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By Agustín Carlevaro

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72 What inspired Nyman about The Great Learning was its ability to reconnect directly with music, to make one ‘intensely aware, as if for the first time, of the physical intension of sound’,73 something which Cage’s music, with its philosophical slant on ‘theatre’ and ‘life’, had fallen short of achieving. In a comparison of the two in 1971, Nyman relates this to their differing attitudes towards notation. 74 This immediate reconnection with sound was realized through the Scratch Orchestra, formed in May 1969 by Cardew, Michael Parsons and Howard Skempton as ‘a large number of enthusiasts pooling their resources (not primarily musical 71 ‘This Way Madness’, The Spectator (9 May 1969).

It is the climax of Varèse’s percussion writing (all his scores have important structural parts for percussion) and one of the starting points for John Cage’s percussion pieces. Requiem Canticles is unmistakably Stravinsky – the images are now sparer, the repetitions briefer, and the texture more austere. The gestures are superb; only to my ear all the notes are wrong. Meanwhile, back at the ICA, we were confronted with a panel of experts all seemingly out of their individual elements and rather bored with the whole thing.

Circle Complete’, New Statesman (31 March 1972). Ibid. 16 Michael Nyman: Collected Writings By producing a detailed account of a (nevertheless diverse and heterogeneous) movement which set itself up as a credible alternative to the avant-garde, with its own aesthetic, widespread community of composers and practitioners, its own network of associations and manifold means of dissemination, subsequent generations of composers could either follow the path of one or the other, or try (as Feldman had done, and Monteverdi himself back in the early seventeenthcentury) to navigate a course in between the two streams.

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Álbum para guitarra (Album for guitar - Guitar Scores) by Agustín Carlevaro


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