D'Arcy Philip Gray
I first met David Tudor in New York in 1992 after a Merce Cunningham Dance Company performance. It wasn't long before I became curious about his work and the opportunity I had to perform with him at a memorial concert for John Cage augmented this curiosity into something more like an intense fascination. In 1993 I was asked to perform with the Cunningham Company and from that moment on, Tudor made both me and my barrage of questions feel very welcome. My first direct experience with the challenges of performing his music was through his realization of Pimenta's Gravitational Sounds, which I was able to learn and perform in Tudor's presence, receiving immediate response and feedback on the successes (and failures) of the performance. Not long after that, I began to prepare Tudor's piece Soundings: Ocean Diary, again working very closely with him in order to understand the complexities of the music. This piece proved to be extremely daunting at first as I struggled to manipulate a complex analog processing system; I soon realized that I had to learn the techniques of his instruments, much like one would learn how to play the violin or the piano. When Tudor stepped down from his position at the Cunningham Company, I requested and received the financial backing of the Canada Council to visit him regularly to study his performance materials and his approach to the composition and performance of new and experimental music. In this way, I was able to continue my relationship with Tudor until his passing in August, 1996.
There is more information available about me and my activities at http://www.cam.org/~starchy.
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This page was last updated on August 13, 2002.
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