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	Cornelius Cardew
		Cardew was a contemorary British composer who, by the end of the 60s, became fed up with the very academic role of contemporary (serious) music and decided to involve a wider audience for what he was doing.
		Cardew was a major force behind the Scratch Orchestra, an ensemble of shifting membership and a wide range of musicianship; from professional musos to people like Eno with no instrumental skills whatsoever.
		Cardew was struck by a hit-and-run driver on his way home one evening from a tete-a-tete with his students.
	music.hyperreal.org /artists/brian_eno/cardew.html (2582 words)

	www.jazzweekly.com \| Reviews
		MRCD45-CD Alongside his status as important modern British composer Cornelius Cardew (1936-1981) was probably one of the few outrightly romantic figures in 20th century contemporary music.
		Considering that Cardew ended his life affiliated with Maoists, a group never known to have made any contribution to night club stand up, sit-coms or come to think of it, the dissemination of witty epigrams, this doesn't come as much of a surprise.
		Meanwhile, the ensemble's treatment of "Octet '61 for Jasper Johns", which puts scratched and off-pitch wrenched cello yanks in concert with arco passages, appears to be as futuristic as it is contemporary, with the original score's overlaid, embedded numbers used as a basis for improvisation.
	www.jazzweekly.com /reviews/ccardew_apartment.htm (760 words)

	U B U W E B :: Cornelius Cardew
		Cardew's magna opera to this day are two large, Cage-influenced indeterminate scores from the 1960s, Treatise (inspired by Wittgenstein's Tractatus) and The Great Learning, based on the teachings of Confucius.
		Cardew followed theory with action, and in addition to participating in frequent political activism, chaired a national conference on racism and fascism and in 1979 founded England's Marxist-Leninist Party.
		Following Caudwell, Cardew begins by attacking the notion that a composer is a "free producer," that his music is his to do with as he sees fit.
	www.ubu.com /historical/cardew/index.html (1231 words)

	Cornelius Cardew - Composer (Site not responding. Last check: 2007-11-03)
		Educated at Canterbury Cathedral Choir School, Cornelius went on to the Royal Academy of Music 1953 where he studied ‘cello, piano and composition, emersing himself in the new classical music of the time.
		Cornelius was involved in many new cultural and political activities throughout his life from
		Cornelius was always an innovator and his influence in Britain and other countries was considerable.
	www.composer.co.uk /cardew/html/about.html (243 words)

	Cornelius Cardew
		Cardew's originality was that he created out of the new aesthetic a kind of music utterly different from that of the Americans.
		Throughout the last ten years of his life Cardew grappled with this 'difficult and contradictory exercise' and it is part of the tragedy of his death that, in the opinion of many, he was on the brink of achieving a valid and meaningful result.
		Cardew did not really begin to write 'different' music in the seventies; it was always his music, which developed and changed inexorably on the basis of his activity as a committed revolutionary.
	www.users.waitrose.com /~chobbs/tilburycardew.html (7416 words)

	Cornelius Cardew - Wikipedia, the free encyclopedia
		Cornelius Cardew (May 7, 1936 – London, December 13, 1981) was an English avant-garde composer, and founder (with Howard Skempton and Michael Parsons) of the Scratch Orchestra, an experimental performing ensemble.
		In 1958, Cardew witnessed a series of concerts in Cologne by John Cage and David Tudor which had a considerable influence on him, leading him to abandon post-Schönbergian serial composition and develop the indeterminate and experimental scores for which he is best known.
		Cardew was active in various causes in the fringe of English politics and subsequently was involved in the People's Liberation Music group with Laurie Scott Baker, John Marcangelo, Vicky Silva, Hugh Shrapnel, Keith Rowe and others.
	en.wikipedia.org /wiki/Cornelius_Cardew (1286 words)

