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Dated and annotated list of the works, premieres and arrangements of the music of Conlon Nancarrow
compiled by Monika Fürst-Heidtmann (2007/ February 2014)
Nancarrow’s compositions can be divided into WORKS FOR INSTRUMENTS (A), STUDIES FOR PLAYER PIANO (B) and his musical BEQUEST (C), consisting of umpublished or uncompleted pieces, discovered and (partly) performed after his death (1993). The instrumental works originated in the early (1930-1947) and in the late (1983-1993) creative phases, the pieces for mechanical piano in the time in between, and afterwards. Since no dates of origin were given, the exact chronology (year of completion) poses a major problem. In 1979, Nancarow compiled a semi-dated list of his up-to-then created compositions in which, however, some of the earlier as well as some of the later works are missing (see N., interview with C. Gragne/Tr. Caras [1980], in: Soundpieces 1982, p. 302). But Nancarrow could not remember many of the dates in that period. In a handwritten addendum to his list of works he merely mentioned: “All Studies 1-41 were done between 1949 and 1979, more or less in chronological order, with a few gaps in time” (published in: Neuland 2, 1981/82, p. 217).
Although the Studies for Player Piano were numbered, no exact chronology can be expected since the composer later re-numbered some of the pieces (e.g. Study No. 38 became No. 43, Study No. 39 became No. 48) or was occupied with several works at the same time, finishing some before others. For about five years (1960-1965 ?), he did not compose but was mainly occupied with “catching up making legible scores” (N., interview with W. Duckworth [1986] , 1999, p. 46). The assertions of visitors in Nancarrow’s studio like E. Carter (1951) or G. Mumma (1968), interviews with J. Tenney (1975) and Ch. Amirkhanian (1977) as well as cover-texts of discs (Columbia 1969, NWR 1976), though giving some hints to Nancarrow’s works, leave unanswered the open questions of setting dates. Also, the lists of works compiled by Kyle Gann in 1997 (published in MusikTexte No. 73/74, 1998, pp. 115) as well as that of Jürgen Hocker in his book „Begegnungen mit Conlon Nancarrow“ (2002, pp. 257 f.), where all the up-to-then known works were specified, could not sufficiently resolve those problems. By examining all the lists, checking recent research results, exploiting letters as well as documented world or first performances, published here for the first time, some of the given dates could be corrected and supplemented. Nevertheless, insecurities still remain concerning dates of many of the works.
While the instrumental works are presented in handwritten and/or printed versions (edition), there exist three different modes of notation for the Studies for Player Piano: 1. the so-called punching score (PS), a short-hand notation designed by Nancarrow which contains all the important information like tempo-scale etc.; 2. the perforated paper- or piano-rolls (PR), in which Nancarrow punched his compositions; and 3. the final copy or score (S) which he often accomplished only years later. If not otherwise noted, the listed Studies exist in all three modes of notation.
Since 1997, those materials together with other documents, which have not yet been fully investigated by researchers, as well as Nancarrow’s two Player Pianos are stored in the Paul Sacher Stiftung in Basel/Switzerland. Some of the scores are in the possession of J. Hocker (Bergisch-Gladbach/Germany). In order to save them from decay, the German-born, Seattle-based inventor, installation artist and instrument builder (Gerhard) Trimpin, between 1988 and 1992 scanned all of Nancarrow’s manually punched paper scores into electronic MIDI-data-files, making them accessible for research and performances on other mechanical acustical instruments as well as on any MIDI-compatible system. Since 1995 Wolfgang Heisig (Leisnig/Germany) reconstructed and re-punched many of the works, also to make them available for public use.
Performances of the Studies for Player Piano in concerts originally created many problems since the instrument they were composed for no longer was in use and Nancarrow’s private Ampico Player Pianos (NPP) were only played in three concerts in Mexico-City: 1962 (Palacio de Bellas Artes), 1990 (Universidad Autónoma de México UNAM) and 1993 (Nancarrow-Hommage at the World Music Days of the ISCM). For several years the performances were confined to tapes which Nancarrow regarded as equivalent to those of the Player Piano (N., interview with M. Fürst-Heidtmann 1978, p. 30). In 1980, Trimpin invented a transportable electromechanical device which can be set atop the keys of an ordinary piano or grand piano (“mechanical fingers”). Computer-controlled, this “Aufsetzer (TPP) allows the MIDI-files of Nancarrow’s pieces to be played and warrants an exact synchronization of several similar instruments - which was always a problem performing the Studies for two Player Pianos.
