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!! 1969-71 THE GREAT LEARNING ---- ---- \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/cardew/cardew63_greatlearning_b.jpg\|../files/articles/cardew/cardew63_greatlearning_b_b.jpg]{br}\|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t The Cornelius Cardew's major work of this phase was ''The Great Learning'', begun in 1968 and completed in 1971, and based on poet Ezra Pound's translation of writings by the Chinese philosopher Confucius. A monumental composition lasting around seven hours (to nine hours) in total, it enables amateur and professional musicians to participate as equals despite different levels of skill and varying backgrounds. Christian Wolff calls it one of the very great works for collaborative, communal performance.{br}The composition of ''The Great Learning'', and the foundation of the Scratch Orchestra in 1969 (initially in order to perform ''Paragraph 2'' of that work ; and, in fact, at least two paragraphs of ''The Great Learning'' had been completed before the Scratch Orchestra was formed) set the seal on his all embracing humanism as his search for untrained 'musical innocents' bore fruit in the social music-making of the orchestra.{br}{br}This remains a noteworthy work of experimental music, combining verbal and musically-notated directions for performers with a prominent ritual element. The original text is divided into large paragraphs, a structural division that Cardew adopts in his score. The score calls, generally, for chorus, although other instruments and objects occasionally make appearances. For example, paragraph 1 calls for ‘chorus (speaking and playing whistles and stones) and organ’.{br}{br}— {small} ([Timothy D. Taylor, 'Moving in Decency: The Music and Radical Politics of Cornelius Cardew', 1998\|https://www.academia.edu/488369/Moving_in_Decency_The_Music_and_Radical_Politics_of_Cornelius_Cardew]){br}— (Julian Cowley, The Wire, 2001){br}— (James Weeks, Tempo, 2007){br}— (John Tilbury, liner notes The Great Learning, cd organ of Corti 21, Cortical Foundation, 2000){br}— ([Virginia Anderson, "Chinese Characters and Experimental Structure in Cornelius Cardew's The Great Learning", in JEMS An Online Journal of Experimental Music Studies, March 2004\|http://www.users.waitrose.com/~chobbs/Chinesegl.html]){/small}{br}{br}\| \|t [../files/articles/cardew/cardew63_greatlearning_da_b.jpg\|../files/articles/cardew/cardew63_greatlearning_e_b.jpg]\|t \|t \|t \|t \|t \|t \|t [../files/articles/cardew/cardew63_greatlearning_ha_b.jpg\|../files/articles/cardew/cardew63_greatlearning_ha_b.jpg]{br}{small}{cap}(Michael Nyman, in "Experimental Music: Cage and Beyond (Music in the Twentieth Century)", 1974){/cap}{/small}\| {br}{br} ---- ---- !!! The Seven Paragraphs of The Great Learning [../files/articles/cardew/cardew63_greatlearning_cb_b.jpg\|../files/articles/cardew/cardew63_greatlearning_c_b.jpg] {br}{br} ---- ---- {cap}'''The Background Reference of ''The Great Learning'' :{br} Daxue 大学 ("Great Learning"), part of the Sishu 四书 ("Four Books"), one of the texts collected in the Li Ji 礼记 ("Book of Rites")'''{/cap}{br}{br} \|t [../files/articles/cardew/cardew63_greatlearning_f.jpg\|../files/articles/cardew/cardew63_greatlearning_f_b.jpg]{br}{small}{cap}From an edition as published by the Clarendon Press, Oxford, in 1893, as Volume 1 in ‘The Chinese Classics’ Series.{/cap}{/small}{br}{br}{br}{br}{br}{br}{br}{br}[../files/articles/cardew/cardew63_greatlearning_gc.jpg\|../files/articles/cardew/cardew63_greatlearning_gc_b.jpg]{br}{small}{cap}An annotated version of the Book of Rites, dated before 907. {br}Classic of Rites annotated edition (礼記子本疏義) vol. 59.