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Treatise (1963-1967) {br}---- ---- {html} <hr nosize> <b>AUDIO</b>          <img src="https://jeromejoy.org/files/img/icon_audio.gif"><br><hr nosize> <DIV style="background-color:#CCCCCC;"> <small><b>Cornelius Cardew — A Composer's Portrait – Treatise</b> — (ca 23mn)<br>BBC</small><br><br> <object type="application/x-shockwave-flash" data="webs/dewplayer-vol.swf" width="350" height="20" id="dewplayer" name="dewplayer"> <param name="wmode" value="transparent" /> <param name="movie" value="webs/dewplayer-vol.swf" /> <param name="flashvars" value="mp3=http://ubumexico.centro.org.mx/sound/cardew_cornelius/bbc/Cardew-Cornelius_BBC-Archive_02_A-Composers-Portrait_Treatise.mp3&bgcolor=FFFFFF&showtime=1&autoplay=0&autoreplay=0&volume=100" /> </object> <br><br> </DIV> <br><small><i>Source : <A HREF="http://ubu.com/sound/cardew.html" target="_blank">Ubu.com</A></i></small> <br><br><br> <TABLE BORDER="0"> <TR> <TD WIDTH="500"> Cardew returned to London in 1961 after his stay in Cologne and decided to propagate and promote the music of the American composers. He became involved, as the music editor, with <A HREF="http://realitystudio.org/bibliographic-bunker/new-departures/" target="_blank"><i>New Departures</i></A>, an arts magazine (1959-1984) established at Oxford by his schoolfriend David Sladen, Pete Brown, and the poet Michael Horowitz, and that looked beyond the narrow British scene [around Samuel Beckett] and turned to America and the Beats for inspiration [around William Burroughs]. <i>New Departures</i> also has strong ties to jazz. For instance, the fourth issue of New Departures deals with jazz and poetry and around this time Horovitz and Brown took their show on the road with their <i>Live New Departures</i> venues. These venues were important in extending the reach of the avant outward beyond London and in turn bringing new talent from the outskirts into the cultural vortex of the metropolis. At its best, <i>New Departures</i> had fulfilled its editor’s original intention of making it a forum for all the arts : poetry by leading authors from various parts of the world has been accompanied by graphic and photographic work, and musical scores by eminent experimental music composers have also been published. David Hockney is notable among the artists who have supplied illustrations ; composers whose work has been featured include John Cage and Cornelius Cardew. The energies fo Horovitz and his associates were diversified in the magazine’s early stages into the ‘Live New Departures Roadshows’, the principal platform for the performance of poetry in combination with music and drama through the 1960s and 1970s.<br> <i>« As soon as New Departures #1 appeared in summer 1959, my co-editors John McGrath (drama), Cornelius Cardew (music), Anna Lovell (art), David Sladen (general co-editor) and I realised that we were as concerned with live communications as with print. So we went on the road with the first Live New Departures bandwagons, bringing each of the genres to physical life including interplay with one another, often in venues not hitherto devoted to arts activities, and seeking audiences from any and every background. »</i> <small> — (<A HREF="http://www.writeoutloud.net/public/blogentry.php?blogentryid=47697" target="_blank">Michael Horowitz, interview 2015, online revue Write Out Loud</A>)</small><br><br> In 'The Unity of Musical Space' (published in <i>New Departures</i>, nr. 1, Summer 1959), written at the age of 23, Cornelius Cardew writes:<br> <i>« the difference between a world and a tone-row is only quantitative: a stable world with an inverted tone-row in it, and a stable tone-row with an inverted world round it are equivalent phenomena. »</i> Soon such fluent Darmstadt-inspired formulations are abandoned as he discovers the thought — and, crucially, the writings — of Cage and Feldman, and quickly proves their equal in speculative brilliance and insight. The article 'Notation-interpretation, etc.', published in Tempo in 1961 (No. 58 Summer 1961), is especially rich, particularly as Cardew's dual expertise as composer and performer (his instrument was the piano) allows him to ask questions and investigate theoretical dilemmas and subtleties few others could have done. <small>— (<A HREF="http://www.matchlessrecordings.com/book/export/html/289" target="_blank">James Weeks, in Tempo, July 2007</A>)</small> <br><br> As early as June 1962, a <i>Times</i> critic at a Wigmore Hall concert where music by Cage, Feldman and Christian Wolff was played noted with pleasure that Cardew ‘actually played the piano instead of trying to demolish it’. In the programme notes of this concert, Cardew wrote,<br> <i>« For performances of such pieces a high degree of awareness is required... The ability to react spontaneously within situations that are familiar and yet always fresh in detail is a skill that has to be acquired. »</i><br> It took time, though, for the new experimental music to be widely accepted in London, and Cardew became known not just as an outstanding and original composer, and a charismatic performer of difficult music, but also as a fluent writer and critic, able to discuss the crossover from art to music. Later in 1964, he studied with Goffredo Petrassi in Rome, supported by a scholarship from the Italian government.<br>In the mid-1960s Cardew became affiliated to the Center for Creative and Performing Arts at State University of New York, Buffalo. <br><br> He had acquired a passion for notation and design while working as Stockhausen’s amanuensis, and in 1961 took a typography course and graphic design at the London School of Printing, a field in which he worked intermittently for the rest of his life. Cardew’s interest in typography was soon transferred to musical notation and to the almost insurmountable task faced by a composer of contemporary music who sought to give performers some freedom of action. Fascinated with music as sound, with the human response to different sounds, and with the difficulty of exactly notating their production, he explained to Horowitz, circa 1960, when taxed with his lack of interest in politics, that he was really interested only in ‘noise’. <br><br> <i>« While there I came to be occupied more and more with designing diagrams and charts and in the course of this work I became aware of the potential eloquence of simple black lines in a diagram. Thin, thick, curving, broken, and the varying tines of grey made up of equally spaced parallel lines, and then the type - numbers, words, short sentences like ornate, literary, art-nouveauish, visual interlopers in the purely graphic context of the diagram. »</i> — (Cardew, cited by Tilbury) <br><br> <i>« IN THE NOTATION OF MUSIC YOU ARE DEALING PRIMARILY WITH PEOPLE »</i> he wrote in 1962.<br> Evident is his insistence on an ethical dimension of music-making. the demands (and not simply musical ones) made by indeterminacy on both composer and performer. Frequently this leads to an apprehension of failure. In a lecture on <i>Autumn '60</i> he laments the insecurity and 'melancholic' air of a performance of the work, attributable, he feels, to the 'transitional' character of the present time with regard to indeterminate music, and his inability to help the musician transcend it. His restlessness drives him to find more successful notations, and finally to abandon conventional notation altogether in the great graphic score, <i>Treatise</i>. <small> — (James Weeks)</small><br><br> <i>« My age of romanticism is over. Sensations, moments, drop away. My desire is to experience long-term continuities as beautiful. In the Treatise to create the coherent code which expresses the truths we do not know and cannot live up to. »</i> <small>— (Cardew, Journal, September 1963)</small><br><br> Beginning in 1963 Cardew began to compose graphic scores, which used visual representations in place of traditional notation. Between 1963 and 1968, he composed this monumental graphic score <i>Treatise</i>, a 193-page document inspired by the German philosopher Ludwig Wittgenstein's <i>Tractatus.</i><br>The central concern of <i>Tractacus</i> is (rather crudely) the nature of language and communication, and its function in how we might make sense of the world. The backbone of <i>Treatise</i> is perhaps its exploration of the nature of language and communication within the music context - that is, notation, the tool most commonly used within the Western art music to ‘discuss’ or share music. <br> He came to believe, John Tilbury says (in his book <A HREF="http://www.matchlessrecordings.com/cornelius-cardew-life-unfinished" target="_blank">'Cardew: A Life Unfinished'</A>), that it was only ‘through the spontaneous generation of sounds in freely improvised music’ that music could aspire to a sourceless and transient autonomy, the ambition of his friend Morton Feldman. As a result, the