Cartridge Music was composed in 1960 and is one of Cage's earliest attempts to produce live electronic music, here realized at a live performance at the Audiograft Festival in Oxford in February 2012.
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Label: Another Timbre
Catalog ID: at57
Squidco Product Code: 17494
Packaging: Cardstock gatefold foldover
Recorded by Simon Reynell on February 29th, 2012 at the Audiograft Festival.
Alfredo Costa Monteiro
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1. Cartridge Music 36:50
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"Cartridge Music was composed in 1960 and is one of Cage's earliest attempts to produce live electronic music, here realized at a live performance at the Audiograft Festival in Oxford in February 2012.
Cartridge Music was composed in 1960 and is one of Cage's earliest attempts to produce live electronic music.
Sounds are produced using cartridges from record players. Performers insert different objects into the opening of a cartridge, and manipulate them in a variety of ways (scraping, touching, striking etc) so that the sound of the object is picked up by the cartridge and then fed to an amplifier and speaker. The choice of objects and means of manipulation are left entirely to the musicians, the score providing only the means to determine a time structure for each performer. The score consists of a number of transparent sheets on which patterns are drawn. Each musician superimposes the transparencies and works out their particular time structure by observing the ways in which the drawn lines and patterns on the sheets intersect.
The realisation on this CD was recorded at a live performance at the Audiograft Festival in Oxford in February 2012."-Another Timbre
Another Timbre Interview with Stephen Cornford::
Why were you interested in realising Cartridge Music?
It's certainly a favourite piece of mine among Cage's compositions. I remember spending one evening when I lived in Devon listening to three realisations of it back to back, the Cage & Tudor LP, the recent Wandelweiser CD, and the under-appreciated one by Mario Bertoncini on Edition RZ. So as a piece I've been fascinated with it for a while. It's a composition whose character is defined by its unique instrumentation (like Christian Wolff's Stones or Cage's own Branches), which now seems like a somewhat dated idea, but the instrumentation is also very contemporary - it's very relevant to the approach of a lot of contemporary electronic improvisers even though not many people actually use cartridges. Listening to the realisations that are available, some of which are horrible (the Mode CD, for example) and some of which are astounding, I actually thought there was a lot of potential for a group of contemporary players to bring something new to the piece. I'm not sure whether that has completely materialised on this CD, but in places I think it has.
For me your realisation does 'bring something new' to the piece, but - paradoxically - by returning to the spirit and technology of some of the earliest realisations. I see it as a fundamentalist interpretation: going back to using actual record cartridges (as opposed to piezo discs, which many recent realisations do), and also through its uncompromising, almost brutalist soundworld, which refuses any kind of narrative or unity of mood. Were you consciously trying to reconnect with the original spirit of the piece?
From my perspective using piezos for this piece is both crazy and lazy. They have a completely different, and much less appealing, frequency response to cartridges and they give you a consistent and reliable output, whereas cartridges are actually quite difficult to use in the manner that Cage intended, which adds a layer of unpredictably even from the perspective of the performer. As minute adjustments in the position of the amplified object make a massive difference to the volume and clarity of the sound, it becomes hard to predict the sound that each gesture will make and, as I see it, this is what makes it Cartridge Music and not Piezo Music.
But having said that, personally no, I wasn't interested in re-connecting with the original spirit. I thought we should be rigorous about our interpretation of the score, but I was hoping that by choosing players who are known for their inventive approaches to amplification and electronics we would be able to extend the language of the piece away from the predominantly friction based gestures that people have used in the past.
Can you spell out what 'being rigorous' about interpreting the score meant?
When I wrote 'rigorous' I'd actually forgotten just how thorny an issue this is with this particular score. Obviously interpretation is always an issue with indeterminate works, but here before you even get to interpretation you have to untangle Cage's description of the rules which, while it is meticulous, is still not entirely clear on first reading. So rigour in this case was at times more about trusting in your understanding of the score and then applying your interpretation of Cage's words unflinchingly. I think the trick for me personally was to clearly delineate between the decisions I am making and those that are made for me, and in this case the player should be making almost all the decisions about content but the framework should entirely be derived from the score.
