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Cornelius Cardew (1936),
ex-assistente di Stockhausen a Colonia (1958-60), di Petrassi a Roma
(1963-65) e di Cage in America, fu autore di lavori monumentali per
il Centre For Experimental Music da lui fondato a Londra e di
esecuzioni penetranti di improvvisazione libera con il gruppo AMM
(dal 1966 in poi), ma una progressiva presa di coscienza marxista lo
spinse a ripudiare prima i suoi maestri e poi persino se stesso,
accusando tutti di essere complici del Sistema. Cosi' il suo
capolavoro, The Great Learning (1968) per coro di
non-cantanti, in cui gli esecutori possono compiere qualsiasi rumore
con la bocca purche' non sia musicale (influenced by John Cage's
principles of indeterminacy) non andrebbe neppure citato (a 7-hour
composition, based on the Confucian classic). |
| And, in
fact, the monumental Treatise (1967), whose score is a
193-page manual of instructions, was only performed posthumously in
1998.
Chamber Music 1955-64 - Apartment House (Matchless) is a
retrospective of early compositions.
AMM released AMMusic (Elektra, 1966 - Matchless, 1994),
An Afflicted Man's Musica Box (United Diaries, 1982), which
contains a 1967 recording, and The Crypt (Matchless, 1981), a
1968 session.
AMMusic, featuring Cardew on piano and cello, Lou Gare on
tenor saxophone and violin, Eddie Prevost on percussion, Keith Rowe
on guitar, Lawrence Sheaff on cello, accordion and clarinet (and
three of them also on transistor radio), contains six improvisations
(including a ten-seconds track of silence titled Silence),
but the three lengthy ones are the most representative. They have no
beginning and no ending: the recording is just a "sample" of the
performance. Later During A Flaming Riviera Sunset displays
the two fundamental dimensions of the music: on one hand, cello and
violin vibrate like John Cale's viola in LaMonte Young's ensemble,
thus creating a continuum of sound, and on the other hand, random
piano notes and various noises pop up in no rational configuration.
Occasionally, the two streams of sound resonate with each other, but
most often the former serves as the "river bed" for the other. In
The Realm Of Nothing Whatever is free-form electroacoustic
chamber music (the "electro" part being due to the radio
frequencies), which predates the most radical experiments of
Chicago's creative improvisers, with all the instruments in a peer
role. The sounds are less "sporadic" and pointillistic in After
Rapidly Circling The Plaza. They tend to drone and interact.
They become layers of a texture rather than characters of a drama.
The effect is one of an indulgent, cancer-like, cannibalistic
bacchanal. Each of the three main pieces toys with a different
structure/process. All three exhibit the same inherent flaw: the
music, by definition, has no beginning and no ending, thus it goes
nowhere. |
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Cornelius Cardew (1936),
ex-assistente di Stockhausen a Colonia
Nel 1969 Cardew formo' la Scratch Orchestra, un ensemble aperto
per la rappresentazione di musica d'avanguardia ispirato a principi
maoisti, con la quale si dedico' fino alla morte a forme piu'
popolari di folk militante (come nelle Thalmann Variations
per pianoforte su temi di canzoni politiche). Per controllare che la
Scratch Orchestra si attenesse ai principi maoisti, Cardew istitui'
(con ragionamento tipicamente paleo-comunista) anche uno Scratch
Orchestra Ideology Group.
Keith Rowe, Eddie Prevost, Cornelius Cardew, Gavin Bryars and
many other composers and free improvisers created the Music Now
Ensemble that recorded Silver Pyramid (1969).
We Only Want The Earth (Musicnow, 2002), Four
Principles On Ireland and Other Pieces (Cramps, 1974 -
Ampersand, 2001), We Sing For The Future (New Albion)
raccolgono musiche d'ispirazione Maoista.
AMM has subsequently released: To Hear You Back Again
(Matchless, 1974), recorded by the duo of Lou Gare and Eddie
Prevost, It Had Been An Ordinary Day In Pueblo (Japo, 1979),
recorded by the classic trio of guitarist Keith Rowe, percussionist
Eddie Prevost and keyboardist John Tilbury, Generative Themes
(Matchless, 1982), Combine and Laminates (Pogus), recorded
live in 1984, AMM: Inexhaustible Document (Matchless, 1987),
Nameless Uncarved (Matchless, 1990), recorded live in 1990,
Vendouvre Ambient Isolationism (Virgin, 1993),
Newfoundland (Matchless, 1994), Live In Allentown
(Matchless, 1996), Tunes Without Measure Or End CD
(Matchless, 2001), Fine (Matchless, 2001),
|
| AMM's
Tunes Without Measure Or End CD (Matchless, 2001) documents a
live 2000 performance. Their collaboration with Formanex
(Fibr, 2003) is a tribute to Cardew's Treatise (1967). AMM's
At the Roundhouse (Anomalous, 2004) documents a 1972
performance.
Cornelius Cardew died in 1981 in a car accident. |
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da xxx)
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