{/cap}{/small}\|t \|t \|t \|t \|t \|t \|t [../files/articles/cardew/cardew63_greatlearning_ga.jpg\|../files/articles/cardew/cardew63_greatlearning_ga_b.jpg]{br}[../files/articles/cardew/cardew63_greatlearning_g.jpg\|../files/articles/cardew/cardew63_greatlearning_g_b.jpg]{br}{small}{cap}Kai-wing Chow, ‘Between Sanctioned Change and Fabrication: Confucian Canon (Ta-hsüeh) and Hermeneutical Systems Since the Sung Times’, From ‘The Hermeneutic Traditions in Chinese Culture’, edited by Ching-i Tu, 1996.{/cap}{/small}\| {br}{br} ---- ---- {cap}'''Cornelius Cardew — ''The Great Learning'' — Paragraph 1'''{/cap}{br}{br} \|t [../files/articles/cardew/cardew63_greatlearning_p1b.jpg\|../files/articles/cardew/cardew63_greatlearning_p1b.jpg]{br}{small}{cap}Paragraph 1, score excerpt.{/cap}{/small}\|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t {small}{cap}(For chorus (speaking and playing whistles and stones) and organ). Duration about 30 minutes. Composition 31/4/1968.{br}Paragraph 1 is for chorus and organ. The organ part requires technical proficiency and notational literacy. The chorus are not required to sing, but rather to play stones and whistles, reading from graphic notations based on the Chinese characters in the original text. Each paragraph occupies its own distinct sound world, the first constrated by Paragraph 2’s voices and drums, and again in Paragraph 3, which relies on ‘large instruments’ sustaining long low notes in ascending scales. Voices overlay words from the text to specified pitches, or to pitches the singers hear being played by the instruments, a kind of ‘network’ technique employed elsewhere in ''the Great Learning''. This ensures the opportunity to listen and make decisions rather than simply relaying information — a further example of Cardew’s characteristic conflict between instruction and freedom.{/cap}{br}— (Tony Harris, "The Legacy of Cornelius Cardew"){/small}{br}{br}{br}{html}<hr nosize> <b>VIDEO</b>          <img src="https://jeromejoy.org/files/img/icon_video.gif"><br><hr nosize> <b>Cornelius Cardew - The Great Learning - Paragraph 1</b><br>The Scratch Orchestra, Cornelius Cardew<br>Recorded at Queen Elizabeth Hall, London, on May 16, 1982, by Bob Woolford. Composed in 1968.<br><br> <iframe width="420" height="315" src="https://www.youtube.com/embed/2k1m1ITcljM" frameborder="0" allowfullscreen></iframe>{/html}\| {br}{br} ---- ---- {cap}'''Cornelius Cardew — ''The Great Learning'' — Paragraph 2'''{/cap}{br}{br} \|t [../files/articles/cardew/cardew63_greatlearning_p2.jpg\|../files/articles/cardew/cardew63_greatlearning_p2_b.jpg]{br}{br}{small}{cap}^[[Click here for a large view of the singing part\|https://jeromejoy.org/files/articles/cardew/cardew63_greatlearning_p2a_b.jpg]^] — ^[[Click here for a large view of the drumming part\|https://jeromejoy.org/files/articles/cardew/cardew63_greatlearning_p2b_b.jpg]^]{/cap}{/small}{br}{br}{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 — Paragraph 2 of The Great Digest (aka The Great Learning)</b> — (ca 49mn)<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_01_Paragraph-2-of-The-Great-Digest.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}\|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t {small}{cap}(For singers and drummers). Duration about 1 hour. Composition January 1969.{br}"Paragraph 1" works its way from the mysterious, delicate clicking of handheld stones through harsh yet oddly meditative organ tones and penny whistles to the massed choral intonations of the Confucian script. It is eerie and otherworldly but casts its own unique sense of serenity over the listener. This spell is abruptly shattered by the percussive explosion that begins and carries through "Paragraph 2," an exercise in the inevitability and value of failure. The chorus is required to attempt to valiantly surmount the raging drums and to do so over a long period of time, an idea based on the Buddhist method of practicing chanting in front of a roaring waterfall; they will fail in making themselves clearly heard but something valuable may be learned in the process. Little by little, due to sheer physical exhaustion, the singers subside while the drums, gathering rhythmic cohesion, go on and on.