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!!!Just Charles & cello in The Romantic Chord (2002-2003) ---- pour violoncelle, bourdonnements de violoncelle enregitré, et jeu de lumières.{br}“Just Charles and Cello in the Romantic Chord”, écrite pour le violoncelliste Charles Curtis et bourdons de violoncelle pré-enregistrés, est basée sur l’accord en intonation juste du même nom, déjà présent dans “The Well-Tuned piano”, composée en 1964. Les sons longuement prolongés, les rapports de fréquences périodiques, les petites irrégularités de coups d’archet dans les accords soutenus, exercent peu à peu sur l’auditeur des effets psycho-acoustiques et hypnotiques particuliers. L’odeur pénétrante de l’encens, l’environnement lumineux coloré très doux et la projection vidéo de Marian Zazeela - une calligraphie évoluant d’une manière subliminale - viennent prolonger ces sensations. — {small}(Notes du programme Biennale Musiques en Scène, Lyon 2004){/small}{br}{small}Commande du : CCMIX (Centre de Creation Musicale Iannis Xenakis), Paris; Nouvelles Scenes/Le Consortium, Dijon; Musiques en Scene/Le Grame, Lyon; and MaerzMusik/Berliner Festspiele, Berlin.{br}Programmation live programming du violoncelle pré-enregistré : CCMIX, Stefan Tiedje, sous la direction de Charles Curtis et de La Monte Young{/small} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t {small}'''Just Charles & cello in The Romantic Chord in a setting of abstract #1 from quadrilateral phase angle traversals in imagic light (cello, pre-recorded cello drone, and light design)'''.{br} The evening-long work, entitled Just Charles & Cello in The Romantic Chord in a setting of Abstract #1 from Quadrilateral Phase Angle Traversals with Dream Light, is composed for Charles Curtis, cello, pre-recorded cello drones and light design. First performed in Paris and Dijon in November-December 2003. {br}Zazeela’s magenta and blue light design includes the projection of a calligraphic drawing programmed to gradually metamorphose in quadrilateral symmetry over the duration of the musical work. Much of Zazeela’s work in light and calligraphy has been grounded in concepts of structural symmetry. Abstract #1 from Quadrilateral Phase Angle Traversals is based on her Word Portraits series of drawings and neon sculptures in which she has presented names, words or ideas drawn with their bilaterally symmetrical, retrograde and mirror-inverted images, so that the abstract form of the written word may be viewed independently from its meaning. This allows the visual content of the work to be considered both apart from, and along with, the significance of the word. In Abstract #1, Zazeela turned this concept inside-out and created a pattern that is derived from and evocative of letter forms, but which does not generate known words. The projection becomes a mandala-like visual focus interweaving through time with the performance of the musical work.{br}Composed in Just Intonation, which Young defines as “that system of tuning in which every frequency is related to every other frequency as the numerator or denominator of some whole number fraction,” "Just Charles & Cello in The Romantic Chord" is set in the Dorian mode. From the early ‘60s, the Dorian mode has been one of Young’s tonal resources, providing the basis for "Young’s Dorian Blues in G", which eventually became the singular work performed by his Forever Bad Blues Band, and for "The Romantic Chord", one of the major sections of his magnum opus, '''[The Well-Tuned Piano\|DOCLMYwtp]'''.{br}While the traditional tunings of the Dorian scale in just intonation are factorable by the primes 5, 3 and 2, Young’s tunings are unique in that the tuning for Young’s "Dorian Blues in G" is factorable by the primes 7, 5, 3 and 2, and the tuning for "The Romantic Chord" is factorable by 7, 3 and 2. As the title suggests, "Just Charles & Cello in The Romantic Chord" is based on the tuning of The Romantic Chord from '''[The Well-Tuned Piano\|DOCLMYwtp]'''. Also in G, the Dorian mode of The Romantic Chord is based on the ascending Pythagorean series, C, G, D, A, E, with B-flat (the 3rd degree) and F (the 7th degree) derived septimally. The C, G, D and A are all open strings on the cello, the Pythagorean E exists as a natural harmonic on both the D and A strings, and the B-flat and F exist as natural harmonics on the C and G strings respectively. This congruence of pitches and strings delineates an inextricably inherent relationship between the tuning of the mode and the instrument. {br}{small}The new work was composed specifically for Charles Curtis, who has studied the performance technique with Young in the guru-disciple method of oral transmission over a period of years. The work is not intended to be played by other cellists unless they study it with Young in the same way.