CARDEW TREATISE SCORE PDF

Treatise is a musical composition by British composer Cornelius Cardew (– 81). Treatise is a graphic musical score comprising pages of lines, symbols, . Cornelius Cardew ( – ) was a British music composer, who worked as an assistant for Karlheinz Stockhausen for three years. In October flautist Petr Kotik’s QUaX Ensemble gave a performance of Cornelius Cardew’s graphic-score masterwork Treatise in Prague and, happily for us.

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This historical recording offers a unique perspective to hear Treatise as interpreted by Cardew’s contemporaries. From the Depth of Silence: Trackbacks […] The Beauty of Indeterminacy. Curiously, Cardew did not withdraw Treatise from publication despite his repudiation.

Cardew draws the conclusion that an improvisation cannot be scored or recorded within out some loss occurring because of the absence of this structure. If you teeatise a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.

He suggests that a sudden absence of notation might leave a performer feeling abandoned.

Treatise Handbook

The tapes have been carefully restored and remastered, but there’s still plenty of vintage analogue airiness to the sound. Skip to main content. Mainly the Visual Aspects,” Tempo Cardew has noticed that well trained musicians that can over-interpret the work Treatise in the sense that they might attempt to literally read the score in a method as close as possible to a reading of standard western notation.

On 11th March 65 for example, Cardew was obviously thinking about the score while reflecting on the central black line that runs throughout the piece with only the occasional break; Treatise: Cardew refers to Wittgenstein again and quotes him equating the logical structure of recorded music to the logical structure of a score. Herbert Bayer was a prolific graphic designer and typography designer who also worked as a…. Improvisation is a language spontaneously developed amongst the players and between players and listeners.

Training is substituted for rehearsal, and a certain moral discipline is an essential part of this training. As such, performances of this work will naturally reflect the interpretation of its performer s more than necessarily the score as a traditional composition. At the bottom of each page Cardew has included a double staff, which implies that this is a linear musical score to be read from left to right. In writing this score, Cardew has taken great care to not suggest ways in which it should be read or interpreted by performers of the work.

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Your email address will not be published. Any number of musicians using any media are free to participate in a ‘reading’ of this score German graphic designer and painter Anton Stankowski – worked on the possibility of…. Written between andthe composition is made up of a graphic musical score of pages in a visual language invented by the author and completely distant from conventional music notation.

You ask Keith Rowe. The Beauty of Indeterminacy. This October recording of the work – not the complete score, as Petr Kotik’s liner notes here make clear it would have been nice to know which pages were performed Bil Smith 22 February at Gramophone’s expert reviews easier than ever before.

Simplicity is highlighted as the most appealing virtue. The composition should be improvised by any number of performers on their choice of instruments or non-instruments and the score should be used as a guide to the performance. Preparedness is defined as a delicate balance. The all-time greats Read about the carxew who changed the world of classical music.

The Beauty of Indeterminacy. Graphic Scores from “Treatise” by Cornelius Cardew – SOCKS

But it is composed according to musical principles and is intended to serve as a score for musicians to play from. As with many graphic scores I feel that interpretation of the score is best carried out by performance rather than by written critical analysis. Connected with this is the proposition that improvisation cannot be rehearsed.

Remember that no meaning is yet attached to the symbols.

And, although Treatise has often attracted free improvisers, we’re definitely not talking anything goes n’importe quoi I have serious doubts about some of the other available recordings of the work, though ; you can hear the players thinking, both in the long stretches of silence and in their explorations treaitse instruments “none of us really knew how to play. It was written in stages over a period of four years and completed in However, a simplistic musical expression must also subtly express how it was achieved.

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Depicting Process through Forms: Learn how your comment data is processed. Leave a Reply Cancel reply Your email address will not be published. Distinguish symbols that enclose space circle, etc. The graphic richness of the score and its resemblance to abstract composition allow the piece to exist also as a purely visual work.

Kotik met Cardew in Warsaw inand they began exchanging scores by mail, including Treatisewhich was a work in progress. We worked regularly over a long period of time, ending up with a 2-hour version of the piece Other forms also share the score; for example there is a very large black disc on page and similar smaller discs and partial discs on surrounding pages. Treatise is a long continuous drawing — in form rather similar to a novel.

The chapter entitled Treatise: It would be easy to lampoon the period trimmings: His thoughts resonate with a raw earthiness appropriate to the score. Rather like in the 6-day cycle race when you sling your partner into the next lap with a forcible handclasp.

The Beauty of Indeterminacy. Graphic Scores from “Treatise” by Cornelius Cardew

Gramophone products and those of specially selected partners from the world of music. Works by Anton Stankowski – German graphic designer and painter Anton Stankowski – worked on the possibility of…. He describes his experimentation as a member of the improvisatory group AMM. It’s abundantly clear that the musicians were grappling with something difficult here, and that they’d spent some considerable time preparing their performance. Sometimes they land themselves in a cul-de-sac; more often they jump with an ecstatic leap of collective faith towards bold new freedoms.