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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He suggests that a sudden absence of notation might leave a performer feeling abandoned. Gregory Battcock New Cardfw Improvisation is a language spontaneously developed amongst the players and between players and listeners. If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.

Cardew Treatise |

Simplicity is highlighted as the most appealing virtue. Skip to main content. Scoer all-time greats Read about the artists who changed the world of classical music. Treatise Cardew is a graphic score by Cornelius Cardew. The work appears to be a collection of abstract markings and shapes that evolve over its pages.

Forbearance is the permissive characteristic required of an improviser in order to allow the music to exist.

Treatise Handbook

Mainly the Visual Aspects,” Tempo The tapes have been carefully restored and remastered, but there’s still plenty of vintage analogue airiness to the sound. He goes on to describe improvisation as a trratise between performer, audience and music that is lodged within the time-span of its performance. We worked regularly over a long period of time, ending up with a 2-hour version of the piece Not so sure I like it much, but, if “every honest utterance makes sense” Cardewit certainly has its place here along with Kotik’s squeaking trumpet played with a bassoon reed and bouncing ping trewtise balls.

Treatise is a musical composition by British composer Cornelius Cardew — It was written in stages over a period of four years and completed in Alternatively it could allow forms of improvisation. Selflessness is included to highlight the performers required concern for the work rather than the documentation of it. The score is not accompanied by any explicit instructions to the performers in how to perform the work, or what sound-producing means are to be used.


Bil Smith 22 February at Depicting Process through Forms: Sometimes they land themselves in a cul-de-sac; more often they jump with an ecstatic leap of collective faith towards bold new freedoms.

Cardew refers to Wittgenstein again and quotes him equating the logical structure of recorded music treatis the logical structure of a score. Retrieved from ” https: Please feel free to write us if you notice misattributions or wish something to be removed.

Working notes treafise a chronologically arranged collection of personal notes made by Cardew during the years he spent writing the score from to Connected with this is the proposition that improvisation cannot be rehearsed. The composition should be improvised by any number of performers on their choice of instruments or non-instruments and the cardsw should be used as a guide to the performance.

Although the score allows for absolute interpretive freedom no one interpretation will sound like anotherthe work is not normally played spontaneously, as Cardew had previously suggested that performers devise in advance their own rules and methods for interpreting and performing the work. Implicit in the title is a reference to the philosophy of Ludwig Wittgensteinwhich was of particular inspiration to Cardew in composing the work.

It is apparently only meant to indicate that the graphic elements are musical, not purely artistic, in character. 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.

File:Cardew Cornelius Treatise pdf – Monoskop

Animated electronic realization of “Treatise” by Shawn Feeney. Tilbury says of this performance: Remember that no meaning is yet attached to the symbols. However, Cardew allows resemblances to occur only as a reminder of the treatisr musicality.


Subsequently Cardew embraced Maoism and wholeheartedly repudiated this and other works of his avant-garde period. 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. Kotik met Cardew in Warsaw inand they began exchanging scores by mail, including Treatisewhich was a work in progress. Now Kotik scire Mode Records boss Brian Brandt have remastered this precious piece of history and it sounds very good indeed: 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: You ask Keith Rowe.

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

During the instrumentation of the group expanded far beyond saxophone, piano, violin and guitar. Herbert Bayer was a prolific graphic designer and typography designer who also worked sxore a…. Cardew says the performer with this virtue will live; …like a yachtsman to utilise the interplay of natural forces and currents to steer a course.

However, indications of sounds, noises, and musical relationships do not figure in the score, which is purely graphic… Each player interprets the score according to his own acumen and sensibility. This October recording of the work – not the complete score, as Carsew Kotik’s liner notes here make clear it would have been nice to know which pages were performed Treatise is a graphic musical score comprising pages of lines, symbols, and various geometric or abstract shapes that largely eschew conventional musical notation.

Towards the end of the score many thin lines divide and sub-divide giving tree-like appearances.