Studies for Player Piano

Conlon Nancarrow (October 27, 1912 – August 10, 1997) was born in the USA, but he lived in Mexico from 1940 to his death in 1997 because of his membership in the communist party.

It was in Mexico that Nancarrow did the work he is best known for today. He had already written some music in the United States, but the extreme technical demands they made on players meant that satisfactory performances were very rare. That situation did not improve in Mexico’s musical environment, also with few musicians available who could perform his works, so the need to find an alternative way of having his pieces performed became even more pressing. Taking a suggestion from Henry Cowell’s book New Musical Resources, which he bought in New York in 1939, Nancarrow found the answer in the player piano, with its ability to produce extremely complex rhythmic patterns at a speed far beyond the abilities of humans. So, he wrote studies of ever growing complexity, exploiting the mechanical nature of player piano system.

Nancarrow’s first pieces combined the harmonic language and melodic motifs of early jazz pianists like Art Tatum with extraordinarily complicated metrical schemes. The first five rolls he made are called the Boogie-Woogie Suite (later assigned the name Study No. 3 a-e). His later works were abstract, with no obvious references to any music apart from Nancarrow’s itself.

Many of these later pieces (which he generally called studies) are canons in augmentation or diminution or prolation canons. In music, a prolation canon or mensuration canon is a musical composition wherein the different voices play the same melody at different speeds (or prolations, a metrical term that dates to the medieval and Renaissance eras).

While most canons using this device, such as those by Ockeghem, Desprez or J.S. Bach, have the tempos of the various parts in quite simple ratios, like 2:1 or 3:2, Nancarrow’s canons are in far more complicated ratios. The Study No. 40, for example, has its parts in the ratio e:pi (i.e. 2.71828:3.14159, an irrational time ratio unplayable by humans), while the Study No. 37 has twelve individual melodic lines, each one moving at a different tempo.

He became better known in the 1980s, and was lauded as one of the most significant composers of the century. The composer György Ligeti called his music “the greatest discovery since Webern and Ives … the best of any composer living today“.

Here you can listen to the full playlist. By going to YouTube you can select them one by one

In C

In C continues to receive numerous performances every year, by professionals, students, and amateurs. It has had repeated recordings since its 1968 LP premiere, and most are still in print. It welcomes performers from a vast range of practices and traditions, from classical to rock to jazz to non-Western. Recordings range from the Chinese Film Orchestra of Shanghai—on traditional Chinese instruments—to the Hungarian “European Music Project” group, joined by two electronica DJs manipulating The Pulse. It rouses audiences to states of ecstasy and near hysteria, all the while projecting an inner serenity that suggests Cage’s definition of music’s purpose—”to sober and quiet the mind, thus making it susceptible to divine influences.” In short, it’s not going away.
[Robert Carl]

An interesting analysis/commentary about Terry Riley’s seminal composition by Robert Carl.

The original recording by Terry Riley dated 1964

Here is the execution by the Shanghai Film Orchestra

A funky peformance by Band On A Can group from NYC

2015-02-10 Tate Modern and Africa Express

Boiler Room Amsterdam Live Performance

2022-10-20 The Young Gods present Play Terry Riley In C Documentary & Live from Les Forces Motrices, Geneva

Vampyr!

Tristan Murail – Vampyr! for electric guitar, from Random Access Memory (1984), Wiek Hijmans electric guitar.

To be honest, I know little about this piece. It’s the sixth track from Random Access Memory, a cycle that includes a set of solo pieces for various instruments and a gold dust in the contemporary academic music where the electric guitar is seldom used.

Vampyr! is one of several works in Murail’s catalogue that do not employ spectral techniques. Rather, in the performance notes, the composer asks the performer to play the piece in the manner of guitarists in the popular and rock traditions, with a heavy overdriven rock sound. In the preface to the work, Murail writes: “The desired sound is rather like that of the solo guitar as played by Carlos Santana, Eric Clapton etc.“. And then, in bold type and with an exclamation mark: “The player should put into Vampyr! all the energy of rock music and that includes the appropriate number of decibels!” Would like to see the whole score.

The rather striking title refers to horror movies and sci-fi B-films; other titles in the cycle do so as well. This subject matter is clearly recognizable in the saturated guitar sound and the frequent, hysterical use of the tremolo arm.