manuscript of his first major work, <i>Treatise</i>, looks more like an artwork than sheet music – a ‘graphic score’ – with wavy lines and exuberant diagrams providing only the most approximate guide to what needs to be played. Often Cardew offered little or no explanation of these graphic elements, leaving interpretation of the pieces to the broad discretion of the performers. Cardew later described it as ‘an attempt to escape from the performance rigidities of serial music and to encourage improvisation amongst avant-garde musicians’. <br><br> Some excerpts of the <i>Treatise Handbook</i>:<br><br> <i>6th Feb 63<br> A composer who hears sounds will try to find a notation for sounds. One who has ideas will find one that expresses his ideas, leaving their interpretation free, in confidence that his ideas have been accurately and concisely notated.<br><br> 8th Feb 63<br> Notation is a way of making people move. If you lack others, like aggression or persuasion. The notation should do it. This is the most rewarding aspect of work on a notation. Trouble is: Just as you find your sounds are too alien, intended 'for a different culture', you make the same discovery about your beautiful notation: no one is willing to understand it. No one moves.</i> <br><br> Such views are indicative of the direction Cardew's thoughts had taken through the early 1960s, shifting by degrees from the idea of notation as embodying or representing a specific sound, to the idea of notation as a stimulus for interpretation; that is, any notation must take into account the likely or possible interpretation of the performers themselves rather than be imposed from without. A notation must 'mesh with life'. <small> — (James Weeks)</small><br> Cornelius Cardew’s 193-page graphic score <i>Treatise</i> (1963-1967) can rightly be considered a landmark work. No one before (and, most likely, no one since) has attempted to write such a monumental score in a notation other than that of common-practice music. <i>Treatise</i>, as a graphic work, is inderterminate as to performance, although Cardew designed it as a consistent system of symbolic elements. He then made its indeterminacy greater by not providing a legend of these elements to facilitate interpretation : if he had done so, the piece could have been read as an alternative symbolic notation, much like Earle Brown’s <i>Four Systems</i>. Instead, Cardew provided no instructions at all, releasing <i>Treatise</i> form a specific symbolic interpretation, from notation as printed instruction, even from fixed musical or pictorial meaning. However, pictorial elements can be interpreted or read as suggestions : factory or power station, a car, stylised forms or vague allusions, like the interpretation of figures in clouds, in the wake of Satie’s instructions on much his piano music. Keith Rowe (see AMM) made a notable participation in the Stratford performance of <i>Treatise</i> in September 1965. It was not until 15 January 1966, a recording broadcast by the BBC in the series ‘Composer’s Portrait’, that Rowe had a profound effect upon <i>Treatise</i> and upon Cardew’s concerns with experimental music. John White (trombone), John Tilbury (piano), David Bedford (accordion), Keith Rowe (electric guitar), Peter Greeham (Hammond organ), and Cardew (piano, gongs, and radios) played on the BBC recording.<br>During his residency in Buffalo in 1967, Cardew wrote a portion of his large work <i>Treatise</i>, which he called <i>Treatise, Fragment: American Pages</i> (1966), published by Ed Budowski’s The Gallery Upstairs Press in Buffalo, a graphic score into which he had channelled most of his creative energy since 1963.<br><br> <i>« In my piece there is no intention separate from the notation; the intention is that the player should respond to the notation. He should not interpret in a particular way (e.g. how he imagines the composer intended) but should be engaged in the act of interpretation. »</i> (Cornelius Cardew). <br><i>« Each [musician] is free to interpret [<i>Treatise</i>] in his own way. »</i> (Cornelius Cardew, Treatise Handbook, p. IX)<br><i>« Bear in mind that parts of the score may be devoid of direct musical relevance. [...] In the case of Treatise a line or dot is certainly an immediate orientation as much as the thread in the fog. [...] Remember that space does not correspond literally to time. »</i> (Cornelius Cardew, Treatise Handbook, p. IV)<br><br> <i>« The notation