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!!! Cardew, composition and experimentalism {html} <TABLE BORDER="0"> <TR><TD WIDTH="500"> In his first phase (ca. 1956-60), Cardew was an avant-garde composer who first studied with, then became assistant to, Karlheinz Stockhausen. In 1960, Cardew criticized Stockhausen’s authorial control (in <A HREF="https://jeromejoy.org/files/articles/cardew/1961_CARDEW_report_stockhausen_carre.pdf" target="_blank">‘Report on Stockhausen’s Carré’</A>, Musical Times 102/1424 and 1425 ) 1961) and turned to Cagean experimentalism. <small> — (Virginia Anderson, ''Review of the Legacy of Cornelius Cardew by Tony Harris)</small> <br><br> While in Cologne, Cardew attended concerts given in 1958 by American avant-garde composer/pianists John Cage and David Tudor. He was deeply impressed by the freedom and openness of Cage's attitude to sound, and by the virtuosity and inventiveness of Tudor's playing. He became familiar with pieces such as Cage's <i>Music of Changes</i>, with the earlier work of Morton Feldman, Earle Brown and Christian Wolff, and soon afterwards with that of La Monte Young and Terry Riley. The freshness and informality of the new American music and its direct involvement with the physical realities of sound, the passage of time and the dynamics of performance opened up a perspective quite different from that of European serialism, with its complex and rigid notational controls. Cardew began to explore the implications of indeterminacy with much greater freedom: instead of trying to restrict and incorporate the methods of Cage and the other American composers, he took them further and extended them in new directions. These spurred his interest in experimental composition techniques, and he began writing a series of "indeterminate" pieces, including <i>Autumn '60, Octet for Jasper Johns, Solo with Accompaniment</i>, and <i>Memories of You</i>. He was concerned not only with liberating sounds from compositional control, but with creating new challenges for performers; he invited them, in effect, to become not only interpreters but also collaborators in the realisation of the music. <br><br> During this time, Cardew also performed regularly, focusing on works by noted American avantgarde composers, including Cage and Christian Wolff. While promoting Cage’s music throughout the 1960s, he saw both composers, Cage and Stockhausen, as revolutionary.<br> There were creative forces having an even greater impact on the young Cardew than Stockhausen and electronic music. Cardew visited the United States in the late 1950’s and attended a series of performances that would change his entire artistic trajectory. The U.S. composers John Cage and David Tudor were working at the height of their creative powers, incorporating chance, atypical instrumentation, and performance art into their compositions and public performances. Cardew’s encounter with their music was shattering for him. There was something unmistakable happening in the U.S. avant-garde and Cardew connected with it tremendously. <br> Soon Cardew would act as a bridge between U.S. composers and British composers. He solidarized with what was becoming known as Minimalism, including the work of drone specialist La Monte Young. Embracing more than just Cage, Cardew connected with the entire web of fellow travelers: Christian Wolff, Morton Feldman, Earle Brown, as well as dancer and choreographer Merce Cunningham. Cardew was also very impacted by the extent to which these composers were connected to the visual arts. <br><br><small>Ref : Wilfried Dörstel & al. (eds) Intermedial, Kontrovers, Experimentell: Das Atelier Mary Bauermeister in Köln 1960-162, Emons Verlag, 1993.