CAL PERFORMANCES PRESENTS SCHEDULE

Friday–Sunday, November 2–4, 2012 Nancarrow at 100 Cal Performances A Centennial Celebration UC Berkeley Art Museum and Pacific Film Archive Nancarrow at 100 2 A Centennial Celebration FESTIVAL SCHEDULE

friday, november 2, 2012

5:30–7pm, BAM/PFA Festival Opening Event: (2626 Bancroft Way) In Conversation: Trimpin and Lucinda Barnes

7pm, PFA Theater Film Screening No. 1: Don’t Shoot the Player (2575 Bancroft Way) Piano: The Music of Conlon Nancarrow

saturday, november 3, 2012

11–12:30pm, Hertz Hall Discover Nancarrow No. 1: (UC Berkeley Campus) The Expanding Universe of Conlon Nancarrow

2–4pm, Hertz Hall Nancarrow Concert No. 1: Trimpin & Rex Lawson

8pm, Hertz Hall Nancarrow Concert No. 2: Calder Quartet

sunday, november 4, 2012

12–2:30pm, Hertz Hall Discover Nancarrow No. 2: Eyeballs Out: How Performers Learned to “Play” Nancarrow Nancarrow at 100: A Centennial Celebration is produced by Cal Performances in collaboration 4pm, PFA Theater Film Screening No. 2: Don’t Shoot the Player with Other Minds and the UC Berkeley Art Piano: The Music of Conlon Nancarrow Museum and Pacific Film Archive. 7pm, Hertz Hall Nancarrow Concert No. 3: Rex Lawson, Chris Froh, Graeme Jennings, Bugallo-Williams Piano Duo

2 Cal Performances’ 2012–2013 season is sponsored by Wells Fargo.

4 CAL PERFORMANCES CAL PERFORMANCES 5 WELCOME WELCOME

A Welcome from Other Minds hermetic existence was no longer possible, and of Study No. 21 (Canon X) for chamber orches- ounded in 1992, Other Minds in San gradually the very modest composer found plea- tra, premiered in London, is a thrilling achieve- FFrancisco is a leading organization for new sure in his new-begotten fame. ment. His transformation of Nancarrow’s Piece and experimental music in all its forms, devoted Many people have provided support for for Tape into a virtuoso work for solo live percus- to championing the most original, eccentric, and his work and written eloquently about it, and sionist will be performed here by Chris Froh. underrepresented creative voices in contempo- we are privileged to have a select few of these Musicologist Felix Meyer is a specialist in rary music. From festival concerts, film screen- in our midst as participants in this festival. We music of the American Experimental Tradition. ings, radio broadcasts, and the commissioning are deeply honored to welcome the one person As Director of the Sacher Foundation in Basel, of new works, to producing and releasing CDs, who spent more time with Conlon Nancarrow he is in charge of preserving and curating the preserving thousands of interviews and con- than anyone else—his widow, Dr. Yoko Sugiura original manuscripts of Nancarrow, in addition certs, and distributing them free on the Internet, Yamamoto. Born in Japan in 1942, Sugiura to the correspondence, photos, pianos, perfo- Other Minds has become one of the world’s ma- emigrated to Mexico and has worked there as rating machine, and libraries (books and pho- jor conservators of new music’s ecology. one of the country’s leading archæologists. She nodiscs) of the composer. He has worked dili- Cal Performances collaborated with Other married Nancarrow in 1971 and was his great- gently to restore the instruments and research Minds on the organization’s very first pre- est support and inspiration. Accompanying her the correspondence and hopes to publish a new sentation: Charles Amirkhanian interviewed will be the Nancarrows’ son Mako, a civil engi- volume of research on Nancarrow in due course. composer György Ligeti and pianist Volker elcome, nancarrovians! Conlon neer, and his daughter Isabella, now nine years Rounding out our distinguished list of par- Banfield performed the American premiere of WNancarrow was not big on celebrating old. Among Conlon’s confidants and partners ticipants are Helena Bugallo (Switzerland) and Ligeti’s Etudes, Books 1 and 2. This took place birthdays. But I know he will excuse us for mak- in music we welcome composer Peter Garland Amy Williams (Pittsburgh), the brilliant piano onstage at Hertz Hall nearly 20 years ago, on ing this centennial an occasion for paying trib- (from Maine), sound sculptor Trimpin (Seattle), duo, who will perform four-hand and two-piano Friday, January 29, 1993. During Other Minds ute to his life and music, given that he left us 15 and Kyle Gann (Bard College). Mr. Garland was arrangements of Nancarrow’s Studies. And we Festival 3 (on November 24, 1996), Hertz Hall years ago, and by now we need a good reason to first to publish large numbers of Nancarrow’s el- are pleased to present the Calder String Quartet, hosted a concert of music by Kui Dong, Charles reunite and reminisce. egant music scores in the periodical Soundings. based in Southern California, to perform music Shere, George Lewis, Mitchell Clark, and Olly The ingenious complexity of Nancarrow’s Mr. Gann is the author of an authoritative book by Nancarrow, one of his favorite composers, Wilson. The concert closed with a performance Studies for Player Piano, giving composers a on the structure and substance of The Music Bartók, and a man whose work has been highly by the Kronos Quartet of ex-UC Berkeley way to activate several melodies at simultane- of Conlon Nancarrow (Cambridge University influenced by Nancarrow, English composer Music Department student La Monte Young’s ously different speeds, has been one of the most Press, 1995). And Trimpin not only converted all Thomas Adès. lengthy Chronos Kristalla. pivotal achievements in music’s last century. But of Nancarrow’s perforated piano rolls into MIDI My deepest thanks to Matías Tarnopolsky Charles Amirkhanian, as Music Director of Nancarrow’s technical prowess would be clini- information, making them available for perfor- of Cal Performances, who has been so enthusi- KPFA Radio, first collaborated with Director cal empty stuff in the hands of a lesser mind. mance around the world, but has planned for astic and supportive of this event. At BAM/PFA, Betty Connors and the Committee for Arts and Conlon took his mastery of counterpoint from three years to reconstruct Nancarrow’s dream Larry Rinder and Lucinda Barnes welcomed our Lectures (which was renamed Cal Performances two years of study under Roger Sessions, a deep of a self-playing percussion orchestra. We are proposal to collaborate with Trimpin to present in the 1980s), on a concert of music by George influence from Bach and Stravinsky, along with thrilled to have its introduction at BAM/PFA in the percussion orchestra installation, and Steve Antheil (1900–1959) on November 20, 1970. jazz artists Louis Armstrong, Bessie Smith, and conjunction with this centennial event. Seid graciously worked with filmmaker Peter That event literally launched a revival of the Earl “Fatha” Hines, his experience as a jazz From London we welcome Rex Lawson, the Esmonde (Trimpin: The Sound of Invention), composer’s career, including his early music from trumpeter, and his conclusions on the percep- world’s greatest living pianolist, who illuminates a member of the board of directors of Other Paris in the 1920s. It is available for listening tion of time garnered from his study of music the capabilities of piano roll technology. Conlon Minds, to curate the film portion of our event. at Other Minds’ audio preservation site, www from India and Africa, and melded these into greatly admired Rex for his historical research Other Minds is privileged to work in collabora- .radiOM.org. Performers include pianist Julian one of the most listenable and striking œuvres in and his ability to perform rolls with live orches- tion with such distinguished company in honor- White, violinist Nathan Rubin, percussionist 20th-century music. tra, following a conductor to recreate, for exam- ing the genius of Conlon Nancarrow. Lou Harrison, soprano Miriam Abramowitsch, Perhaps most astonishing is that Nancarrow ple, Percy Grainger’s playing of the Grieg Piano and other notable Bay Area figures. In addition, completed most of his Studies without the world Concerto and George Antheil’s Ballet mécanique Charles Amirkhanian the world premiere of the complete opera by knowing about them. They were composed in with live percussion ensemble. Executive & Artistic Director Ezra Pound, Le Testament de Villon, was given Mexico City during his long residency there Also from England we have composer Other Minds at Zellerbach Hall on November 13, 1971, as a (1940–1997), following his decision to leave the Dominic Murcott, a charming and brilliant benefit for KPFA Radio. Robert Hughes con- United States at the tender age of 26. But by the musical mind, who curated and organized an ducted members of the Western Opera Theatre. late 1970s the secret was out, and his genius be- admirable Nancarrow festival this past April at To learn more, visit otherminds.org. gan to be more and more widely celebrated. His London’s Southbank Centre. His arrangement

6 CAL PERFORMANCES CAL PERFORMANCES 7 OPENING SCREENING 1

Friday, November 2, 2012, 5:30pm Friday, November 2, 2012, 7pm UC Berkeley Art Museum and Pacific Film Archive PFA Theater

Festival Opening Event Film Screening No. 1 Don’t Shoot The Player Piano: The Music of Conlon Nancarrow PROGRAM In Person Yoko Sugiura Nancarrow, Mako Nancarrow, Trimpin: Nancarrow Percussion Orchestra/Matrix 244 Trimpin, Charles Amirkhanian

or this matrix exhibition, Trimpin creates an interactive sound sculpture James Greeson Conlon Nancarrow: Virtuoso of the incorporating three reconstructed pianos. The installation, which features Nancarrow’s F Player Piano (2012) (United States, Study No. 30 (n.d.) for prepared player piano, pays tribute to the composer’s rhythmi- 56 minutes) (West Coast premiere) cally complex and intensely layered studies, and includes percussive elements originally designed by Nancarrow. Who would have thought that the miraculous maestro of Mexico City, the infamous Conlon Nancarrow, was born and bred in Trimpin: Nancarrow Percussion Orchestra/MATRIX 244 is on view Texarkana, Arkansas? Living in semi-obscurity for more than a Wednesday–Sunday, 11am–5pm, through December 23, 2012. half-century until his death in 1997, he was a composer of de- manding, multirhythmic canons for player piano. James Greeson’s Commissioned by Other Minds in collaboration with the smoothly composed Conlon Nancarrow: Virtuoso of the Player Piano UC Berkeley Art Museum and Pacific Film Archive. provides contrapuntal insights about an irascible composer who invented a virtuosic, heavily cadenced music that outdistanced the skills of flesh-and-blood musicians. Champion of the player piano, the only instrument robust enough to undertake his music, Conlon Nancarrow could roll with the punches. Steve Seid Preceded by

Alban Wesly Study No. 2 and Study No. 18 (2008) (Netherlands, 7 minutes) The Dutch reed quintet Calefax creates visual puzzles that express the cadences of Nancarrow’s compositions.

notes on the music Probably written straight after Study No. 3, Study No. 2 has a similarly bluesy harmonic basis but with an intriguing rhythmic structure. The whole piece is over a bass line in 5/8 against a tick- ing pair of notes in 3/4. The bass line, however, is three notes and in conversation: trimpin and lucinda barnes a rest in length, so it doesn’t fit the five-note bar length and seems to change chords at unexpected places as a result. On the opening evening of UC Berkeley Art Museum and Pacific Film Archive’s pre- Study No. 18 uses the same material at different speeds to sentation of Trimpin: Nancarrow Percussion Orchestra/MATRIX 244, Chief Curator and create complexity. Here the faster voice enters later, but both fin- Director of Programs and Collections Lucinda Barnes talks with Trimpin about his new ish their material at the same time. installation and Conlon Nancarrow’s legacy. Dominic Murcott, 2012

8 CAL PERFORMANCES CAL PERFORMANCES 9 PANEL 1 CONCERT 1

Saturday, November 3, 2012, 11am Saturday, November 3, 2012, 2pm Hertz Hall Hertz Hall

Discover Nancarrow No. 1 Nancarrow Concert No. 1

Trimpin & Rex Lawson The Expanding Universe of Conlon Nancarrow

PROGRAM panelists

Yoko Sugiura-Nancarrow Archæologist, widow of the composer Conlon Nancarrow (1912–1997) Study No. 11

Felix Meyer Director of the Sacher Stiftung, Study No. 5 preserving the Nancarrow archives Study No. 6 Kyle Gann Composer and author of The Music of Conlon Nancarrow Study No. 26

Peter Garland Composer and original publisher of Study No. 37 Nancarrow’s Studies for Player Piano Study No. 41c (for two pianos) Trimpin Composer and sound sculptor Trimpin, piano, Vorsetzer David Makoto Nancarrow Civil engineer, son of the composer

Charles Amirkhanian Moderator INTERMISSION This panel session will begin with a performance of Study No. 25 and conclude with Study No. 12. Nancarrow Study No. 21 (Canon X)

Percy Grainger (1882–1961) Molly on the Shore notes on the music Grainger Shepherd’s Hey he super-fast glissandi in Study No. 25 have a different qualities about them, Taccording to the dynamics and whether the sustain pedal is down. The final twelve Serge Rachmaninoff (1873–1943) Prelude in E-flat major, Op. 23, No. 6 seconds contain 1,028 notes! Study No. 12 is a beautiful study with a character unlike al- most all the others. Using the Phrygian mode, irregular bar lengths, and guitar-strum-like Jean Grémillon (1901–1951) Film score to Un tour au large (1926) glissandi, this work of pure genius captures the spirit of flamenco. United States premiere