{br}"Just Charles & Cello in The Romantic Chord in a setting of Abstract #1 from Quadrilateral Phase Angle Traversals with Dream Light" was created under a commission from a consortium of four European organizations: CCMIX, Paris; Nouvelles Scenes/Le Consortium, Dijon; Musiques en Scene/Le Grame, Lyon; and MaerzMusik/Berliner Festspiele, Berlin. The commission was initiated by the CCMIX (Centre de Creation Musicale Iannis Xenakis) and its director, Gerard Pape. Utilizing pre-recorded cello samples played by Charles Curtis, the CCMIX realized a "live" computer part to facilitate real time manipulation of the cello drones. This program was written by Stefan Tiedje, musical assistant of the CCMIX, under the direction of La Monte Young and Charles Curtis, who was in residency at the CCMIX Paris in November for the realization of the program. The CCMIX is responsible for the sound production of the work for all of the world premiere performances in Europe.{br}{br}''The first performances of Just Charles and Cello were maybe just shy of three hours, and little by little I was emboldened to play longer and push things and expand, and naturally that led to these discussions. But the main thing here is the intonation. La Monte himself, as a singer of raga, has unbelievably pure, exact intonation, and that's been the main substance in our work together over the years, working on just intonation. There are challenges of playing exactly in tune with prerecorded drones of sustained cello notes – in the case of the solo piece – and hitting them so that they meet with absolutely no interference or discrepancy. Obviously it's close to impossible. It's one of the things that La Monte's music is fundamentally about. The drones are actually played with a sine wave so that they are absolutely in tune, as a reference, a guide note. You don't hear the sine wave, but I'm playing with it to make sure I'm smack on, in the pre-recorded cello tones. In performance, these are played back in particular groupings of one note, two notes, 17 notes, etc., and I play all of this elaborate material in relation to those drones.{br}In the earlier performances, my intonation was probably quite good, and there was an audible process of dialing it in (which can be very beautiful, listening to the performer bring the note right into focus and then holding it), which led to the performances being more restrained, because the process of searching for the pitches was more out in the open. You were hearing the searching, the looking for the notes. That led to another phase of more experimentation, more elaborate figuration and pattern. During the third phase of performances of the piece, I was rehearsing with La Monte as usual, and he was extremely encouraging, saying, your intonation is so good now that you're not searching for these notes, you're finding them. It was kind of a breakthrough, which I took to mean something a little bit like, this piece is now becoming yours, and you can go on with it. You are becoming one with the piece.'' — (Charles Curtis, 2010){br}{br}Sources : http://www.melafoundation.org/paris_2003.htm {br}http://www.melafoundation.org/justcharles_2004.htm {br} http://www.melafoundation.org/cc.htm {br}http://www.paristransatlantic.com/magazine/interviews/curtis.html {br}http://www.diapasongallery.org/archive/2005/05-10.html {/small}\| {br}{br} {html} <TABLE BORDER=0" WIDTH="100%" style="background-color:#CCCCCC;"> <TR> <TD> <small>LA MONTE YOUNG<br>JUST CHARLES & CELLO IN THE ROMANTIC CHORD (2002-2003)<br>(excerpt 15mn, unofficial live recording gleaned on the web)</small><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/lamonteyoung/2003_LMY_JustCharles.mp3&bgcolor=FFFFFF&showtime=1&autoplay=0&autoreplay=0&volume=100" /> </object> </TD> </TR> </TABLE> {/html} {br}{br} * {small}'''Performances''' :{/small} {small}Théâtre Molière - Maison de la Poésie, Paris, 16 & 19 nov 2003{/small} {small}Théâtre du Parvis Saint Jean, Dijon, 5 dec 2003{/small} {small}Festival Les Subsistances, Biennale Musiques en Scène, Lyon, 17 mar 2004 — [programme\|http://archive.grame.fr/Biennale/MES2004/fichiers/evenements_musicaux.pdf]{/small} {small}Haus der Berliner Festspiele, MaerzMusik 2004, Festival für aktuelle Musik, Berlin, 22 mar 2004 — [programme\|http://archiv.berlinerfestspiele.de/presse/mm04-pressemappe.pdf]{/small} {br}{br} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/lamonteyoung/2003_justcharles_1.jpg]{br}{small}{cap}Charles Curtis, Dijon (F) — Photo by Uli Schaegger, 2004.{/cap}{/small}\| {br}{br} {br}{br} ----
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