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DAVID TUDOR/ 2009
(  Satoshi Kinoshita )
| Series: | Prints on paper: Portraits 2 | | Medium: | Giclée on Japanese matte paper | | Size (inches): | 16.5 x 11.7 (paper size) | | Size (mm): | 420 x 297 (paper size) | | Edition size: | 25 | | Catalog #: | PP_0136 | | Description: | From an edition of 25. Signed, titled, date, copyright, edition in pencil on the reverse / Aside from the numbered edition of 5 artist's proofs and 2 printer's proofs.
From Presenting David Tudor - A Conversation with Bruce Duffie, 1986
BD: Are you conscious of what other electronic composers are doing these days?
DT: Oh certainly, yes.
BD: Are they, are you working along similar or different lines, and is that purposeful or happenstance?
DT: Some aspects are similar, others are somewhat different because I try to get inside the electronic sound in a way that other people may not. They come from different points of view. A person who’s accustomed to dealing with electronic phenomena and has a modicum of understanding of electronic engineering will attack the whole subject in a way that can be very interesting to me, but I attack the problem differently because I like to find out what electronic equipment can do which is not really programmed into it. Coming down from the top, you buy the components which you think are going to do what you want. I have sometimes worked that way, but in the end I find that the things that interest me musically actually come about through several different ways, and many is the time when I have set about to make a new piece, and all my grand plans to construct this instrument or that instrument, or to obtain something to do what I have in mind, don’t come about, and there’s a last minute panic in which one makes a conscious artistic decision to do it somehow. You use what’s at hand and you produce the musical result that you want. And once you do that, there you are. The work is done, it shows you the next step in doing it, so the plans that you had at first, you begin to reconsider, and you think well, I don’t need this, and I don’t need that. What I need is more of the same. [laughs]
BD: Then how much of this is expedience and how much of this is artistic decision?
DT: It’s intertwined. It’s intertwined. You decide to do, what’s expedient in a given situation. Then you’re faced with the result, and you think over the result, and you see that the musical parameters that you wanted to establish are already there. And that’s what you did, by making a decision like that. So you can make it into diamonds instead of tinsel if you want, but it’s much better to go on.
This interview was held at the Blackstone Hotel in Chicago on April 7, 1986.
© 1986 Bruce Duffie
-www.bruceduffie.com/tudor3.html
David Tudor -
David Eugene Tudor (January 20, 1926 – August 13, 1996) was an American pianist and composer of experimental music.
Tudor was born in Philadelphia, Pennsylvania. He studied piano with Irma Wolpe and composition with Stefan Wolpe and became known as one of the leading performers of avant garde piano music. He gave the first American performance of the Piano Sonata No. 2 by Pierre Boulez in 1950, and a European tour in 1954 greatly enhanced his reputation. Karlheinz Stockhausen dedicated his Klavierstück VI (1955) to Tudor. Tudor also gave early performances of works by Morton Feldman and La Monte Young.
The composer with which Tudor is particularly associated is John Cage. He gave the premiere of Cage's Music of Changes, Concerto For Piano and Orchestra and the notorious 4' 33". Cage said that many of his pieces were written either specifically for Tudor to perform or with him in mind. The two worked closely together on many of Cage's pieces, both works for piano and electronic pieces, including for the Smithsonian Folkways album: Indeterminacy: New Aspect of Form in Instrumental and Electronic Music (1992).
After a stint teaching at Darmstadt from 1956 to 1961, Tudor began to wind up his activities as a pianist to concentrate on composing. He wrote mostly electronic works, many commissioned by Cage's partner, choreographer Merce Cunningham, and often with elaborate lighting and stage designs. One piece, Reunion (1968), written jointly with Lowell Cross features a chess game, where each move triggers a lighting effect or projection. At the premiere, the game was played between John Cage and Marcel Duchamp.
Upon Cage's death in 1992, Tudor took over as music director of the Merce Cunningham Dance Company. Among many works created for the company, Tudor composed Soundings: Ocean Diary (1994), the electronic component of Ocean, which was conceived by John Cage and Merce Cunningham, with choreography by Merce Cunningham, orchestral music by Andrew Culver, and design by Marsha Skinner.
Tudor died in Tomkins Cove, New York at the age of 70.
-en.wikipedia.org/wiki/David_Tudor
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