{/cap}{br}— (Brian Olewnick){/small}{br}{br}{br}{html}<hr nosize> <b>VIDEO</b>          <img src="https://jeromejoy.org/files/img/icon_video.gif"><br><hr nosize> <b>Cornelius Cardew - The Great Learning - Paragraph 2</b><br>The Scratch Orchestra, Cornelius Cardew<br>Recorded at Chappell Studios, London, on February 15/16, 1971. Composed in 1969.<br><br> <iframe width="420" height="236" src="https://www.youtube.com/embed/d8-4yl3Zvdo" frameborder="0" allowfullscreen></iframe>{/html}\| {br}{br} ---- ---- {cap}'''Cornelius Cardew — ''The Great Learning'' — Paragraph 3'''{/cap}{br}{br} \|t [../files/articles/cardew/cardew63_greatlearning_p3.jpg\|../files/articles/cardew/cardew63_greatlearning_p3.jpg]{br}{small}{cap}Paragraph 3, score excerpt.{/cap}{/small}\|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t {small}{cap}(For large instruments and voices). Duration about 45 minutes. Composition 14/7/70.{br}As Paragraph 3 states, “Things have their root and branches. Affairs have their end and their beginning. To know what is first and what is last will lead near to what is taught in The Great Learning.”{/cap}{/small}{br}{br}{br}{html}<hr nosize> <b>VIDEO</b>          <img src="https://jeromejoy.org/files/img/icon_video.gif"><br><hr nosize> <b>Cornelius Cardew - The Great Learning - Paragraph 3 (and 6)</b><br>Directed by Dave Smith.<br>Recorded at ICA London, Play for Today event, november 2009. Composed in 1970.<br><br> <iframe width="420" height="236" src="https://www.youtube.com/embed/3ZAgM8dBc00?start=0&end=2395" frameborder="0" allowfullscreen></iframe>{/html}\| {br}{br} ---- ---- {cap}'''Cornelius Cardew — ''The Great Learning'' — Paragraph 4'''{/cap}{br}{br} \|t [../files/articles/cardew/cardew63_greatlearning_p4.jpg\|../files/articles/cardew/cardew63_greatlearning_p4.jpg]{br}{small}{cap}Paragraph 4, score excerpt.{/cap}{/small}\|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t {small}{cap}(For chorus (shouting and playing ridged or notched instruments, sonorous subtances, rattles or jingles) and organ). Duration about 40 minutes. Composition 10/4/70.{br}Paragraph 4 for chorus (shouting and playing ridged or notched instruments, sonorous substances, rattle or jingles) and organ returns to the notations found in Paragraph 1, a relatively conventionally, though indeterminately, notated organ par underpinning an all-corners chorus sitting in a zigzag formation and performing from Chinese character-based graphics in canon.{/cap}{br}— (Tony Harris, "The Legacy of Cornelius Cardew"){/small}{br}{br}{br}{html}<hr nosize> <b>VIDEO</b>          <img src="https://jeromejoy.org/files/img/icon_video.gif"><br><hr nosize> <b>Cornelius Cardew - The Great Learning - Paragraph 4</b><br>Conducted by ADACHI Tomomi.<br>An extract from 50 minutes long <A HREF="http://www.purple.dti.ne.jp/naya/contens/event/090705Cardew/" target="_blank">Japan premiere performance in 2009</A> of "The Great Learning Paragraph 4" written by Cornelius Cardew. Composed in 1970.<br><br> <iframe width="420" height="236" src="https://www.youtube.com/embed/xJiAKA00Pkg" frameborder="0" allowfullscreen></iframe>{/html}\| {br}{br} ---- ---- {cap}'''Cornelius Cardew — ''The Great Learning'' — Paragraph 5'''{/cap}{br}{br} \|t [../files/articles/cardew/cardew63_greatlearning_p5.jpg\|../files/articles/cardew/cardew63_greatlearning_p5.jpg]{br}{small}{cap}Paragraph 5, score excerpt.{/cap}{/small}\|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t {small}{cap}(For a large number of untrained musicians making gestures, performing actions, speaking, chanting and playing a wide range of instruments, plus, optionally 10 singers singing ‘Ode Machines’ which may also be performed separately.). Duration about 2 hours. Composition 1969-70.