In Europe, too, first performances had been given by tape – amongst them the informal performance of nearly all the Studies up to No. 41 organized by O. Nies/R.Berger/K. Marx during the Documenta 7 in Kassel/Germany, summer 1982. In 1985, in Cologne/Germany, Klarenz Barlow started live performances of Nancarrow’s music on the Marantz pianorecorder (player piano) using a self-developed software. Beginning in 1987, live performances could also be accomplished on Jürgen Hocker’s restored Bösendorfer Grand Piano equipped with Nancarrow’s Ampico Player Piano Mechanics (HPP). In 1994, a second Ampico Grand Piano was added which could be synchronized with the other one by computer-control. Trimpin’s MIDI-files allowed to perform the Studies for Player Piano on the Bösendorfer Computer Grand Piano (CF) of the Musikhochschule Karlsruhe/Germany. Rex Lawson (London/Great Britain) uses the old pianola, a mechanical felt-finger device, placed before an ordinary grand piano, powered by pedaling (“Vorsetzer”).Wolfgang Heisig uses a similar instrument, the phonola, since 1991. In contrast to the player piano, the pianola and the phonola allow the player to influence dynamics and control the tempo.
Due to the different modes of public performances of the Studies for Player Piano, the term „world premiere” (UA) is not applied to them, in contrast to the instrumental works. The more so, since all the Studies, originally not conceived for public concerts, had their first performance (EA) played in Nancarrow’s private studio. As with the instrumental works, all the documented Mexican (MEA), American (AEA) and European (EEA) first public performances of the Studies for Player Piano are listed chronologically; those in Germany (DEA) only if not identical with European ones and/or if assisted by the composer. Subsequent performances are also registered if the preceding ones were tapes or partial performances or if a hitherto not mentioned instrument was used. The further indications refer to the mode of performance, place, organizer or occasion, date and names of the performing musicians.
In addition, the growing number of arrangements (Arr.) by which “live”-interpreters try to adopt Nancarrow’s music are listed for the first time, separately. Transformations of a piano score on the player piano are defined as transcriptions (Tr).
Publishers/Editions:
B&H Boosey & Hawkes, New York
CollSt Collected Studies for Player Piano 2 (1981), 3 (1982), 4 (1983),
5 (1984), 6 (1985) (Soundings Press, Santa Fe/N. M.)
In 1988 Schott-Edition took over Collected Studies for Player Piano
(Soundings Press) and reedited them.
EP Edition C. F. Peters, New York/London/Frankfurt
NME New Music Edition (A Quarterly of Modern Composition), Los Angeles
SAE/S Sonic Art Editions/Smith Publications, Baltimore
SMI Schott Musik International, Mainz.
SP Soundings Press (ed. Peter Garland, Berkeley/Santa Fe), incl.
Studies for Player Piano in: SP 6 und SP 7/8 (1973),
SP 9 (1975), SP 10 (1976) and SP 4 (1977).
SP 4, Selected Studies for Player Piano = Collected Studies f. PP 1
A. INSTRUMENTAL WORKS
1930 ?
Sarabande and Scherzo for Oboe, Bassoon, and Piano. - SAE/S 1990
UA Amsterdam (Holland-Festival: De Ijsbreker), June 28, 1987
(Ad hoc-Ensemble, Roland Kieft conduct.)
1935
Blues for Piano. – NME 11/2 (Jan.), 1938. – SAE/S 1987
UA (4-hds. vers.) New York (League of Composers), Jan. 29, 1939
(Henry Brant + Michael Pollon)
EEA Rotterdam (Holland-Festival: The American Fiddler), June 4, 1982
(Reinbert de Leeuw)
AEA Los Angeles (Monday Evening Concerts), Jan. 30, 1984 (Zita Carno)
DEA Hannover (HGNM/Kestner-Ges.) Oct. 18, 1988 (Hermann Kretzschmar)
MEA Mexico-City (UNAM), Oct. 22, 1990 (Yvar Mikhashoff)
Prelude for Piano. – NME 11/2 (Jan.), 1938. – SAE/S 1987
UA (4-hds. vers.) New York (League of Composers), Jan. 29, 1939
(Henry Brant + Michael Pollon)
AEA Los Angeles (Monday Evening Concerts), Jan. 30, 1984 (Z. Carno)
EEA ? London (Almeida-Festival: The Great American Piano Marathon),
June 8, 1987 (Y. Mikhashoff);
DEA Hannover (HGNM/Kestner Ges.), Oct. 18, 1988 (H. Kretzschmar)
MEA Mexico-City (UNAM), Oct. 22, 1990 (Y. Mikhashoff)
Toccata for Violin and Piano. – NME 11/2 (Jan.), 1938. – SAE/S 1987
UA (V.+ P. 4-hds.) New York (League of Composers), Jan. 29, 1939
(Hans Rudas, V., H. Brant + M. Pollon, P.)
