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!! 1967-68 SCHOOLTIME COMPOSITIONS ---- ---- {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 — BBC Documentary on Cornelius Cardew - with presentation of Schooltime Compositions</b> — (ca 26mn)<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_Radio-Retrospective.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> {/html} With ''Schooltime Compositions'', completed several months before the Morley class began, Cardew had already achieved the crucial breakthough : received definitions and notions of ‘music’, ‘musicality’, ‘musicalness’ are questioned and reassessed. — {small}(John Tilbury, "Cornelius Cardew, a life unfinished", Copula, 2008){/small}{br}Tilbury then suggests that ' ''Schooltime Compositions'', in particular, is a work of an melted creative instinct, demonstrating a profound commitment to the "moral" dimension and to the idea of "the world as musical composition ».’, after quoting Cardew’s 1967 comment that ‘the musical and the real world are one’ suggesting that ‘by « real world » Cardew was referring as much to the interior world of the imagination ^[…^]. At the suggestion of Michael Sargent of Focus Opera Group Cornelius Cardew has been working on a small opera book called ''Schooltime Compositions'', which will be performed at the International Students House on March 11 and 12th, 1968 (one half hour session each evening) under the titles 'Dayschool' and 'Nightschool'. — {small}(Paul Steinitz, in [The Musical Times, Vol. 109, No. 1501 (Mar., 1968), pp. 231-233\|http://www.jstor.org/stable/953486]){/small}{br} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t ''Schooltime Compositions are a group of separate pieces which are to be performed simultaneously. Each performer interprets one piece as he see its with whatever media he likes (Mark Boyle with lights, for instance?). Having decided how long a piece is going to be he can start whenever he likes. The score involves all kinds of notation, words and graphic symbols. Some pieces are continuous, others a beginning, middle and end.'' — {small}(presentation in the [International Times of February 2–15, 1968 (“Cornelius Cardew” ^[interview^])\|http://www.internationaltimes.it/archive/index.php?year=1968&volume=IT-Volume-1&issue=25&item=IT_1968-02-02_B-IT-Volume-1_Iss-25_008-009]){/small}\| Cardew wrote : \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t ''Each of the Schooltime Compositions in the opera book is a matrix to draw out an interpreters feelings about certain topics or materials. These pieces plus their interpreters are the characters in the opera. They undergo no dramatic developments in the book; in performance they may. The pieces plus their interpreters will be the same in both Dayshcool and Nightschool. The different matrices grew around such things as words, melody, vocal sounds, triangles, pleasure, noise, working-to-rule, will and desire, keyboard. My plan is based on the translation of the word 'opera' into 'many people working.'' {small}— ([Cornelius Cardew\|http://thecardewobject.blogspot.fr/2009/10/schooltime-compositions-1967.html]){/small}\| ''Schooltime Compositions'' (1967) is an opera that marks Cardew’s progression towards ‘music as an expression of human relations’ which was realised to the full through the Scratch Orchestra, whose membership included artists associated with Fluxus, musicians and non-musicians.{br}''Schooltime Compositions'' was written for the Scratch Orchestra to have materials in an impromptu way of making music anyplace, anytime, by whatever means was at hand, and this work, fits neatly into a breast pocket, or clarinet case. Written in 1967, these pieces were designed to help musicians and non-musicians develop their own methods of interpretation and music-making. They emphasize process over finished products and personal development over pretty results.{br}Cardew redefines ‘opera’ as ‘many people working’. The title hints at the possibility of an educational application for the piece. Cardew made the cover page of the published score look like a school exercise boo with his own name scrawled in red ink. ''Schooltime Compositions'' is the sort of thing what you get out of it depends on what you put in. — {small}(Jolyon Laycock, "A Changing Role for the Composer in Society: A Study of the Historical Background and Current Methodologies of Creative Music-Making", Peter Lang AG, European Academic Publishers, Bern 2005){/small} Throughout the period he was becoming less and less concerned with beautiful artefacts and more and more involved with people and their ability to make their own music. He began to assume a more educative role - to which he was perfectly suited through his strong democratic sentiments, his ability to teach by example, and not least his genius for improvising. Musical education is what ''Schooltime Compositions'' (1967) is about. The work is a notebook of observations, ideas, notations, hints, diagrams, concepts, scientific experiments, geometric analogies - some direct, some oblique, but mostly presented as 'facts' with no covering instructions. For Cardew each composition was a matrix to draw out the interpreters' feelings about certain topics or materials. Here the different matrices grew around such things as words, melody, vocal sounds, triangles, pleasure, noise, working to rule, will/desire, keyboard. Some of the matrices serve as a measure of virtuosity, others of courage, tenacity, alertness, and so on. They point to the heart of some real matter, mental or material. The score tells the interpreter the general area of his potential action - he may wish or have the talent to play, or sing, or construct, or illumine, or take exercise of one sort or another, and can draw out his interpretation in that direction. — {small}([John Tilbury, "Cornelius Cardew", originally published in Contact no. 26 (Spring 1983), pp. 4-12. Reprinted with the kind permission of the author.