Treatise is a musical composition by British composer Cornelius Cardew (1936-1981). 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. Continue reading CORNELIUS CARDEW :: TREATISE, performed by the Cardew Trio, maskfest, 1.12.2010→
Delusion of the Fury: A Ritual of Dream and Delusion, A Film by MadelineTourtelot, Recorded at UCLA Playhouse 1969. Conducted by Danlee Mitchell, musician assembly Emil Richards.
Delusion of the Fury is a stage play by the American composer Harry Partch. The first draft for a new theater work for singers, mimes, dancers, and musicians, Cry from Another Darkness, was completed by Partch on December 30, 1964, and the second draft, dated January 17, 1965, was a fuller, longer, re-titled Delusion of the Fury. The work was originally conceived as a play in two acts, with a dramatic first act and a comedic second. Partch completed writing of the music on March 17, 1966. The piece employs Partch’s original system of micro-tonality, and was written for the largest assembly of his custom-made instruments used in any of his works. The instruments were an important part of the stage set.Delusion of the Fury was premiered at the UCLA Playhouse on January 9, 1969, where it was recorded for Columbia Records. This remained the only performance of the piece until it was re-staged in 2007 by the Japan Society in New York. In 2013 the piece was staged for the first time in Europe at Ruhrtriennale by Ensemble MusikFabrik under the direction of Heiner Goebbels.This production toured to the Edinburgh International Festival in 2014. It received another performance in Paris as part of IRCAM’s ManiFeste festival in the Grande Salle of La Villette on June 18, 2016. -wikipedia
CarlStone (born Carl Joseph Stone, February 10, 1953) is an American composer, primarily working in the field of live electronic music. His works have been performed in the United States, Canada, Europe, Asia, Australia, South America, and the Near East.
Stone studied composition at the California Institute of the Arts with Morton Subotnick and James Tenney and has composed electro-acoustic music almost exclusively since 1972. As an undergrad at CalArts, he had a work-study job in the Music Library, which had many thousands of LP records in the circulating collection (this was 1973). The collection included a lot of western classical music of course but also a really comprehensive world music collection, avant-garde, electronic music, jazz and more. Because the librarians were concerned that the LPs, many of which were rare, would soon become unlistenable at the hands of the students and faculty, his job was to take every disc and record it onto cassette, a kind of back-up operation. He soon discovered that he could monitor the output of any of the recordings he was making and even mix them together without disturbing the recordings. So, he began to experiment, making musical collages, and started to develop habits of combining disparate musical materials. In addition to his composition and performance schedule, he is a faculty member in the Department of Information Media, School of Information Science and Technology at Chukyo University in Japan. – wikipedia Continue reading CARL STONE :: SHING KEE, 1986→
Composer Morton Feldman’s epic, 4.5 hour long piece dedicated to his friend Philip Guston hovers in place, shimmering like a slowly revolving mobile, its langorous harmonies hanging in mid-air as they gradually evaporate. The piece was written in 1984, in memoriam to Philip Guston, who passed away in 1980. Feldman and Philip Guston were best friends until 1970, when the painter’s sudden switch back from abstract expressionism to representational painting appalled the composer so much that the two men remained estranged until Guston’s death 10 years later. For Philip Guston is one of the longest of Feldman’s serenely expansive late scores. Continue reading MORTON FELDMAN :: FOR PHILIP GUSTON – S.E.M Ensemble, 2000, 285 minutes→