EEA Rotterdam (Holland-Festival: The American Fiddler), June 4, 1982
(Vera Beths, V. + R. de Leeuw, P.)
Tr. of the Piano-part f. PP (Nancarrow, 1978) . – SAE/S
UA (V. + PP/T) Berlin (Akademie der Künste: Für Augen
und Ohren), Jan. 24, 1980 (Cees van Schaik, V.)
AEA ? (V. + PP/T) New York, March 1981 (Malcolm Goldstein)
AEA ? (V. + PP/T) Aptos/Calif. (Cabrillo Music Festival), Aug. 20, 1982
(Romuald Tecco, V.)
EA (V. + HPP) Köln (WDR: Musik und Maschine), Oct. 15, 1988
(Otfrid Nies, V.)
MEA (V. + NPP) Mexico-City (World Music Days), Nov. 23, 1993
(Irvine Arditti, V.)
Arr. f. V. and P. 4-hds. (Cheryl Seltzer + Joel Sachs)
UA New York (Lincoln Center), Nov. 23, 1991
(Mark Steinberg, V., Ch. Seltzer + J. Sachs, P.)
Arr. f. V., P., Xylophone, Marimba, Double Bass (Y. Mikhashoff, 1986). – SMI
UA Buffalo (North American New Music Festival), April 14, 1986
1940
Septet for Clarinet, Alto Saxophone, Bassoon, Piano, Violin, Viola, and Double Bass
(1993 rediscovered). –
3 mvmts.: Allegro Molto, Moderato, Allegro Molto. – SAE/S 1994
(the lost beginning of the 3rd mvmt. (8 pages) was dropped in the printed vers.)
UA New York (League of Composers), April 21, 1940
EA (unfinished vers.) Brussels (Europalia), Oct. 24, 1993
(Ensemble Musique Nouvelle, Jurjen Hempel conduct.)
AEA New York, May 11, 1994 (Parnassus Ensemble)
early 1940s
Three 2-Part Studies for Piano. - 3 parts: I. Presto, II. Andantino, III. Allegro. – EP 1993 –
UA (1st + 2nd part) Köln (KGNM), June 29, 1991 (Y. Mikhashoff)
MEA (3 parts) Mexico-City (Jornadas Internacionales: C. Nancarrow/UNAM),
Oct. 27, 1998 (Ch. Seltzer)
1942
Trio (No. 1) for Clarinet, Bassoon, and Piano. – 3 mvmts.: Presto, Andantino,
Allegro Molto. – SAE/S 1991
UA (1st mvmt., the 2nd + 3rd mvmt. were rediscovered in 1990) London
(Almeida-Festival), June 8, 1985 (Y. Mikhashoff, Kl. + Capricorn Ensemble)
AEA (1st - 3rd mvmt.) New York (Focus), Febr. 26, 1991
(Juilliard Student Ensemble)
EEA Brussels (Ars Musica), March 9, 1991 (Ensemble Modern)
1943 ?
Sonatina for Piano. – 3 mvmts.: Presto, Moderato – Piu Allegro, Allegro Molto. -
EP 1986
UA Washington (National Gallery of Arts), Nov. 18, 1951 (James Sykes)
AEA (?) New York (Composers’ Forum), 1991 (A. de Mare)
EEA Boulogne-Billancourt/ Paris (Nancarrow-Retrospective),
Oct. 21, 1991 (Michel Maurer)
Tr. f. PP (Nancarrow, 1948 ?)