</small><br> <small>Ref : Cornelius Cardew, '"On the role of the instructions in the interpretation of indeterminate music'', Treatise Handbook (London, etc.: Peters, 1971), p. XIV. </small> </TD> <TD WIDTH="350">   </TD> <TD VALIGN="bottom"> <p style="font-size: x-small"> <font style="text-transform: uppercase;"> <b>DATES :</b> <br><br> <b>— 1958, Cologne —</b> First performance of <i>Music Walk</i> (John Cage), Galerie 22, October 14, 1958.<br><br> <b>— 1960, London —</b> Cardew and Tilbury had played pieces by Feldman and Cage at a concert at the Conway Hall in January 1960. <br><br> <b>— 1960, Cologne —</b> March 1960, Atelier Bauermeister. Concert Cardew, Behrman, Schwertsik (works by Cage, Feldman, Cardew).<br><br> <b>— 1960, New York —</b> April 11, 1960. New York, Living Theatre (530 Sixth Avenue). David Tudor performed with Toshi Ichiyanagi: Cornelius Cardew, <i>Two Books of Study for Pianists</i>; Christian Wolff, <i>Duo for Pianists II</i>; Toshi Ichiyanagi, <i>Music for Piano No. 2</i> (first performance); La Monte Young, <i>Poem for Chairs, Tables, Benches, etc. (or Other Sound Sources)</i> (the latter composition with the assistance of John Cage, Merce Cunningham, and James Spicer); all compositions performed twice. — [<A HREF="https://jeromejoy.org/w/index.php?page=NOISEpoem" target="_top">more info</A>]<br><br> <b>— 1960, Cologne —</b> June 1960, Atelier Bauermeister. ISCM International Society for Contemporary Music. Works by Cage, Wolff, Brecht, La Monte Young. According to reviews, photos, and eyewitnesses, during Young’s live friction sound piece Poem for Chairs, Tables and Benches (1960), for which anything that can be dragged across a floor might be used to create a variety of loud and soft sounds, Schwertsik maneuvered a piano stool across the floor, while Tudor rubbed objects against the window and roasted herbs in a pan. Programme : Poem (Young), 5 Piano Pieces for David Tudor (Bussotti), Water Music (Cage), Variations (Cage), Music for Piano (Ichiyanagi), Card-Piece (Brecht), Candle-Piece (Brecht). Cardew, Schwertsik, Hans G. and Chris Helms, Frank and Nukky Amey, Ursula Kagel, Malcolm Patterson performed. (according to Tudor, letter to Cage).<br><br> <b>— 1960, Cologne —</b> 6 October 1960, Atelier Bauermeister. Concert Kompositionen (works by Cage, Paik, La Monte Young). Performers included Cornelius Cardew, Hans G. Helms, Nam June Paik, Benjamin Patterson, William Pearson, Kurt Schwertsik, John Cage, David Tudor.<br><IMG SRC="../files/articles/cardew/cardew28c.jpg"><br> — [<A HREF="https://jeromejoy.org/w/index.php?page=NOISEpoem" target="_top">more info</A>]<br><br> </font> </p> </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/cardew28.jpg]{br}{cap}{small}« Music Walk » : Cornelius Cardew, David Tudor, John Cage, Galerie 22, October 14, 1958.{br}« Music Walk » requires performers to use radios, voices, and other available sounds. Its score consists of transparencies from which the performers create their own scores.{br}{br}{br}{br}[../files/articles/cardew/cardew28b.jpg]{br}D. Tudor, C. Cardew, Benjamin Patterson, C. Wolff, J. Cage, D. Behrman.{br}Mary Bauermeister’s Atelier in Cologne, Germany in early June 1960.{br}During the single week of the ISCM (International Society for Contemporary Music) Festival in June 1960, six concerts took place in the studio.