is more important than the sound. Not the exactitude and success with which a notation notates a sound; but the musicalness of the notation in its notating. [...] There is a great difference between: a) doing anything you like and at the same time reading the notations, and b) reading the notations and trying to translate them into action. Of course you can let the score work on previously given material, but you must have it work actively. [...] Reflection before a performance. A musical score is a logical construct inserted into the mess of potential sounds that permeate this planet and its atmosphere. [...] Performance advice. Divide the musicians into those involved in dot events (percussionists and pianists?) and those involved in line events. Dot events to be exclusively soft. »</i> (Cornelius Cardew, Treatise Handbook, p. VII)<br> « It should be pointed out that none of Cardew's works ever gave total freedom to the performer. The instructions were a guide which focused each individual's creative instinct on a problem to be solved - how to interpret a particular system of notation using one's own musical background and attitudes. » (John Tilbury)<br><br> However, Cardew concentrated on the independence of the interpreter from the moment he became dissatisfied with Stockhausen’s control of what Cardew called a ‘Basic Score’ from which he had to realise the former’s Carré for four orchestras. Cardew wrote sarcastically about his experiences of playing <i>Plus-Minus</i>. He particularly noted Stockhausen’s indication ‘for composers’ which stood in place of ordinary instrumental indications. « I have now been involved in 5 ‘compositions’ (performances) of the piece, so I am in a position to give a ‘survivor’s account’ of what actually is implied by the enigmatic superscription : ‘for composers’. » (Cornelius Cardew)<br> For Stockhausen, the performance is made in his service ; the piece remains his and the performers should divine his intention even when it is not written down. For Cardew, the resulting performance is a collaboration of the performers and his score.<br><i>« What emerges from all this is that in the work of many composers (including Feldman, Wolff, Cage, myself, Rzewski, La Monte Young, and even Stockhausen if he himself happens to be absent) the interpretation of the ‘instructions’ for a piece has a decisive influence on the performance. »</i> (Cornelius Cardew, ‘On the Role of the Instruction in the Interpretation of Indeterminate Music’ in Treatise Handbook, London : Hinrichsen, 1971, p. XV) — <small> (Virginia Anderson, 'Aspects of British Experimental Music as a Separate Art-Music Culture', PhD thesis, Royal Holloway, University of London, 2004)</small><br><br> The performance he, Jan Williams, and Edward Burnham gave in April 1967 at the Albright-Knox Art Gallery was the first U.S. performance of Stockhausen’s work <i>Plus Minus</i> (for composers) (1962). Cardew supplied the following note for the program :<br> <i>« I began composing this piece several years ago and have now reached the third page. Things are slowing down; at this point it takes me 26 minutes to play only four events. So I decided to hand on the esoteric information obtained by me in the course of my work to my two percussionist friends, Jan Williams and Ed Burnham (both of whom come relatively fresh to the art of composition), in the hope that they might wring some less somber constellations from the complex mass of data and directives originally provided by Mr. Stockhausen. This evening’s performance consists of simultaneous presentation of their work and mine. »</i><br><br> <IMG SRC="../files/articles/cardew/cardew32_plusminus.jpg"><br><small>Karlheinz Stockhausen, <i>Plus Minus</i>, score extract. — <A HREF="../files/articles/cardew/cardew32_plusminus_b.jpg" target="_blank">[large view]</A> — <A HREF="http://en.scorser.com/I/Sheet+music/228941.html" target="_blank">[pdf score download]</A></small> <br><br> One might ask, « To what degree is the performer also the composer ? », Cardew posed a related question as it pertained to the London-based performance group, AMM : « Does the collaboration of a set of minds mean the development of another authority independent of all members but consisting of them all ? »<br><br> <i>« The danger in this kind of work is that many readers of the [<i>Treatise</i>] score will simply relate the musical memories they have already acquired to the notation in front of them, and the result will be merely a gulash made up of the various musical backgrounds of the people involved. For such players there will be no intelligible incentive to ‘invent’ music or extent themselves beyond the limitations of their education and experience. »</i> (Cornelius Cardew, ‘Towards an Ethic of Improvisation’, Treatise Handbook, p. XIX).