Dominic Murcott, 2012 Rex Lawson, pianola

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notes on concert no. 1 Study No. 21 (Canon X) is the archetypal tunes I have been sad or furious. My dance set- Germany invaded France, and Lumière d’été Nancarrow work. Two lines of broadly atonal tings are energetic rather than gay.” and Le ciel est à vous were produced during the tudy no. 11 is the last of the blues/ragtime/ music cross as one gets faster while the other gets Rachmaninoff’s Ten Preludes of Op. 23 were occupation. These are character-driven dramas Sjazz pieces in the set, before this stylistic fea- slower. The pitches are merely a tool to allow the completed in 1903. The most often performed of that reveal either a society on the precipice of ture becomes submerged in the more abstract structure to unfold. the set, No. 5 in G minor, was completed as early doom or people breaking free of societal limi- style of Nancarrow’s later works. It exudes a as 1901. The preludes were composed at the same tations. Humane, entertaining, and technically nervous intensity reminiscent of Study No. 3, Dominic Murcott, 2012 time as his first extended piece for solo piano, the brilliant, they show Grémillon to be one of cin- but its irregular rhythmic patterns and phrase Variations on a Theme of Chopin, Op. 22, itself ema’s true hidden masters. lengths give this one a more improvisatory char- 2 derived from Chopin’s C minor Prelude. It is no In April 1927, Grémillon collaborated with acter than any of the earlier Studies. surprise, then, that Rachmaninoff would take Jacques Brillouin and Maurice Jaubert on a Study No. 5 features an extraordinary series Originally composed for string quartet/string inspiration from Chopin’s precedent and begin Pleyela player-piano musical accompaniment of repeating lines stacked on top of each other. orchestra, Percy Grainger’s Molly on the Shore composing a set of his own. With the addition prepared for a screening of his film Un tour Some remain unchanged throughout but others was written in 1907 as a birthday gift for his of the later Thirteen Preludes, Op. 32, and the au large (“Voyage on the Open Sea”) at the consist of gestures separated by a diminishing mother. An arrangement of two contrasting most famous of his compositions, the C-sharp Vieux Colombier cinema in Paris. The public- number of rests. As a result, the statements get Irish reels, “Temple Hill” and “Molly on the minor Prelude written when he was a teenager ity for this event advertises this “automatic mu- closer and closer until everything is compressed Shore,” the work was arranged in 1920 for wind of 19, Rachmaninoff continued the tradition of sic.” In his account of this event, Paul Gilson into a manic conclusion. band by the composer, as well as for orchestra. Bach and Chopin by having written preludes in (1927) praised the successful synchronization In Study No. 6, deceptively simple bass line In a letter to Frederick Fennell, Grainger says all 24 of the major and minor keys. between film and music and its “heightening sounds like an ostinato, but through a numerical that, “in setting ‘Molly on the Shore,’ I strove The young composer’s marriage in May of or punctuation of the images.” The player piano trick is always unstable, while a “cowboy” mel- to imbue the accompanying parts that made up 1902 and the impending birth of the couple’s seemed to have played an essential role, thanks ody unfolds over the top. In the final moments the harmonic texture with a melodic character first child may have contributed to this amaz- to its precision—unmatched by a human or- the melody uses the same rhythmic pattern as not too unlike that of the underlying reel tune. ingly fertile period, a creative re-emergence after chestra—in the accompaniment of the filmed the bass. Melody seems to me to provide music with ini- the devastating failure of his First Symphony in images. On the other hand, the critic for the The antithesis of Nancarrow’s trademark tiative, wheras [sic] rhythm appears to me to ex- 1895. In less than three years time, he had com- magazine Ménestrel felt that the film suffered complexity, Study No. 26 (Canon 1/1) was ert an enslaving influence. For that reason I have pleted his Second Piano Concerto, the Second from a “race between two machines—often championed by John Cage and is the only canon tried to avoid regular rhythmic domination in Suite for Two Pianos, and the Cello Sonata. The embarrassing, sometimes just sad…awkward in the collection with all voices at the same tem- my music, always excepting irregular rhythms, Op. 23 Preludes, with their alternating moods of synchronization between image and sound- po. The cool texture and ambivalent harmonic such as those of Gregorian chant, which seem to nostalgic sadness, tenderness, and heroic vigor machines running at ostensibly equal speeds, but material is indeed reminiscent of Cage. me to make for freedom. Equally with melody, and joy, can plausibly be regarded as an autobio- with differences of seconds or split-seconds that Study No. 37 features twelve separate can- I prize discordant harmony, because of the emo- graphical testament. Irina, the couple’s daughter, detach one track from the other. The solution ons, each with twelve voices at tempo ratios ap- tional and compassionate sway it exerts.” was born on May 14, and author Julian Haylock is to develop a dynamic relationship within the proximating those of the pitches in a chromatic Grainger’s Shepherd’s Hey is a tricky, inge- tells us that, in response, “Rachmaninoff sat music itself, as in the Wagnerian drama or the octave. The first canon is a simple five-note -mel nious setting of the English Morris dance tune down the very same day and composed his E-flat Stravinsky ballet, and not as in the cinema— ody played at twelve different pitches at twelve The Keel Row. To this day, in several agricultural major Prelude (No. 6), a microcosm of wide- especially since the music here is ‘automatic.’ speeds, so the music seems to cascade down the districts throughout England, Morris dances are eyed innocence and blissful contentment.” Grémillon finds himself trapped; the rhythmic instrument. Each canon uses a different version performed by teams of “Morris men” decked out Though little known outside of France, Jean rigor and the moving precision of his film leave of this technique and each has a contrasting tex- with bells and quaint ornaments to the music of Grémillon is a consummate filmmaker from no room, no respite for the music.” Though the ture so it is possible to recognize when a new one the fiddle or “the pipe and tabor” (a sort of fife his country’s golden age. A classically trained film is assumed lost forever, the piano rolls to appears. With a surprisingly luscious ending, and drum). The Hey usually involves the inter- violinist who discovered cinema as a young this groundbreaking work remain intact. Study No. 37 is arguably the perfect example of weaving of two lines of dancers, which may be man when his orchestra was hired to accom- Nancarrow’s innovative structural invention. symbolized by the use of two parallel lines of pany silent movies, he went on to make almost Now the fun begins: Study No. 41c! Study music at the opening of Shepherd’s Hey, rather 50 films—which ranged from documentaries to No. 41a plus No. 41b played on two separate pi- than a simple statement of a theme that then avant-garde works to melodramas with major anos simultaneously! The crescendos of the first moves into variants. Grainger adds stylistically stars—in a career that started in the mid-1920s two movements overlap to create one of the most authentic contrapuntal lines derived from the and didn’t end until the late 1950s. Three of his complex sections in musical history. Buried melody itself. Grainger commented of such early richest films came during a dire period in French in the mix are almost all the techniques that pieces as Shepherd’s Hey that “where other com- history: Remorques, starring Jean Gabin, was Nancarrow has developed for the player piano. posers would have been jolly setting such dance begun in 1939 but finished and released after

12 CAL PERFORMANCES CAL PERFORMANCES 13 CONCERT 2 CONCERT 2

Saturday, November 3, 2012, 8pm Nancarrow Study No. 33 (arr. Paul Usher) (ca. 1968/2003) Hertz Hall

Adès Movement IV: The Twenty-Fifth Hour Nancarrow Concert No. 2 from The Four Quarters

Calder String Quartet INTERMISSION

Benjamin Jacobson violin Andrew Bulbrook violin Jonathan Moerschel viola Béla Bartók (1881–1945) String Quartet No. 5 (1934) Eric Byers cello I. Allegro II. Adagio molto III. Scherzo: Alla bulgarese IV. A ndante PROGRAM V. Finale: Allegro vivace

Thomas Adès (b. 1971) Movement I: Nightfalls from The Four Quarters (2010)

Conlon Nancarrow (1912–1997) String Quartet No. 1 (ca. 1945) I. Allegro molto II. Andante moderato III. Prestissimo

Adès Movement II: Serenade: Morning Dew from The Four Quarters

Nancarrow String Quartet No. 3 (Canon 3/4/5/6) (1987) A measure = 72 B measure = 50 C measure = 92

Adès Movement III: Days from The Four Quarters

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notes on concert no. 2 2 instruments again. When he did so, he reduced (violin 2), 5% (viola), and 6% (cello)—until they the textual density of his music and dispensed converge at a final figure that is so banal it seems homas adès composed The Four Quarters Before Conlon Nancarrow began to work with (for the most part) with irrational tempo rela- like an ironic wink: A–B–C. Tin 2010 on a commission from Carnegie the player piano, he wrote a whole series of works tions, which were impractical to notate and Paul Usher’s arrangement of Study No. 33, Hall for the Emerson String Quartet, which for conventional instruments. They include his read, but otherwise continued his rigorous ex- whose irrational tempo ratio could only be pre­miered the work on March 12, 2011, in Stern String Quartet No. 1, written in Mexico City plorations of the organization of musical time. notated approximately, reaches the absolute lim- Auditorium. The title of The Four Quarters, as around 1945, which features a sequence of move- Not coincidentally, these late works are among it of what can be transcribed for string quartet. with many of Adès’s instrumental compositions, ment (fast, slow, fast) and specific thematic and the most difficult, in technical terms, in the This is no question, however, that Usher fulfilled is suggestive but not programmatic, this one de­ harmonic figures that give it a neoclassical touch modern literature for piano and ensemble. his well-nigh impossible task with considerable rived from traditional uses of the term to indi­ but also anticipates certain characteristics of The String Quartet No. 3 dates from 1987; imagination, and the highly differentiated sound cate divisions of time—quarter-hour, quarter of the construction of Nancarrow’s later music for Nancarrow wrote it to a commission form and great virtuosity of his arrangement pushed the year (as for financial dealings), quarter of a player piano. The use of isorhythmic sequenc- the Westdeutscher Rundfunk in Cologne for the mysterious, fragmented sound world of this lunar month, quarter of an athletic contest, the es and ostinati falls into the latter category, as the Arditti Quartet, which premiered it on piece to an even higher level. Thus, this tran- old English concept of quarter of a twelve-hour does its almost obsessive use of canonic struc- October 15, 1988, in the festival “Musik und scription, like all the successful arrangements, night—to imply the cycle of a day. The fleeting tures. For example, the bluesy slow movement Maschine: Nancarrow und Ligeti in Köln.” represent a valuable contribution: although they sounds, firefly sparks and momentary outbursts is designed as one large canon (with seven bars The work’s subtitle (“Canons 3/4/5/6”) already have to make certain concessions in terms of the of the first movement, Nightfalls, evoke the between the entries); likewise, the outer move- makes clear what this successor to the String precision of reproduction, they make up for this meditative hours of darkness. Eugene Drucker, ments are permeated with lengthy passages in Quartet No. 1—a second, unfinished string loss with their greater coloristic variety as well violinist and founding member of the Emerson strict imitation. In the finale, Nancarrow not quartet from the 1940s must be written off as as with their “analytical” qualities that clarify String Quartet, said that Serenade: Morning only used the techniques of inversion, double, lost—is about: namely, canonic structures in the structure. Dew “is almost entirely pizzicato, with many ex­ and tempo canons but heightened the conclu- which the tempos of the parts stand in the re- plosive chords interspersed with quieter pluck­ sion by employing an eight-part canon in which lation 3:4:5:6 to one another. In fact, this pro- Felix Meyer ing. One could imagine that the pizzicato explo­ each of the four players has to perform to two portion of tempos is the basis for each of the sions are like drops of dew on blades of grass, parts. It is hardly surprising then that there three movements, though Nancarrow varied the 2 scintillating as they catch the sunlight.” Days is was no ensemble to be found in Mexico in the entry and convergence points of the four parts. built around a repeating rhythmic murmur in 1940s who wanted to take on such an intricate In the first movement, in which the theme is in- Conlon Nancarrow has pointed to Igor the second violin that may suggest the steady and technically taxing composition. The score troduced by the cello at a moderate tempo, the Stravinsky and Béla Bartók as two of the big- flow of the hours or even of the days, one to the lay around for decades before it was premiered entries of the higher, increasingly rapid parts are gest influences on his own music. During the next. The other instruments wind slow-moving in 1982 by the Kronos Quartet at the Cabrillo arranged in such a way that there is never a con- mid-1940s, around the time he wrote his String harmonies around this ostinato figure before it Festival in Aptos, California. vergence of all four parts; instead, in the middle Quartet No. 1, Nancarrow was familiar with, passes to the viola when the first violin begins If Nancarrow’s String Quartet No. 1 was of the movement there are six “mini” convergen- possibly even hearing live, some of Bartók’s a long, chromatic ascent that climaxes with the written shortly before Nancarrow’s decades- ces in rapid succession between pairs of the parts earlier string quartets. It is worth noting that unanimous proclamation of the ostinato rhythm long retreat from official musical life, his String (cello/viola, cello/violin 2, cello/violin 1, viola/ in 1981, the year before the Kronos Quartet by the full ensemble. The intensity subsides, the Quartet No. 3 marks the last phase of his life, in violin 2, etc.). By contrast, in the slow move- premiered Nancarrow’s String Quartet No. 1 unanimity dissolves, and the movement comes which his music, thanks to its dissemination on ment, which stands out for its concentration on (nearly 40 years after it was written!), Mexico to an uneasy, dying close. The Twenty-fifth Hour records and the committed advocacy of friends harmonics and pizzicati, the slowest tempo is as- City hosted a festival in celebration of Bartók’s broaches the surreal not just in its metaphysi­cal (including György Ligeti), finally came to be signed to the violin. After the lower instruments centennial, which Nancarrow attended, going to title but also in its oxymoronic performance in- heard by a wider audience and its significance have entered in successively faster tempos, there nearly every single concert. struction—Alla marcia, dolcissimo (“in the man- appreciated. Admittedly, the fact that the vast is a convergence of all four parts already in the Bartók devoted much of his life to the study ner of a march, sweetly”)—and its improb­able majority of his œuvre was written for the player first third of the piece, after which the canon and collection of folk music from his native time signature—25/16, parceled out in regular piano remained a hindrance to its reception, plays out, rising from the cello (fastest tempo) Hungary and other lands. In some of his works groupings of 4+4+3 and 4+4+3+3. “Adès’s inven- since it was not really suited to reproduction in to the first violin (slowest tempo). The finale he incorporated folk material, but in his String tion, his humor and his inscrutability are to be concert halls. Urged by various performers and consists of three individual canons, of which the Quartet No. 5, having thoroughly absorbed the marveled at,” wrote Mark Swed in his re­view of impressed by the enormous improvements in the last, an acceleration canon, demands extreme idiom, he integrates its vitality and expressive- the Emerson’s performance of The Four Quarters technical competence of some of the ensembles technical agility from the quartet. Not only ness into his own composition without quot- in Los Angeles in March 2011. specialized in contemporary music, Nancarrow does this section consist of a series of virtuoso ing or copying folk music. The quartet, which therefore decided in the 1980s to begin com- trills, tremoli, and glissandi, but the four parts Bartók composed in Budapest in the summer of Dr. Richard E. Rodda, 2011 posing music for traditional, nonmechanical accelerate at different rates—3% (violin 1), 4% 1934, consists of five movements, arranged in an

16 CAL PERFORMANCES CAL PERFORMANCES 17 CONCERT NOTES 2 PANEL 2 arch: the first and last movements, which are fast, Sunday, November 4, 2012, 12pm share thematic material; the second and fourth Hertz Hall are slow and similar in mood; and the third, a scherzo, is the keystone of the entire work. The first movement constitutes an arch with- Discover Nancarrow No. 2 in the greater arch: its three main themes are de- veloped and then recapitulated in reverse order. The second movement, an example of Bartók’s Eyeballs Out! How Performers Learned to “Play” Nancarrow “night music,” begins with bird-call trills and half-heard murmurings, detached phrases and wisps of music, followed by an anguished melo- panelists dy that disappears into the shadows. The central movement has the symmetrical shape of a scher- Dominic Murcott & Chris Froh Discussion and performance of Nancarrow’s zo and trio, written throughout in Bulgarian Piece for Tape rhythms. The slightly faster trio section, which is the center of the movement and the whole Helena Bugallo & Amy Williams Piano duo quartet, is followed by a modified version of the scherzo. The fourth movement parallels the Kyle Gann Composer and author of The Music of second, but with pizzicatos in place of trills, Conlon Nancarrow and a similarly intricate and passionate middle section. The finale brings back the peasant-like Trimpin Performance of Nancarrow’s Study No. 3a vitality of the first movement, with a stamping and other selected studies rhythm, a flowing central section, and a fugue on the first theme of the first movement. Toward Rex Lawson Pianolist the end, a simple barrel-organ-like transforma- tion of an earlier theme grows increasingly out Graeme Jennings Violinist, formerly with Arditti String Quartet of tune in a surrealistic manner, before the origi- nal vigor returns to end the quartet. Charles Amirkhanian Moderator Nigel Bolland

18 CAL PERFORMANCES CAL PERFORMANCES 19 SCREENING 2 SCREENING 2

Sunday, November 4, 2012, 4pm PFA Theater Preceded by Film Screening No. 2 Alban Wesly Nancarrow Study No. 3c (2008) Don’t Shoot The Player Piano: The Music of Conlon Nancarrow (Netherlands, 3 minutes) The melodic patterns in Study No. 3c retain a somewhat blues flavor. Though not a strict canon, there are extended canonic In Person Yoko Sugiura Nancarrow, Mako Nancarrow, passages, heard against a pizzicato-like bass line, all in a mod- Trimpin, Charles Amirkhanian erately fast tempo. A fragmented image resolves into whole- ness as Calefax ebulliently performs Study No. 3C. Hanne Kaisik & Uli Aumüller Music for 1,000 Fingers (1993) (Germany, 45 minutess)

For almost sixty years, Conlon Nancarrow worked Tal Rosner & Sophie Clements Study No. 7 (2007) diligently in a secluded studio in Mexico City. Amidst (United Kingdom, 7 minutes) his antique player pianos, massive library, and grow- Taking a pure approach to the sound, this is a graphic repre- ing collection of piano rolls, this brilliant expat com- sentation of Conlon Nancarrow’s Study No. 7 from the 2007 poser never faltered in his ongoing experiment with a film of the same name by Tal Rosner and Sophie Clements. music of such complexity it thwarted the skill level of Beginning with the notational image of a piano roll, this most musicians. By the late 1970s, when Nancarrow’s graphical landscape sensuously embraces Nancarrow’s ever- remarkable music began to find acclaim, a small num- evolving tempos and timbres. The filmmakers draw inspira- ber of critics, composers, and patrons did regularly tion partly from the music roll of the player piano and the Carol Law Carol visit his studio, but none recorded the maestro in situ experimental film and graphics of the 1920s. Geometric ele- until Uli Aumüller. Hanne Kaisik and Uli Aumüller’s film Music for 1,000 Fingers contains ments are introduced, with each “set” representing a motif in rare footage of Nancarrow as he explains his compositional methods and procedures for the the music. As these motifs reappear in the piece—so do their first time on film. Drawing a connection from the multicultural complexity and activity of the graphic counterparts—each time changing and creating new bustling metropolis of Mexico City to Conlon’s seclusion in his studio, this fascinating film, geometric landscapes. Study No. 7 is the longest and most so- made for German broadcast in 1993, contains interviews with Along with Yoko Nancarrow and phisticated of the early studies in which the opening staccato Charles Amirkhanian, and additional commentary by György Ligeti. This crisp portrait shows theme returns in an increasingly elaborated manner. us Conlon Nancarrow in his well-worn space of vigorous creativity. Steve Seid