UA (T) Aptos/Calif. (Cabrillo Music Festival), Aug. 27, 1977
EEA (T) Berlin (Akademie der Künste: Für Augen und Ohren),
Jan. 24, 1980
Arr. f. P. 4-hds. (Y. Mikhashoff, 1984). – EP 1986
UA ? Rotterdam (Holland-Festival: The American Piano),
June 6, 1982 (Y. Mikhashoff + Michael McCandless)
AEA Los Angeles (Monday Evening Concerts), Jan. 30, 1984
(Zita Carno + Neal Stulberg)
MEA Mexico-City (UNAM), Febr. 24, 1990
(Edison Quintanar + Pablo Mazariegos)
1943
Piece for Small Orchestra No. 1.– 4 mvmts.: Andante, Moderato, Allegro,
Allegro Molto. - SAE/S 1987 –
UA Aptos/Calif. (Cabrillo Music Festival), Aug. 26, 1982
(Festival Orchestra, Uri Mayer/ Dennis Russel Davies ? conduct.)
EEA Graz (Steir. Herbst: ISCM), Oct. 31, 1982
(Collegium Musicum, Adolf Hennig conduct.)
DEA Köln (WDR: Musik + Maschine), Oct. 15, 1988
(Ensemble Modern)
around 1945
Suite for Orchestra (also called Piece for Large Orchestra), expanded vers. of the
Piece for Small Orchestra No. 1). – 4 mvmts.: Allegro Molto (new),
Andante (= 1st mvmt. from the Piece for Small Orchestra No.1, Piano Cadence from the
Finale of the Septet), Allegro, Allegro Molto (both mvmts. are taken from the
Piece for Small Orchestra)
UA Köln (WDR: Tempo Tempo), Nov. 12, 2004
WDR Sinfonieorchester, Stefan Asbury conduct.)
Tr. of the expanded 2nd mvmt. for PP = Study No. 3d and of the 4th mvmt.
(expanded) = Study No. 2B (Nancarrow, 1948 ?)
String Quartet No. 1. – 3 mvmts.: Allegro Molto, Andante Moderato, Prestissimo. –
SAE/S 1986
UA Saarbrücken (SR: Musik im 20. Jh.), May 21, 1982
(Saarbrücker String Quartet)
AEA Aptos/Calif. (Cabrillo Music Festival), Aug. 26, 1982 (Kronos-Quartet)
MEA Mexico-City (50 Años de Música Mexicana), Nov. 21, 1984
(Cuarteto Latinoamericano)
EEA London (Almeida Festival), June 9, 1985 (Arditti-Quartet)
Tr. f. PP, 1st. + 3rd. mvmt. (Nancarrow, 1977)
UA (T), Berlin (Akademie der Künste: Für Augen und Ohren),
Jan. 24, 1980
*
1984
Tango? for Piano. - Commission of the ISCM (World Music Days) for the international
Tango-Collection of Yvar Mikhashoff. – SAE/S 1990
UA Toronto, Sept. 25, 1984 (Mikhashoff)
EEA London (Almeida-Festival: Tango Marathon), June 29, 1985
(Y. Mikhashoff)
DEA Hannover (HGNM/Kestner Ges.), Oct. 18, 1988 (H. Kretzschmar)
AEA (TPP) Seattle/Wash., Febr. 2, 1990
MEA Mexico-City (UNAM), Oct. 22, 1990 (Mikhashoff)
Tr. f. PP (Nancarrow, around 1984)
AEA (TPP) Seattle/Wash., Febr. 2, 1990
EEA ? Boulogne-Billancourt/ Paris (Nancarrow-Retrospective),
Oct. 26, 1991 (Pierre Charial: mech. Organ)
Arr. f. Chamber Ensemble (Trio f. Clar., Piano + Cello) (Mikhashoff, 1984)
UA (North American New Music Festival), April 15, 1985 (Danish Trio)
1986
Piece for Small Orchestra No. 2. – Commission by Betty Freeman for the Continuum-
Ensemble. – 2 parts (A+ B). - SAE/S 1988
UA New York (Lincoln Center), April 19, 1986
(Continuum-Ensemble, Joel Sachs conduct.)
EEA Amsterdam (Holland-Festival), June 14, 1987
(Radio Kamerorkest, Ernest Bour conduct.)