\|http://www.users.waitrose.com/~chobbs/tilburycardew.html]{/small} This is a graphic piece, with the ubiquitous cover you see still today on composition/writing booklets, tablets, folders,notebooks for grade school, with the typical black/white texture with a center held in a box for the subject. Here however Cardew's booklet is very small 8 (vertical)inch by 3-4 inch; the object is to transform the graphics into music, solo or chamber. Cardew take great orientation from John Cage, and in many ways brought a new, more playful content to graphic notation, in one respect you could say he was more "lyrical", "playful" in his graphics than the cold calculations charts, tables, plexiglass, configurations of Feldman, Brown, Wolff and Cage. Schooltime Compositions (Opera, audio-visual) was performed at International Students' Theatre (International Students' Centre, Great Portland Street, London) on March 11, 1968. Christian Wolff took part at the premiered performance of ''Schooltime Compositions'', with John Tilbury, Lou Gare, Robin Page, Mark Boyle, and an amateur chorus. Later, In May 1969 George Brecht took part at a ''Schooltime Compositions'' concert at ICA in London (interpretation of ‘Making A’). \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t ''EUROPEAN PREMIERES New British operas include Cornelius Cardow's SCHOOLTIME COMPOSITIONS. a one-act work premiered by Focus Opera Group in London on March 11.'' {small}— (In Bulletin - Central Opera Service, New York, 1968){/small}\| \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t ''Cornelius Cardew's Schooltime Compositions — Day School has none, nor even speech. A spectacle in which a man decorated a music-stand with silver and other- coloured paper, and then began throwing table-tennis balls vaguely forward, ^[...^]'' {small}— (In Opera magazine, 1968){/small}\| \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t ''The three pieces enterprisingly given by Focus Opera Group last night at the International Students’ House are not, I think, susceptible to musical criticism in any normal sense… Cornelius Cardew’s new work, Schooltime Compositions, was more an event with sound. It is notated as a series of patterns — verbal, musical, linear — designed ‘to draw out an interpreter’s feelings’ in his chosen medium. It came over (as intented, I imagine) as a 40-minute non-event… It all seemed to me to be on a very low plane of imagination and inventiveness, indeed a low plane of human activity altogether. In a mild way it was faintly amusing; but I should hate to think that anything so poverty-stricken is artistic progress.''{small} — (Stanley Sadie, ‘Avant garde, but is it progress ?’, in The Times, Thursday, 12 March 1968){/small}\| {br}{br} [../files/articles/cardew/cardew64_schooltime_c.jpg\|../files/articles/cardew/cardew64_schooltime_c_b.jpg][../files/articles/cardew/cardew64_schooltime_h.jpg\|../files/articles/cardew/cardew64_schooltime_h_b.jpg] \|t [../files/articles/cardew/cardew64_schooltime_a.jpg\|../files/articles/cardew/cardew64_schooltime_a_b.jpg]{br}[../files/articles/cardew/cardew64_schooltime_b.jpg\|../files/articles/cardew/cardew64_schooltime_b_b.jpg]{br}[../files/articles/cardew/cardew64_schooltime_d_b.jpg\|../files/articles/cardew/cardew64_schooltime_d_b.jpg]{br}{small}{cap}Schooltime Compositions, (1967), excerpts.{br}Cornelius Cardew, "Schooltime Compositions", self-published: London, 1968.{br}"Schooltime Compositions" was published in 1968 by Gallery Upstairs Press, which also published Treatise.{/cap}{/small}\|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/cardew/cardew64_schooltime_e.jpg]{br}{br}{small}{cap}Michael Nyman, in "Experimental Music: Cage and Beyond (Music in the Twentieth Century)", 1974){/cap}{/small}\| {br}{br} ---- {small}'''Reviews :'''{/small} * {small}Michael Reynolds, Daily Mail, March 12, 1967.{/small} * {small}Other reviews appeared in Daily Telegraph, Financial Times, Guardian, The Times, Stage, and Sunday Times.{/small} * {small}He was also highlighted in the underground press, with a long interview feature in the [International Times of February 2–15, 1968 (“Cornelius Cardew” ^[interview^])\|http://www.internationaltimes.it/archive/index.php?year=1968&volume=IT-Volume-1&issue=25&item=IT_1968-02-02_B-IT-Volume-1_Iss-25_008-009].{/small} {br}{br} ---- [../files/articles/cardew/cardew64_schooltime_fa.jpg\|../files/articles/cardew/cardew64_schooltime_f_b.jpg]{br}{small}{cap}[International Times of February 2–15, 1968 (“Cornelius Cardew” ^[interview^])\|http://www.internationaltimes.it/archive/index.php?year=1968&volume=IT-Volume-1&issue=25&item=IT_1968-02-02_B-IT-Volume-1_Iss-25_008-009]{/cap}{/small} {br}{br} {br}{br} ---- {html} <hr nosize><hr style="height: 10px; margin: -0.5em 0; padding: 0; color: grey; background-color: grey; border: 0;"><br> {/html}
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