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Excerpts
Mechanical Troubles - Performing Nancarrow's Player Piano Studies Today: Dominic Murcott
The US born and Mexican naturalised composer Conlon Nancarrow (1912-1997) was preoccupied with exploring complex temporal relationships in
his music. In 1947, following a number of disappointing attempts at getting accurate performances, he turned to the player piano and took complete
control of the composition, performance and production of his own work. Over the next forty or more years he produced a unique collection of pieces
that have become part of the musical canon despite, or perhaps because of, their frequent mathematical density.
Nancarrow in his Mexico City Garden
While solving one problem, however, he created another: there have been remarkably few opportunities to hear the works 'performed' on the
instruments they were written for, and these have diminished in reverse proportion to the rise in the composer's popularity. In April 2012, to mark the
centenary of Nancarrow's birth, London's Southbank Centre, in collaboration with the London Sinfonietta and Trinity Laban Conservatoire of Music and
Dance, hosted a weekend festival of his work, featuring the complete studies for player piano on an instrument identical to the composer's own. This
report highlights some of the problems that needed to be overcome in order to present these pieces, as well as considering the future of the music in
performance.
On The Right Track - Dynamic Recording for the Reproducing Piano (Part Four): Rex Lawson
The Ampico was the earliest of the American reproducing pianos, launched by the American Piano Company of New York in the autumn of 1911. It seems
to have been designed to be roughly compatible with the Hupfeld Dea, since its initial repertoire was taken almost entirely from the existing catalogue
issued by Ludwig Hupfeld, with whom the Company had an exclusive agreement for the publication of hand-played rolls in North America. Its first
roll bulletin was published on 1 October 1911, and out of 51 pianists listed in its pages and quoted in Music Trade Review, only one, Hans Hanke, was not a
Hupfeld artist.
An Early Advertisement for the Ampico, New York, 1916
Although it came to be known simply as the Ampico, taking its name from the initial letters of the American Piano Company, the instrument's first title
was the Artigraphic player, available in the Knabe piano, with a Chickering model following by the December of 1911. It is clear that very few instruments
were produced at this early stage, and it was not until mid-1912 that any substantial number were being sold. Rolls were also not very plentiful, and a
San Francisco correspondent of Music Trade Review noted in June 1912 that the supply of Artigraphic music had been rather short, perhaps implying
problems of production as the roll editing got under way.
How Do You Like Your Debussy?: Denis Hall
In the 150th anniversary year (2012) of the birth of Debussy, it is hardly surprising that there is considerable interest in the way the composer
interpreted his own music. There are written descriptions, from quite precise comments on how he approached the piano keys and the sort of tone he
could produce, to less helpful, general, admiring vague reports as to just how wonderful he was! More objectively, we can actually hear him playing,
firstly accompanying Mary Garden in his Ariettes and an excerpt from Pelléas et Mélisande on G & T disc recordings made in 1904, and now available in the
best ever transfers by Marston (Legendary Piano Recordings - 52054-2) in which the pitch unsteadiness which bedevilled these discs has been corrected.
Then there are the somewhat problematic Welte-Mignon piano rolls which Debussy recorded in 1912, but which ought to give us a greater opportunity to
assess his playing. I will return to these later.
Debussy at the Piano
Academic studies, analysing Debussy's playing have been undertaken including, for example, those by Roy Howat (The Pianola Journal no. 7 - 1994)
and Cecilia Dunover ('Early Debussystes at the Piano', Debussy in Performance, 1999). One of Jan Holcman's essays ('Pianists: on and off the record',
Debussy on Disc, 1912-1962) lists and comments on many recordings, but the only version of the Welte rolls available at that time for him to comment on
was the one put out by Columbia (ML4291) in 1950. An aspect of Debussy interpretations which has not, as far as I am aware, been considered is how
those pianists active at the turn of the twentieth century approached his music, which was new, and must have appeared very strange compared to
anything which they had encountered up till then. For the purposes of this article, I am only considering recordings made before 1914, the year of the
outbreak of the Great War, after which so much changed in the world. There are very few disc recordings up till then, but there does exist quite a collection
of recordings on reproducing piano roll, most of which are unknown, largely due to the lack of awareness of the resource available in this format. It would
be marvellous if some of the pianists who were close to Debussy, and to whom he dedicated his music, had left recordings, but for whatever reason, many
did not, and there is no point in regretting this. There were, however, pianists around at that time who did not know the composer, but had a go at playing
his music before a tradition of interpreting it had been established, and these are the ones who fascinate me, and who make up the core of this article. They
had nothing to go on except the published scores, which they approached with the background of the nineteenth century romantic tradition, and there
are more than a few surprises for the listener in 2012 to come to terms with!
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