Tr. f. PP (Nancarrow, 1987/88), s. Study No. 50
1987
String Quartet No. 3 (Canons 3/4/5/6). – 3 parts: A, B, C based on Trilogy and on Study
(beginning of the 3rd. mvmt.) - s. Bequest. – Commission by WDR. - SAE/S 1990.
UA Köln (WDR: Musik und Maschine), Oct. 15, 1988 (Arditti-Quartet)
AEA New York (Composer’s Forum), March 8, 1989 (Arditti-Quartet)
MEA Mexico-City (World Music Days), Nov. 23, 1993 (Arditti-Quartet)
1988
Three Canons for Ursula for Piano.- 3 parts: A=5:7, B=6:9:10:15, C=2:3. – Commission by
the Composer’s Forum for Ursula Oppens. – B&H (Two Canons A and B = C) 1992
UA (2 Canons) New York (Town Hall), Nov. 20, 1989 (U. Oppens, P.)
EEA ? (2 Canons) Brussels (Ars Musica), March 9, 1991 (U. Oppens, P.)
EA (3 Canons: A, B, C) London (Almeida-Festival), July 17, 1995
(Thomas Adès, P.)
MEA (2 Canons) Mexico-City (Jornadas Internacionales: C. Nancarrow/UNAM),
Oct. 28, 1998 (U. Oppens)
Arr. (Canon B) f. Fl., Cl., V., Vla., Cello, Double Bass, Percussion + P.
(Helena Bugallo 2005).
UA Köln (Alte Feuerwache), Febr. 24, 2005 (Thürmchen Ensemble)
1991
Study for Orchestra (Arr. of Study No. 49b and 49c for Ensemble + Player Piano
in collaboration with Carlos Sandoval). – Commission by Betty Freeman. -
2 parts (some of the sequences in the 2nd mvmt. were elaborated for Disc-Piano by Trimpin).
UA (rev.vers.) New York (Juilliard Theater), April 23, 1995
(New Juilliard Ensemble + Yamaha Disc-Piano, Joel Sachs conduct.)
EEA (rev. vers.) London (Proms), Aug. 10, 1999 (Birmingham Contemporary
Group, Thomas Adès (+ P.) and Simon Rattle conduct.)
Trio No. 2 for Oboe, Bassoon, and Piano. – EP 1994
UA New York (Lincoln Center), Nov. 23, 1991
(Continuum-Ensemble, Joel Sachs conduct.)
MEA Mexico-City (Jornadas Internacionales: C. Nancarrow/UNAM),
Oct. 29, 1998 (Trío Neos)
1993
Three Movements for Chamber Orchestra (transcribed from PRs without PS for instruments largely by Carlos Sandoval. - Commission by Parnassus-Ensemble. -
3 mvmts. (the 3rd of which corresponds to the 3rd part of Trilogy and is similar to that of
Strg.Qu. No. 3 - see Bequest). – SMI 1993 (revised by Th. Adès)
EA (2nd mvmt.), Birmingham (CBSO Center), Oct. 17, 1998
UA (3 mvmts. in a vers. revised by Thomas Adès) Aldeburgh, July 26, 1999
(Birmingham Contemporary Music Group, Thomas Adès conduct.)
B. STUDIES FOR PLAYER PIANO
1948/49
No. 3 (after 1962 compiled from initially 3 parts into a 5-mvmt. Boogie-Woogie-Suite),
I. 3a (probably Nancarrows earliest composition for PP), II. 3b, III. 3c, IV. 3d (uses parts of the 2nd. mvmt. of the Suite for Orchestra, 1945 ?),V. 3e.- CollSt 4/SMI (ED 7686)
MEA (partially, 3e?) (NPP) Mexico-City (P. de Bellas Artes), July 30, 1962
AEA 3a+3e (T) Aptos/Calif. (Cabrillo Music Festival), Aug. 27, 1977
EEA 3a (T) Berlin (Akademie der Künste), Jan. 24, 1980
EEA 3a-3e (T) Kassel (Documenta, informal), Summer 1982
EEA 3a (HPP) Köln (WDR: Musik und Maschine), Oct. 15, 1988
EEA 3c (HPP) Wien (Festwochen: Töne und Gegentöne), April 4, 1989
AEA (TPP) Seattle/Wash., Febr. 2, 1990
MEA 3a-3e (NPP) Mexico-City (UNAM), Oct. 21, 1990
EA 3e (Pianola) Köln (WDR: Tempo Tempo), Nov. 13, 2004 (Rex Lawson)
3b: Arr. f. P. 4-hds. (Amy Williams, 2001)
UA Evanston/Illinois (New Music Marathon, NW-University),
May 27, 2001 (Bugallo-Williams Piano Duo)
3c: Arr. f. Chamber Orchestra (Mikhashoff, 1988/1995). – SMI
UA Amsterdam (Holland-Festival: De Ijsbreker), June 28, 1987
(Ad hoc-Ensemble, Roland Kieft conduct.)
