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!!! Presentation of Treatise (Tony Harris) {br}{br} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t {br}---- ---- '''A presentation of ''Treatise'' by Tony Harris (in "The Legacy of Cornelius Cardew", Ashgate, 2013)''' {br}---- {br} ''Treatise'' unfolds over a 193-page sequence of graphics. It takes the form of a continuous weaving of shapes and symbols, only in handful of which are recognisably related to conventional music notation. A double stave runs across the bottom of each page providing the only initial evidence that the score’s intention is perhaps a musical one. The graphics themselves include lines and dotes of varying boldness, numbers, filled and unfilled squares, circles, triangles and fragments or derivations of such shapes alongside irregular shapes. Musical symbols include staves, clefs, sharps, flats, rests and note stems sometimes appearing as one would expect, but more often skewed in some way or combined with other graphics. In addition to the graphics a single black line is evident throughout. This line is sometimes disrupted or hidden, but, with the exception of just five pages, implicit on every page. Some pages are sparse with perhaps just a single graphic event but most certain multiple symbol types and juxtapositions of varying complexity. But the score is not hapharzard or nonsensical. Rather than an abstract sequence of disconnected imagery, the pages demonstrate a mostly logical flow from start to finish. Ideas are expanded and explored; ideas draw to a close; new ideas are introduced. A scan through from start to finish shows thematic development and the recapitulation of earlier gestures. ''Treatise'' is, in essence, a visual composition. {br}''« I wrote ''Treatise'' with the definite intention that it should stand entirely on its own, without any form of introduction or instruction to mislead prospective performers into the slavish practice of 'doing what they are told »'' — (Cardew, 1971){br}{br}The ''Treatise Handbook'' (1971) takes the form of a collection of the notes Cardew made during the creation of the score alongside largely anecdotal information relating to specific performances of Treatise rather that a guide to its realisation. While performers might choose to consciously inform their interpretations of ''Treatise'' with reference to the precedents outlined in the handbook, the original intentions of avoiding ‘slavish practice’ are kept largely intact.{br}The ''Treatise'' score could act, and has acted, as a stimulus for improvised music; a stimulus for a performance achieved through protracted and democratic discussion among the performers; a starting point for a more formally prepared compositional activity; an electronic or electroacoustic work; a multi-media or inter-disciplinary performance; of any number of unimagined responses to the question of how to represent the score in alternative and perhaps not necessarily sonic ways. Additionally, and significantly, a performance does not necessarily require the services of what we would traditionally regard as trained musicians.{br}{br}Cardew himself, through his work with AMM and through other compositional endeavours, demonstrated the multiplicity of the score. Both the orchestral ''Bun No.2'' (1964) and ''Volo Solo'' (1965) for any solo instrument are composed realisations of ''Treatise''; the former is based on pages 45-51, the latter ‘contains (with a few trivial alterations connected with the gaps, which figure in ''Treatise'' as numbers) the entire formal scheme of ''Treatise'' transliterated into well-tempered pitches’ (Cardew,1971).{br} Cardew also engaged in performances of ''Treatise'', including with AMM, and including versions based on varying amounts of predetermined decision-making and more spontaneous improvisatory approaches. Tilbury notes that Cardew’s attitude towards ''Treatise'' became freer as a result of his work with AMM.{br}Question : How did Cardew’s involvement with AMM influence his work on ''Treatise'' ?