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Sunday, November 4, 2012, 7pm Part II: La Sacrifice Hertz Hall Introduction Cercles mystérieux des adolescentes Glorification de l’élue Nancarrow Concert No. 3 Evocation des ancêtres Action rituelle des ancêtres Rex Lawson, pianola Danse sacrale (L’Elue) Chris Froh, percussion Rex Lawson, pianola Graeme Jennings, violin Bugallo-Williams Piano Duo

INTERMISSION PROGRAM

Nancarrow Study No. 3b (arr. Amy Williams)

Conlon Nancarrow (1912–1997) Piece for Tape Study No. 4 (arr. Erik Oña)

Study No. 18 (arr. Oña) arr. Nancarrow Piece for Tape ( Dominic Murcott) Study No. 9 (arr. Helena Bugallo) United States premiere Study No. 44 (Aleatory Canon) (1981) percussion Chris Froh, (arr. Bugallo)

Nine Early Pieces (early 1940s)

Nancarrow Toccata for Piano and Violin (1935) Sonatina for Piano (1941, arr. Yvar Mikhashoff) pianola Rex Lawson, Study No. 20 (arr. Bugallo) Graeme Jennings, violin Study No. 15 (arr. Mikhashoff)

Bugallo-Williams Piano Duo Igor Stravinsky (1882–1971) Le sacre du printemps (1913) First performance in America by a single performer Helena Bugallo, piano Amy Williams, piano Part I: L’Adoration de la Terre Introduction Les Augures printaniers Jeu du rapt Rondes printanières Jeux des cités rivales Cortège du sage: Le Sage Danse de la terre

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notes on concert no. 3 dismissive of. Nevertheless, he sent a copy to one time. This might appear to be a problem Although Nancarrow not only ran out of Elliott Carter in 1970, so he probably had an for a composer who was already obsessed with energy with tape composition but the piece it- hen magnetic tape recorders became inkling that there was something interesting layering musical lines to create complex combi- self, I became fascinated with it, and in 2009 Wcommercially available after the Second about it. nations, but using an ingenious solution he did conceived a version for a solo percussionist. In World War, a small but influential group of And of course there is! manage to do just that. the 1940s, Nancarrow struggled to find players composers seized the opportunity, not just to A machine-gun burst of drums is followed After an opening “theme” which is then who were willing and able to perform his music. capture sound but to manipulate it into a whole by an equally rapid salvo of wood blocks before repeated at half speed, there is a development I was lucky enough to work with British percus- new sonic experience. A combination of copy- the recording ends at just over two minutes. As section. Here, an African sounding groove of sionist Joby Burgess, who has been commis- ing, layering, speeding up and slowing down, it speeds by, there is the sense of a battle between twelve notes to the bar played on high drums sioning and performing adventurous percussion reversing, cutting, and splicing resulted in patterns, which threaten but never quite succeed is juxtaposed with a repetitive strike every five pieces for many years. By reducing the number compositions that found musicality in everyday in becoming dominant. Mutation and progres- notes on a low drum. Whenever the two coin- of drums and re-barring Nancarrow’s original sounds, often transforming the original material sion is also sensed but once again remain elusive. cide, the note from the twelve phrase is simply score, a version emerged that was incredibly dif- beyond recognition. In Paris, Pierre Schaeffer omitted. The ferocious speed at which this oc- ficult but not impossible! Nancarrow’s original coined the term musique concrète and argued for curs produces two distinct results: The first is score also continues beyond the original tape a new way of appreciating music that didn’t rely that the listener can feel both patterns but un- version (released in 2000 on the Other Minds on the listener knowing what the source mate- derstand neither; the second is that it sounds label) but still stops, unexplained, in mid-flow. rial was. like it is polyphonic—that there are more lines Employing a little artistic license, I reused the During this time, in his quiet Mexico City that one being played simultaneously. Using final few bars to produce a definitive end (defini- suburb, Nancarrow was finally finding a way a delightful rhythmic number game, the sec- tive ends are a recurring feature in Nancarrow’s of hearing his own radical ideas via his newly tion then uses this idea while moving through music) and it was premiered by Joby in 2010 at acquired player piano. As ever, the motivation a progression of steps: A seven phrase against a the Cheltenham Festival in the UK. behind his music was a fascination with the plas- six phrase (7:6) is followed by 8:5, 9:4, 10:3, and There is always a risk when making arrange- ticity of musical time: splitting it into layers that 11:2, concluding with a frantic 12:1. ments for performers of Nancarrow’s mechani- moved at different speeds—clashing, converg- Piece for Tape has no obvious musical prec- cal music. Will the essence of the work survive? ing and merging with a mathematical intensity edents. It does not concentrate on the transfor- The player-piano studies allow the listener to that no one had achieved before and few have The picture above shows Nancarrow in his mation of sonic material like the well-known “commune” directly with the composer. Does since. By the early 1960s, he was fully commit- studio, apparently at work with a tape ma- musique concrète pieces from that period by the inclusion of a performer add excitement or ted to the player piano with around 30 ground- chine. Credited by some sources as being from Schaeffer, Stockhausen, Cage, and others. In dilute the experience? The risk seems to have breaking studies completed. However, his early 1955, it is difficult to be sure of the exact date. fact, it is the only one to focus purely on vir- paid off. Even though the live version is a little player-piano years, starting in 1947, were also We do know that the machine itself, a Brush tuosic rhythms, more akin to the computer slower than the tape, the dexterity needed to spent contemplating a more expansive mechani- Soundmirror, was available in the United States composers of today. This piece may therefore be play it is breathtaking, and the sense of rhythmic cal instrument. Adapting the player piano’s from 1952. The tape on the spool is hanging not only one of the oldest pieces of tape music, struggle survives the transcription. pneumatic system, Nancarrow attempted to cre- loose, suggesting that an edit is being made, but also completely unique in its musical ambi- When it was first performed, it became clear ate an orchestra of pitched and unpitched per- though this of course may be just posed. Behind tion. It is also, however, remarkably similar to that the combination of drums and woodblocks cussion that could play his compositions from the tape machine, there is what looks like a card- the direction that some jazz drumming took in and the way they are used bears a striking re- a punched piano roll. Unfortunately, his engi- board box with a wooden dowel pushed through the 1970s. Ed Blackwell developed a linear style semblance to Xenakis’s Rebonds. Written in 1988 neering resources were limited and the drums it, ideal to use as a spindle to hold a selection where no two limbs strike at the same time, and and also for solo percussion, it has become a reg- lay abandoned thereafter. (Sixty years later, of tapes for easy access. Nancarrow explained his solo on the track “Handwoven,” on the Don ular amongst contemporary percussion recitals. Trimpin has re-imagined and rebuilt the percus- many years later that he copied some percussion Cherry record Old and New Dreams from 1977, Once again, without being a direct influence, sion orchestra using Nancarrow’s actual drums, sounds many times, then cut them into different sounds almost like it could have be drawn from Nancarrow seems to have anticipated key musi- to be unveiled at this very festival). In the early lengths according the note value required. These the same material. cal ideas many years before others have popular- 1950s, however, Nancarrow himself considered were the days before multitrack tape record- Trimpin has discovered a number of tapes ized them. the possibility of tape as an alternative means ers that could allow sounds to be layered with containing just repeated single piano notes. The piece has now been performed a dozen of realizing his music and set about creating a rhythmic precision, so the only way to make an Could these have been prepared for tape pieces times by Joby and to also to great acclaim by the tape composition using the sounds of the now accurate composition was to splice pieces to- using pitches material? Had he had access to the London Sinfonietta as part of their Nancarrow defunct percussion orchestra. gether. This meant that the composition had to quality of studios that were developing in radio centenary concert in London in 2012. The per- This Piece for Tape, as it has become known, be essentially monophonic—that is to say that stations and universities, would Nancarrow have cussion score of Piece for Tape is due for publi- is an unfinished idea that Nancarrow was quite it could only have a single sound playing at any become a great electronic composer? cation by Schott, and Joby Burgess’s recording

24 CAL PERFORMANCES CAL PERFORMANCES 25 CONCERT NOTES 3 CONCERT NOTES 3 of it, along with a companion piece that I have Pianolas were well known in Russia be- peasant folk, with all the excitement and mis- Pleyel cannot have made much money from composed called Armed Response Unit, using fore the revolution, but it seems likely that haps that this entails. the sale of Stravinsky’s rolls, for they paid the the same percussion but adding electronics into Stravinsky first became aware of their real mu- So in trying to represent this peasant qual- composer on five counts for each and every roll the mix, will be released on the Signum label in sical potential in Berlin in late 1912, where he ity in music, Stravinsky combined a pianola, of his that they manufactured, whether or not it November 2012. joined Diaghilev’s Ballets Russes on tour, for the played in a deliberately mechanical way, two was subsequently sold. These payments were for Nancarrow’s popularity arose from the re- opening of Petrushka on December 4. Arnold Hungarian cimbaloms, a harmonium, and a the mechanical copyright, for exclusivity (since cordings of the player-piano studies, but many Schoenberg was in the audience that night, great deal of percussion. However, in the af- the rolls represented the very first “recordings” chamber ensemble arrangements of them are and was impressed, and four days later he in- termath of the First World War, it was not easy of the works concerned), for the arrangement of now firmly established as classics in their own vited Stravinsky to a performance of Pierrot lu- to find virtuoso cimbalom players who could the work for music roll, for the performance of right. It will be interesting to see if this innocu- naire in the Choralion Saal at Bellevuestrasse 4, perform contemporary Western music, and so the work (even though Stravinsky did not actu- ous experiment will also creep into the canon nowadays a mere lamppost at the back of the the Parisian firm of Pleyel decided to construct ally record any of the rolls at a keyboard), and and give percussionists the opportunity to play Sony Centre! The Choralion Company was the two-keyboard cimbaloms that could be played for the musical copyright of the original work. Nancarrow as well. Aeolian Company’s subsidiary in Germany, and by music roll if necessary. The design was un- In 1924, Stravinsky’s contract with Pleyel its showrooms were full of pianolas, orchestrelles dertaken by a Belgian organ-builder, Georges was acquired by the Aeolian Company in New Dominic Murcott, 2012 (a sophisticated development of the American Cloetens. Unfortunately, the project was not a York, and in January 1925 the composer traveled organ), and even pipe organs, all operated by simple one, and although the new instruments, to America for a concert tour and to record some 2 perforated music roll. This visit clearly caused known as luthéals, were designed and patented piano rolls for the Duo-Art system. The Sonata Stravinsky to think of using roll-operated instru- in 1919, they were not finally ready until 1924. for Piano was actually published on roll before The wild, neo-baroque Toccata for Piano and ments for his own music, because within a few Since Stravinsky had sold the exclusive rights of the sheet music appeared, and the first move- Violin was written in 1935 and first published in days he had received a telegram from Diaghilev, Les Noces to Diaghilev for a three-year period ment of the Concerto for Piano was also issued. Henry Cowell’s New Music Quarterly (January reassuring him that pianola arrangements were beginning in 1920, he had to abandon his ideal The Aeolian Company was keen to pub- 1938). At that time, Nancarrow was off fight- not necessary for the rehearsals of The Rite of instrumentation in favor of the final version for lish many of Stravinsky’s works in its new ing in the Spanish Civil War. Some scores that Spring, and a tart reply from the Parisian agen- four pianos and percussion. “AudioGraphic” series of rolls, on which copi- he’d entrusted to one of his teachers, Nicolas cy that supplied répétiteurs for the Théâtre des Some accounts of Les Noces even claim that ous program notes and illustrations could be Slonimsky, were passed on to Cowell who print- Champs-Élysées, that its pianists were quite ca- Stravinsky at one time intended the work to be printed, so in addition to his actual keyboard ed them without the composer’s knowledge. pable of mastering the complexities of his music. accompanied by four pianolas. However, it is recordings, Stravinsky worked on preparing According to Kyle Gann, “Nancarrow came to A few years later, with his thoughts turn- clear enough that he viewed the word “pianola” The Firebird, Petrushka, Apollon musagète, Baiser consider the piano part impossible to play at ing to Les Noces, he enquired of the Aeolian as a useful epithet for any keyboard instrument de le fée, and other works for the new system. the tempo he wanted, so in the eighties, spurred Company in London whether it would be pos- that played by means of music roll. Whether a Unfortunately, the Depression of the late 1920s by requests for live music, he punched a roll of sible to perforate pianola rolls for the accompa- cimbalom/luthéal, a harmonium/orchestrelle, or caused the abandonment of this project, and the piano part. The Toccata has since been per- niment, and as a result of this contact he decided a normal player-piano, it was easier for him to much of the work was destroyed except a series formed also by taped player piano and live vio- to write a series of studies for the pianola. In fact, refer to this plurality by the one simple term. of six rolls of The Firebird. linist.” The conventional designation “for violin he only completed one study, known nowadays Pianola, two cimbaloms, and harmonium were Tonight’s presentation marks the first time and piano” is reversed by the composer, since the as the Etude pour Pianola, written in 1917, but for him the selfsame thing as four pianolas. in America that Stravinsky’s rolls for Le sacre piano is active throughout and the violin drops published and first performed in 1921. During the 1920s, the firm of Pleyel, which have been performed by a single pianolist, rather out for 36 measures (out of a total of only 124) Les Noces was one of the central works of was the major musical establishment in Paris, than two or three alternating individuals. shortly after the opening. Stravinsky’s life. It combined his feelings toward furnished Stravinsky with a studio in its head- the Russia that he had left, and that had changed quarters in the rue Rochechouart. He was able Rex Lawson 2 forever, his religious beliefs, the musical discov- to use this as an office, a studio for composi- eries that he had made as he traveled Europe, tion, a workshop for creating new piano roll 2 he russian composer Igor Stravinsky and not least his sense of humor. Initially he versions of most of his early works, and as a Tspent some 15 years, one-sixth of his very thought of arranging it for large orchestra and pied-à-terre for entertaining guests, not least Discouraged by the lack of acceptable perfor- long life, in close contact with pianolas of dif- chorus, but he discarded this version in favor his future wife, Vera Soudeikina. In close co- mances of his music, Conlon Nancarrow turned ferent kinds. He composed an original study for of a much more unusual orchestration. The full operation with Jacques Larmanjat, Pleyel’s head to the player piano in the late 1940s. This deci- the instrument, planned it as part of the accom- title of the work is actually Svadebka in Russian, of music rolls, he made new arrangements of sion was largely motivated by Henry Cowell’s paniment to his ballet Les Noces, and actually Les Noces villageoises in French, and is best trans- The Firebird, Petrushka, The Rite of Spring, The treatise New Musical Resources, where the use rewrote most of his major early works especially lated as The Village Wedding in English. It is Song of the Nightingale, Pulcinella, and a host of of the player piano is suggested for the realization for piano roll. a wedding, not of the rich bourgeoisie, but of smaller works. of complex rhythms. For decades, his creative