{br}Paragraph 5 demonstrates another level of complexity in its construction, mixing detailed instructions with text, staff and graphic notations. The sound-world is unspecified and diverse with integrated gestures and physical actions and 10 optional solo singers singing the ‘Ode Machines’, a collection of 10 settings of poems from the Confucian ‘Book of Odes’, any number of which may be performed concurrently.{/cap}{br}— (Tony Harris, "The Legacy of Cornelius Cardew"){br}{br}'''^[[download pdf score of PARAGRAPH 5 (parts in English, and main parts in French)\|https://jeromejoy.org/files/articles/cardew/1969-70_CARDEW_great_learning_paragraph_5_fr_eng.pdf]^]'''{/small}{br}{br}{br}\| [../files/articles/cardew/cardew63_greatlearning_p5b.jpg\|../files/articles/cardew/cardew63_greatlearning_p5b_b.jpg]{br}[../files/articles/cardew/cardew63_greatlearning_p5a.jpg\|../files/articles/cardew/cardew63_greatlearning_p5a_b.jpg]{br}{small}{cap}Paragraph 5, score excerpts.{/cap}{/small} {br}{br} ---- ---- {cap}'''Cornelius Cardew — ''The Great Learning'' — Paragraph 6'''{/cap}{br}{br} \|t [../files/articles/cardew/cardew63_greatlearning_p6b.jpg\|../files/articles/cardew/cardew63_greatlearning_p6b_b.jpg]{br}{small}{cap}Paragraph 6, score excerpt.{/cap}{/small}\|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t {small}{cap}(For any number of untrained musicians). Duration about 30 minutes. Composition October 1969.{br}Paragraph 6 provides the antithesis to these excesses. Intented for any number of musicians using any sound materials it relies solely on instructional text in its scoring and, while the sound materials are freely chosen, the specified type and number of sounds ensures a sparse and pointillistic evocation.{/cap}{br}— (Tony Harris, "The Legacy of Cornelius Cardew"){/small}{br}{br}{br}{html}<hr nosize> <b>VIDEO</b>          <img src="https://jeromejoy.org/files/img/icon_video.gif"><br><hr nosize> <b>Cornelius Cardew - The Great Learning - Paragraph 6</b><br>Directed by Dave Smith.<br>Recorded at ICA London, Play for Today event, november 2009. Composed in 1970.<br><br> <iframe width="420" height="236" src="https://www.youtube.com/embed/3ZAgM8dBc00?start=2395" frameborder="0" allowfullscreen></iframe>{/html}\| {br}{br} ---- ---- {cap}'''Cornelius Cardew — ''The Great Learning'' — Paragraph 7'''{/cap}{br}{br} \|t [../files/articles/cardew/cardew63_greatlearning_p7.jpg\|../files/articles/cardew/cardew63_greatlearning_p7_b.jpg]{br}{small}{cap}Paragraph 7, score excerpt.{br}^[[Click for a large view\|https://jeromejoy.org/files/articles/cardew/cardew63_greatlearning_p7_b.jpg]^]{/cap}{/small}\|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t {small}{cap}(For any number of untrained voices). Duration about 90 minutes. Composition 8/4/1969.{br}The final Paragraph 7 uses voice alone — any number of trained or untrained singers. The network technique of listening and responding to each other is revisited providing what Parsons describes as a ‘framework within which individual responsability and choice and the sense of community and interdependence with other participants is made meaningful’ (Parsons and al., 1984, in Prévost 2006:322).{/cap}{br}— (Tony Harris, "The Legacy of Cornelius Cardew"){/small}{br}{br}{small}{cap}Paragraph 7 from The Great Learning is a verbal score; it is composed of 24 lines of text. Each line indicates a new word or phrase, and is repeated a different number of times at different amplitude levels, as indicated in the score. Members of the choir choose a new pitch for each new line, always matching pitches that are already sounding in the room; they introduce a previously unheard pitch when no new pitch can be found or sung from the existing group of pitches.{br}The entire text of Paragraph 7 reads, "If the root be in confusion, nothing will be well governed. The solid cannot be swept away as trivial and nor can trash be established as solid. It just does not happen. Mistake not cliff for morass and treacherous bramble." In Paragraph 7, both the structure of the music, and the music itself, describe a system of organization built around contingency: each element in a group is ordered through its influences and dependencies upon other elements.