10 settembre 2013

Nel nuovo numero di Point of Departure Michael Rosenstein presenta il box di sette cd The Art of David Tudor 1963-1992, prodotto di recente dall'etichetta New World Records. Lo stesso fa Peter Margasak per il Chicago Reader: "In August 1952, when John Cage premiered his landmark composition 4'33", the guy who sat at the piano occasionally turning a page but never hitting any keys was David Tudor. An avant-garde pianist and experimental composer born in Philadelphia in 1926, Tudor is inextricably linked to Cage—he performed the premiere of just about every piano piece the older man wrote in the 50s and early 60s. He was also a key collaborator of many of Cage's peers from the New York School of the 50s, such as Morton Feldman, Earle Brown, Christian Wolff, all of whom helped pioneer the use of graphic notation and indeterminacy. Tudor interpreted work by other radical composers of the era as well, including Karlheinz Stockhausen, La Monte Young, Sylvano Bussotti, and Stefan Wolpe. Rigorously trained and technically brilliant, he thrived in situations where he had to make creative choices, deciding how to interpret deliberately loose instructions. Once he got a taste of that freedom, though, he seems to have wanted more and more—within just a few years he'd all but abandoned the instrument he'd spent decades mastering. In the early 60s, after ten years or so holding positions as pianist in residence and instructor at progressive institutions such as Black Mountain College in North Carolina and the Internationale Ferienkurse für Neue Musik in Darmstadt, Germany, Tudor started composing his own music. He rejected not only the piano but also the rigidity of conventional scores, moving instead toward a structured but chance-dependent form of electronic music where the performer (usually Tudor himself) wouldn't be able to completely control the output of the hardware. From that point until his death in 1996 at age 70, he wrote such compositions exclusively."