified pitches it is determined beforehand what forms should appear in the interpretation of the dynamic activity, and then - for instance - the form in which each note is brought out in turn from the chord is chosen. Thus Cardew was given the choice as to whether the first note or the second should be somewhat longer, in what order the notes should be played with a « crescendo », and which instrument was to be selected from the given sound family. Whilst Cardew worked in the afternoon after a preliminary discussion, Stockhausen could look through his realization in the evening and correct it. It would - in Stockhausen’s opinion - be possible to take such collective work much further than in the case of <i><A HREF="http://www.karlheinzstockhausen.org/carre_english.htm" target="_blank">Carré</A></i> : it might amount to an equal collaboration, each participant reacting to the other and constantly offering fresh stimuli. Such a form of cooperative work has scarcely ever existed in music between composers. The idea of teamwork as a stimulus and exchange led Stockhausen further. Teamwork should not in fact mean a mere repartition of work in which an organizer, leading the team, assigns work to subordinate assistants who are the executive organs. Much rather the idea is that composers should mutually incite each other to greater things and benefit from ‘feed-back’ by working together at a problem and constantly showing each other new ways of looking at it. Thus what might be achieved is more than a mere reciprocal information, but a contact, a complex interreaction; and it would be achieved by working on a completely new level. Composition would become not the sum of two possibilities but the product of mutual correction, modification and stimulation. <small> — (Karl H. Wörner, "Stockhausen, Life and Work", University of California Press, 1963, pp. 231-232)</small> </TD> <TD WIDTH="150">   </TD> <TD VALIGN="bottom"> <hr nosize> <p style="font-size: x-small"> <font style="text-transform: uppercase;"> <b>DATES :</b> <br><br> </font> </p> <hr nosize> <p style="font-size: x-small"> <font style="text-transform: uppercase;"> <b>— 1956, London —</b> June 5, 1956. Richard Bennett and Cornelius Cardew gave the first British performance of the first book of Pierre Boulez’s <i>Structures pour deux pianos</i>, a fourteen-minute work in three movements. Richard and Cornelius had worked assiduously almost every evening for six months to produce this feat of pianistic virtuosity to their tiny audience. Their triumph in conquering and performing <i>Structures</i> was somehow emblematic, a reminder of their three years as almost complete outsiders at the Academy. [Ref: Anthony Meredith, "Richard Rodney Bennett - the complete musician", London, Omnibus Press, 2010]<br>Along the same concert a piano sonata of Cardew was performed.<br><IMG SRC="https://jeromejoy.org/files/articles/cardew/cardew28q.jpg"><br><A HREF="https://jeromejoy.org/files/articles/cardew/cardew28q_b.jpg" target="_blank">LARGE VIEW</A> — <A HREF="http://www.jstor.org/stable/938155" target="_blank">SOURCE</A><br><br> <b>— 1957, London —</b> Cardew played guitar for the British premiere of Pierre Boulez's <i>Le marteau sans maître</i>. Source : He also learned to play guitar, and performed on that instrument in a 1957 London concert featuring the British premiere of Pierre Boulez's <i>Le marteau sans maître</i> [Ref: Anthony Meredith, "Richard Rodney Bennett - the complete musician", London, Omnibus Press, 2010] — ("which is little like saying he learned Danish to read Kierkegaard" - according to Morton Feldman, In Feldman, Conversations without Stravinsky, Source : Music of the Avant-Garde, 1966-1973)<br><br> <b>— 1957, London —</b>June 30, 1957. Park Lane House. Susan Bradshaw and Cornelius Cardew (piano), Georgina Dobrée (clarinet) and Joseph Nendick (soprano) — <A HREF="http://www.concertprogrammes.org.uk/html/search/verb/GetRecord/4607/" target="_blank">[Source]</A><br><br> <b>— 1957, London —</b>August 15, 1957. with Margaret Cotton and Cornelius Cardew (percussion), Rainer Schulein (flute), Alf Ljundgren (violin), Colin Bradbury (clarinet), Leslie Walklin (bass clarinet), and Gillian Marples (alto saxophone). John Carewe conducted. [Ref: Anthony Meredith, "Richard Rodney Bennett - the complete musician", London, Omnibus Press, 2010]<br><br> <b>— March 1958, Cologne, Germany —</b> In March 1958 in Cologne, for the premiere of Stockhausen’s Gruppen, Cornelius Cardew was to play keyed glosckenspiel in one of the orchestras.