Stories of Imitation and Corruption

by David Chesworth

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breconwalsh2@y7mail.com Trip the light fantastic David. it is a very sonorous and bright box of tricks you have made playing with a thatched tableaux of your tell tale theme on variations whirring into a rotor/whirlygig of a bit of a slightly askew amusement park with a dash and a tincture of Cornelius Cardew.
Some gifted collaborator might be able to compose a film>digital video montage for this work as story and as the score?

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1.	Stories of Imitation and Corruption (all parts) 21:40	buy track
2.	Stories of Imitation and Corruption part1 02:31	buy track
3.	Stories of Imitation and Corruption part2 00:40	buy track
4.	Stories of Imitation and Corruption part3 04:28	buy track
5.	Stories of Imitation and Corruption part4 01:27	buy track
6.	Stories of Imitation and Corruption part5 02:53	buy track
7.	Stories of Imitation and Corruption part6 02:06	buy track
8.	Stories of Imitation and Corruption part7 01:39	buy track
9.	Stories of Imitation and Corruption part8 02:36	buy track
10.	Stories of Imitation and Corruption part9 00:55	buy track
11.	Stories of Imitation and Corruption part10 02:18	buy track

about

In the early 1980s, I acquired a newly launched Casio 202 keyboard, an affordable synthesizer employing basic digital techniques to replicate and modify the sounds of various orchestral and keyboard instruments, including oboe, flute, trumpet, strings, harpsichord, clavinet, etc. The Casio sounds, while interesting in their own way, certainly didn't match the natural authenticity of the instruments they imitated. But that credibility gap was interesting to me.

Around the same time, I came across two 45rpm records: The Instruments of the Orchestra and The Piano and its Relatives. Released in 1960 by The Children's Record Guild of Australia (released in Britain too), both records included an introductory narration by British musician/broadcaster Joseph Cooper, as well as a selection of orchestral and keyboard excerpts performed by the Symfonia of London.

During this period, for some reason, I had also been writing musical sketches that imitated old forms and styles of Western music including fugues and cannons.

And so, in 1984, when fellow composer Warren Burt commissioned me and other experimental composers to create long-form radio works for syndication on Australian public radio stations, I decided to make a work using my cassette Portastudio,that merged these three entities: the Casio imitation sounds, the descriptive records, and my own classical music sketches (performed to the best of my ability on the Casio keyboard). As each entity demonstrated its own form of imitation, I wanted to see what might result when I combined them.

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released March 7, 2024

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David Chesworth Melbourne, Australia

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