{br}{br}"Paragraph 7," for "any number of untrained voices," is a lush and complex vocal sea. From a rich and heady underlying drone, individual voices emerge and recede (is that Julie Tippett one hears?) like waves cresting and falling back. The mass of voices becomes palpable and breathing like a single, multi-throated organism. One can easily imagine, in lesser hands, a composition like this disintegrating into a new agey mush, but this one succeeds wildly as a deep and probing conception, realized fully and with passion.{/cap}— (Brian Olewnick){/small}{br}{br}{small}{cap}{br}'''^[[download pdf of the PARAGRAPH 7 score\|https://jeromejoy.org/files/articles/cardew/1969_CARDEW_great_learning_paragraph_7_eng.pdf]^]{br}^[[download pdf of the PARAGRAPH 7 score (French version)\|https://jeromejoy.org/files/articles/cardew/1969_CARDEW_great_learning_paragraph_7_fr.pdf]^]'''{/cap}{/small}{br}{br}{br}{html}<hr nosize> <b>VIDEO</b>          <img src="https://jeromejoy.org/files/img/icon_video.gif"><br><hr nosize> <b>Cornelius Cardew - The Great Learning - Paragraph 7</b><br>The Scratch Orchestra. Cornelius Cardew.<br>Recorded at Chappell Studios, London, on February 15/16, 1971. Composed in 1969.<br><br> <iframe width="420" height="315" src="https://www.youtube.com/embed/q5oCuBo-ZeM" frameborder="0" allowfullscreen></iframe>{/html}\| {br}{br} {br}{br}---- !!! 1971 The Great Learning LP ---- \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/cardew/cardew63_greatlearning_lp1.jpg\|../files/articles/cardew/cardew63_greatlearning_lp1_b.jpg] \|t \|t \|t \|t \|t \|t [../files/articles/cardew/cardew63_greatlearning_lp2.jpg\|../files/articles/cardew/cardew63_greatlearning_lp2_b.jpg]\|t \|t \|t \|t \|t \|t [../files/articles/cardew/cardew63_greatlearning_lp3.jpg\|../files/articles/cardew/cardew63_greatlearning_lp3_b.jpg] {br}{small} Cornelius Cardew & The Scratch Orchestra – The Great Learning - LP Deutsche Grammophon ‎– 2561 107 (Germany){br}- LP Deutsche Grammophon ‎– 2538 216 (UK){br}This LP is referenced as part of [DG Avant-Garde Series\|http://www.discogs.com/label/75724-Avantgarde-2]. This LP was also available as part of the six LP box set 'Avangarde Vol.4' on Deutsche Grammophon. {br}Some of the other members mentioned in the liner notes are: John Tillbury, Gavin Bryars, Michael Parsons, Howard Skempton, Michael Chant, Christopher Hobbs, and Hugh Shrapnel - each of who recruited friends, family and students to swell the ranks. Though David Jackman is not mentioned anywhere on the sleeve, he was an active member of the Scratch Orchestra at this point and is probably one of the massed singers.{br}Recorded at Chappell Studios, London, on February 15/16, 1971. {br}— This recording was also part of a [reissue in 2000\|http://www.discogs.com/Cornelius-Cardew-Scratch-Orchestra-The-Great-Learning/release/758973] by the Cortical Foundation label with in supplement a recording of Paragraph 1 (also released on the [LP Cornelius Cardew Memorial Concert, in 1985\|http://www.discogs.com/Cornelius-Cardew-Cornelius-Cardew-Memorial-Concert/release/772148] (recorded 16th of May 1982 at Queen Elizabeth Hall).{br}A complete recordings of The Great Learning, paragraphs 1 to 7, was released on the [Polish label Bôłt ‎(BR 1008) in 2010\|http://www.discogs.com/Cornelius-Cardew-The-Great-Learning/release/2683344], with an ensemble of performers conducted by Nima Goushed with assistance of James Bull. The performances took place at Residential Arts Centre in Wigry and White Synagogue in Sejny between 18th and 24th of July, 2010.{br} — Source : .{/small}\| {br}{br} ---- {br}{br} {br}{br} ---- ---- !!! [Previous page : (1966) - AMM\|DOCCARDEW3] ---- !!! [Next page : (1969-1972) - The Scratch Orchestra\|DOCCARDEW5] ---- ---- {br}{br} ----
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