{br}John Tilbury : "His attitude towards it changed. It became freer. It was something you could use more impressionistically whereas originally I think it was more like a real notation - what does this and that symbol mean; how does the modification of that symbol affect the sound and all those sorts of things. A lot of people to this day do it like that. There’s no reason why they shouldn’t. But then having done it with AMM - with three of them coming from art background they have a freer response to it. They work backwards - Keith Rowe would see something in a far corner I hadn’t even noticed. I would be working left to right like a typical musician. He looked at it more like a picture."{br}{br}What Cardew had discovered through working with AMM and ''Treatise'' was less to do with specific compositional technique and more to do with identifying a mode of music making that blurred the lines between the acts of composition, the acts of interpretation, and the acts of performance - a mode that essentially integrated these elements of the creative process, and a mode that beginning to characterise his work.{br}{br}For Cardew, the real value of indeterminate systems was to encourage human influence on the music : ‘how to interpret a particular system of notation using one’s own musical background and attitudes’ (Bedford, 1982) — (for Cage, it was with the relinquishing the human influence, to allow the sounds to act for themselves or to limit the musical and cultural baggage which a musician might approach the realisation of a score).{br}{br}« ^[The^] work of Cardew has grown from a need to simplify demands and presentation without compromising ideals in an increasingly accessible way. By contrast, Cage’s and Wolff’s indeterminate scores of the early sixties not only demand considerable technical expertise in performance, but also the ability to comprehend quite sophisticated abstract musical concept. » — (Michael Nyman){br}{br}Similar distinctions are apparent in the values Cage and Cardew attach to aspects of collaboration, a theme that preoccupied Cardew since the Stockhausen experience. For Cage, collaboration was a further means of liberating the music from the stranglehold of flawed human intervention - the theory being that the more personnel involved, the less opportunity for a single ‘personality’ to inflect the music. While Cage was excited by the social implications of collaborative music making, Cardew saw the social interactions as the very ‘personality’ of the music. The final performance can ‘only’ be characterised by the approaches and musical baggage or personalities of those interpreting them. Cardew’s focus, then, was on the social, the self, the person, their social interactions, their intellectual stimulation, their ‘musical well-being’ perhaps. — {small}(Tony Harris){/small}\| {br}{br}{br}---- ---- \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/cardew/cardew32h.jpg\|../files/articles/cardew/cardew32h_b.jpg] \|t \|t \|t \|t \|t \|t {small}{cap}''Treatise Fragments, American Pages'', December 17, 1966, Creative Associates at the University of Buffalo, Albright-Knox Art Gallery, Buffalo (N.Y USA).{br} — Source : [Buffalo New York Courier Express\|http://fultonhistory.com/Newspapers%2021/Buffalo%20NY%20Courier%20Express/Buffalo%20NY%20Courier%20Express%201966/Buffalo%20NY%20Courier%20Express%201966%20a%20-%206144.pdf]{br}{br}New Music — Creative Associates at the University of Buffalo will present and « Evening for New Music » at 8:30 Saturday night in the auditorium of Albright-Knox Art Gallery. Two new compositions on the program were written by Creative Associates. They are « Canzoni » by Niccolo Castiglioni, and « Treatise Fragments, American Pages » by Cornelius Cardew. Compositions by Chavez, Syteman, Dougoszewski and Maretirano complete the program. Guest soloist will be soprano Taeko Fujii.{br}^[Buffalo New York Courier Express, Sunday December 11, 1966, p. 17]{/cap}{/small} \| {br}{br}{br}---- ---- \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/cardew/cardew32k.jpg\|../files/articles/cardew/cardew32k_b.jpg]{br}[../files/articles/cardew/cardew32l.jpg\|../files/articles/cardew/cardew32l_b.jpg]{br} [../files/articles/cardew/cardew32c.jpg\|../files/articles/cardew/cardew32c_b.jpg] \|t \|t \|t \|t \|t \|t \|t \|t \|t {small}{cap}''Treatise'' score, for any instrument{br}Published by The Gallery Upstairs Press, Buffalo, New York, 1967.{br}193 pages. 17 x 29 cm. First edition, first printing. Plastic comb binding, card covers, blind stamp from Gallery Upstairs Press on title page.{br} — Source : .