	Weekly Worker 522 Thursday April 1 2004
		Cornelius Cardew (1936-1981) was one of the great British avant-garde composers of the 20th century.
		Cardew wrote a number of exceptional pieces for the Scratch Orchestra, including his most famous work, The great learning (1968-71), based on the first seven paragraphs of the Confucian classics.
		Cardew was heavily active in the east end of London in the struggle against fascism there in the late 70s and became a victim himself when he was struck by a car in suspicious circumstances and killed on December 13 1981.
	www.cpgb.org.uk /worker/522/cardew.html (1491 words)

	U B U W E B :: Cornelius Cardew
		Cornelius Cardew was killed on the 13th December 1981, by a hit and run driver near his home in East London.
		The Cornelius Cardew Memorial concert organizing committee would like to thank the South Bank and the Greater London Council for their cooperation.
		Cornelius Cardew's "Stockhausen Serves Imperialism" in UbuWeb Historical
	www.ubu.com /sound/cardew.html (139 words)

	frieze (Site not responding. Last check: 2007-11-03)
		Fowler’s awareness of the themes that recur in both his own practice and that of Cardew seems to be confirmed by the fleeting appearance of the filmmaker in the film, as he follows an interviewee up a flight of stairs.
		Perhaps most glaringly, Cardew’s tragic early death (in a hit-and-run accident outside his London home in 1981) is referenced only through a card that is flashed up, showing his image and dates of birth and death.
		As Cardew is not aware of or involved in Fowler’s filmmaking process, the narcissistic relationship with the mirror/camera is cancelled — Cardew is recast as ‘material’, which is then rearranged using editing techniques analogous to the ‘temporality of change’.
	www.frieze.com /review_single.asp?r=2444 (821 words)

	Commentary Magazine - Stockhausen Serves Imperialism, by Cornelius Cardew (Site not responding. Last check: 2007-11-03)
		...Cardew and his collaborators see the avant-garde as a force attempting to escape the morbid clutches of the bourgeoisie...
		...Cardew also criticizes himself-for believing that in his compositions, music and art could be autonomous, and that his music could provide a complete, self-enclosed world...
		...Cardew seems able only to assist in the destruction of the past and the present, not to help in the construction even of his own future...
	www.commentarymagazine.com /Summaries/V60I6P95-1.htm (2365 words)

	CORNELIUS CARDEW DAY with former members of the Scratch Orchestra, (Site not responding. Last check: 2007-11-03)
		At the Huddersfield Festival's Cardew Memorial Concert, with some of the same performers, Paul Conway in The Independent found Cardew's Schooltime Compositions, with pianist Sarah Walker clapping her hands as if to say "That's enough, children", an experiment too far.
		Impossible to ignore, Cardew and his colleagues were also represented in a more positive light in the Flanders Festival, and something of Cardew's music for non-musicians aesthetic flourishes in that aspect of the diverse and fruitful new music for amateurs movement spearheaded by COMA.
		Cardew, who was born in 1936, is the John Cage of British music.
	www.musicweb.uk.net /SandH/2002/Jan02/cardew.htm (1223 words)

	For Cornelius notes
		Cardew died tragically in an auto accident in 1981 and left us to grapple with these still timely and unanswered questions.
		For Cornelius (Jan. 1982) composed, as it were in one shot, on hearing of Cardew's death is in retrospect my attempt to codify the essence of the artistic and cultural contradictions that I was living: Above all, my inability to abandon binary form, i.e.
		So the endless opening repetitions of an A minor chord in first inversion are really only a pretext for the beginning of a long but gradual state of transformation--harmonically and dynamically--until this resonant flux becomes a massive uncontainable roaring: a crescendo which literally consumes the pianist's energies through physical exhaustion.
	www.alvincurran.com /writings/ForCorneliusnotes.html (793 words)

	New York's Premier Alternative Newspaper. Arts, Music, Food, Movies and Opinion (Site not responding. Last check: 2007-11-03)
		I’m intrigued by the ongoing saga of Cornelius Cardew in both his extraordinary short life and in how he has been perceived since his death in 1981.
		Cardew was an assistant to Stockhausen in the late 50s, then had a brilliant career as an avant-garde pianist through most of the 60s (he has been referred to as the British David Tudor).
		By the early 70s, Cardew’s passion for Marxism turned into a craze for Maoism; he renounced all his early radical compositions and began writing simple piano pieces and songs that anyone could understand, regardless of economic or educational background.
	www.nypress.com /14/48/music/musicreviews.cfm (407 words)