26 CAL PERFORMANCES CAL PERFORMANCES 27 CONCERT NOTES 3 A REMEMBRANCE activity was confined to the privacy of his stu- “punching scores” served as the main source of remembering conlon dio: he wrote the music, punched it manually reference for the transcriptions. in player-piano rolls, and listened to it played by Most of the transcriptions feature an alterna- Author’s note: Shortly after Conlon Nancarrow’s his mechanical instruments. In 1975, he confid- tive notation of the original meters and rhythms. death in Mexico City, on August 10, 1997, my wife ed to composer Roger Reynolds: “…after I finish For the sake of coordination, the new notation and I moved to Mexico, where we lived for the next punching a piece and before I put it on, you have tends to maintain a metrical reference shared by seven and a half years, returning to the United no idea how excited I am.... What is going to both players. While indispensable to realizing States in the spring of 2005. During that time, I happen?” The feedback he received from the the music in performance, the new notation may immersed myself in intensive fieldwork and inves- pianos was his principal encouragement for occasionally blur the phrasing details implied in tigations into Mexican traditional musics. From many years, and it was based on this feedback Nancarrow’s scores. We find it important, there- 1998 to 2001, we lived in Tlacotalpan, Veracruz, that his musical language evolved and matured. fore, to keep in mind aspects of the original no- a UNESCO-designated Cultural Patrimony of His exhaustive exploration of the medium’s pos- tation when interpreting the music. Humanity and a center for jarocho music and sibilities resulted in a series of 50 Studies, both Nancarrow’s pianos are characterized by a culture. In 1999, I was asked to write this text for highly idiomatic and utterly original. very brilliant, percussive attack followed by a MindReader, the Other Minds newsletter. Since In spite of his artistic isolation, numerous (and relatively soft resonance with a rapid decay. He Tlacotalpan did not have internet access back then, Conlon discovered my taste for Mexican cerve- disparate) influences converge in Nancarrow’s achieved this sonority by modifying the ham- I never saw it published. za, I could always count on there being two cold music. Jazz elements are openly present in the mers with leather and metal. Given these quali- six-packs in the refrigerator any time I arrived. early works, of which Study No. 3 (often referred ties, it is not surprising that many of his musical y relationship with Mexico began at Yoko would get home from work in time to su- to as the Boogie-Woogie Suite) and Study No. 4 ideas are essentially staccato or consist of brief Mexactly the same moment as my personal pervise the preparation of the main meal. After are clear examples. A conceptual connection to legato phrases ending on a short note. Although friendship with Conlon Nancarrow; for me the the meal—which was almost always a culinary late medieval music is also apparent, especially in imitating the attack of Nancarrow’s instruments two will always be intertwined. One week af- feast—there would be a period of rest (Conlon his fondness for extreme rhythmic complexities, is impossible (and senseless), we try to approxi- ter I entered Mexico—after shrimp and beer would wander off to his studio) until around five which the composer also absorbed from Indian mate the machine in its clear staccato playing. In on the beach in Veracruz, a visit to the Totonac o’clock, when it was time to make the daily trip and African traditions. Moreover, Nancarrow’s those Studies where longer and slower melodic ruins of Zempoala, where Cortez had his first up to the espresso café, which then existed at the marked interest in imitative textures, in partic- ideas are predominant, we take advantage of the contacts with the local Indians, followed by a top of their street. Over cappuccinos or espres- ular “tempo canons” (canons where the voices warmer sound and longer resonance of a modern visit to the old market in the center of Puebla sos, spirits and energies would revive, and the move at different speeds) evokes a practice first grand piano. We also depart, almost inevitably, City—we were sitting in Conlon and Yoko conversation (which seemed constantly ongo- developed in the Renaissance. The great major- from the machine through the incorporation of Nancarrow’s comfortable home in the southern ing, despite Conlon’s reputation for being a man ity of the pieces in tonight’s program represent dynamic phrasing, accented inflections, and nu- part of Mexico City. In 1975, I was 23 years old of few words) would continue. We spent entire this interest, to the point that the canonic pro- ances of balance that we believe befit the music, and Conlon was 63. Thus began one of the most days—from breakfast until after a small, late cedure—defined by diverse tempo ratios—de- yet are not possible on a player piano. remarkable friendships of my life—one which supper and perhaps some time listening to his termines in some cases the work’s overall form Both the Sonatina and the recently discov- influenced me as much personally as musical- music in his studio—talking. (e.g.: Studies Nos. 15 and 18). ered Nine Early Pieces date from Nancarrow’s ly—and which lasted for 22 years, up to the year At the time, perhaps what left the greatest The Duo’s project of transcribing and per- first years after his emigration to Mexico. The of his death in 1997. impression on me was Conlon’s friendship with forming Nancarrow’s mechanical music began Nine Pieces are two-voice miniatures, almost The Mexican people have a lovely phrase the painter and architect Juan O’Gorman. The in 1998 in Buffalo, New York. The discovery of abstract exercises, which explore different types for welcoming friends, which translates as “my two of them together, elegant old men cracking Yvar Mikhashoff’s unpublished transcription of of imitative techniques and are evocative of me- house is your house”; and during the mid- and jokes, O’Gorman with his cane and cigar, were Study No. 15 provided the project’s initial im- dieval, Renaissance, and baroque music. The late 1970s when I lived in Mexico, his house be- quite a sight. I remember vividly an evening in pulse. Working together with composer Erik Sonatina, originally conceived for solo piano, came my second home. With Conlon and Yoko 1975 when the conversation turned to the sub- Oña, we identified twelve additional Studies was eventually punched on a player-piano roll I tried many foods for the very first time: chich- ject of Augusto Pinochet—and my wife’s and that could become piano duets. Nancarrow’s by the composer and recorded as such. The ar- arrón, maguey worms, the Aztec corn fungus, my embarrassment, as well as the look of exas- published scores served as the primary reference rangement by Yvar Mikhashoff for piano duet huitlacoche (which Yoko prepared in delicious peration on their faces, when it turned out we during the subsequent transcription process, is known to have been welcomed and valued crepes), chayote, squash flowers,mamey , and didn’t know who Pinochet was. From that mo- and a few final revisions were made based on the by Nancarrow. zapote negro (a soft, persimmon-like fruit which ment on, I became aware that people in Mexico available recordings of the rolls. In the case of was a favorite dessert in the Nancarrow house- and Latin America had a different understand- the more advanced Studies, No. 20 and No. 44, Bugallo-Williams Piano Duo, 2012 hold). Since in Mexico the main meal is eaten ing of their politics, history, and relationship the original rolls and Nancarrow’s so-called in mid-afternoon, by one o’clock it was time for with the United States, than we in the north the first aperitif of the day, in my case beer. Once do. One of the last times I saw O’Gorman, he

28 CAL PERFORMANCES CAL PERFORMANCES 29 A REMEMBRANCE INTERVIEW gave us a personal tour of in a fandango, along with An Interview with Conlon Nancarrow Shumaker and I taped Conlon’s complete mu- his mural, then still in- the young musicians in my sic to date. These more modern, state-of-the-art progress, in the Castle of hometown, and stepped introduction recordings in Dolby stereo were made for 1750 Chapultepec. In 1976, when up to a microphone for the Arch Records, which has projected a five-disc I published Soundings 10, I very first time to sing verses erhaps the most exasperating obstacle series, the first LP to be released in fall 1977. asked Conlon to approach of “La Bamba” in front of Pfor those incurably addicted to the unique Hopefully, these recordings of Nancarrow’s mu- O’Gorman, to see if I could the people who created the and mesmerizing beauty of Conlon Nancarrow’s sic and the present volume will pave the way for use a painting I’d been song. I looked up at the music is its very inaccessibility, not in a “music a wider appreciation of this composer’s work and shown in his studio that full moon over the palm appreciation” sense but in a physical one. No will stimulate further study and propagation of was a critical parody of the trees, and for some reason recorded image of his compositions ever will re- the paths his art has taken. Statue of Liberty (this was I thought of…Conlon. If produce the overwhelming sensation of the raw power and excitement generated when sitting in Charles Amirkhanian

the year of the United States Law Carol only he could see me now. Bicentennial). Conlon as- He would laugh and shake Nancarrow’s soundproof studio in Mexico City July 18, 1977 sured me that, no, Juan never did anything his head, and be proud. Not only did he teach and listening to his rolls “in the flesh.” Such a Santa Barbara, California for free, and he was sure that my request was me about music, and his own example of some- combination of intellectual refinement and hopeless. He was as surprised, as much as I was one who steadfastly kept to his own vision and sheerly visceral stimulation is rare among avant- * Editor Peter Garland’s wry comment: …which pleased, when O’Gorman agreed right away. integrity; he also taught me about Mexicom— garde composers in the second half of the 20th would make him approximately 100 or 150 years Since that first trip to Mexico and meet- his Mexico, which has now become mine too. century. At best, commercial records so far have old, respectively.... ing Conlon in 1975, I have come to Mexico a Viva Conlon! Viva Mexico! been unsuccessful in transmitting the truly ex- dozen times or so, including several extended traordinary impact of these sounds to the out- periods of residency. I have lived in the states Para bailar La Bamba side world. of Oaxaca, Michoacán, Puebla, and Veracruz, Para bailar La Bamba Similarly, information about the composer and now speak fluent Spanish. Conlon used to Se necesita Conlon Nancarrow and his music has been inac- joke that I, after a year and a half, knew more Una poca de gracia… cessible to those unable to visit him personally. about Mexico than he did (that he only stayed The strength and integrity of one of the great in his “cave”—his studio—working). The other Peter Garland geniuses of present music history and the per- night during a fiesta here in southern Veracruz, I Tlacotalpan, Veracruz sistence with which he has pursued his solitary was playing the jarocho music I’d been studying September 1999 vision is, beyond question, one of the inspiring stories of our time. The following interview was recorded for broadcast over KPFA Radio (Berkeley, Law Carol California) with no thought, at the time, of pub- amirkhanian: Conlon, one of the problems lication in print. It is geared to a nonspecialist that you must have had composing with the audience and must be read with that in mind. player-piano rolls was exactly how to punch your Nevertheless, there will be much of interest to own music onto the rolls without going through specialists who find themselves in sympathy a commercial institution of some sort. How did with Nancarrow’s music but without the means you get the idea to get a hole-punching machine, of visiting the composer personally, for until the why did you get involved in it, and how do you publication of the Soundings book, there have actually, physically, do the work of punching been scarcely more than four or five short ar- the roll? ticles about the composer, and even these occa- sionally have contained unintentional errors of nancarrow: For years, I had been obsessed fact. (For example, Nancarrow did not defect to with this idea of player pianos and to somehow the Spanish in the Spanish-American War, nor do it. I went to New York and began asking all the Mexican-American War, as was reported in over the place—at places that made player-piano Walter Zimmerman’s book Desert Plants.*) rolls—Oh! This is an interesting story, inciden- The happy occasion which resulted in the tally—did I ever tell you this story? About how I recording of this interview as a weeklong stay in found out about making a machine? I first went Mexico City, during which time engineer Bob to this place in the Bronx—this player-piano

30 CAL PERFORMANCES CAL PERFORMANCES 31 INTERVIEW INTERVIEW company that had a—as a matter of fact, I think nancarrow: No. I finally after 20 years in amirkhanian: You’ve actually spent that long nancarrow: Well, so did Bach, you know. All they still make rolls but now it’s just popular mu- Mexico found someone who maybe could have putting a piece of six or seven minutes’ duration he had to write for was organ and harpsichord, sic—and I found this one guy there who was very done it. So, anyway, the price was $300. After onto a roll. basically. cooperative and helped me and everything—he months, it was finished and this guy said to me, had this little machine that he used for punch- “Okay, I’ve told you $300, but if I had to do it nancarrow: Right. Right. amirkhanian: So he couldn’t make all these ing—similar to mine—as a matter of fact mine again I’d charge you I don’t know what!” Well, subtle, romantic— was copied from his machine. Well, after that, at that time I was a little short on money, so I amirkhanian: And is that the reason you have I went somewhere down in the Village—there brought it back, and several years later when I so few compositions. nancarrow: He didn’t even want them. So was a really strange character—you know, I for- had some more money I sent this guy $500 as a there was no problem. Look, you know it would get all these people’s names. You know what he sort of thank-you. nancarrow: Right—because it takes so long. be fascinating to have a recording of an orches- did? Only repaired medieval instruments—lutes tra playing in Bach’s time. I’m absolutely sure and who knows what—a real character—but a amirkhanian: Were there machines to punch amirkhanian: Because the duration of the mu- that orchestra-playing at that time was based on very interesting guy. I was in there, and I was player-piano rolls by hand in existence at the sic you’ve composed in 20 years in under four or organ and harpsichord dynamics. I mean this telling him my problem—how was I going to time? You say this guy had one. five hours. It’s almost like Webern, I guess you’d thing of big crescendos and swooping— make a machine—I said I know someone who say—very compact and very extraordinary. has a machine—I want it sort of copied—you nancarrow: Yeah, he had one—but, you amirkhanian: It didn’t exist. know, the measurements and everything. He know, you’ve seen these rolls by Ornstein and nancarrow: But Webern had very few notes— said, “Look, I have a good friend who has a ma- Rachmaninoff— I’ve got a lot of notes. nancarrow: I’m sure not. Well, I’m not sure, chine shop.” You know, it was a strange combi- but I’m almost sure. It was part of the culture. So nation—this medieval music shop—and he got amirkhanian: Playing their own pieces— amirkhanian: Oh, you out-noted him! I’m old fashioned with my terraced dynamics. his machine-shop friend and all of us went up to the guy who had the punching machine. It nancarrow: One of these people would sit nancarrow: No, I’m not talking about quan- amirkhanian: But you do use dynamics in your was the one who had the medieval music shop down at the piano and just play. And while they tity—but it is quantity—I mean an enormous pieces. How do you control the dynamics? who understood the problem—the other guy were playing, a roll would go through the pia- amount of notes! was just, I mean, a friend, but he just knew…he no—a blank roll—with ink marking where they nancarrow: There are holes that let in more air could measure steel and so forth—and between pushed a key down. amirkhanian: Could you describe these two or less air—there’s a whole system of things for the two of them they made this machine for pianos—they’re very similar. They’re “reproduc- subtle dynamics that you can do—there’s a fast me—even much better than the other guy’s— amirkhanian: Did it also give the dynamics? ing pianos.” What does that mean? crescendo, there’s a slow crescendo—all kinds of and later I changed that also so it was better yet. things, combining pedals and everything. Also, they gave me—what was this, in 1948 or nancarrow: No, that they put in later. nancarrow: Well, are you going to play pieces 1947, I don’t even remember—a price of $300 to of mine on this program? amirkhanian: Let’s say you have the roll and make this machine. And you know, I had to stay amirkhanian: But there wasn’t a hole made in you’re punching in it. Do you have certain limi- there in New York for three months and prob- the paper. amirkhanian: Absolutely. tations—for instance the number of notes you lems came up. can put in one place—I mean, would the roll nancarrow: No, it was just drawn. And then, nancarrow: Well, I hope people don’t get tear if it had too many notes? amirkhanian: You were living in Mexico at after that, they went back and punched the holes pissed off about the idea of—I don’t use the kind the time. by hand. And after they did it by hand, these big of dynamics these pianos are built for. nancarrow: Oh, not so much tearing, but commercial machines could duplicate the hand- if I punched every note on the piano to play nancarrow: This was the only time I went to punched master. amirkhanian: They can give very subtle differ- together with full volume in the same in- the States since I came here. ences between— stant it would hardly sound. These pianos amirkhanian: Well, now, let’s say you compose aren’t built for playing 85 notes at a time. amirkhanian: Since 1940. a piece—one of the later studies—very compli- nancarrow: Oh, extremely. Look, I use only cated—how long does it take you, after you’ve terraced dynamics. amirkhanian: There’s just not enough vacuum nancarrow: Since 1940. I went just for that. composed the notes on paper, to put it onto pressure? the roll? amirkhanian: How did you get onto that? amirkhanian: You couldn’t have it done in nancarrow: No, of course. This could be built Mexico? nancarrow: Oh some of ’em six months— nancarrow: That’s my school. to, let’s say, play all the notes at once at full vol- eight months. ume—but then there are other complications amirkhanian: The terraced dynamics school. that other notes—well, that’s another problem.