Here Wiek Hijmans effortlessly transforms his Gretsch 1967 model Chet Atkins Tennesean into a ruthless yawing, squealing and screaming board.

Devotion 2

Vache Sharafyan (Վաչե Շարաֆյան): Devotion No. 2 (1999) for Tar, Kemanche, Dhol, Tam-Tam, Piano and string quartet.

Tar, Kemanche, Dhol are musical instruments adopted by various middle eastern cultures like Iran, Armenia, Azerbaijan, Georgia to the Indian subcontinent. Click the names to read details from wikipedia.

Solo for Viola d’Amore

Solo for Viola d’Amore by Georg Friedrich Haas performed live by Garth Knox in Graz.

This is the second half of the piece. In the final section, the sympathetic strings are plucked and bowed directly, an unusual and striking effect. These are the second set of strings on the viola d’amore, usually not played directly, only there to resonate passively. In this piece they are amplified, and controlled by a volume pedal.

Morning scent of the acacia’s song

Vache Sharafyan: Morning scent of the acacia’s song for duduk & string quartet (2001), commissioned by Yo-Yo Ma’s Silk Road Project Inc. publisher G. SCHIRMER/ (excerpt)
performers: Gevorg Dabaghyan, Shirly Laub, Colin Jacobsen, Daniel Heim, Jeroen den Herder, Brussels philharmonic hall rehearsal – 2002

The duduk is a traditional woodwind instrument with double reed, popular in Caucasus. Extension goes from the F# on first space to the A over the staff in treble G clef.

December 1952

December 1952 is the notorious Earle Brown’s score consisting only by horizontal and vertical lines varying in width (see it on the video). It’s a landmark piece on graphic notation. The player must translate the symbols in music.

David Tudor, overdubbed pianos.

Graphic Score Web-App Performance

Goetia

John Zorn: “Goetia” (2002) for solo violin. Jennifer Koh, violin.

Goetia is in fact a demon’s invocation closely tied to numerology. The piece consists of eight variations for solo violin. The work’s guiding feature is that each of the eight movements utilizes the same sequence of 277 pitches transformed by tempo variations, octave displacements, and modifications in rhythm and intensity.

The times of movements are

  1. “Goetia I” – 0:57
  2. “Goetia II” – 2:46
  3. “Goetia III” – 1:07
  4. “Goetia IV” – 1:42
  5. “Goetia V” – 1:12
  6. “Goetia VI” – 1:54
  7. “Goetia VII” – 2:53
  8. “Goetia VIII” – 1:20

YUAN

梁雷 (Lei Liang): YUAN (2008) for saxophone quartet

Lei Liang (b.1972) is a Chinese-born American composer whose orchestral, chamber and stage works have been performed throughout the world.

The recipient of a Guggenheim Fellowship and an Aaron Copland Award, Lei Liang’s commissions and performances have come from the New York Philharmonic, the Heidelberger Philharmonisches Orchester, the Taipei Chinese Orchestra, the Fromm Music Foundation, Meet the Composer, Chamber Music America, Mary Flagler Cary Charitable Trust, the Manhattan Sinfonietta, the Arditti, Ying and Shanghai Quartets, the Meridian Arts Ensemble, San Francisco Contemporary Music Players, New York New Music Ensemble, Boston Musica Viva, pipa virtuoso Wu Man, percussionist Steven Schick, among others.

Lei Liang’s music is recorded on Telarc, Mode, Innova, GM and New World (forthcoming) Records. As a scholar, he is active in the research and preservation of traditional Asian music. Lei Liang studied composition with Sir Harrison Birtwistle, Robert Cogan, Chaya Czernowin, and Mario Davidovsky, and received degrees from the New England Conservatory of Music (BM and MM) and Harvard University (PhD).

He was named Junior Fellow at the Society of Fellows at Harvard University; taught in China as a Distinguished Visiting Professor at Shaanxi Normal University College of Arts in Xi’an; served as Honorary Professor of Composition and Sound Design at Wuhan Conservatory of Music and as Visiting Assistant Professor of Music at Middlebury College. Since 2007, he has taught as Assistant Professor of Music at the University of California, San Diego.

Her site is here.

Yuan – Prism Quartet