	Browse by Artist: CARDEW, CORNELIUS
		As such, it is a guided improvisation that forces the players to invent their own instructions for play, to take pleasure in establishing rules and sticking to them...a linguistic code, waiting to be founded.
		A leading figure in the experimental music of the 1960s, Cardew is widely acknowledged as a pioneer of indeterminacy, graphic notation, free improvisation and performer involvement.
		He stretches the boundaries of style and musical language drawn up by Cardew without rupturing them, and, at the end of the improvisations, Cardew's music is ushered back, seamlessly and convincingly.
	www.forcedexposure.com /artists/cardew.cornelius.html (757 words)

	Cornelius Cardew - Free Music Downloads, Videos, Lyrics, CDs, MP3s, Bio, Merchandise and Links
		Influenced by Cage and Tudor, Cardew was interested in the idea of performer participation in the creation of a work.
		Cardew was also a frequent performer of the work of Stockhausen, Cage, Feldman and Wolff.
		Together with pianist John Tilbury, Cardew became known as a leading interpreter of experimental and indeterminate music in England.
	www.artistdirect.com /nad/music/artist/bio/0,,411891,00.html (335 words)

	Cornelius Cardew - Material - Review - Stylus Magazine
		Cardew’s Material is a collection of five pieces of a longish nature, scores for an undetermined lot of musicians of an undetermined instrumentation.
		The volume of liberty disseminated via Cardew to performer is not unusual; Stockhausen, who tapped Cardew to be his assistant from 1958 to 1960, spoke highly of Cardew’s gift for improvisation, as well as his theoretical knowledge, and skill at the piano.
		Cardew’s awareness of Form as the organizational unit of Matter is again on display, and it unfolds with even more drama and device than in “Autumn 60”.
	www.stylusmagazine.com /review.php?ID=2308 (916 words)

	Cornelius Cardew - composer (Site not responding. Last check: 2007-11-03)
		Cornelius was the second of three sons born to Michael and Mariel Cardew.
		It was during this period that the whole question of `art from whom' was hotly debated and Cornelius became more directly involved in politics.
		Cornelius was widely known in Britain and throughout the world not only for his avant-garde compositions but also as a political composer and for his position in contemporary music.
	www.composer.co.uk /composers/cardew.html (729 words)

	Dedication to Cornelius Cardew (March 18, 1982) by Morton Feldman (Site not responding. Last check: 2007-11-03)
		Born in 1936, the British composer Cornelius Cardew was killed on 31st December 1981 near his home in Leyton, East London, by a hit and run driver.
		Cardew's courage to dismiss an earlier abstract artistry of his own is indeed heroic.
		In this regard Cornelius Cardew is not in bad company.
	www.cnvill.demon.co.uk /mfcardew.htm (242 words)

	Sur Cornelius Cardew (Site not responding. Last check: 2007-11-03)
		Je pense à Cornelius Cardew, un compositeur britannique que les professionnels connaissent surtout pour son histoire très particulière.
		Si Cornelius Cardew nous revient ainsi, c’est qu’il a bénéficié de l’amitié, de l’intérêt de nombreux contemporains, de compositeurs proches de ses travaux expérimentaux et politiques.
		Si Cornelius Cardew nous revient, c’est sans doute qu’il a su intéresser quelques uns de ses collègues, mais c’est aussi qu’il a su séduire et convaincre ces autres critiques impitoyables que sont les interprètes.
	perso.orange.fr /dissonances/Cardew.html (1532 words)