32 CAL PERFORMANCES CAL PERFORMANCES 33 INTERVIEW INTERVIEW amirkhanian: Well, what are the differences in amirkhanian: And then you would compose amirkhanian: and I would think that would amirkhanian: How did you get interested in sound in these two pianos? most of your pieces for one preparation? have been a terrific inspiration. the idea of working with canons? nancarrow: Well, not so much really. This nancarrow: Oh yea, I wouldn’t dream of mak- nancarrow: Well, it was. Some of these nancarrow: Very simple. Well, as I’ve told piano I put wooden hammers—pure wood—no ing—I’d get a set that I’d want and that’s it. African things where there’s no conductor—it’s you, I’m interested in this temporal thing, and felt at all—with a steel strip around it—that’s not written down—but there they are doing for me, the uh…let’s say you have two tempi why this is more aggressive. This other one has amirkhanian: I wanted you ask you about this complex thing against that other complex going at the same time—and if you have them the felt and a strip of leather and then something your lifelong interest in ethnic music. You’ve thing—really fantastic! both at the same, let’s say, melodic proportions, like a thumbtack. collected tremendous quantities of records and it’s easier to follow the temporal changes. So, in listened to just about everything throughout amirkhanian: Along those lines, too, you had other words, let’s say one starts off this way, if it’s amirkhanian: Which is louder? the world spectrum of musical experience, espe- an interest in jazz—you played jazz trumpet— the same melody, you don’t have to follow the cially traditional music, and I know this must you listened to a lot of jazz—and it seems to me melody—you’re just hearing the temporal rela- nancarrow: Everyone who has recorded has have had some sort of effect on your outlook that…the serious music composers then were a tionship. Well that’s one of the reasons I did. [A said that the one with the leather is the louder, about rhythm. little bit out of tune with some of the more excit- bit slyly:] Also, I forgot who pointed this out to but to me the one with the wood seems loud- ing things that happened in jazz and in ethnic me—I don’t have much of a what-do-you-call-it, er—I think it’s because the one with the wood is nancarrow: I don’t quite understand. music. And when you add up some of your in- melodic imagination—so if it’s the same melody more “aggressive,” that’s all. terests—mathematics, jazz, ethnic music, your going it’s easier for me. I just have to do it once! amirkhanian: Well, in Western European mu- extensive background in classical music—it [Laughter] amirkhanian: This one with the wood ham- sic, which you’ve studied thoroughly, the rhyth- makes for a very unique combination which you mers has a wedge depressing the una cordo pedal mic experimentation up to the time you began actually can hear in these rolls. amirkhanian: That’s funny. You know how we all the time—in other words the soft pedal is these studies was pretty minimal. were talking about you have more of a relation- down. What would happen if you took that off? nancarrow: Do you think so? ship with the rhythms in the pieces than the nancarrow: Yeah. harmonies— nancarrow: Well, this piano used to break amirkhanian: Oh, I think so absolutely. And I strings every day, practically, when I would use amirkhanian: And I imagine that one of the don’t know of any other composer who did the nancarrow: Yeah. it. With the soft pedal on, it reduces the impact ideas which might have influenced you to exper- same— on the strings so the strings last a lot longer. iment with rhythm was your listening to music amirkhanian: But the harmonies are lovely, I have a problem here with both pianos with of other cultures. Is that possibly true? nancarrow: Well, no one does the same. and the resulting counterpoint is just extraordi- strings breaking. nary—everything about the pieces is wonderful. nancarrow: Yeah, except…no, it’s a little re- amirkhanian: —and who had practical ex- amirkhanian: You mentioned you were going versed. I had this idea, well, of time in music, perience in jazz—in playing it—and a feeling nancarrow: But I only have to do the melody to get a new piano and work with possibly pre- from way back, and that’s why I went to these for improvisation which these pieces have even once—a four-part canon—it’s just one melody! paring it, and you had done a prepared-piano cultures. The cultures didn’t put me into the though they’re put down on rolls. It’s extraordi- piece before [Study No. 30]. Do you think there time thing. I went to these cultures to find out nary, really, the way one of the canons will just amirkhanian: Well maybe that’s enough, huh? are a lot of interesting possibilities? what they were doing with it. burst into a fast rhythmic motif in the middle of [Laughter] Did you do canons before you did a very straight kind of rhythm. It’s an amazing player piano music? In your instrumental music nancarrow: Oh of course. I’d love to have, amirkhanian: What did you find? What cul- experience and really exciting. Who’d you listen that preceded it? let’s say, these two pianos and a prepared piano tures interested you the most? to in jazz? all synchronized. nancarrow: Well, sort of—you heard that nancarrow: Well, I guess the Indian…and nancarrow: My favorites were “Fatha” Hines, Sonatina [written in 1941]—it’s canonic. The amirkhanian: But there’s a problem preparing African. Those two basically. Louis Armstrong, and Bessie Smith. whole piece is canonic. I mean, well, it’s not a uprights because things fall out of them. canon, but it’s canonic. amirkhanian: Well, you know, West African amirkhanian: You still listen to them from nancarrow: That’s what I’m going to look drumming seems to have some of the most time to time? amirkhanian: When did you write your first into—see if I can work out some way of, I don’t complex rhythmic combinations that you could piece of music, do you remember? know, pasting things on the strings so they imagine— nancarrow: Well, on these old 78s…oh, no—a don’t drop. few years ago I got a reissue of LP of the Louis nancarrow: First piece? nancarrow: Fantastic, yeah. Armstrong Hot Five and Hot Seven.

34 CAL PERFORMANCES CAL PERFORMANCES 35 INTERVIEW INTERVIEW amirkhanian: Yeah. Were you three years old, to the hall and back. Since that time Nancarrow don’t know of anybody who so thoroughly aban- nancarrow: Yeah, played by a roll, same as a or 15, or… has insisted on moving the audience—anyone who doned the idea of performers. piano, but I mean, it just never worked. Well, wishes to hear the pianos live music visit his studio. I say didn’t ever work—it never worked well. nancarrow: Oh, around 15. I think that New The pianos have not left there since.] nancarrow: No, I don’t think you’re right on That’s the reason I stopped it. Music piece was one of the first…well, no, I had that. You know the, uh, what-do-you-call-it— done things before that, but I don’t even remem- amirkhanian: Well, you know, one of the fasci- amirkhanian: What were some of the prob- ber. Incidentally, Slonimsky sent that to the, uh, nating stories about your career is the one about amirkhanian: Electronic music? lems—you couldn’t get enough pressure? New Music. When I was in Spain—that printed the performance they did of your Septet. thing of the violin and piano—he sent it when I nancarrow: No—the thing of performing. nancarrow: No, there were mechanical prob- was there—I didn’t even know about it till I— nancarrow: The League of Composers in Once I had a discussion with Copland. He lems which I didn’t know enough about. So I he had some things of mine there [Boston] and New York, you know, they were going to put was discussing this thing of electronic, or me- finally dropped it then. he just sent it. on this concert—well, it was a concert of sev- chanical, music. And he said, “You know, I go eral pieces—and this one that I had written— to a concert, and to me it’s so exciting.” “No,” amirkhanian: What about electronic music? amirkhanian: That’s wonderful. He’s a won- this Septet—by the way, all the people who he said, “I don’t want the first horn to miss the Have you ever thought of composing electronic derful guy. played in this—they were top people from ra- note, but the fact that he might miss it—the ten- music? dio stations…I mean they were top musicians sion of might miss it is....” [Laughing] No, but I nancarrow: Oh, he’s fantastic, yeah! who could read music just like that. But the told him I’d rather have a good recording where nancarrow: Oh, of course! In fact, even before one rehearsal—let’s see, I forget—four people he hit the note! “No,” he said, “that’s very bor- this I was thinking of electronic—I mean, what amirkhanian: Do you ever see these people came—and the second rehearsal—there were ing because you know he’s going to hit it.” And might have been electronic music. Except at this that you knew in the States? Do they come only two rehearsals—four—and there was only also, you know, this whole thing of—well, that’s stage—look, I have much more control tempo- down and visit from time to time? Slonimsky, an overlap of one [player who attended both re- a whole cultural thing, I mean, traditional—of rally with these [pianos] than these electronic has he been down? hearsals]. And so, the final concert—they even people who go to concerts and this whole atmo- composers have. I mean they’re just not inter- had a conductor for this—it was a little com- sphere—the orchestra tuning up, and the…well, ested in the temporal thing. I mean pitches and nancarrow: He was here 30 years ago—35 plicated—and in the middle of it—not in the you know, that’s a whole other point of view, sound qualities—the atmospheric effects—well, years ago. No—well, occasionally—Peter middle—in the beginning, you know, they just that’s all, that I don’t.... also that’s every interesting—except my main in- Garland came, and Jim Tenney came a couple didn’t get together. Everything was lost. It was terest…look, I’ve always thought if I could have of years ago, Gordon Mumma came—Cage a real disaster. amirkhanian: I know you were interested for a thing like this with rolls, with all the gamut of came here a couple years ago and gave a series of a time in doing mechanical music that revolved sounds of electronic music—to me that would lectures and two concerts—but three lectures— amirkhanian: They didn’t rehearse it together. around percussion instruments. You actually be the ultimate. But these electronic composers oh, those lectures were fascinating—he’s a real built, or began building, an instrument that are not interested in that control. character, no? nancarrow: There was never one rehearsal of would have a series of timbales and kettle drums all the people! and all sorts of things. What happened? How amirkhanian: What about computer control? amirkhanian: Musical activity in Mexico— far did you get with that project, and why did Couldn’t you do the same thing as with the roll? does it include any of your performances? amirkhanian: Is that the first time you got the you abandon it? idea of eliminating the performer altogether? nancarrow: Unh… nancarrow: Oh, no. I have nothing…well, I nancarrow: What do you mean how far I told you about 15 years ago I gave a concert in nancarrow: No—I’d had it before—because got? I got to the point where it wouldn’t work! amirkhanian: I suppose, well, there’s a whole Bellas Artes…and the ten people who came were I’d written things for performers before that— [Laughing] And so I stopped it. language you’d have to learn… my friends and they’d heard it anyhow… no, ever since I’d been writing music I was dreaming of getting rid of the performers. amirkhanian: But you had tremendous quanti- nancarrow: Yeah, of course, but also—that’s amirkhanian: …in your home… ties of instruments—were they all hooked up by also theoretical. Look, the people who are work- amirkhanian: Well, I think a lot of compos- a vacuum system? ing in this field—I mean electronics—I don’t nancarrow: Yeah. It was ridiculous—the ers have wondered and thought and wished for think I’ve heard one piece that I felt was inter- whole thing was really ridiculous. [Interviewer’s that sometimes—performers are very often the nancarrow: Yeah, yeah, yeah… esting temporally. note: The concert was encouraged by the eminent people who don’t want to try the new compo- Mexican composer Rodolfo Halffter, one of the few sitions—they want to try something tried and amirkhanian: And they were to run off of a amirkhanian: Yeah. Well, there is also the composers in that country to have taken any interest true and that shows off their technique. But I roll? problem of the sounds—I mean, most of the in Nancarrow’s music. The concert involved mov- electronic sounds sound like electronic sounds… ing Nancarrow’s two Ampico upright player pianos and, uh, one of the nice things about this music

36 CAL PERFORMANCES CAL PERFORMANCES 37 INTERVIEW INTERVIEW is that it’s done on a piano—for what that may nancarrow: Oh! For a year there when I was amirkhanian: Well, 40 years ago. Conlon, amirkhanian: …they’re not going to hear it mean. It’s not just that it’s a “human” element a—in fact, that’s what soured me on music for a why don’t you talk a little bit about living in down here. because it’s an instrument normally played by short time—this horrible piano teacher I had at Mexico. You’ve really made a home for yourself humans, but the sounds are, to me, in some way the age of four, I don’t know. Naturally, I never away from your native country, you’ve become a nancarrow: Oh, who knows—some creep is much more exciting than having the electronic learned to play anything. So. Mexican citizen, you know all the good restau- going to make a recording or something—you sounds that we usually hear in a composition rants in Mexico City— don’t know. which have, you know, some variety, but basi- amirkhanian: But then you played trumpet for cally have a certain boredom attached to them. quite a while. nancarrow: Not anymore! amirkhanian: If there aren’t 150,000 people Maybe it’s because there are so many possibili- who are pissed off with Mexico’s foreign policy, ties and all of them are explored in most pieces nancarrow: Oh yeah, yeah, I played a lot of amirkhanian: I mean, it’s been an amazing I’d be surprised! that we become bored by the sounds and, subse- trumpet. thing, really, to switch countries, to go through quently, with the temporal relationships which the political hassles that you went through in nancarrow: Yeah, well… aren’t very well worked out either. amirkhanian: You’re largely self-taught as the Thirties, and you’ve come out of it a great a composer but you did study for a time with man—really—a person to really admire—and I amirkhanian: But politically—really it’s been nancarrow: No, but that’s another factor—the Roger Sessions—counterpoint, I think. I would think one of the great experiences of my life was a ghastly experience the last ten years. temporal thing—but, I mean, just the sounds’ think that must have had some effect. meeting you in 1969, and I’ve been waiting for timbres—that’s also unlimited, really. I told you eight years to get back down here and talk with nancarrow: The last ten. But before that it’s this story, no? This thing when they first started nancarrow: Well, I’m sure it did. I don’t know you again. been very good. Well, you know I came in here, making a lot of electronic music sounds. They what effect. Oh no, he was a real, what-do-you- really, in sort of the aftermath of Cardenas, made a sound of a flute, and people objected be- call-it, taskmaster, is that the word? nancarrow: Well, that’s very flattering. which was a real liberal, progressive regime, cause the flute didn’t have the wheeze of a flute and…oh! No, no…I’m not going to… player. Well, they put in the wheeze! You can put amirkhanian: I would say that’s the word. amirkhanian: But what was it like coming in anything you want! You can put in the scratch 1940 here—I mean, it must have been difficult amirkhanian: Oh, go ahead, it doesn’t matter! of the violin bow, or anything. It’s unlimited—I nancarrow: You know, in this period when getting involved in a completely different life. mean the sounds. And, well, okay, except that, I was studying with him—I don’t know—he Did you know Spanish well enough to get along nancarrow: It doesn’t matter? You know what uh…yeah, you’re right though, I think…some- was probably the only one I studied with for a at first? George told me once? thing happened there…I’m not quite sure what. certain amount of time—a year or two, I don’t remember—and, uh, in that period I’d write nancarrow: No, I didn’t learn any Spanish amirkhanian: George Oppen? amirkhanian: No I’m not either. But I do know music—you know, just music—not his strict in Spain. You know, I spent two years there in that most of the electronic pieces bore me—I counterpoint. I’d go there and say, “Well, what the Civil War in the International Brigade and nancarrow: George Oppen [Pulitzer Prize- think because of the sameness of the qualities of do you say about this piece of music I wrote?” spoke only English. I didn’t know any Spanish. winning American poet, now living in San sound—the range of them, let’s say. There aren’t “Very interesting—now where’s your counter- Where did you think I’d learn Spanish? So I Francisco, but for ten years a political refugee the scratchy…it’s glossy—there’s a glossed-over point exercise?” [Laughter] learned it in Mexico. from the McCarthy witch hunts]. You know, he quality to it. Well, anyway, that’s somebody was an ex-radical in a way. He said, “If they ever else’s problem. Do you play the piano? amirkhanian: Right down to business. amirkhanian: Well, did you find the people make a revolution here, I’m going to say good simpatico? luck fellows—goodbye!” [Laughing] nancarrow: No. nancarrow: Right. nancarrow: Here? amirkhanian: He’d had it! amirkhanian: Never did? amirkhanian: Anybody can write music. amirkhanian: Yeah, and you got along all nancarrow: Yeah! nancarrow: No. nancarrow: Yeah, anyone can write music—no right? one can do counterpoint exercises! … He proba- amirkhanian: What about you? amirkhanian: Never took lessons? bly doesn’t even remember my name. You know, nancarrow: Oh yeah! As a matter of fact, this was, what is it, 50 years ago. up until fairly recently, you know I admired nancarrow: Well, no—at that time I didn’t nancarrow: No. Mexico’s foreign policy and everything—it was feel that way. I do now, yeah. amirkhanian: Oh, come on! after ’68 that I really got pissed off—oh, maybe amirkhanian: Not even when you were a kid? you’d better not put this in, huh? amirkhanian: I guess there is some real despair nancarrow: Well, yeah…it was in the now about the situation in the world—I mean Thirties—early Thirties—’35…’35.