<br> For Cardew, the answer to these limitations was Keith Rowe, with his musical illiteracy and visual acumen; for those of us who are musically literate the answer may lie in considering that a strictly symbolic musical interpretation may not be the only, or even the best way in which to approach <i>Treatise</i>. — <small> (Virginia Anderson, 'Aspects of British Experimental Music as a Separate Art-Music Culture', PhD thesis, Royal Holloway, University of London, 2004)</small><br><br> <i>« I now regard <i>Treatise</i> as a transition between my earlier preoccupation with problems of notation and my present concerns - improvisation and musical ife. Joining AMM was the turning point, both in the composition of <i>Treatise</i> and in everything I had thought about music up to then. »</i> — (Cardew 1970, cited by Tilbury) <br><br> In "Wiggly Lines And Wobbly Music", an article for the journal Studio International (1976), he described this elegant composition as a cross between a novel, a drawing and a piece of music. <small>— (cited by <A HREF="http://www.moredarkthanshark.org/eno_int_wire-dec01.html" target="_blank">Julian Cowley</A>)</small><br> In <i>Treatise</i> Cardew takes notation's interpretative potential to the limit, avoiding anything that may be literally 'translated' into sound; by the end of the <i>Treatise Handbook</i> he has gone further, doing away with any compositorial mediation whatsoever and espousing free improvisation, proclaiming that <br> the <i>« writing down of music is in the process of disintegrating. »</i> <br>Ever one to see clearly the extreme points of a situation, he recognized the need to go beyond even what little determination Treatise offers and liberate the performer completely from the constraints of notation.<br> <i>« We are searching for sounds ... rather than thinking them up, »</i> he wrote of his collaboration with AMM. <i>« The search is conducted in the medium of sound and the musician himself is at the heart of the experiment. »</i><br> He investigated the potential of ordinary words as notation, using the common medium of human communication to create musical scores. Cardew stressed the need for maximum clarity in the wording, allowing performers to be creative interpreters while precluding recklessness. Increasingly, Cardew questioned the authority assumed by conventional musical education, and sought to dispel any sense that musicians were special people, set apart from humdrum reality. Virtuosity deserved respect, but not to the exclusion of other qualities and abilities. Still, Cardew accepted that <i>Treatise</i> appeared daunting even to highly trained musicians. He became interested in devising music which enabled as many people as possible to participate. Later, Michael Chant suggests that one of Cardew's finest qualities was that he consistently posed the question of how there could be mass participation, direct participation, in music making. His experience and his character led him to the pursuit of the collective expression of what is emancipating and what will emancipate the human personality. Later Cardew came to view communism as the route to this progressive goal.<small>— (cited by <A HREF="http://www.moredarkthanshark.org/eno_int_wire-dec01.html" target="_blank">Julian Cowley</A>)</small><br> His beautiful essay <i>Towards an Ethic of Improvisation</i> finally abandons notation theory altogether for 'Virtues that a Musician can Develop': Simplicity, Integrity, Selflessness, Preparedness/ Awakeness, Identification with nature and Acceptance of Death. <small> — (James Weeks)</small> <br><br><br><br> <IMG SRC="../files/articles/cardew/cardew32.jpg"><br><small>Cornelius Cardew, circa mid-60.</small> <br><br><br><br> <IMG SRC="../files/articles/cardew/cardew32b.jpg"><br><small>Cornelius Cardew, preparing a piano.</small> </TD> <TD WIDTH="350">   </TD> <TD VALIGN="bottom"> <p style="font-size: x-small"> <font style="text-transform: uppercase;"> <TABLE><TR><TD> <IMG SRC="../files/articles/cardew/cardew35c.jpg"><br><font style="text-transform: uppercase;"><small><i>New Departures. number 1, Summer 1959.