Role

:

Composer Conductor Performer

Country

:

United Kingdom

Birth

:

May 7, 1936 in Winchcombe, Gloucester, England

Death

:

December 13, 1981 in London, England

Period

:

Contemporary

 

 

Modern

Genre

:

Avant-Garde

 

 

Chamber

 

 

Keyboard

 

Cornelius Cardew was a British composer, pianist, and music educator who was born on May 7, 1936, in Winchcombe, Gloucestershire, England. He was the son of Michael Cardew, a renowned potter, and Mariel Cardew, a painter. Cardew grew up in a creative and artistic environment, which influenced his interest in music from an early age. He began playing the piano at the age of six and later studied at the Royal Academy of Music in London. Cardew's early compositions were influenced by the works of classical composers such as Bach, Beethoven, and Mozart. However, he soon became interested in avant-garde and experimental music, which led him to join the Scratch Orchestra in 1969. The Scratch Orchestra was a collective of musicians and artists who aimed to create new and innovative music that challenged traditional forms and structures. Cardew's compositions during this period were characterized by their experimental nature and their use of unconventional instruments and techniques. One of his most famous works from this period is "Treatise," a graphic score that consists of 193 pages of abstract symbols and shapes. The score is open to interpretation, and performers are encouraged to use their creativity and imagination to create their own unique interpretation of the piece. In addition to his work with the Scratch Orchestra, Cardew was also a prominent figure in the British avant-garde music scene. He was a member of the influential group AMM, which was known for their improvisational approach to music. Cardew's compositions during this period were often political in nature and reflected his Marxist beliefs. He was a member of the Communist Party of Great Britain and believed that music should be used as a tool for social change. One of Cardew's most significant works from this period is "The Great Learning," a series of compositions that were inspired by the teachings of Confucius. The piece is divided into seven parts and features a large ensemble of performers, including singers, instrumentalists, and dancers. The work is notable for its use of unconventional notation and its emphasis on collective improvisation. Cardew's political beliefs and his commitment to using music as a tool for social change led him to become increasingly involved in left-wing politics. He was a member of the Maoist group Red Flag, and his compositions during this period reflected his revolutionary ideals. One of his most famous works from this period is "We Sing for the Future," a choral piece that was written in support of the Chinese Cultural Revolution. Cardew's political activism and his Marxist beliefs had a significant impact on his music, and he became increasingly critical of the traditional music establishment. He believed that classical music was elitist and inaccessible to the working class, and he sought to create a new form of music that was more inclusive and accessible. In the late 1970s, Cardew began to move away from avant-garde and experimental music and towards a more traditional style. He became interested in folk music and began to incorporate elements of traditional British music into his compositions. One of his most famous works from this period is "The Croppy Boy," a folk song that he arranged for choir and orchestra. Cardew's interest in folk music and his return to more traditional forms of composition were reflective of his changing political beliefs.

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