	Cornelius Cardew MP3 Downloads - Cornelius Cardew Music Downloads - Cornelius Cardew Music Videos
		Cardew was a chorister at Canterbury Cathedral for eight years, and he later studied at the RAM.
		After a period as a graphic designer, Cardew became professor of composition at the RAM in 1967.
		He composed music that could be realized in several ways with notation that is a suggestion of the possible interpretations of the score.
	www.mp3.com /cornelius-cardew/artists/5095/biography.html (246 words)

	Cornelius CARDEW
		Cornelius Cardew's 'Treatise' is enerzijds wellicht het grootste en meest uitgebreide werk op gebied van het muzikaal grafisme, en anderzijds wellicht ook het meest extreme in dit genre.
		Zij is beslist niet de expressie van de auteur, Cornelius Cardew, maar poogt zich van diens individualiteit te ontdoen door deze in te ruilen voor een hoge mate van muzikale abstraktie.
		Cardew was toen een vooraanstaand lid van de Britse Marxistisch-Leninistische Partij (de 'Maoisten').
	www.logosfoundation.org /kursus/9700.html (1363 words)

	NewMusicBox
		Another claim to fame is that Cardew was a founding member of both the Scratch Orchestra—a wrangling, obstreperous collective of the 1970s that gave concerts devoted to conceptual art, improvisation, and scores of experimental and even bizarre notation—and also the smaller, tighter improvisation group AMM, formed with Eddie Prevost, Lou Gare, and Keith Rowe.
		As John Tilbury put it shortly after his death in 1981, "What Cardew renounced over the last ten years was the market mentality, a corollary of which in the West has been an obsession with 'originality'—the often unconscious need to produce something 'new' at all costs.
		In light of Cardew's role in England's Marxist-Leninist party, it is believed that his death—a hit-and-run on December 13, 1981—was probably a political assassination.
	www.newmusicbox.org /page.nmbx?id=55tp01 (1345 words)

	Cornelius Cardew: Treatise (excerpt) Morton Feldman: Why Patterns (Site not responding. Last check: 2007-11-03)
		Cornelius Cardew: Treatise (excerpt) Morton Feldman: Why Patterns Music Projects/London (Richard Bernas) BMIC at The Warehouse.
		Questions of what to play and how to play it are left to the performer(s)' discretion; though, as here, a degree of pre-performance planning helps reinforce the very definite continuity in texture and dynamics that the individual pages suggest.
		Cardew is unrepresented in the current catalogue, an unfortunate state of affairs which the anniversary of his 65th birthday in 2001 will hopefully remedy, what with recordings of Parts 1 and 2 of The Great Learning (Deutsche Grammophon) and the Thälmann Variations (Recommended) awaiting reissue.
	www.musicweb.uk.net /SandH/Nov99/cardew.htm (434 words)

	We Sing For The Future! (Site not responding. Last check: 2007-11-03)
		Clearly, by announcing his political agenda Cardew's intention was to raise the stakes.
		Rzewski's interpretations of these two works are wholly admirable, the performances compelling, and the two improvisations towards the conclusion of We Sing For The Future -- an unexpected bonus -- are quite magnificent.
		Cardew would certainly have approved the inclusion of the improvisations and would have relished the verve and boldness of Rzewski's playing.
	www.newalbion.com /NA116 (443 words)

	Cornelius Cardew's We Sing for the Future
		Twenty years on, Cardew's music still provokes controversy.
		The relation of the music to its 'programme' and to the lofty aims it purports to serve is problematic enough, so let us remind ourselves what Cardew himself wrote about this music in the seventies:
		This recording was made possible in part by Other Minds, with the support of the Thendara Foundation.
	www.otherminds.org /shtml/Cardewcd.shtml (305 words)

	Workers Daily Internet Edition Year 2001 No. 118
		John Tilbury is an ardent champion of Cardew’s music, and Tilbury’s commitment and refinement were evident in the choice of programme and its execution.
		These introductions brought home in just a few words that Cornelius Cardew composed his music as a political activist and as a contribution to the movement of the working class and people for emancipation.
		It was clear that Cornelius Cardew had opened a door which it is up to musicians of today to pass through.
	www.rcpbml.org.uk /ww2001/d01-118.htm (2119 words)

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