UA (rev. version) Graz (Steirischer Herbst), Oct. 19, 1989
(Ensemble Modern)
3c: Arr. f. P. 4-hds. (Amy Williams + Helena Bugallo, 1998)
UA Vermont/USA (Bennington College), March 12, 1998
(Bugallo-Williams Piano Duo)
3c: Arr. f. Small Orchestra (James Tenney, 2000/01)
3d: Arr. f. P. (Mikhashoff, 1986)
UA New York (Lincoln Center), April 19, 1986 (Mikhashoff)
EEA Amsterdam (Holland-Festival: De Ijsbreker), June 28, 1987
(Mikhashoff)
MEA Mexico-City (UNAM), Oct. 22, 1990 (Mikhashoff)
3d: Arr. f. P. 4-hds. (A. Williams, 1999)
UA Maine/USA (New Music Network Series, Bowdoin College),
March 8, 1999 (Bugallo-Williams Piano Duo)
Study 3 replaced by Study No. 3 (Boogie-Woogie-Suite) after 1960; in an expanded version later served for Piece for Ligeti (1988) ). - S, no PR
Arr. f. the ballet Crises (John Cage + Merce Cunningham, 1960; without a
designation//no.as intermezzo between Studies No. 2(a) + 4).
UA New London/Conn. (13th. American Dance Festival),
Aug. 19, 1960
Arr. f. P. (Cheryl Seltzer)
MEA Mexico-City (Jornadas Internacionales: C. Nancarrow/UNAM),
Oct. 27, 1998 (Ch. Seltzer)
1949/50
No. 1. – NME 25/1 (Okt.), 1951 (published under the title Rhythm Study No. 1
for Player Piano). – no PS/S
MEA (NPP) Mexico-City (P. de Bellas Artes), July 30, 1962
AEA (T) Ojai/Calif., May 30, 1964
EEA (HPP) Boulogne-Billancourt/Paris (Nancarrow-Retrospective),
Oct. 21, 1991
EA (BCF) Karlsruhe (MH), June 4, 1996
Arr. f. the ballet Crises (Cage/Cunningham, 1960)
UA New London/Conn. (13th American Dance Festival),
Aug. 19, 1960
Arr. f. Chambler Orchestra (Mikhashoff, 1987/1995). – SMI
UA Graz (Steirischer Herbst), Oct. 19, 1989
(Ensemble Modern)
Arr. f. Small Orchestra (Tenney, 2000/01)
No. 2(a). – CollSt 5/SMI (ED 7687)
MEA (NPP) Mexico-City (P. de Bellas Artes), July 30, 1962
AEA (T) Aptos/Calif. (Cabrillo Music Festival), Aug. 26, 1982
EEA (HPP) Köln (Musik-Triennale), May 20, 1997
Arr. f. the ballet Crises (Cage/Cunningham, 1960)
UA New London/Conn. (13th American Dance Festival),
Aug. 19, 1960
Arr. f. Chamber Orchestra (Mikhashoff, 1987/1995). – SMI
UA Amsterdam (Holland-Festival: De Ijsbreker), June 28, 1987
(Ad hoc-Ensemble, Roland Kieft conduct.)
Arr. f. Small Orchestra (James Tenney, 2000/01)
Arr. f. 2 Ps. (Pierre-Laurent Aimard, 2004)
No. 2b/c/d, also: 2x/y/z (Didactical Studies) = rhythmically changed versions of 2(a) (1980 ?)
No. 2B = expanded version of the 4th mvmt. of Suite for Orchestra (1945 ?) for PP
(Nancarrow, 1948 ?)
Until 1960
No. 4.
