Filler by Proxy XXXIV: Another Great Italian

Saturday 24 June 2006

In one of the later, more indulgent passages of Douglas Adams’ “Hitchhiker” novels, he describes an out-of-it band’s music (from dim memory) as one muso playing in 3/4, another in 5/8, while a third played in πr². It seemed like a far-out joke to your callow, nerdy self, right up until you heard the music of Conlon Nancarrow.
Nancarrow’s Study for Player Piano No. 40 is written entirely in the rhythmic relationship of e/π. How do you play something like that? You can’t, so you get a machine to do it for you. If you’re living in 1948, in an earthquake-proof bunker in Mexico City, in exile from your native United States without a passport because of your socialist beliefs, the machine in question is a battered 1920s player piano, and you punch the notes for its piano rolls by hand, one at a time.
Nancarrow was obsessed with hearing polyrhythms of a complexity the mind could perceive, but not imagine. He resorted to the player piano when musicians couldn’t, or wouldn’t (“they’ll think I’m playing wrong notes!”) play his music, and so expanded the realm of rhythmic and temporal possibilities beyond anyone’s previous expectations.
I’m only bringing this up now because 2 Blowhards (a propos of drugs) has linked to a page of audio samples of Nancarrow’s music at Minnesota Public Radio, including photos and more neat biographical material. Listen up, he’s fun.
Wait: more Nancarrow links.
  • In addition to the Other Minds page linked above, Kyle Gann has written the book about Nancarrow (literally), and annotates his list of works with the increasingly wild tempo ratios used in his music.
  • The Other Minds Archive has a recording of the long-lost Three 2-Part Studies, written back when Nancarrow was still writing for live pianists and was conventially jazzier, only this version has been arranged for two toy pianos (why yes, it is Margaret Leng Tan, how did you guess?)
  • More from Other Minds: Study for Player Piano No. 40b (i.e. the second and final movement of Study No. 40).
  • I get cranky about live musicians playing Nancarrow’s player piano music.