</i><br><A HREF="../files/articles/cardew/cardew35c_b.jpg" target="_blank">[large view]</A>. — Contributions from William Burroughs, Patrick Bowles, and the first appearance of Samuel Beckett's "Act Without Words 2." Additional contributions from Horovitz, Piero Heliczer, John McGrath, J.B. Spink, Charles Hamblett, Stevie Smith, Kurt Schwitters, Stefan Themerson, John Fuller, Bernard Kops, Cornelius Cardew, Victor Pasmore, Alan Brownjohn, Dennis Keene, Peter Ferguson, Philip O'Connor, and Anna Lovell. <br>Content : Cardew, C. (1959), “The Unity of Musical Space,” New Departures, n° 1, pp. 53–56. </small></font> </TD><TD> <IMG SRC="../files/articles/cardew/cardew35b.jpg"><br><font style="text-transform: uppercase;"><small><i>New Departures. Double number 4, 1962.</i><br><A HREF="../files/articles/cardew/cardew35b_b.jpg" target="_blank">[large view]</A> — With an article by Cornelius Cardew on La Monte Young.</small></font> </TD></TR></TABLE> </font> </p> <br><br> <hr nosize> <p style="font-size: x-small"> <font style="text-transform: uppercase;"> <IMG SRC="../files/articles/cardew/cardew35.jpg"><br><A HREF="../files/articles/cardew/cardew35_b.jpg" target="_blank">[large view]</A><br><i>Turn On Turn Up Turn Out to New Departures</i> at Joan Littlewood’s Theatre Royal, Stratford, England. This July, 1967 event featured guitar great Davy Graham, Cream lyricist, musician and poet Pete Brown, experimental musician Cornelius Cardew, and a variety of other musicians and poets.<br>— [<A HREF="http://ghettoraga.blogspot.fr/2010_07_01_archive.html" target="_blank">other info about concerts related to New Departures, etc. (Third Ear Band archive)</A>] </font> </p> <br><br><br><br><br><br> <hr nosize> <p style="font-size: x-small"> <font style="text-transform: uppercase;"> <IMG SRC="../files/articles/cardew/cardew32_memoriesa.jpg"><br><A HREF="../files/articles/cardew/cardew32_memoriesa_b.jpg" target="_blank">[large view]</A><br><IMG SRC="../files/articles/cardew/cardew32_memoriesb.jpg"><br><A HREF="../files/articles/cardew/cardew32_memoriesb_b.jpg" target="_blank">[large view]</A><br>Cornelius Cardew, <i>Memories of You</i> (1964), score <br><br> </font> </p> <hr nosize> <b>AUDIO</b>          <img src="https://jeromejoy.org/files/img/icon_audio.gif"><br><hr nosize> <DIV style="background-color:#CCCCCC;"> <small><b>Cornelius Cardew — Memories of You (1964)</b> — <br>David Ryan, piano<br>Recorded at Gateway Studio, Kingston-upon-Thames on 6 and 7 April 2001.<br>Matchless Recordings - Cornelius Cardew - Chamber Music 1954-1964</small><br><br> <object type="application/x-shockwave-flash" data="webs/dewplayer-vol.swf" width="350" height="20" id="dewplayer" name="dewplayer"> <param name="wmode" value="transparent" /> <param name="movie" value="webs/dewplayer-vol.swf" /> <param name="flashvars" value="mp3=https://jeromejoy.org/files/articles/cardew/cardew_Memories-of-You.mp3&bgcolor=FFFFFF&showtime=1&autoplay=0&autoreplay=0&volume=100" /> </object> <br><br> </DIV> <br><small><i>Source : <A HREF="http://www.matchlessrecordings.com/cardew-chamber-music" target="_blank">Matchless Recordings</A></i></small> <br><br><br><br><br><br> <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>— 1961, Paris —</b> Cardew performed <i>1698 for Henry Flynt</i>, in July 1961 (?) — [<A HREF="https://jeromejoy.org/w/index.php?page=NOISEflynt" target="_top">more info</A>] — (Quotation by Branden W. Joseph, "Andy Warhol's Sleep : The Play of Repetition", In "Masterpieces of Modernist Cinema", Edited by Ted Perry, Bloomington IN : Indiana University Press, 2006) <br><br> </font></p> <hr nosize> <p style="font-size: x-small"> <font style="text-transform: uppercase;"> <b>— 1961, London —</b>La Monte Young’s <i>42 for Henry Flynt</i> performed with Cornelius Cardew. — [<A HREF="https://jeromejoy.org/w/index.php?page=NOISEflynt" target="_top">more info</A>] — Cornelius Cardew performed Lamonte Young’s "42 for Henry Flynt" and Susan Bradshaw interrupted the performance by dragging him away from the piano. — (unknown reference)<br>At a concert in London, Cornelius Cardew gave what was probably the British premiere of a "work" by the American composer LaMonte Young, called 42 for Henry Flynt. In this piece a single sound is repeated. The title varies according to the number of repetitions. Cardew, playing the piano, perpetrated a version called 292 for Henry Flynt, where the chosen sound was created by crashing the whole forearm