AEA ? (T) Ann Arbor/Mich. (Once Festival), Febr. 18, 1962
MEA (NPP) Mexico-City (P. de Bellas Artes), July 30, 1962
Arr. f. the ballet Crises (Cage/Cunningham, 1960)
UA New London/Conn. (13th American Dance Festival),
Aug. 19, 1960
Arr. f. P. 4-hds. (Erik Oña, 1998)
UA Aarhus/Dänemark (NUMUS Festival), May 2, 1998
(Bugallo-Williams Piano Duo)
No. 5. – CollSt 6/SMI (ED 7688)
AEA ? (T) Ann Arbor /Mich. (Once Festival), Febr. 18, 1962
EEA (T) Bremen (RB:Pro Musica Nova), May 15, 1976
EEA (HPP) Macerata (Rassegna di Nuova Musica VIII), June 5, 1990
MEA (NPP) Mexico-City (UNAM), Oct. 23, 1990
DEA (HPP) Essen (Musik Festival Ruhr), June 20, 1998
Arr. f. the ballet Crises (Cage/Cunningham, 1960)
UA New London/Conn. (13th American Dance Festival),
Aug. 19, 1960
Arr. f. Chamber Orchestra Mikhashoff, 1987/1995). – SMI
EEA Köln (WDR: Musik und Maschine), Oct. 15, 1988
(Ensemble Modern)
No. 6. – CollSt 5/SMI (ED 7687)
EEA(T) Kassel (Documenta, informal), Summer 1982
EEA (HPP) Hannover (HGNM), Oct. 18, 1988
MEA (NPP) Mexico-City (UNAM), Oct. 23, 1990
Arr. f. the ballet Crises (Cage/Cunningham, 1960)
UA New London/Conn. (13th American Dance Festival),
Aug. 19, 1960
Arr. f. Marantz Computer-Piano (Klarenz Barlow)
UA Köln (WDR: Klaviere und Computer), May 2, 1985
Arr. f. Chamber Orchestra (Mikhashoff, 1988/1995). –
Commission by B. Freeman. - SMI
UA New York (Lincoln Center), April 19, 1986
(Continuum Ensemble, Joel Sachs conduct.)
EEA Amsterdam (Holland-Festival: De Ijsbreker), June 28, 1987
(Ad hoc-Ensemble, R. Kieft conduct.)
Arr. f. den Oskar Fischinger-Film Studie Nr. 6 (Kl. Barlow, 1995)
Arr. f. P. 4-hds. (E. Oña, 1998)
UA Vermont/USA (Bennington College),
March 12, 1998 (Bugallo-Williams Piano Duo)
Arr. f. Small Orchestra (J. Tenney, 2000/01)
Arr. f. 2 Ps. (Th. Adès, 1998). – SMI
UA London (Barbican Festival), March 25, 2007
(Katia + Marielle Labèque)
No. 7 (originally with a longer beginning and a shorter ending). -
CollSt 5/SMI (ED 7687)
MEA (NPP) Mexico-City (P. de Bellas Artes), July 30, 1962
or Oct. 23, 1990 (UNAM)
EEA (HPP) Hamburg (Opera stabile: Festkonzert “Für Ligeti”), Oct. 17, 1988
EA (BCF) Karlsruhe (MH), June 4, 1996
Arr. f. the ballet Crises (Cage/Cunningham, 1960)
UA Dekalb, N.-Illinois, Febr. 11, 1961
Arr. f. Marantz Computer-Piano (Klarenz Barlow)
UA Köln (WDR: Klaviere und Computer), May 2, 1985
Arr. f. Chamber Orchestra (Mikhashoff, 1987/1995). – SMI
UA Köln (WDR: Musik und Maschine), Oct. 15, 1988
(Ensemble Modern)
Arr. f. P. 4-hds. (Anmari Wild, 1984)
UA Basel (ISCM), Febr. 20, 1998 (A. Wild + Daniel Cholette)
Arr. f. 2 Disc-Pianos, stereoversion with panning motion (Kl. Barlow)
UA Köln (Computing Music III), Nov. 19, 2004
Arr. f. 2 Ps. (Th. Adès, 1998). – SMI
UA London (Barbican Festival), March 25, 2007
(Th. Adès + Rolf Hind)
No. 8. – SP 4
MEA (NPP) Mexico-City (P. de Bellas Artes), July 30, 1962
or (TPP) Oct. 22, 1990 (UNAM)
No. 9. – CollSt 6/SMI (ED 7688)
MEA (NPP) Mexico-City (P. de Bellas Artes), July 30, 1962
or (TPP) Oct. 22, 1990 (UNAM)
AEA (T) Aptos/Calif. (Cabrillo Music Festival),
Aug. 27, 1977
Arr. f. Chamber Orchestra (Mikhashoff, 1987/1995). – SMI.