{br}{br}Current Publisher : [Ed. Peters - Reference : EP7560\|http://editionpeters.com/product/modern/treatise/ep7560?TRE00000/] — ^[[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]^]{/cap}{/small}\| {br}{br}{br}---- ---- \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/cardew/cardew36_10daysinLondon_June1967.jpg\|../files/articles/cardew/cardew36_10daysinLondon_June1967_b.jpg]{br}{br}{small}{cap}Concerts programmes in London from June 2 to June 16, 1967.{br} — Friday 2nd June 1967 — BBC Third Programme, 3.pm, Cornelius Cardew, one hour performance of ''Treatise'' — Source : [International Times archive\|http://www.internationaltimes.it/archive/page.php?i=IT_1967-06-02_B-IT-Volume-1_Iss-14_015].{/cap}{/small}\| {br}{br}{br}---- ---- \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/cardew/cardew32e.jpg\|../files/articles/cardew/cardew32e_b.jpg] \|t \|t \|t \|t [../files/articles/cardew/cardew32d.jpg\|../files/articles/cardew/cardew32d_b.jpg]\|t \|t \|t \|t \|t \|t {small}{cap}''Treatise'', American premiere concert, Friday March 1, 1968, Buffalo (N.Y USA). — Source : [Buffalo New York Courier Express\|http://fultonhistory.com/Newspapers%2021/Buffalo%20NY%20Courier%20Express/Buffalo%20NY%20Courier%20Express%201968/Buffalo%20NY%20Courier%20Express%201968%20-%202896.pdf].{br}{br}The American premiere of Cornelius Cardew’s « Treatise » will be presented at 7 p.m. Friday at Workshop Repertory Theater, 1685 Elmwood Ave. The performance is sponsored by the Gallery Upstairs. Performers will include Cardew and his AMM group, and a group of Buffalo musicians. Cardew and his AMM group will present recitals at 8 p.m. Thursday and Saturday at Workshop Repertory Theater. AMM recitals are continuous improvisations which may take any form and include any sound.{br}^[Buffalo New York Courier Express, Tuesday February 27, 1968, p. 4]{/cap}{/small} \| ---- \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/cardew/cardew32g.jpg\|../files/articles/cardew/cardew32g_b.jpg] \|t \|t \|t \|t \|t \|t {small}{cap}''Treatise'', American premiere concert, Friday March 1, 1968, and AMM recitals, Buffalo (N.Y USA).{br} — Source : [Buffalo New York Courier Express\|http://fultonhistory.com/Newspapers%2021/Buffalo%20NY%20Courier%20Express/Buffalo%20NY%20Courier%20Express%201968/Buffalo%20NY%20Courier%20Express%201968%20-%202771.pdf]{br}{br}Cornelius Cardew and his AMM group will present concerts at 8 p.m. Thursday and Saturday at the Gallery Upstairs, 3400 Main St. The programs are sponsored by the gallery.{br} Members of the group are Cardew, piano, cello, contact microphone and radio ; Lou Gare, violin and tenor saxophone ; Eddie Prevost, drums, cymbals and bells ; and Keith Rowe, electric guitar, contact microphone and radio.{br}The AMM brochure announces that « AMM recitals are continuous improvisations which may take any form and include any sound. »{br}Cardew’s « Treatise » wille receive its American premiere in a concert at 7 p.m. Friday at the Gallery Upstairs. The program is sponsored by the Gallery Upstairs, the publisher of the work.{br}For this performance, Cardew and his AMM group will be joined by musicians from the Center of the Creative and Performing Arts.{br}Cardew was a member of the center last season. He is an English composer, and from 1958-60 was an assistant of Karlheinz Stockhausen in Cologne, Germany.{br}^[Buffalo New York Courier Express, Sunday February 25, 1968, p. 24]{/cap}{/small} \|t \|t \|t \|t \|t \|t [../files/articles/cardew/cardew32f.jpg\|../files/articles/cardew/cardew32f_b.jpg] \|t \|t \|t \|t \|t \|t {small}{cap}''Treatise'', American premiere concert, Friday March 1, 1968, Buffalo (N.Y USA).{br} — Source : [Buffalo New York Courier Express\|http://fultonhistory.com/Newspapers%2021/Buffalo%20NY%20Courier%20Express/Buffalo%20NY%20Courier%20Express%201968/Buffalo%20NY%20Courier%20Express%201968%20-%203041.pdf].{br}{br}« Treatise » — The American premiere of Cornelius Cardew’s « Treatise » will be presented at 7 this evening at the Workshop Repertory Theater, 1685 Elmwood Ave. The avant-garde work will last about five hours, and will be performed by Cardew’s AMM group from England and a group of Buffalo musicians.{br}^[Buffalo New York Courier Express, Tuesday March 1, 1968, p. 30]{/cap}{/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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