down on the keyboard. As the crashes continued relentlessly, a slight female figure (Susan Bradshaw) in the front row could bear it no longer. To the applause of the audience, she sprang on to the platform and physically dragged her old fellow student away from the instrument. — (Gerard McBurney, "Susan Bradshaw, Pianist, champion of modern music and 'conscience of composers'", In The Independant, Tuesday 01 February 2005) — <A HREF="http://www.independent.co.uk/news/obituaries/susan-bradshaw-6153451.html" target="_blank">http://www.independent.co.uk/news/obituaries/susan-bradshaw-6153451.html</A><br><br> </font></p> <hr nosize> <p style="font-size: x-small"> <font style="text-transform: uppercase;"> <b>— 1963 —</b> Cornelius Cardew, <i>Ah Thel</i>, chorus w/opt. piano (1963) (text by William Blake) - published in The Musical Times, Vol. 104, No. 1449 (Nov., 1963), pp. 1- 4<br><IMG SRC="https://jeromejoy.org/files/articles/cardew/cardew34_ahthel.jpg"><br><A HREF="../files/articles/cardew/cardew34_ahthel_b.jpg" target="_blank">[large view]</A> — <A HREF="http://www.jstor.org/stable/950193" target="_blank">Source</A><br>Composed during the summer of 1962, <i>Ah Thel</i> appeared as a supplement in the Musical Times in July 1963. Unlike <i>Voice from Thel’s Grave</i> (Cardew, written in 1957) the word-setting is strictly syllabic. The tempo is “slow and erratic, ruminative throughout”. Tilbury calls it as “a miniature masterpiece”: <i>The music is reflective, sensual, and eminently singable, with the occasional spoken phrase cleverly integrated into the texture … In the final phrase the voices sing just two or three notes, independently of one another, as the music regains its equilibrium, the melodic semitones of the inner parts providing a poignant accompaniment to the more consonant outer parts.</i> — <A HREF="index.php?page=DOCCARDEW" target="_top">[For more info about Cardew and William Blake]</A><br><br> </font></p> <hr nosize> <p style="font-size: x-small"> <font style="text-transform: uppercase;"> <b>— 1964, Roma, Italy —</b> Stockhausen, <i>Plus/Minus</i>, first performance, Rome 14 June 1964 - performers : Cornelius Cardew, Frederic Rzewski. Cardew and Frederic Rzewski premiered <i>Plus-Minus</i> in Rome on pianos ; Rzewski played electric organ as well, Cardew played tree transistor radios.<br><br> </font></p> <hr nosize> <p style="font-size: x-small"> <font style="text-transform: uppercase;"> <b>— 1964-65, Roma, Italy —</b> Cardew, <i>Bun No. 1</i>. <i>Bun No 1</i> (in French, "chignon"), a revision of his ''Third Orchestral Piece'' (1960), dates from 1965, a period when Cardew was still in thrall to European modernism. It is a relatively early piece, written before the time of Cardew’s intense political activism, when he was studying in Italy with Goffredo Petrassi. He undertook this study in order to 'learn a feel for the orchestra.’ The piece is confidently in the postwar European serial style; its orchestration is masterly and its continuity is clear and compelling. "Cardew deploys a whole panoply of techniques – contrary motion, retrogrades, glissandi, harmonics, staggered entries, extreme contrasts of loud and soft, angular motifs, cautious stepwise movement, decisive synchronised attacks, extremes of range from the deepest tuba to the highest piccolo, transparent chamber-music-like part-writing, massive tutti exclamations, and almost constantly changing time signatures." — (Calum McDonald, programme notes).{br} According to Cardew’s biographer John Tilbury, “The piece was written in Rome when Cardew was studying orchestration, and there’s never a dull moment. It’s like a series of very strong, vivid images, not connected to each other, and it has a strong granitic quality, with piercing woodwind lines somewhat like Varese. [...] Why 'Bun'? He gave me two off-the-cuff reasons when I asked him: a bun is what you give to an elephant at the zoo, and that was how he felt when he gave the work to an orchestra to play; and the piece is like a bun - filling but not substantial!”<br><br> </font></p> <hr nosize> <p style="font-size: x-small"> <font style="text-transform: uppercase;"> <b>— 1964, London —</b> Concert ICA Gallery, December 1, 1964 - Some Items of Experimental Music - by Robin Page, Cornelius Cardew - Works of Guiseppe Chiari, Frederic Rzewski, Morton Fledman, John Cage, LaMonte Young, Cornelius Cardew, Robin Page.