{br}{br}{br}{br}[../files/articles/cardew/cardew28f.jpg\|../files/articles/cardew/cardew28f_b.jpg] [../files/articles/cardew/cardew28g.jpg\|../files/articles/cardew/cardew28g_b.jpg]{br}« Music Walk » (1958), John Cage - excerpts of the score. — For 1 or more pianists who also play radios and produce auxiliary sounds by singing or other means. Dedication: for Heinz Klaus Metzger, Stockholm 9/24/58. — Courtesy : John Cage Music Manuscript Collection / New York Public Library{/small}{/cap}\|t \|t \|t \|t \|t \|t {small}'''''- Fac-Similés''''' : {br}(cliquer les images pour les agrandir / ''click to enlarge'') {/small}{br}{br}{cap}{small}[../files/articles/cardew/cardew28a.jpg\|../files/articles/cardew/cardew28a_b.jpg]{br}First performance of Music Walk, Galerie 22, October 14, 1958.{br}{br}[https://jeromejoy.org/files/articles/cardew/cardew28e.jpg]{br}The first page of David Tudor’s performance realization of « Music Walk » (1958), showing events for the first five minutes. — Reproduced courtesy of David Tudor{/small}{/cap}\| {br}{br} ---- [https://jeromejoy.org/files/articles/cardew/cardew28d.jpg]{br}{cap}{small}John Cage’s performance realization of « Music Walk » (1958), showing events of the fist two minutes. — Reproduced courtesy of the John Cage Estate{/small}{/cap} {br}{br} ---- {cap}'''About John Cage’s Music Walk » (1958) :'''{/cap}{br}{small}— In James Pritchett, "The Music of John Cage", Music in the XXth Century, Press Syndicate of the University of Cambridge, 1993{/small} ---- {br}{br} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/cardew/cardew28h.jpg]\|t \|t \|t \|t \|t \|t [../files/articles/cardew/cardew28i.jpg]\| {br}{br} ---- {cap}'''Atelier Bauermeister, Cologne, March 26, 1960 :'''{/cap} ---- {br}{br} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/cardew/cardew28j_bauermeister_26mars1960.jpg]{br}{small}url : ([archive Mary Bauermeister\|http://www.artcontent.de/zadik/dokument.aspx?Page=&m=&b_id=295&akte=8384&d_id=38878]) {/small}{br}{br}{small}'''''- Fac-Similés''''' : {br}(cliquer les images pour les agrandir / ''click to enlarge'') {/small}\|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/cardew/cardew28k_bauermeister_26mars1960.jpg\|../files/articles/cardew/cardew28k_bauermeister_26mars1960_b.jpg]{br}{small}url : ([archive Mary Bauermeister\|http://www.artcontent.de/zadik/dokument.aspx?Page=&m=&d_id=38785]) {/small}{br}{br}[../files/articles/cardew/cardew28l_bauermeister_26mars1960.jpg\|../files/articles/cardew/cardew28l_bauermeister_26mars1960_b.jpg]{br}{small}url : ([archive Mary Bauermeister\|http://www.artcontent.de/zadik/dokument.aspx?Page=&m=&d_id=39509]) {/small}\|t \|t \|t \|t \|t \|t \|t [../files/articles/cardew/cardew28m_bauermeister_26mars1960.jpg\|../files/articles/cardew/cardew28m_bauermeister_26mars1960_b.jpg]{br}{small}url : ([archive Mary Bauermeister\|http://www.artcontent.de/zadik/dokument.aspx?Page=&m=&d_id=39510]) {/small}{br}{br}[../files/articles/cardew/cardew28n_bauermeister_26mars1960.jpg\|../files/articles/cardew/cardew28n_bauermeister_26mars1960_b.jpg]{br}{small}Mary Bauermeister, Pyla Patterson, Haro Lauhus und Cornelius Cardew{br}url : ([archive Mary Bauermeister\|http://www.artcontent.de/zadik/dokument.aspx?person=4880&suche=&d_id=38158]) {/small}\| {br}{br} ---- \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t {cap}'''Atelier Bauermeister, Cologne, June 18, 1960 :'''{/cap}---- {br}{br}[../files/articles/cardew/cardew28o_bauermeister_18juin1960.jpg]{br}{small}url : ([archive Mary Bauermeister\|http://www.artcontent.de/zadik/dokument.aspx?person=4880&suche=&d_id=39927]) {/small}\|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t {cap}'''Atelier Bauermeister, Cologne, Oct. 6, 1960 :'''{/cap}---- {br}{br}[../files/articles/cardew/cardew28p_bauermeister_6octobre1960.jpg]{br}{small}url : ([archive Mary Bauermeister\|http://www.artcontent.de/zadik/dokument.aspx?person=4880&suche=&d_id=39936]) {/small}\| {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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