You spent a weekend with six of the musicians rehearsing a couple of months prior to the performance at the Audiograft Festival. What did you learn from the rehearsal weekend?
I think the most important thing that I learnt was that when you make a decision while playing this piece to stick with it. Having worked with sound in predominantly improvisational contexts I had become used to working with sounds in relation to other players, to thinking about performance as relational. The structure of this piece both suggests that this approach is applicable but simultaneously expels the possibility of it really working. The vast majority of gestures are well under a minute long and with seven players the sound world can spin abruptly in unknown directions, so a quiet sound imagined in a moment of subtlety can suddenly become lost and vice versa. But over the course of the weekend this became the defining character of the piece and something that I increasingly embraced, and I even began to take some pleasure in trying to throw sounds into the piece which were out of place if it seemed too aesthetically coherent.
Yes, challenging 'aesthetic coherence' does seem to be part of the piece. It makes it fascinating to listen to, but also quite hard work over an extended period. I was struck by the musicians' decision to reduce the length of the realisation from 45 to 37 minutes between the time of the rehearsals and the performance.
I think this is all a matter of how you listen to it. If you go in with expectations of traditional musical relationships between players and a discernible structure then of course you will find it challenging, because Cage has made damn sure that achieving this is impossible. And I think as time has passed this has actually become a bigger problem. When it was composed the very idea of music sourced from toothpicks and springs was likely so novel that it did something to shift expectations, but in the last 20 years this approach to amplification has become so heavily codified (some of which by musicians on this disc, and releases on Another Timbre) that now there is an expected language in the mind of many listeners when they see the instrumentation and players, which makes me sympathise with Cage's famous dislike of improvisation, because it leads to a certain conservatism and what you hear on this disc (and even more so in some of the recordings from the December session) is one of the possibilities created by removing the players' notions of structure and replacing it with seven subjective readings of a score which is as legible as tea leaves. And then you find that even if the instrumentation has become fairly mundane the piece is still radical.
But all that said, none of us wanted it to become an endurance test for the audience, and having listened back to the previous versions we were all aware that just those eight minutes makes quite a beneficial difference to the perceived length of the piece as a live performance.
• Show Bio for Stephen Cornford
"Stephen Cornford is an audio-visual artist working between installation and performance. His practice is concerned with reconfiguring consumer electronics as expressive and reflective devices. He studied at The Slade School of Fine Art and Dartington College of Arts and is currently a PhD candidate at Winchester School of Art with Jussi Parikka and Ian Dawson.
Stephen has had solo exhibitions in Tokyo, Berlin, Brighton, Bergen, Ljubljana & London and his work has been included in group exhibtions at the ZKM Center for Art & Media, Karlsruhe; ICC, Tokyo; Haus der Electronische Kunst, Basel; Sigma Foundation, Venice and at Bienalles in Lodz and Poznan.
He is co-director the Audiograft Festival in Oxford and the Consumer Waste record label and is a founder member of Bristol Experimental and Expanded Film.
His audio work has been published by Rumpsti Pumsti, VLZprodukt, Senufo Editions, MoTA, Winds Measure, 3leaves, Vitrine, Mantile and Accidie and he has collaborated with Ben Gwilliam, Patrick Farmer, Daniel Bennett and Samuel Rodgers among others."-Stephen Cornford Website (http://www.scrawn.co.uk/info.html)
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• Show Bio for Alfredo Costa Monteiro
"Alfredo Costa Monteiro was born in 1964 in Porto (Portugal)
Lives and works in Barcelona, Spain.
He studied sculpture/installation at the fine art school in Paris with Christian Boltanski.In 1992, he moved to Barcelona. Since then, his work stands somewhere between visual arts, visual poetry and sound. His installations and sound pieces, all of a low-fi character, have in common an interest for unstable processes, raw materials and gestures, where the manipulation of objects as instruments or instruments as objects has a strong phenomenological aspect.
From 1998 to 2006, he was member of espai 22a, an independent collective for contemporary art. From 2001 to 2006, he was also member of IBA col.lectiu d'improvisació
In sound poetry, he performs in solo polyglot and noise pieces ( portuguese, french and spanish), where sound establishes a different semantics.