<br><IMG SRC="https://jeromejoy.org/files/articles/cardew/cardew34_concertdec1964.jpg"><br><A HREF="../files/articles/cardew/cardew34_concertdec1964_b.jpg" target="_blank">[large view]</A> — <A HREF="http://www.jstor.org/stable/950477" target="_blank">Source</A><br><br> </font></p> <hr nosize> <p style="font-size: x-small"> <font style="text-transform: uppercase;"> <b>— 1966, London—</b> <i>A new Moon of Carnival of Poetry in the Round</i>, The Royal Albert Hall, 18th of June, 1966. Considered the birth of English underground, this exhibition involved the most active, alternative poets of that period – Pete Brown, Michael Horowitz, Bob Cobbing among the others and musicians as like Cornelius Cardew and John Renbourn —, one year after the very first poetry meeting year before, in August 1965 (at the Royal Albert Hall), with Ginsberg, Corso, Horowitz, Mitchell, Fainlight and others. <br><br> </font></p> <hr nosize> <p style="font-size: x-small"> <font style="text-transform: uppercase;"> <b>— 1966, Buffalo (USA)—</b> Cornelius Cardew was invited at the Rockefeller Foundation Center For New Music in Buffalo. He was scheduled to perform the premiere of a recently discovered piano piece by Anton Webern and to participate on a panel of composers on the subject of Webern’s legacy at Webern Society meeting in Buffalo in late October 1966. While at the Center, Cardew performed in works by his colleagues Niccolo Castiglioni, Carlos Alsina, and music department faculty member Leo Smit, as well as Stefan Wolpe, Roberto Gerhard, and Karlheinz Stockhausen.<br><A HREF="http://fultonhistory.com/Newspapers%2021/Buffalo%20NY%20Courier%20Express/Buffalo%20NY%20Courier%20Express%201966/Buffalo%20NY%20Courier%20Express%201966%20a%20-%203864.pdf" target="_blank">[Source : Newspaper info]</A> — <A HREF="https://jeromejoy.org/files/articles/cardew/cardew32i_b.jpg" target="_blank">[Source : Image copy]</A> <br><br><br> <IMG SRC="../files/articles/cardew/cardew33a.jpg"><br><A HREF="../files/articles/cardew/cardew33a_b.jpg" target="_blank">[large view]</A><br>Webern Festival Panel, « Webern’s Legacy » (Albright-Know Gallery, left to right: Henri Pousseur, Allen Sapp, Niccolo Castiglioni, Lukas Foss, Cornelius Cardew, Maryanne Amacher). October 1966. Photo : Jim Tuttle. <br><br> </font></p> <hr nosize> <p style="font-size: x-small"> <font style="text-transform: uppercase;"> <IMG SRC="../files/articles/cardew/cardew33b.jpg"><br><A HREF="../files/articles/cardew/cardew33b_b.jpg" target="_blank">[large view]</A><br>Richard Dufallo conducting rehearsal of Stephan Wolpe’s ‘’Piece for Two Instrumental Units’’ (Albright-Know Art Gallery, left to right: Shaul Ben Meir, Cornelius Cardew, Robert Martin, Klaus v. Wrochem, Jan Williams, Andrew White, Makoto Michii). March 1966. Photo : Jim Tuttle. — Courtesy : Renee Levine Packer, "This Life of Sounds: Evenings for New Music in Buffalo", Oxford University Press, 2010. — <A HREF="https://www.youtube.com/watch?v=aqUMkYFqS9c" target="_blank">[Listen to Stephan Wolpe’s ‘’Piece for Two Instrumental Units’’ (1963)]</A> <br><br> </font></p> <hr nosize> <p style="font-size: x-small"> <font style="text-transform: uppercase;"> <b>— 1966, — </b> David Bedford and Cornelius Cardew, <i>Conversation</i>, In The Musical Times, Vol. 107, No1477 (March 1966), pp. 198-200+202.<br><A HREF="http://www.jstor.org/stable/953357" target="_blank">[read the beginning of this article]</A> — <A HREF="http://www.jstor.org/stable/953357" target="_blank">[source]</A><br><A HREF="https://youtu.be/tOpW_PTlD0A" target="_blank">[Listen to David Bedford : "O Now the Drenched Land Wakes" and "The Great Birds" (two poems for chorus based on the words of Kenneth Patchen, 1966)]</A> <br><br> </font></p> <hr nosize> <p style="font-size: x-small"> <font style="text-transform: uppercase;"> <b>— 1966, — </b> Cornelius Cardew, <i>One Sound: La Monte Young</i>, In The Musical Times, Vol. 107, No. 1485 (November 1966), pp. 959-960. <br><br> </font></p> <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/cardew32_treatise.jpg]{br}{small}Cornelius Cardew, ''Treatise'', scores extract — ^[[pdf score download\|http://mumia.art.pte.hu/mami/tartalom/oktatasi_anyagok/partitura_2014/Cardew_Treatise/Cardew%20-%20Treatise.pdf]^] — ^[[pdf treatise - handbook download\|http://mumia.art.pte.hu/mami/tartalom/oktatasi_anyagok/partitura_2014/Cardew_Treatise/Cardew%20-%20Treatise%20Handbook.pdf]^]{/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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