RAINFOREST - Jerome Joy website

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!!!Troisième version, Rainforest III (1972) \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|tl ''Rainforest III consistait à appliquer le principe de n'utiliser aucune source sonore à envoyer dans chaque transducteur. J'ai construit un dispositif spécialement pour la performance simultanée avec John Cage (Mureau). C'était une œuvre de type variable et continuellement changeante, donc j'ai décidé de me baser sur le développement de quelque chose de continu. J'ai donc utilisé des sources sonores enregistrées (sur magnétophone) avec la possibilité de les mixer ou de les séparer pour les utiliser une à une dans différents canaux de sortie.''{footnote}{small}The third version had to deal with the ability to have any input go to any transducer. I made that system for a simultaneous performance with John Cage (Mureau). It was one of those pieces that changes all the time so I needed to have a sort of continuous thing, so I used tape sources, but having the ability to mix them or separate them into different output channels. — (David Tudor, form interview by John Fullemann 10/12/85){/small}{/footnote} {br}— {small}(David Tudor interviewé par John Fullemann 10/12/85){/small}\| '''''(à traduire)''''' — The “various taped materials” of option 4 were drawn from an extensive sound library which Tudor, Ritty Burchfield and geographer Peter Poole gathered together in 1969 and 1970 for use in EAT’s Pepsi Pavilion at the 1970 World’s Fair in Osaka{footnote}{small}"I do re-use ^[sounds that I have created^] because they never sound the same. They never sound the same. For instance, a lot of sound material that I use I collected, or caused to be collected, in 1969-70. I was programming a pavilion at Expo ’70, so I set people to work collecting sounds from biomedical laboratories, both human and animal. A lot of correspondence went on, and from that I got a library of material which I then processed electronically, but only in a primitive way. I didn’t really transform it; I sort of trimmed it to a useful material for me. And I find that I’m still using that, because that’s only an input. It depends on what kind of device is meeting it at the other end. It could sound completely different. So consequently, those tapes that I use, I no longer recognize them. They never sound "au naturel". Never.'' — Tudor, David. ''Interview with Bruce Duffie''. Chicago, April 7, 1986. Recording obtained from the interviewer, and transcribed by Matt Rogalsky. http://www.bruceduffie.com/tudor3.html {/small}{/footnote}. From the UK, Poole brought recordings of deer and birdsong. At Jet Propulsion Laboratories, recordings of satellite data communications were gathered. A US Navy laboratory in California provided recordings of neural activity. Some of the first recordings of whale song were also included. Some sounds were recorded by the team including a vivid one of mosquitoes in a jar. The tapes had to be “rescued” when PepsiCo decided they would take over control of their pavilion from EAT. Peter Poole recalls a 3 AM phone call from artist Robert Whitman saying “Gotta get the tapes out!”; they were accosted by a policeman as they threw tapes over the pavilion perimeter. Ritty Burchfield remembers smuggling other tapes out a few at a time, in the pavilion cleaners’ carts.{br}Tudor made four significant sound pieces for the Pepsi Pavilion, and the library of tapes continued to be an important resource throughout the rest of his career, appearing in numerous compositions and used as source material for Events performances with Merce Cunningham. {br}According to Tudor’s diagrams for the 1972 version of Rainforest, designed for simultaneous performance with John Cage reading his text Mureau, only four loudspeaker-objects were employed, with input from two stereo cassette decks for four separate tracks of audio source material. Pickups on the objects amplified their resonances into a four- or eight-channel conventional sound system (John Cage did not share Tudor’s system but had his own four-channel loudspeaker setup solely for his live and prerecorded vocalizations). A preparatory list of sound sources per object identifies a selection of laboratory brainwave recordings, water sounds, “vibes” (earth vibrations), and a favourite nightjar recording. A recording of the premiere performance of this version at Radio Bremen has recently been released on New World Records, and in the mix we can aurally identify other Pepsi sounds as well: a beetle walking, a wasp chewing, the mosquitoes buzzing in their jar.{footnote}{small}— Tiré de l'article de John Driscoll et Matt Rogalsky, "David Tudor’s Rainforest: An Evolving Exploration of Resonance", issu d'une présentation au symposium “The Art of David Tudor” qui a eu lieu au Getty Research Institute en 2001.{/small}{/footnote} {small}Unfortunately, the New World release of this excellent recording, documenting one of the major (and most pointedly egalitarian) collaborations between Tudor and Cage, has muddied the waters where identification of the various versions of Rainforest is concerned. Tudor’s contribution is (mis-)identified as Rainforest II, and Elliot Schwartz’s liner notes give a mistaken description of the piece, stating that Cage’s vocalizations were used as the primary input to Tudor’s loudspeaker-objects. As far as I have been able to ascertain, from Tudor’s notes and diagrams, and from available recorded evidence, that was never the case on this 1972 European tour. Schwartz’s notes read “warbling sine-wave oscillators are used for Rainforest I ... but, by contrast, Rainforest II is designed for vocal input.” I can agree with this general description, but unfortunately Rainforest II is not the version documented on the CD! ''(idem)'' {/small} \|t [../files/articles/tudor/Tudor_Rainforest2.jpg\|../files/articles/tudor/Tudor_Rainforest2b.jpg]\|t {small}a simultaneous performance by david tudor and john cage of rainforest ii and mureau, recorded live by radio bremen on may 5, 1972{br}in 1970 cage composed the piece called mureau, in which phrases from thoreau’s journals (in particular, passages which touch on the subject of music) are used as the springboard for an elaborate collage. the resultant fabric combines elements of sense and nonsense, as it veers between contextual meaning and a sort of abstract, linguistic vocalise. in cage’s public readings of mureau, he explored a number of performance variables—differences in tempo, vocal timbre, pitch, register, and dynamics. a similar range will be apparent, in fact, when listening to this recorded performance. this simultaneous performance of mureau and rainforest ii took place in a large concert hall before an audience, rather than privately in a recording studio. whereas in other performance realizations (such as their legendary indeterminacy collaboration) the two men had been placed in separate isolation booths, here the two shared the same performance space, so that each could hear and see the other person’s activity. in fact, cage and tudor sat quite close to one another at the center of the stage, cage performing mureau as a four-channel realization—one live channel against three pre-recorded tracks, all of them his own voice—and tudor actively engaged in real-time processing of cage’s vocal material, using it to generate electronic loudspeaker-filter events. (texte du livret du cd){br}{br}"John decided that it would be nice to have pieces in which we collaborated in the sense that we did simultaneous performance. Which meant I would compose a piece and he would compose a piece and then they would be performed simultaneously. So we did two such works and they were performed in very large place." — Tudor, David. ''Interview with Bruce Duffie''. Chicago, April 7, 1986. Recording obtained from the interviewer, and transcribed by Matt Rogalsky. http://www.bruceduffie.com/tudor3.html {/small}\| {br}{br} {br}{br} ----
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