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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 on instruments “none of us really knew how to play. Three versions of p. Christian Kesten voice, objectsAndrea Neumann inside pianoRobyn Schulkowsky voice, percussionand myself voice, contrabass.
Treatise handbook: including Bun no.2 [and] Volo solo – Cornelius Cardew – Google Books
However as we just saw, this excerpt can also help us understand the dynamics of Treatise performances, even fairly codified ones such as the VC and Ede recordings.
Ironically, this off-the-cuff response to conditions accumulated over the course of many months of research and tape collage assembly, a week of rehearsal with the ensemble, and two long days in the studio brought forth cronelius light-hearted but fundamental insight:.
Do It Yourself All scores for improvisers are permeable; they let contingency in and leave aspects of their internal structure to the performer. Within this thick texture, the live ensemble was indicated to play p.
However in first-person, on the ground, there is only one direction: See also “Source Material”. A few examples should suffice to show this problem:. Treatise published in Sound American 12 Wooley a, b bear this out abundantly. Both share a tempo of roughly three pages per minute acrdew proceed along unified timelines VC with the help of a conductor, and Ede alone.
The Philosophy of Improvisation. These solos were later treated in the handbok process as wild cards, elements that could be dropped into the master plan where I wished. In a consequent performance, improvisation takes place at multiple levels, not only onstage.
A Young Persons Guide to Treatise
What we do in the actual event is important — not only what we have in mind. The score seems not representational. For reasons of density described above, this section lasts for 4: Facsimile of the original typescript thesis, comb-bound This is now out of print, to be supplanted by a new book. Their crowding, interrupting, and blistering begins in the second half of p. Treatise pages 4, 13, 15 Scratch Music.
Not the exactitude and success with which a notation notates a sound; but the musicalness of the notation in its notating. Experimental Music Catalogue However they adhere to codes of translation long enough for the erratic carvew of the visual material to render a consistent interpretation awkward or problematic.
These relatively minor variables render global coordination of parts within pages somewhat unpredictable. Musical references in the notation are emphasized to a grotesque degree, but many nonmusical idiosyncrasies are apparently ignored e. Neumann had played it a few times including one intensively rehearsed concert with Keith Rowe.
Sooner or later, any consistency in the interpretation of a given element is therefore undermined. Crucially, this mapping did not define sounding results, but rather boundaries for situations in which Cornlius or the ensemble made context-dependent decisions.
CardewAmong the source material there is a wide spectrum of fidelity to the notation as symbols for sound production — from the literal to loose, and everything in between.
See excerpts from Treatise Handbook inserted throughout this text. Resisting Authority and the Cults of Scientism and Celebrity.
A line or dot is certainly an immediate orientation as much as a thread in the fog. Is improvisation always a factor in realizing Treatise with integrity? Conversely, qualities irrelevant to Treatisesuch as recording artifacts or the simultaneous sounding of a particular instrument in different ensembles, tended trratise audibly link recordings much more clearly than interpretive content.
The sounds assigned to most symbols in the score — presumably also chosen by the players themselves — are less consistent and more context dependent, varying from page to page. Frederic Rzewski is even reported to have played the lifeline exclusively in an early performance.