38 CAL PERFORMANCES CAL PERFORMANCES 39 INTERVIEW INTERVIEW the situation in the Soviet Union, in China— fast—in fact, when Trotsky came here he was, nancarrow: He did. He had a real, you know, finally it just stopped. They wouldn’t even print where is there a… well not a friend… what-do-you-call-it—charisma that came across. a letter from her saying, “It’s not true.” They just refused. They liked their own story so much. nancarrow: Oh, boy—this China thing! amirkhanian: …but interested anyway. amirkhanian: Were there other visual artists Well… Look, China is now giving loans to Pinochet, that were of great interest down here while you and I just saw the other day that they’re about to nancarrow: Yeah, yeah; I mean he saw him were here? amirkhanian: This must have been in the early give a loan to South Africa. various times. In fact I think it was part of… Fifties? you know Juan was a sort of a, or is, a disciple nancarrow: Well, there was Orozco. You want amirkhanian: Unbelievable, isn’t it? of Diego Rivera. Of course, you know that’s a a little anecdote about Orozco? nancarrow: No, it was before that. [Jose real character! Clemente Orozco, born 1883, died September 7, nancarrow: You know the only reason they’re amirkhanian: I’d love to hear it—yeah. 1949, in Mexico City.] I wish I’d kept the cor- doing it? Because this is just to bother the amirkhanian: Diego Rivera? You must have respondence with Time magazine. Soviet Union. Whatever the Soviet Union does, known him then, huh? nancarrow: That’s when I was married be- they do the opposite! I’ve become really very fore—to Annette. amirkhanian: That would be a classic. cynical politically in my old age. Well, Juan nancarrow: Oh, I met him a couple of times [Juan O’Gorman—friend of Nancarrow’s—a but, no, I didn’t know him. Boy, what a char- amirkhanian: She was involved in the art scene nancarrow: Yeah, I think it would be. painter associated with the social realist mu- acter he was! here. ralists Rivera, Siquieros, and others since the amirkhanian: We’ll probably find the other Thirties—his murals adorn the exterior of the amirkhanian: What was he like? Oh, you said nancarrow: Oh yeah, of course! I mean, she half in Time’s archives. library at Mexico City University and the inte- something about he wore overalls all over and was an artist and she worked with Orozco and rior of Chapultepec Castle in Mexico City] also, into restaurants without a tie. she worked with Diego, and… nancarrow: Oh, I’m sure they have it! you know…well, he became cynical before I did. nancarrow: Of course! And they wouldn’t amirkhanian: …actually painting some of the amirkhanian: Well, you’re now working on amirkhanian: You met Juan O’Gorman just dare throw him out. murals. your 39th Study and you’ve completed your 41st after you came here, is that right? (so you’re now going back and picking up one amirkhanian: But he must have been instantly nancarrow: Painting, yeah. You know, they that was unfinished), but about how long will it nancarrow: Well, shortly after, yes. recognizable. would give the outline [and there would be a take you to do it, and what is it going to be like? crew of artists who would complete the mu- amirkhanian: And he, of course, was one of nancarrow: Of course! He was a monstrous rals]…no, but this thing of Orozco—you know, nancarrow: Oh, it’s going to be very long. the very active political artists in Mexico who [large] character—very distinctive face. But when he died, he died at night—it was in his Because in the first place, it’s two pianos (and, did murals for Mexico City University, for who- apart from that, you know, he did things like, sleep—he was asleep—he had a heart attack you know, one piano first and then two), and knows-what-all…but O’Gorman was also a say, giving a lecture, on whatever subject—pure while he was asleep. And Time magazine wrote the commission they gave me is for something friend of Trotsky as I understand it. fantasy, you know. Let’s say it was a lecture on, I an article saying that—he was one of the most between 15 and 20 minutes [the piece was com- don’t know, some artist, or whatever, he’d make famous artists here, in a way—that he died, and missioned by the European Broadcast Union, nancarrow: Yeah. up the whole thing from beginning to end—ab- before he died he called for the priest—that he a coalition of several government-run radio solutely! With not one word in the whole thing was an ex-atheist, but he called for the priest outlets of all the major countries of Western amirkhanian: And were there other people in that had anything to do with reality—he’d just to confess before he died. Well, his wife, who’s Europe], so I’ll just make something between 15 the circle besides…I mean Trotsky was obvi- make up the whole lecture. religious, I mean she was a believer—Orozco and 20 minutes. ously by himself out there… wasn’t, he was a total atheist—she got indignant amirkhanian: But it would be believable, I about the fact that this was a slander on her hus- amirkhanian: How are you structuring this nancarrow: Yeah. guess… band because he didn’t call for a priest—he just piece? died in his sleep. And so my ex-wife Annette amirkhanian: …in his house. What sort of po- nancarrow: Oh, he was very convincing! I knew them very well and so she [Señora Orozco] nancarrow: Well, it’s the one you were looking litical line was O’Gorman involved in—was he should say! wanted to write the Time magazine…and so I at there that I had—the 60 against 61. a Stalinist? wrote the letters—I mean, she signed them. amirkhanian: If you have the right delivery, Finally it got to the point where they said, “Our amirkhanian: So there are two rhythmic nancarrow: Oh, I guess a long time ago, I guess you can put across anything! correspondent in Mexico says…” and finally voices—60 again 61. So there’d be a very slight he was sort of a Stalinist, but he got over it very they said they were going to accuse her of being a change in rhythm over a period of time, I guess. communist propagandist…I don’t know—well,

40 CAL PERFORMANCES CAL PERFORMANCES 41 INTERVIEW INTERVIEW nancarrow: Yeah. As a matter of fact, the only amirkhanian: You know, it’s just recently that nancarrow: Oh, yeah, I think I was about a nancarrow: …yeah, a language. And so it’s way you’re really aware of that—no one can re- I heard your Study No. 3, which I like very year on that piece, or more maybe, I forget. No, inevitable. For example, you hear Stravinsky, ally hear 60 against 61, I mean as a unit—the much—the five jazz pieces in a sort of suite ar- because it’s really two separate pieces. Well, the and even though you don’t know the piece, you only way you can hear it is that one part starts rangement. Those pieces were early compositions third one is the two together. But it’s two long, know that’s Stravinsky. Because he has his own and another part starts and, well, little by little of yours. Did you do other pieces in that style? complicated pieces. And the drawing, and the little quirks and so forth. they finally get together. No one could say it’s punching and everything…as a matter of fact, I 60 against 61 but they could say it’s a very close nancarrow: No…you’ve heard a couple of oth- still don’t have a score of that—I mean a legible amirkhanian: But our experience in recording relationship that finally catches up. ers that are vaguely similar. score that people can read. the complete music for Arch Records was one of total surprise at each roll—I mean there was al- amirkhanian: How fast do the rolls go through amirkhanian: But these are the closest to a amirkhanian: I’m just wondering if you find ways something new going on. And that was the the piano? Do you have a standard speed that straight… yourself tending to do more complicated things exciting thing for me, I think. To see that each you set them all at? now—or do you think you’ll go back and do time a new problem was attacked. It just seemed nancarrow: …well, yes, it’s more straight. something simple sometime close in the future? like a tremendous amount of variety. nancarrow: Oh, no, you can—from “stop” Actually I did these before beginning Study to up to fairly fast—as a matter of fact No. 1. In fact I finally just put them together in nancarrow: Who knows? Maybe I’ll just nancarrow: You are doing all of this on radio? Study No. 27—do you remember that propor- this one collection. start doing totally simple things. As a matter of tion thing of percentages—that one—it’s the fact, that one canon of the one-to-one [Study amirkhanian: Oh, I don’t know. We’ll probably only time this has happened with me—no, usu- amirkhanian: You did another collection— No. 26]…well, I sort of did that as a, you know, cut out parts here and there. Then again, if I’m ally I write a roll…I mean I figure out my—more Seven Canonic Studies—that are now Nos. 13 to the other extreme of all the complicated…you lazy we’ll just play the whole thing! [Laughter] or less the duration I want and, in the middle 19. I guess you don’t have them performed like know one-to-one—you know, it’s four/four: one, Well, it would be great to see you come back to of the speed, in other words from “stop” up to that now—you withdrew a couple of pieces. one, one… the States one day, Conlon. If you ever get it into maximum speed—and I usually try to calculate your head to come up and visit us, then you can that in the middle so that when I finally play it nancarrow: Oh, no, I dropped the whole thing. amirkhanian: Everything’s hitting at the same meet your critics directly! No…but it would be a little less, a little more, I can vary it [faster or time. amazing to have you come up some day, and we slower]. I really slipped up on that piece, and re- amirkhanian: It’s not important to you to play hope you do. Thank you for talking with us and ally it was the most difficult one to re-do because them together. nancarrow: Exactly the same time—in blocks. good luck with No. 39. I had to re-do all the percentages of drawing— You know Peter [Garland] like that piece so you know, the whole thing. nancarrow: No, no. I mean, they’re all related much—I don’t know why…okay, but you can nancarrow: Thank you. It was a pleasure…Is in their temporal relationships but, no, I just like it for other reasons, I guess. that it? amirkhanian: Oh, my God, that’s right, be- leave ’em alone. cause you had different speeds. amirkhanian: Well, one thing that’s a great amirkhanian: That’s it! amirkhanian: Could you talk a bit about the testament to your persistence with all of this is nancarrow: I couldn’t just—like 60/61 I could last Study—No. 41—which has such compli- the terrific originality and the great variety of all just say double, or half, or whatever. No. This cated relationships rhythmically. the pieces. That’s what always strikes me: that Reprinted by permission from Conlon Nancarrow: I had to redraw the whole roll and re-punch it there is a lot of variety…that you don’t repeat Selected Studies for Player Piano (Soundings, Book 4, because it was so far off. I really missed it on that nancarrow: I don’t know. What do you want yourself a helluva lot. I mean, once in a while Spring–Summer 1977, edited by Peter Garland, inter- one. Well, I only did it because, you know, I’m me to say? you’ll hear a series of tones that was in a previous view © 1977 by Charles Amirkhanian). sort of fond of that piece, and I wanted it right. study…but I don’t see how you keep coming up amirkhanian: Anything, Conlon. with new and different combinations of rhythms amirkhanian: Is that the only time you ever and sounds. miscalculated on a roll? nancarrow: Well, okay. It’s in three parts…A, B, and C. A is one piece; B is another piece; and nancarrow: Oh…I’m sure everyone has his own nancarrow: Yeah, the only one. C is A and B together. clichés. In fact every composer has his own… amirkhanian: That’s amazing. amirkhanian: Did it take you a longer time to amirkhanian: …well, sort of a language, I do this piece for any particular reason? guess… nancarrow: But a bad miscalculation. Boy, the work I spent on that!

42 CAL PERFORMANCES CAL PERFORMANCES 43 RECORDINGS ABOUT THE ARTISTS

performers arrangements for piano duet and two pianos by the composer, two of which are world premiere The Bugallo-Williams Piano Duo has been recordings. They have also recorded the mu- presenting innovative programs of contem- sic of Jorge Liderman (Albany Records, 2005), porary music throughout North America and Erik Oña (Wergo, 2007), Morton Feldman Europe since and Edgard Varèse (Wergo, 2009), and Alberto 1995. Helena Ginastera (Neos, 2010). An all-Kurtág CD will Bugallo and be released by Wergo in 2013. Avid proponents Amy Williams of contemporary music, they frequently pres- p e r f o r m ent master classes and lecture-demonstrations cutting-edge at colleges and universities in the United States new works and Europe. Conlon Nancarrow: Studies for Player Piano and master- $35 (OM 1012–15) pieces of the 20th and 21st centuries for piano Newly remastered, this four-CD set contains four-hands and two pianos, including works the definitive recordings of Nancarrow’s studies, by Cage, Debussy, Feldman, Kagel, Kurtág, and represents the most faithful reproduction of Ligeti, Nancarrow, Sciarrino, Stockhausen, what Nancarrow himself heard in his own stu- Stravinsky, and Wolpe. They have premiered dio. This is the only available recording utilizing dozens of works, many of which were written both of Nancarrow’s original instruments: two especially for the Duo, and they have worked di- Ampico player pianos, each of which has a dis- rectly with such renowned composers as Lukas tinctly different sound. The studies are presented Foss, Steve Reich, Jukka Tiensuu, Betsy Jolas, in their original order, selected by the composer. Kevin Volans, and Bernard Rands. They also collaborate with composers who explore new approaches to the piano through multimedia applications, electronics, and extended tech- niques. They frequently perform with additional players in works for multiple keyboards, cham- ber works for duo piano and other instruments, Autumn de Wilde and concertos. The Calder Quartet (Benjamin Jacobson and The Duo has been featured at Cal Andrew Bulbrook, violins; Jonathan Moerschel, Performances, the Warsaw Autumn Festival viola; Eric Byers, cello), called “outstanding” (Poland), Muziekgebouw aan ’t IJ (Netherlands); and “superb” by The New York Times, defies Palacio de Bellas Artes (Mexico City); Miller boundaries through performing a broad range Theatre, Merkin Concert Hall, and Symphony of repertoire at an exceptional level, always striv- Space (New York City); Tampere Biennale ing to channel the true intention of the work’s (Finland), Spring Festival of New Music (York, creator. Already the choice of many leading Conlon Nancarrow: Lost Works, Last Works United Kingdom); Cutting Edge (London), composers to perform their works—including $15 (OM 1002) Wittener Tage für neue Kammermusik (Witten); Christopher Rouse, Terry Riley, and Thomas This historic CD offers a selection of previ- and Ojai Festival (California), to name a few. As Adès—the group’s distinctive approach is ex- ously unrecorded rarities by composer Conlon part of their mission to expand the repertoire for emplified by a musical curiosity brought to ev- Nancarrow, including Piece for Tape, a dazzling piano duet, the Duo has undertaken an extensive erything they perform, whether it’s Beethoven, rhythmic exercise in musique concrète. Listeners transcription project of the Studies for Player Mozart, Haydn, or sold-out rock shows with are also treated to the composer’s own recording Piano by Conlon Nancarrow. This resulted in bands like The National or The Airborne Toxic of his study for prepared player piano, as well as a critically acclaimed recording of Nancarrow’s Event. Known for the discovery, commission- a rare interview with the composer himself. music for piano duet and solo piano (Wergo, ing, recording, and mentoring of some of today’s 2004). Their subsequent CD, Stravinsky in Black best emerging composers (over 25 commissioned Buy online at webstore.otherminds.org. and White (Wergo, 2007), includes original works to date), the group continues to work and

