Nancarrow’s Studies for Player Piano: A Remarkable Journey with Custom-Altered Ampico Interpretation

Composer: Conlon Nancarrow
Works: Studies for Player Piano: Numbers 1-50
Performers: Custom-altered 1927 Ampico player piano
Recording: Recorded at the studio of the composer, Mexico City, 10/12 Jan 1988
Label: Wergo WER 6907 2

Conlon Nancarrow, a figure whose contributions to the 20th-century avant-garde remain singular and compelling, has carved out a distinct niche with his Studies for Player Piano. Composed over four decades, these works reflect not only his deep commitment to rhythmic complexity but also his innovative use of mechanical reproduction as a means of liberation from the constraints of live performance. The five-CD set from Wergo presents a comprehensive survey of Nancarrow’s oeuvre for this unique instrument, showcasing the intricate tapestries woven from polyrhythmic exploration and jazz-inflected motifs that define his legacy.

The recordings are a testament to Nancarrow’s meticulous craftsmanship, each study functioning as a miniature world of sound. The player piano, with its inherent limitations in timbre and expression, paradoxically serves Nancarrow’s intention by offering precision in the execution of rhythmically intricate passages. The opening tracks on CD1, particularly Study 3, burst forth with an exuberance reminiscent of a frenetic jazz ensemble, yet delivered with the mechanical precision that only a player piano can achieve. This piece, characterized by its “pecking and rippling” note patterns, encapsulates Nancarrow’s ability to fuse disparate musical influences, from ragtime to classical, into a cohesive sonic narrative.

Throughout the set, the engineering quality is commendable, with clarity in the registration of each note, allowing listeners to appreciate the polyphonic complexity inherent in Nancarrow’s writing. For instance, Study 44 stands out as a mosaic of rhythmic motifs; its ten-minute duration is filled with Latino and Caribbean elements that dance through the mechanical repetition, creating a vivid musical landscape. The sound quality captures the nuances of the player piano, though some purists might lament the absence of the warmth found in live performance. Nonetheless, the starkness of the piano’s timbre amplifies the studies’ rhythmic and structural ingenuity.

Nancarrow’s Studies are often compared to the works of contemporaries such as John Cage and Percy Grainger, yet they transcend simple categorization. His exploration of rhythm and the mechanical has led to a distinctive voice that is both reflective of his time and astutely ahead of it. For instance, Study 41’s dissonant and a-rhythmic fragmentation echoes the unpredictable nature of contemporary jazz, while simultaneously deconstructing traditional forms. The layering of rhythmic cells in Study 49 evokes a cinematic quality, transporting the listener through a narrative marked by tension and release, echoing the influence of Stravinsky but charting a unique path.

The extensive booklet accompanying the recordings, with notes by James Tenney and Charles Amirkhanian, adds depth to the listening experience, situating Nancarrow within a broader artistic context. It underscores the interplay between his friendships with visual artists and his solitary compositional practice, establishing a dialogue between music and the visual arts that is palpably present in the rhythmic and textural elements of his work.

Nancarrow’s Studies for Player Piano offer an extraordinary insight into the evolution of 20th-century music, revealing a composer who harnessed the potential of technology to express an uncompromising vision. This collection is not merely a documentation of his work; it is an invitation to engage with a vibrant, complex, and often challenging body of music that continues to resonate with contemporary sensibilities. The Wergo edition stands as an essential resource for anyone seeking to understand the intricacies of Nancarrow’s music and its place in the pantheon of modern classical composition.

Tom Fasano has been writing reviews of classical music recordings for the past quarter century. He's finally making them public on this blog.