Ongoing sound projects: Cremaster (with Ferran Fages), i treni inerti (with Ruth Barberán), Atolón (with Ferran Fages and Ruth Barberán), Astero (with Juan Matos Capote), 300 basses (with Jonas Kocher and Luca Venitucci) and duos with Pascal Battus, Tim Olive and Michel Doneda.
He has given workshops at Hangar (Barcelona, Spain), ESDI (Barcelona, Spain), Janácek Academy of Music and Performing Arts (Brno, Czech Republic), Arteleku (San Sebastián, Spain), Facultad de Bellas Artes, (Pontevedra, Spain), ESAD (Caldas da Rainha, Portugal), Crossroads during John Cage's Year, (Lublin, Poland) among others.
He has toured in Canada, Japan and Europe."-Alfredo Costa Monteiro Website (http://www.costamonteiro.net/index.php?/bio/)
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• Show Bio for Ferran Fages
"Ferran Fages (1974, Barcelona, Catalunya)
Ferran Fages is an improviser and composer, and an international reference in the sphere of electroacoustic improvisation. Since the end of the 1990s, he has published over fifty discographic references on national and international labels. He has undertaken tours, performed concerts and led workshops around Europe and South America as well as in Canada and Japan.
He plays guitar, resonant objects, acoustic turntable and electronics: "feedback mixing board", pick-ups and oscillators.
From 1999 until 2006 he was a member of the IBA col·lectiu d'improvisació, with whom he organised over one hundred concerts as well as the festivals Improvisa (2000-2003) and the Experimental Music Week at Metrònom (2005), among others.
Besides his projects, he has shared a stage and made collaborations with musicians such as Christine Abdelnour, Sophie Agnel, Núria Andorrà, Derek Bailey, Pascal Battus, Tom Chant, David Chiesa, Albert Cirera, Sébastien Cirotteau, Angharad Davies, Rhodri Davies, Michel Doneda, Axel Dörner, Lluïsa Espigolé, Agustí Fernández, Jean-Philippe Gross, Will Guthrie, Robin Hayward, Barbara Held, Jason Kahn, Martin Küchen,Eduard Márquez, Wade Matthews, Mattin, Manuel Mota, Ivan Palacky, Ramon Prats, Eddie Prévost, Pablo Rega, Àlex Reviriego, Ernesto Rodrigues, Alejandro Rojas-Marcos, Ivo Sans, Joan Saura, Pilar Subirà, Vasco Trilla, Birgit Ulher, Taku Unami, Nikos Velliotis, Dafne Vicente-Sandoval, Mark Wastell, Christopher Williams and Ingar Zach among others.
He has also worked with the choreographers and companies of Olga Mesa (1999), Lanónima Imperial (2003-2004), Carme Torrent (1999-2005), Ktonycia (2007), Constanza Brncic (2008-2009) and Merce Cunningham Dance Company (2009).
He has performed the following pieces of contemporary music: Guitar two, for four, by Phill Niblock (2004); Cobra, by John Zorn (2006); Meditations for Orchestra, by Pauline Oliveiros (2007); Guitar Trio, by Rysh Chatham (2007); Trio I from Trios WHITE ON WHITE, by Robert Ashley (2008); Poem 1960, by La Monte Young (2008); Diferencias familiares sobre las cuerdas, by Christopher Williams (2009); Little by Little, by Sam Sfirri (2011), and Cartridge Music, by John Cage (2012)."-Ferran Fages Website (http://www.ferranfages.net/index.php?/bio/)
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• Show Bio for Patrick Farmer
"Patrick Farmer (b.1983) is a musician and sound artist working within improvisation and composition. Commonly referred to as a percussionist, Farmer will often enlist the help of a drum or turntable to act as a resonator for natural materials or filtering field recordings. He has performed throughout Europe and America, including concerts at the ICA, Stockholm National Gallery, and The Radiator Festival. He has recently spent time as artist in residence at Q-O2 in Belgium and MOKS in Estonia, with a forthcoming residency at Soundfjord, London."-Sounds of Europe (http://www.soundsofeurope.eu/artist/patrick-farmer/)
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Cage, John (Cornford / Monteiro / Curgenven / Fages / Farmer / ...)