44 CAL PERFORMANCES CAL PERFORMANCES 45 ABOUT THE ARTISTS ABOUT THE ARTISTS collaborate with artists across musical genres, O’Brien, Late Night with Jimmy Kimmel, and The University of Cincinnati College Conservatory, Australian violinist and vio- spanning the ranges of the classical and con- Late Late Show with Craig Ferguson. and the USC Thornton School of Music. list Graeme Jennings is a for- temporary music world, as well as rock, dance, The group has longstanding relationships mer member of the legendary and visual arts; and in venues ranging from art with composers Terry Riley, Christopher Rouse, Principally com- Arditti String Quartet (1994– galleries and rock clubs to Carnegie and Walt and Thomas Adès. The Calder Quartet first mitted to influenc- 2005). He has toured widely Disney concert halls. Inspired by innovative met Riley when they shared a concert as part ing and expanding throughout the world, made American artist Alexander Calder, the Calder of the Los Angeles Philharmonic’s Minimalist the repertoire for more than 70 CDs, given Quartet’s desire to bring immediacy and con- Jukebox Festival in 2006 and recently released a solo percussion over 300 premieres, and re- text to the works they perform creates an art- limited edition vinyl release of Riley’s Trio and through commis- ceived numerous accolades, fully crafted musical experience. Quartet in commemoration of the composers’ sions and premieres, including the prestigious Siemens Prize (1999) The 2011–2012 season included the Calder 75th birthday. The Calder is also the first quartet Christopher Froh and two Gramophone Awards. Active as a solo- Quartet’s Cal Performances debut with Thomas in two decades to have a work written for them is a member of the San Francisco Contemporary ist, chamber musician, ensemble leader, and Adès, a Calder curated event at the Blum & Poe by composer Christopher Rouse. This work was Music Players, Rootstock Percussion, Empyrean conductor, his repertoire ranges from Bach to Gallery in Los Angeles featuring the quartet commissioned by Carnegie Hall, New Haven’s Ensemble, and San Francisco Chamber Boulez and beyond. He has worked with and with iconic composer Terry Riley and DJ/artist International Festival of Arts and Ideas, La Jolla Orchestra. Known for performances hailed by been complimented on his interpretations by Dave Muller, and performances at the Carlsbad Music Society, and Santa Fe Chamber Music the San Francisco Chronicle as “tremendous” and many of the leading composers of our time. Music Festival. On September 11, the Calder Festival and premiered in the 2010–2011 sea- San Francisco Classical Voice as “mesmerizing,” Mr. Jennings is a member of Australia’s interna- performed at a commemoration event at the son. The Quartet’s album of Christopher Rouse his solo appearances stretch from Rome to tionally acclaimed new music ensemble Elision, University of Southern California and in the works, Transfiguration, was also released in Tokyo to Istanbul. His critically acclaimed solo as well as the San Francisco Contemporary evening at the Hollywood Bowl. Other season 2010. Of this album, Gramophone says, “Rouse’s recordings can be heard on the Albany, Bridge, Music Players, the Lunaire Collective, and the highlights include performances at the Laguna disquieting quartets are given powerful per- Equilibrium, and Innova labels. Kurilpa String Quartet. He has also performed Beach Festival alongside Joshua Bell and Edgar formances by the Calder.” In 2008, the Calder A frequent collaborator with leading com- as Guest Concertmaster of the Adelaide and Meyer, the Edinburgh International Festival, the Quartet released its first album, which featured posers from across the globe, Mr. Froh has Melbourne symphonies and Guest Associate acclaimed new music series Jacaranda: Music at the music of Thomas Adès, Mozart, and Ravel. premiered works by dozens of composers, in- Concertmaster with the Sydney Symphony. the Edge in Santa Monica, as well as an Austrian What started as working directly with Thomas cluding John Adams, Chaya Czernowin, Liza As a recipient of two Australia Council debut at the Esterházy Palace. The Calder also Adès on a performance of Arcadiana as part of Lim, David Lang, Keiko Abe, and François grants, he undertook further studies at the San toured nationally with So Percussion. the Green Umbrella Series at the Walt Disney Paris. He frequently tours Japan with marimbist Francisco Conservatory with Isadore Tinkleman In 2010–2011, the quartet performed at Concert Hall in 2008 has evolved into collabo- Mayumi Hama, and with his former teacher, and Mark Sokol, completing a master’s degree in Carnegie Hall, Washington Performing Arts rating on concerts together at the Stockholm marimba pioneer Keiko Abe. His solo festival 1992 and an artist certificate in chamber music Society, Santa Fe Chamber Music Festival, the Philharmonic Orchestra’s Konserthuset in appearances include the Festival Nuovi Spazi in 1994. Having previously served on the facul- Cleveland Museum of Art with Iva Bittova, 2009, the Melbourne Festival in 2010, and at Musicali, Beijing Modern Festival, Festival of ties of Mills College, UC Berkeley, and Stanford a residency at Bravo! Vail Valley Festival, the Cal Performances in 2011. New American Music, Pacific Rim, and Other University, he was appointed Senior Lecturer Melbourne Festival with Thomas Adès, as The Calder Quartet formed at USC’s Minds. Active in music for theater and dance, in violin at the Queensland Conservatorium well as concerts at Stanford Lively Arts and Thornton School of Music and continued stud- Mr. Froh has recorded scores for American Griffith University in 2009. Le Poisson Rouge (New York) with Grammy ies at the Colburn Conservatory of Music with Conservatory Theater, performed as a soloist His recent recording of Brian Ferneyhough’s Award-winning pianist Gloria Cheng. Other Ronald Leonard, and at the Juilliard School, with Berkeley Repertory Theater, and composed Terrain with the Elision Ensemble was released recent highlights include performances at Walt where it received the artist diploma in chamber original music for Oakland-based Dance Elixir. on the Kairos label to much critical acclaim. Disney Concert Hall on the Green Umbrella music studies as the Juilliard Graduate Resident Equally committed to pedagogy, Mr. Froh Also available on Kairos is his recording with series, the Big Ears Festival in Knoxville, New String Quartet. They have also studied with is a faculty member at UC Davis, where he di- Irvine Arditti of Luigi Nono’s Hay Que Caminos Haven’s International Festival of Arts and Ideas, Professor Eberhard Feltz at the Hochschule für rects the UCD Samba School and Percussion (Sognando). Increasingly active as a conduc- and the world premiere of a new work by com- Musik Hanns Eisler in Berlin, and collaborated Group Davis. tor, Mr. Jennings has conducted ensembles on poser Andrew Norman for the USC Presidential with such notable performers as Anne-Marie four continents and in recent seasons has pre- Inauguration. The Calder Quartet also toured McDermott, Menahem Pressler, and Joseph sented major works by composers as diverse as across North America with Andrew W.K. and Kalichstein. The Quartet regularly conducts Birtwistle, Harrison, Ives, Nancarrow, Pärt, The Airborne Toxic Event and has been featured master classes and has been featured in this ca- Prokofiev, Sculthorpe, and Stravinsky. on KCRW’s Morning Becomes Eclectic, The Late pacity at the Colburn School (where the quar- Show with David Letterman, The Tonight Show tet was in residence for four years), the Juilliard with Jay Leno, The Tonight Show with Conan School, the Cleveland Institute of Music, the

46 CAL PERFORMANCES CAL PERFORMANCES 47 ABOUT THE ARTISTS ABOUT THE ARTISTS

In concert halls pianola performance of Rachmaninoff’s Piano unique way to transcribe Nancarrow’s fragile Music Director of KPFA Radio in Berkeley from throughout the world, Concerto No. 3, with the Brussels Philharmonic player-piano rolls to MIDI files, saving the com- 1969 to 1992, Mr. Amirkhanian also produced Rex Lawson’s name is Orchestra under Yoel Levi. poser’s work for future generations. many broadcasts of Nancarrow’s work. synonymous with the In October 2011, Mr. Lawson accompa- In 1996, Trimpin received both a MacArthur Born in 1945 in Fresno, California, pianola—not the brash, nied the BBC Singers in the world premiere of “Genius” Award and a Guggenheim Fellowship Mr. Amirkhanian is known as a composer of mechanical variety Airplane Cantata, specially commissioned by the for his creative investigations of acoustic music text-sound compositions and works employ- found in cowboy films BBC from Gabriel Jackson and broadcast live on in spatial relationship. Since that time, he has ing digital samplers to alter ambient sound and backstreet bars, Radio 3. He has recorded extensively, with many served as artist-in-residence at many universi- sources. His music is available on two solo CDs, but rather the original CDs still in current catalogues—see pianola.org ties, including Stanford, Princeton, and CalArts Walking Tune (Starkland) and Mental Radio pianola, a sophisticat- for more details. His recording of Stravinsky’s (which recently awarded him an honorary doc- (New World), and has also been released on the ed instrument which Les Noces, along with music by Lutosławski, torate). Trimpin’s work has been the subject of Cantaloupe, Centaur, Wergo, Other Minds, responds well to serious study, and which fits in Rachmaninoff, Handel, and Sir Arthur Sullivan, a full-length monograph, a multimuseum ret- Perspectives of New Music, and Fylkingen la- front of the keyboard of any normal concert are available on Other Minds Records. rospective, a New Yorker profile, and a feature bels, among others. grand, playing it by means of a set of felt-covered documentary. He continues to work out of his Mr. Amirkhanian has been awarded numer- wooden fingers. A sound sculptor, com- studio in Seattle. ous composer commissions from the National Mr. Lawson was born in Bromley, Kent, poser, engineer, and in- Legendary choreographer and Trimpin Endowment for the Arts, Westdeutscher in 1948, to parents who met through play- ventor, Trimpin has been collaborator Merce Cunningham summed up Rundfunk, Meet the Composer, the BBC, ing two-pianos together. He studied music at called “one of the awe- Trimpin’s working method: “Trimpin isn’t con- the Australian Broadcasting Corporation, the Dulwich College, as a junior exhibitioner at the some musical geniuses of cerned about whether people like what he does 1984 Summer Olympics, the Arch Ensemble, Royal College of Music, and at Nottingham the early 21st century.” A or not. Probably, he hopes they do, but he’s go- Ensemble Intercontemporain, and other organi- University. Fascinated by his first pianola in specialist in interfacing ing to do it anyway.” zations. His music has been choreographed by 1971, he abandoned plans for a more tradi- computers with tradition- Bill T. Jones, Anna Halprin, Margaret Fisher, tional musical career and initially concentrated al acoustic instruments, Nancy Karp + Dancers, and Richard Alston on concerts with reproducing pianos, bringing he has developed a myriad composers & panelists (Ballet Rambert). From 1975 to 1986, he per- back Percy Grainger to play the Grieg Piano Fago John of methods for playing ev- formed theatrical realizations of his sound poetry Concerto at the Queen Elizabeth Hall in 1972, erything from giant marimbas to stacks of elec- It was through the efforts with projections by Carol Law at venues such as over ten years after the pianist’s death. tric guitars via computer. Described at times as a of Charles Amirkhanian the Stedelijk Museum (Amsterdam), the Walker At the same time, inspired by William mad scientist or a magician, Trimpin has been that the large body of Art Center (Minneapolis), the San Francisco Candy, once the music roll critic of Gramophone described by composer/author Kyle Gann as “a studies for player piano Museum of Modern Art, New Langton Arts (San and Musical Times, Mr. Lawson began study- genius at circuitry and machinery as well as by Conlon Nancarrow Francisco), and throughout Australia. He has ing the pianola, the foot-operated player-piano, acoustics and musical structure [who] manufac- first became available on appeared recently performing in Berlin, Beijing, making his major international debut in 1981 tures orchestras that play themselves.” commercial recording, Linz, Huddersfield, Moscow, and St. Petersburg. in Paris, performing in the world premiere of Trimpin (since his teen years, he has used leading to wider recogni- Along with filmmaker and art curator Jim Stravinsky’s Les Noces (1919 version) under the only his last name) was born in southwestern tion of his pivotal impor- Newman, Mr. Amirkhanian co-founded Other direction of Pierre Boulez. Germany, near the Black Forest. His early musi- tance in the history of 20th-century music. Minds in 1993 and serves as its Executive and Highlights of a rewarding international ca- cal training began at age eight, learning wood- Mr. Amirkhanian and his wife, visual artist Artistic Director. He is the initiator and pro- reer have included an appearance in 1989 as so- winds and brass from his father, a woodworker. Carol Law, traveled in June 1969 to Mexico grammer of the present Nancarrow Festival, loist at Carnegie Hall in George Antheil’s Ballet He spent several years living and studying in City, where they experienced firsthand the pow- in collaboration and consultation with Cal mécanique, the renewed resuscitation of Percy Berlin, working as a set designer and meeting er and originality of the composer’s full output. Performances and the UC Berkeley Museum of Grainger for the Last Night of the Proms in 1988, up with artists from both Germany and the In 1977, Mr. Amirkhanian recorded and pro- Art and Pacific Film Archive. and the first concert performances of nearly all United States. duced Nancarrow’s complete Studies for 1750 of Stravinsky’s pianola works, including The Rite Trimpin learned about Conlon Nancarrow’s Arch Records with engineer Robert Shumaker of Spring at the Théâtre des Champs-Élysées in music from Charles Amirkhanian, and traveled (now reissued on four CDs by Other Minds). In Paris. In recent years, he has had two pianola from Germany to Mexico City to meet the com- 1986, a second version was done in digital sound concertos written specially for him, by the poser; they soon became friends and colleagues. for Wergo Schallplatten, including some newer British composer Paul Usher and the Venezuelan Having relocated to the United States in 1979, works composed in the interim. Photographs by Julio d’Escrivan, and in 2007 he gave the first Trimpin first achieved renown for devising a Carol Law were made at both sessions, and she designed the covers for the Wergo releases. As

48 CAL PERFORMANCES CAL PERFORMANCES 49 ABOUT THE ARTISTS ABOUT THE ARTISTS

Kyle Gann, born 1955 a large-ensemble dance, Looky, from five of modernist composers, such as Nancarrow, work to accompany it. Starting as a self-taught in Dallas, Texas, is a Mr. Gann’s works for Disklavier (computerized Revueltas, Bowles, Harrison, Rudhyar, and musician, his early career included playing composer and was player piano). Partch, among others. All the while he has man- drums with no-wave pioneers Blurt and com- new-music critic for In addition to his work at Bard, Mr. Gann aged to eke out an occasionally precarious sur- posing for the highly successful V-Tol Dance The Village Voice from has taught at Columbia University, Brooklyn vival outside of academia and the mainstream company. Academia and a Ph.D. came later. He 1986 to 2005. Since College, the School of the Art Institute of musical-political support system. He first con- currently plays vibes with the High Llamas and 1997 he has taught Chicago, and Bucknell University. His writings tacted Nancarrow in 1972 about publishing his is Head of Composition at Trinity Laban music theory, history, include more than 2,500 articles for more than scores in Soundings, and they first met in 1975. Conservatoire of Music and Dance and has lec- and composition at 45 publications, including scholarly articles on Due to his many years living in Mexico, he and tured internationally on the music of Bard College. He is the author of The Music of La Monte Young (in Perspectives of New Music), Nancarrow became good personal friends. Conlon Nancarrow. Conlon Nancarrow (Cambridge University Press, Henry Cowell, John Cage, Edgard Varèse, Ben Conlon’s and Yoko’s home became a kind of ref- 1995), American Music in the 20th Century Johnston, Mikel Rouse, John Luther Adams, uge, a source of great food (not cooked on a Dr. Yoko Sugiura (Schirmer Books, 1997), Music Downtown: Dennis Johnson, and other American compos- Coleman stove!), hot showers, and cold beer— Yamamoto is current- Writings from the Village Voice (University of ers. He writes the “American Composer” col- and sometimes emergency car repair. ly a Senior Researcher California Press, 2006), No Such Thing as umn for Chamber Music magazine, and he was at the Universidad Silence: John Cage’s 4'33" (Yale University Press, awarded the Peabody Award (2003), the Stagebill Felix Meyer is the Nacional Autónoma 2010), and Robert Ashley (University of Illinois Award (1999), and the Deems-Taylor Award Director of the Paul de México’s Institute Press, 2012). He also wrote the introductions to (2003) for his writings. His music is available on Sacher Foundation. He of Anthropological the 50th-anniversary edition of Cage’s Silence the New Albion, New World, Cold Blue, Lovely has published widely on Research. Born in and to the new edition of Ashley’s Perfect Lives, Music, Mode, Meyer Media, Brilliant Classics, 20th-century music, and Tokyo, Japan, she holds a Ph.D. in anthropology and is co-editing The Ashgate Companion to New Tone, and Monroe Street labels. In 2003, has edited and co-edited from UNAM. She is member of the National Minimalist Music. the American Music Center awarded Mr. Gann several books, including Council of Science and Technology and has Mr. Gann studied composition with Ben its Letter of Distinction, along with Steve Reich, Settling New Scores: Music been an advisor at CONACyT, among other or- Johnston, Morton Feldman, and Peter Gena. Wayne Shorter, and George Crumb. Manuscripts from the Paul ganizations. Her research for the last four de- Of his hundred-plus works to date, about a Sacher Foundation (Schott, 1998), Edgard Varèse: cades has focused on the study of potter com- fourth are microtonal, using up to 37 pitches per Born in 1952, Peter Composer, Sound Sculptor, Visionary (The munities and lacustrine adaptation in Mexico’s octave. His rhythmic language, based on dif- Garland grew up on Boydell Press, 2006), and Elliott Carter: A Valley of Toluca. She has over 80 publications fering successive and simultaneous tempos, the East Coast of the Centennial Portrait in Letters and Documents that include numerous books, articles, and doc- was developed from his study of Hopi, Zuni, United States, spent (The Boydell Press, 2008). Mr. Meyer was born umentary film appearances. and Pueblo Indian musics. His music has been the 1970s mostly in in St. Gallen, Switzerland, and studied at the performed at the New Music America, Bang California and Mexico, University of Zurich, where he obtained his on a Can, and Spoleto festivals. His major and lived in New Ph.D. in 1989. filmmakers works include Sunken City, a piano concerto Mexico in the 1980s. commissioned by the Orkest de Volharding in Fago John In the early 1990s, he Dominic Murcott is a com- Uli Aumüller is a Berlin- Amsterdam; Transcendental Sonnets, a 35-minute worked and traveled in 12 countries on five con- poser, percussionist, curator, based sound engineer and work for choir and orchestra commissioned by tinents—the so-called Gone Walkabout years. and educator based in filmmaker. Born in 1961 in the Indianapolis Symphonic Choir; Custer and From 1997 to 2005 he lived in Mexico, where he London. In April 2012, he Füssen, he got his start in Sitting Bull, a microtonal, one-man music theater did intensive fieldwork and research on regional was artistic advisor to the theater before moving on to work he has performed more than 30 times from musical traditions. Since 2005, he has been liv- critically acclaimed festival radio productions. Since the Brisbane to Moscow; The Planets, commissioned ing on the coast of Maine. In addition to his “Impossible Brilliance: The 1990s, he has worked as an author and director by the Relâche ensemble via Music in Motion composing, he has been a prolific essayist and Music of Conlon Nancarrow” of radio and television programs for over 200 and continued under a National Endowment writer, though most of his work remains unpub- at London’s Southbank Centre, contributing productions focused on avant-garde music for the Arts Individual Artists’ Fellowship; and lished, especially his two-volume Gone among other things new Nancarrow arrange- and sound art. His films My cinema for the ears: The Hudson River Trilogy, a trio of microtonal Walkabout journals and the four-volume ments for the London Sinfonietta and a new The musique concrète of Francis Dhomont and chamber operas written with librettist Jeffrey Mexican fieldwork essays. From 1971 to 1991, he composition for percussionist Joby Burgess. His Paul Lansky; I Myself Am Genius: Hanns Eisler in Sichel, the first of which, Cinderella’s Bad Magic, was the editor and publisher of Soundings, and current project is collaboration with sculptor Berlin; Music for 1,000 Fingers; and countless was premiered in Moscow and St. Petersburg. he played a prominent role in the rediscovery Marcus Vergette on the design of a half-ton others have been screened throughout Europe to In 2007, choreographer Mark Morris made and re-evaluation of America’s pioneer bronze bell and the creation of a new ensemble critical acclaim.

