A diverse set of artist interpret a random page from Cornelius Cardew's "Treatise", using the score alone with each artist unable to hear what the other participants were playing, which Spool label-leader Daniel Kernohan assembled into these 10 incredible audio tracks, each roughly 4:35 long, in a great interpretation of Cardew's (in)famous work.
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Catalog ID: Spurn 1
Squidco Product Code: 24332
Packaging: Cardboard sleeve
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1. p. 16 (gr) 4:36
2. p. 35 (bw) 4:35
3. p. 70 (sc) 4:35
4. p. 92 (sc) 4:35
5. p.101 (pb) 4:35
6. p.102 (am) 4:37
7. p. 109 (vs) 4:35
8. p. 165 (bl) 4:35
9. p. 172 (pd) 4:35
10. p. 192 (ck) 4:34
Organized Sound and Sample Based Music
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sample the album:
"Pages from Cornelius Cardew's Treatise are randomly selected. Each musician interpreted their page(s) from the score alone, unable to hear what the other participants were playing. The tracks were then assembled with start and stop times slightly altered and mixed down by dk."-Spool
"Treatise is a musical composition by British composer Cornelius Cardew (1936-81). Treatise is a graphic musical score comprising 193 pages of lines, symbols, and various geometric or abstract shapes that eschew conventional musical notation. Implicit in the title is a reference to the philosophy of Ludwig Wittgenstein, which was of particular inspiration to Cardew in composing the work. The score neither contains nor is accompanied by any explicit instruction to the performers in how to perform the work. Cardew worked on the composition from 1963 to 1967.
Although the score allows for absolute interpretive freedom (no one interpretation will sound like another), the 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. There are, however, almost infinite possibilities for the interpretation of Treatise that fall within the implications of the piece and general principles of experimental music performance in the late 1960s, including presentation as visual art and map-reading (Anderson 2006).
Subsequently Cardew embraced Maoism and wholeheartedly repudiated this and other works of his avant-garde period. A savage indictment of Treatise may be seen in a speech delivered by Cardew at the 'International Symposium on the Problematic of Today's Musical Notation' held in Rome in October 1972, as transcribed in his highly polemical book Stockhausen Serves Imperialism (1974), available in PDF format at UBUweb."-Wikipedia
• Show Bio for Vergil Sharkya
"Vergil Sharkya'. Residence: Montréal, Québec. Composer, Performer (synthesizer)
In 2010 Vergil Sharkya' finished a major research project in composition for his doctoral degree at Liverpool's John Moores University, developing a complete theory of hypercomposition, featuring as well examples of its practical application.
His most recent hypercomposition - aTTAK, for piano, suspended toy piano, and digital instruments -, was commissioned for and performed at the opening of the Aufbau Haus, Berlin, in September 2011.
Vergil is also a well established composer/musician in the fields of improvised music, multimedia installations, post-modernist composition, scores and soundtracks for film, theatre and dance, composition and arrangements for orchestras, soundscapes, psychedelic noise rock, drum'n'bass, dub, and even academic research.
He has released several recordings on various labels like Cuneiform Records, UKsupersonict and VergilReality Recordings.
Since moving to Montréal in July 2010, he has been working mainly but not exclusively in the field of improvised music with musicians such as Jean Derome, Michel F Côté, Simon Pagé, Augustus Martin, Ellwood Epps, Philippe Battikha, as well as with writers Martin Lamothe, and Serge Rivest Martimots. He currently spends his spare time cooking, doing housework for his lovely family and learning how to play jazz."-ActuelleCD (http://www.actuellecd.com/en/bio/sharkya_ve/)
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