<br><br> <b>— 1959, Warsawa, Poland —</b> Concert-recital with the young soprano Josephine Nendick, and Richard Bennett, piano. The Polish recital in 1959 took place in the <A HREF="http://viacitymap.pl/pub/img/place/gallery/6._Sala_Kameralna_fot_._Agnieszka_Deluga-Gora_.jpg" target="blank">Sala Kameralna, Filharmonii Narodowej</A>. Their programme included Webern, Serocki, Maw, Goehr, Bennett and Cardew (<i>Why cannot the car be closed</i>). <br><br> <b>— 1959, Berlin, Germany —</b> Stockhausen, <i>Refrain</i> (for three players), first performance, Berlin 2 October 1959 (piano and woodblocks, David Tudor; celesta and antique cymbals, Cornelius Cardew; vibraphone, cowbells and glockenspiel, Siegfried Rockstroh). </font> </p> <hr nosize> <br><br> <hr nosize> <small><b><i> Fac-Similes</i></b> : <br>(click to enlarge) </small> <hr nosize> </TD> </TR> </TABLE> {/html} {br}{br} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/cardew/cardew31.jpg]\|t \|t \|t \|t \|t \|t {small}During rehearsals of ''[Carré\|http://www.karlheinzstockhausen.org/carre_english.htm]'' by Karlheinz Stockhausen, Hamburg 1960. From left to right : Doris Stockhausen, ^[?^], Cornelius Cardew, Karlheinz Stockhausen, Merce Cunningham, Herbert Hübner, Mauricio Kagel; behind: David Tudor, and on Kagel's right side: Andrej Markowski, Peter Schat, Alfred Schlee, Gertrud Meyer-Denkmann, Luciano Berio and Michael Gielen.{/small}{br}{br}{br}[../files/articles/cardew/cardew31c.jpg]\| \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/cardew/cardew31a.jpg\|../files/articles/cardew/cardew31a_b.jpg]{br}{br}{small}Dress rehearsal of ''[Carré\|http://www.karlheinzstockhausen.org/carre_english.htm]'', Hamburg, Oct. 1960{/small}\|t \|t \|t \|t \|t \|t \| {br}{br} ---- \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t {cap}{small}'''Cornelius Cardew'''{br} '''— Report on Stockhausen's 'Carré’ - Part 1 The Musical Times - October 1961''' (102/no.1424 (Oct. 1961): 619-22){br}— and '''Report on Stockhausen's 'Carré’ - Part 2 The Musical Times - November 1961''' (102/no. 1425 (Nov. 1961): 698-700){br}{br}Stockhausen's "Carré" for four orchestras was performed in Hamburg on October last year (1960). In this article Cornelius Cardew describes his experiences while collaborating with the composer on its creation and execution.{/small}{/cap}{br}{br}{small}^[[Download pdf \|http://chomikuj.pl/krutszy/DADA+i+obrzec5bca/Cornelius+Cardew0a0a/libera_cardew_01,1052568042.pdf]^] [https://jeromejoy.org/files/img/icon_pdf_round2.jpg]{/small}{br}{br}{small}^[[Read Stockhausen's Carré score (swf file)\|http://www.universaledition.com/tl_files/flip/stockhausen/carre-1/book.swf]^]{/small}\|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t {cap}{small}^[…^] My collaboration with Karlheinz was, on the one hand, an expression of his altruistic desire to help me personally, and on the other, his solution of his problem of having more commitments than he could accomplish single handed. "Carré" was commissioned by Radio Hamburg, and was conceived during Karlheinz's long flights over North America while he was lecturing there. I had spent February and March at a loose end in England, writing February 1959 in odd moments, and making my final comment on my studies in electronic music in an article called « the unity of musical space »; returned to Cologne in April with an open mind and a work hungry spirit; and found a whole heap of more or less hieroglyphic notes, including 101 snappy items of the same generał form ^[...^] (which I have freely invented, no longer having access to any of the material of "Carré"). These I proceeded to realise, working daily chez Stockhausen from 3pm until dinnertime, aided, irritated, confused, encouraged, and sometimes even guided by his own eagle eye, or his voluminous notes, or his random narrations as he worked on his experiments for what later became "Kontakte" (for piano, percussion, and four track track tape).{br}{br}At the end of three months or so, during which I also wrote my "Octet 1959" and learnt the guitar part of "le Marteau sans Maître" ^[by Boulez^], a rough score had come into existence; I had an obscure idea of what the piece would be like, and Karlheinz's more whimsical notions about the piece had been abandoned, and all seemed set, when, on the eve of my return to England, Karlheinz sprang the idea of the 'insertions' (episodes outside the general run of the piece - at this stage they had very little in common with what they eventually became) which were to delay the completion of even the rough score until March 1960, when I finished the last page (containing 3,000 odd notes) of the last insertion (comprising ten or so such pages) in a sun fil leci library in Amsterdam.{br}{br}The 'story' of this piece is longer and more harrowing than the 'story' of any other piece I have written. Which says something about its value. I like the Yiennese painter who remarked - very pleased with himself- to a critic, 'Yes, a lot of work went into that picture.' 'Well isn't that just too bad,' was the reply, 'because none of it is ever going to come out again'. ^[…^] {/small}{/cap} — {small}^[[Continue reading (pdf) \|http://chomikuj.pl/krutszy/DADA+i+obrzec5bca/Cornelius+Cardew0a0a/libera_cardew_01,1052568042.pdf]^] {/small}\| {br}{br} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/cardew/cardew31b.jpg\|../files/articles/cardew/cardew31b.jpg]\| {br}{br} {br}{br}---- {html} <hr nosize><hr style="height: 6px; margin: -0.5em 0; padding: 0; color: grey; background-color: grey; border: 0;"><br> {/html}
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