50 CAL PERFORMANCES CAL PERFORMANCES 51 ABOUT THE ARTISTS ABOUT THE ARTISTS

Sophie Clements is a visual orchestra, has been performed in Arkansas, Since 2005, Mr. Rosner has worked closely artist based in London. Kansas, and Bolivia. In 1983, he was selected with musicians, combining multiple layers of Taking inspiration from as one of three finalists in the Music Teachers sound and visuals to create a new language of ideas in science and experi- National Association’s “Composer of the Year” classical/contemporary music videos. His work mental music, Ms. Clements competition for his Piano Fantasy, which was includes collaborations with Katia and Marielle manipulates time to create commissioned by the Arkansas State Music Labèque on Stravinsky and Debussy’s music for highly constructed objects that grow from their Teachers Association. In 1979 he was the two pianos (released on DVD, KLM Recordings surroundings, producing collages that rely on first-place winner in the St. Louis “Forum for 2007), an interpretation of Conlon Nancarrow’s chance interactions and discourse between the Composers” competition, and in 1978 he was Study for Player Piano No. 7 (Barbican Festival concrete “real” and the constructed “unreal.” first-place Missouri winner in the Missouri 2007 and Serpentine Summer Pavilion 2008), Her recent work explores the use of video as a Contemporary Music Composition competi- and Lachen Verlernt with Jennifer Koh and form of sculpture, using devices including sculp- tion. Contra, his composition for solo double- Esa-Pekka Salonen (commissioned by Cedille tural installation and video projection to decon- bass, has been recorded on Crystal Records by Records, Oberlin Conservatory, 92nd Street Y, struct and reassemble time and material to ques- bassist Daniel Gwyn. and Carolina Performing Arts). tion the notion of physical reality in relation to Dr. Greeson’s music for jazz ensemble is time and memory. published by University of Northern Colorado Alban Wesly is a bas- Much of Ms. Clements’s work is made in Music Press and has been performed at the Clark soonist, arranger, com- relation to sound and music—the expression Terry Jazz Camp and the Telluride Jazz Festival, poser, and filmmaker of the two languages of sound and visual as a as well as by various school jazz groups in the based in Amsterdam. He singular voice being a key driving force. She Midwest. He also serves as the jazz guitar con- is the co-founder of the has worked in collaboration with a number of sultant for Kendor Music Publishers in Delevan, innovative woodwind composers or sound artists, as well as various New York, and produces guitar chord charts for quintet Calefax, per- visual artists. many of their jazz ensemble publications. As a forms with the German jazz guitarist and bassist, he has performed with ensemble musikFabrik, and freelances in the James Greeson is a Professor of Clark Terry, Bruce Barth, Nneena Freelon, Steve principal Dutch ensembles and orchestras. His Composition and Music Theory Wilson, Terrel Stafford, and many others. musical training was at the conservatories of in the Department of Music at Dr. Greeson is also active as a guitarist in Amsterdam and The Hague, where his final the University of Arkansas in the classical idiom. He is a member of the flute exam was honored with the 1996 Kolfschoten Fayetteville. He received his and guitar duo Novaria with Ronda Mains, and Prize. Recently, he has been working with com- doctorate in composition from in 1996 they released a CD on the Nuance label posers such as Gijsbrecht Royé, Karlheinz the University of Wisconsin and featuring many original compositions and ar- Stockhausen, Mauricio Kagel, Heinz Holliger, M.M. and B.M. from the University of Utah rangements composed by Dr. Greeson. At the Mayke Nas, Jonathan Harvey, and Peter Eötvös. (magna cum laude ). His compositions have been University of Arkansas Dr. Greeson directs the published by Oriana Press, Cor Publishing, UA Jazz Ensemble, teaches a variety of music Willis Music, and SeeSaw Publishers. theory courses, and teaches guitar, bass, and In recent years, Dr. Greeson has focused on composition. In 2007, he received a Fulbright composing soundtracks to documentaries for College “Master Teacher” award. public television and has completed nine, which have been broadcast in both the United States Tal Rosner received his and Canada. In 2009, he was awarded an Emmy B.A. from the Bezalel Award for his score for the PBS documentary Academy of Art and The Buffalo Flows. Two other soundtracks have Design, Jerusalem (1999– been nominated for Emmy Awards. His Fantasy 2003) and an M.A. in for Five Players (1984), commissioned by the Da graphic design from Capo Chamber Players, was performed by that Central Saint Martins group at Carnegie Hall and Symphony Space College of Art and Design, in New York City, and around the country. London (2003–2005). He His Trees of Arkansas (1987), for soprano and Weisheit Armin lives and works in London. 52 CAL PERFORMANCES CAL PERFORMANCES 53 ABOUT THE ARTISTS OTHER MINDS SUPPORTERS

Other Minds Staff Other Minds Supporters Charles Amirkhanian, Executive and Artistic Director Nancarrow at 100: A Centennial Celebration could not take place without the loyalty and enthusiasm of our Jim Newman, President Emeritus donors and sponsors. We gratefully acknowledge members of the Grand Pianola Brigade, other individuals, and Michael Straus, Operations Director institutions for their generous support of Other Minds programs between July 1, 2011, and August 15, 2012. Cynthia Mei, Development Director Every effort has been made to ensure the accuracy of this listing; please contact Other Minds regarding errors Carole Goerger, Business Manager or omissions. Adrienne Cardwell, Preservation Project Director Stephen Upjohn, Librarian grand pianola brigade Ron and Renate Kay Richard Friedman, Host, “Music from Other Minds” Charles Amirkhanian and Carol Law Katrina Krimsky Scott Atthowe and Patricia Thomas Lukas Ligeti Other Minds Board of Directors Harry Bernstein and Caren Meghreblian Anita Mardikian and Pepo Pichler Andrew Gold, President Bob Bralove James McElwee Caren Meghreblian, Vice President Barbara Bessey Caren Meghreblian and Harry Bernstein Richard Friedman, Secretary Rena Bransten Sharee and Murray Newman Margot Golding, Treasurer Dennis Russell Davies and Maki Namekawa Jay Stamps and Daphne Tam Margaret Dorfman The David and Sylvia Teitelbaum Fund, Inc. Charles Amirkhanian Peter and Anne Esmonde Mitchell and Kristen Yawitz Jim Newman Alan Farley Curtis Smith Andy Gold and Karen Cutler post-modernist ($500 to $999) Charles Celeste Hutchins Edward P. Hutchins Bill Berkson and Constance Lewallan Mitchell Yawitz Russ Irwin Agnes Bourne Eric Kuehnl Katrina Krimsky Cappy Coates and Veronica Selver John Goodman Lukas Ligeti Richard Friedman and Victoria Shoemanker Liz and Greg Lutz Mel Henderson Sukari Ivester Jim McElwee Duo Huang and Kui Dong Dennis Aman Jim Newman and Jane Ivory Timothy M Jackson Peter Esmonde Garrick Ohlsson Ben Johnston Curtis Smith and Sue Threlkeld Hollis Lenderking Board of Advisors Jay Stamps and Daphne Tam Garrick Ohlsson Muhal Richard Abrams Anonymous maximalist ($2,500 and above) Laurie Anderson Meyer Sound Owsley Brown Aki Takahashi Gavin Bryars Margaret Dorfman Brownyn Warren and James Petrillo John Duffy Peter Esmonde Brian Eno Alan Farley neo-classicist ($250 to $499) Fred Frith Charles Celeste Hutchins Tom Benét Philip Glass Edward P. Hutchins John and Maureen Chowning David Harrington Greg and Liz Lutz Linda Colnett Ben Johnston Jim Newman and Jane Ivory Helen Conway Curtis Smith and Sue Threlkeld Anthony B. Creamer III Joëlle Léandre Bob and Jackie Danielson George Lewis expressionist ($1,000 to $2,499) Levon DerBedrossian Meredith Monk John Adams and Deborah O’Grady Dale Djerassi Kent Nagano Dennis and Kerri Aman Dan Dodt and Linda Blacketer Yoko S. Nancarrow Charles Amirkhanian and Carol Law Marcia Fein Michael Nyman Adah Bakalinsky Lorraine and Sylvia Kaprielian Terry Riley Barbara Bessey Rik Myslewski Bob Bralove Rodney and Anne Pearlman David Robertson Rena Bransten Sara Sackner and Andrew Behar Ned Rorem Steve and Barbara Burrall David Sansone Frederic Rzewski Andy Gold and Karen Cutler Tim Savinar and Patricia Unterman Peter Sculthorpe Dennis Russell Davies and Maki Namekawa Jean and Richard Schram Morton Subotnick Patti Deuter Jim Schuyler Tan Dun New Mexico Community Foundation and the Mimi Mott-Smith and John Reinsch Trimpin Marthanne Dorminy Fund Tom Steenland Tom Downing Priscilla Stoyanof and David Roche Chinary Ung Monika Fimpel and Timothy O’Brien Robert and Martha Warnock Julia Wolfe John Goodman and Kerry King Dale Weaver Victor and Lorraine Honig Simone Wedell Russ Irwin

54 CAL PERFORMANCES CAL PERFORMANCES 55 OTHER MINDS SUPPORTERS OTHER MINDS SUPPORTERS impressionist ($125 to $249) CJ and Jackie Becker Robert Shimshak INSTITUTIONAL GRANTORS Gallery Paule Anglim Jack Body Kate Stenberg Aaron Copland Fund for Music, Inc. Deidre B. Bair Charles Boone and Josefa Vaughn Roger Stoll Amphion Foundation, Inc. Elizabeth Barlow and Stephen McClellan Roy and Rose Borrone Stephen Stump Anonymous James Bisso Ruth Braunstein Susan Subtle Arts Council Norway Norman Bookstein: In honor of Donna Maria D’Avalos William Brooks Patrick and Sheila Sumner Barbro Osher Pro Suecia Foundation David Bullard Kenneth E. Bruckmeier Paul Taub Bernard Osher Foundation Charles Calhoun Thomas and Kamala Buckner Jim Taylor BMI Foundation, Inc. Antonio Celaya David Bumke Marta Tobey Canada Council for the Arts Gloria Cheng Sin Tung Chiu: In honor of Del Sol String Quartet Wade Tolleson CEC Artslink Clark and Susan Coolidge Martin Cohn Dan Van Hassel Chamber Music America Alvin Curran and Susan Levenstein Andrew Condey Yoshi Wada Alice M. Ditson Fund of Columbia University Jose Evangelista Rocker D’Antonio John Wehrle Doris Duke Charitable Foundation Georgia Finnigan Shirley Ross Davis Sally Whiteley Finlandia Foundation National Nina and Claude Gruen Norma Kurkjian and Mike Kourtjian: Richard Wilson Foundation for Contemporary Arts Ron and Pamela Harrison In memory of Edward Meghreblian Mike Zimmerman Wallace Alexander Gerbode Foundation Geoffrey B. Hosker Jeff Dunn Ann and Gordon Getty Foundation Dina and Neil Jacobson Mike Dyar microtonal (up to $49) Grants for the Arts/SF Hotel Tax Fund Elmer and Gloria Kaprielian Janet Elliot Julia Bartlett The William and Flora Hewlett Foundation Laurel Dickranian Karabian Jack Stone and Barbara Foster Todd Barton James Irvine Foundation Nancy Karp and Peter Jones John C Gilbert Carol Benioff James E. Robison Foundation Elizabeth Lauer David Gilson John Bevacqua Jebediah Foundation: New Music Commissions Charlton Lee and Eva-Maria Zimmermann Louis Goldstein Minna Choi Meet the Composer Scott Lewis Karen Gottlieb Erik Christensen National Endowment for the Arts Timothy Lynch Wade Green Orlando Jacinto Garcia The Norway House Melissa Mack Scott Guitteau Carole Goerger New Mexico Community Foundation Ellen Marquis Olga Gurevich Anna Halprin Owsley Brown Charitable Foundation Dorothy and Edward Meghreblian Meira and Jerry Halpern Robert Herman and Susie Coliver: Public Radio Productions Emma Moon Eric Heinitz In the name of David Barnett San Francisco Arts Commission Chris Morrison Su Rannells and Mel Henderson Frank Hirtz San Francisco Foundation Paweł Mykietyn Susan and Robert Hersey Gary Hodges The Thendara Foundation Linda Oppen John Hillyer Wayne and Laurell Huber Trust for Mutual Understanding Terry and Ann Riley Barbara Imbrie Bill Huie: In honor of Charlyne Cooper WHH Foundation Joel Sachs Nelda Kilguss Greg Kelly Zellerbach Family Foundation The David Aronow, Foundation, Inc. Jin Hi Kim Tania León: In memory of Jose León Allen Frances Santos: In honor of FRXX MOVIX Howard B. Kleckner, M.D. Linda Mankin GIFTS IN KIND humboldtredwoodsinn.com Jane Kumin Lucy and George Mattingly Atthowe Fine Art Services Harold Segelstad Richard Diebold Lee and Patricia Taylor Lee Angelo and Linda Mendillo Bi-Rite Market William Sharp Paul D. Lehrman Doug McKechnie Fantasy Studios Dan Slobin Bill Leikam David Mount Internet Archive Ronald Bruce Smith Leah Levy Jon Chippolina: In honor of OWS and Kermit Lynch Wine Merchant Mary Stofflet Eleanor Lindgren In memory of Merce Cunningham Robert Ripps Susan and Prescott Stone Gareth Loy Pauline Oliveros: In memory of Edith Gutierrez SF Performances Carl Stone Dennis Mackler Adam Overton San Francisco Symphony Jane and Jack Stuppin International Percy Grainger Society Roger Pritchard St George’s Spirits Dean Suzuki Jack and Carol Margossian Tony Reveaux Stephen Hill Lydia Titcomb Carol Margossian David Thomas Roberts and Teresa K. Jones Steven and Deborah Wolfe Zucchini Toast Dan Max Michael Robin Story Winery Eugene Turitz and Louise Rosenkrantz April McMahon Jeffrey Roden Tayerle Winery Ken Ueno Hafez Modirzadeh Fred Rosenblum Wilbur Hot Springs Resort Dianne Weaver and Sebastiano Scarampi Bari and Stephen Ness Eleonor Sandresky Electra Yourke Allen and Erika Odian Thomas Sepez CORPORATE MATCHING GIFTS William Zschaler Stephen Pacheco Mathew Simpson Franklin Templeton Robert and Michele Place Elizabeth Stuart Google minimalist ($50 to $124) Tim R. Price Patricia Walters IBM Bob and Keren Abra Dawn Richardson Rachel Youdelman: In memory of David Youdelman Juniper Networks Denny Abrams Judith Rosen Microsoft Matching Program Craig Amerkhanian and Michelle Sinclair Bari Scott Nokia Mark Applebaum Cheryl Seltzer Wells Fargo Anne Baldwin J M Sharp Yahoo! Employee Foundation Jim Battles Charles and Lindsey Shere Yahoo! Employee Funds

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