Cardew_Cornelius_Treatise_pdf (file size: MB, MIME type: application/pdf). Expand view. File history. Click on a date/time to view. Treatise & Treatise Handbook, By Cornelius Cardew – Download as PDF File . pdf), Text File .txt) or read online. Treatise & Treatise Handbook, By Cornelius. This new book contains the collected writings of Cornelius Cardew including The Treatise Handbook, The Tigers Mind score, Towards an Ethic.
|Published (Last):||17 March 2006|
|PDF File Size:||11.35 Mb|
|ePub File Size:||9.72 Mb|
|Price:||Free* [*Free Regsitration Required]|
From here, I hypothesized, one might begin to theorize the gaps between notation and performance that Hhandbook so relentlessly interrogates. By that I do not mean cardes they are fundamentalists; they frequently adjust the meaning of the symbols in context, e. This interpretation consistently respects the lifeline which divides the ensemble orchestrationally — cello and clarinet above, piano and electronics belownumbers which signify repeated tutti chordscircles performed exclusively by the percussionistand the rough left-to-right order of the symbols.
These tempi can therefore be considered to be moderate.
A Young Persons Guide to Treatise
That puts Beethoven and the rest in perspective! Media Library Cardee is the relevant way of speaking about Treatise? 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 handbooi a light-hearted but fundamental insight: CardewA line or dot is certainly an immediate orientation as much as a thread in the fog.
It resumes in p. In Treatisethe distinction is turned on its head; a voyage of self-discovery is neither incidental nor a telos in itself, but rather an ineluctable consequence of performing the piece with integrity, whatever that may mean for each performer.
Whereas semantic vagaries in many scores for improvisers lacking conventional notation 2 or comprehensive written legends can be partially resolved by consulting the composer or cirnelius practice, Treatise makes a feature of, and perhaps depends on, interpretive murk.
This episode continues through p. But it is always ambiguous.
Formats and Editions of Treatise handbook : including Bun no. 2 [and] Volo solo 
Such questions reveal how the exercise of comparing Treatise recordings pointed directly back at my own assumptions and methods, rather than revealing the nature of Treatise itself.
Introduction “Bear in mind that parts of the score may be devoid of direct musical relevance. A noble intention, this communion, but how has it worked in practice, if at xornelius However they tgeatise to codes of translation long enough for the erratic nature of the visual material to render a consistent interpretation awkward or problematic.
For instance the five-line musical stave is constantly in evidence in all shapes and sizes. But the impacts of the two performances are strikingly different. As I suggested in the previous section, the tempi of many recordings defined by the duration of cardee, rather than by pulse are closely connected to the audible presence of their symbolicity. A few examples should suffice to show this problem:. The nature of these sections emerged quite late in the process of assembling A Treatise Remix ; rather than forming part of a centralized plan, the sections themselves were also a consequence of negotiating material, form, and performer choice — a long-term improvisation also implicit in cornrlius page selection.
Divide the musicians into those involved in dot events percussionists and pianists? But the presence of some symbols remains audible, emerging and receding over time in function of the ongoing improvised musical development. This precise interpretive strategy was arrived at collectively during rehearsals. A brief comparison of recordings by VC and solo pianist James Ede suggests why.
Although I was unable to find any direct correspondences between the score and the interpretive content other than a short Luftpause toward the end, I continued to sense that what I was hearing could or should correspond because the pacing of the music was comparable with the density of visual hxndbook in the score: Their visual-semiotic meanings change frequently, as for example when a circle acts as a geometric motif on one page, and becomes a musical note on the next.
In the process of realizing A Treatise Remix I not only learned the score of Treatise — I also relearned and perhaps even de-learned myself. With no hard and fast rules there were as many different and conflicting ideas as there were members of the group.
Flipping through the score from beginning to end, I carcew the path of a narrator drifting through relationships with shapes, figures, and numbers who come and go; traveling through natural, industrial, and psychological landscapes of all sorts; and, despite obstacles and momentary destruction, moving on. These rules result in a contrapuntal ebb and flow between the layers.
Had I limited my study to extant recordings and the discourse around the piece, I would have most certainly habdbook in the negative.
Dot events to be exclusively soft. We had all worked together in some capacity beforehand, but never in this particular quartet constellation; thus, a certain balance of compatibility and uncertainty was promised, both internally and with respect to the score.
This would render the following sequence: If the journey were narrated from the outside, in third person, we would see twists and turns that the page could not contain. All right-justified quotes are taken from Treatise Handbook.
This happened to me repeatedly when first listening to fast paced performances of many pages — even to cagdew symbolic readings such as VC.
Given this unruly tangle, my initial strategy to layer them in a meta-interpretative collage was bound to be messy. VC work on their approach within the performance; it gives the music a tension and richness that eclipse the aesthetic surface. Recordings of Treatise For my analysis of various recordings of Treatise, see this post on my blog: Hannafin dwells within the circles on the page so long that the circle-ness of the page becomes a constant and recedes into the background.
These solos were later treated in the mixing process as wild cards, elements that could be dropped into the master plan where I hhandbook. How do you musically interpret a square, a circle, or an object which looks like a treatide car?
Its long historical shadow, and the variety of ways performers have dealt with its notation, make it uniquely suited for such an inquiry. Another simple but significant case of this feedback was the inclusion of particular pages in Section II.
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. The Philosophy of Corenlius.
Of course you can let the score work on previously given material, but you must have it work actively. They also assign particular types of sounds hissing, phonemes, clapping, etc. These versions can be described as having an inspirational, atmospheric, or subjective connection to the score, with no apparent deferral to the concrete notated symbols. I, the director of the project, knew the piece well from the outside but had never played it. These are, of course, simultaneous readings they always are.