UA Graz (Steir. Herbst), Oct. 19, 1989 (Ensemble Modern)
Arr. f. P. 4-hds. (H. Bugallo, 2001)
UA Evanston/Illinois (New Music Marathon/NW University),
May 27, 2001 (Bugallo-Williams Piano Duo)
Arr. f. 2 Ps. (P.-L. Aimard, 2005)
No. 10 (originally longer, shortened by Nancarrow around 1980). -
CollSt 6/SMI (ED 7688)
MEA (NPP) Mexico-City (P. de Bellas Artes), July 30, 1962
AEA (T) San Francisco (New Music America), June 12, 1981
EEA (T) Graz (Steir. Herbst: ISCM), Oct. 31, 1982
EEA (HPP) Amsterdam (Holland-Festival: De Ijsbreker), June 28, 1987
DEA (HPP) Köln (WDR: Musik und Maschine), Oct. 15, 1988
No. 11. – CollSt 6/SMI (ED 7688)
MEA (NPP) Mexico-City (P. de Bellas Artes), July 30, 1962
EEA (HPP) Berlin (Kongresshalle: DAAD), Oct. 20, 1988
No. 12. – CollSt 6/SMI (ED 7688)
MEA (NPP) Mexico-City (P. de Bellas Artes), July 30, 1962
AEA (T) Aptos/Calif. (Cabrillo Music Festival), Aug. 27, 1977
EEA (T) Berlin (Akademie der Künste), Jan. 24, 1980
EEA (HPP) Amsterdam (Holland-Festival: De Ijsbreker), June 28, 1987
DEA (HPP) Köln (WDR: Musik und Maschine), Oct. 15, 1988
Arr. f. Chamber Orchestra (Mikhashoff, 1995). – SMI
UA Frankfurt (Alte Oper), May 16, 1993 (Ensemble Modern)
No. 13. – no PS
MEA (NPP) Mexico-City (P. de Bellas Artes), July 30, 1962
No. 14 (Canon 4:5). – CollSt 5/SMI (ED 7687)
MEA (NPP) Mexico-City (P. de Bellas Artes), July 30, 1962
EEA (T) Bremen (RB: Pro Musica Nova), May 15, 1976
Arr. f. Bass Clar., Celesta, Cembalo + Double Bass (Mikhashoff, 1982/1995)
UA Amsterdam (Holland Festival: De Ijsbreker), June 28, 1982
(Ad hoc-Ensemble, Roland Kieft conduct.). - SMI
Arr. f. Chamber Orchestra as part of the “Nancarrow-Suite”
(Dorrance Stalvey, 1984)
UA Los Angeles (Monday Evening Concerts), Jan. 30, 1984 (New Music Group, William Kraft, conduct.)
Arr. f. P. 4-hds. (H. Bugallo, 2000)
UA Malmö/Schweden, Aug. 16, 2000 (Bugallo-Williams Piano Duo)
No. 15 (Canon 3:4). – SP 10/CollSt 6/SMI (ED 7688)
MEA (NPP) Mexico-City (P. de Bellas Artes), July 30, 1962
Arr. f. P. 4-hds. (Mikhashoff, 1985)
UA New York (Lincoln Center), April 19, 1986
(Ch. Seltzer + J. Sachs)
MEA Mexico-City (Jornadas Internacionales: C. Nancarrow/UNAM),
Oct. 27, 1998 (Ch. Seltzer + J. Sachs)
Arr. f. P. (Mikhashoff, 1985)
UA Amsterdam (Holland-Festival: De Ijsbreker), June 28, 1987
(Mikhashoff)
MEA Mexico-City (UNAM), Oct. 22, 1990 (Mikhashoff)
Arr. f. String Quartet (Mikhashoff)
UA Buffalo (Albright Knox Art Gallery), April 20, 1986
(Arditti-Quartet)
EEA Amsterdam (Holland-Festival: De Ijsbreker)
June 26, 1987 (Arditti-Quartet)
Arr. f. String Quartet (Mikhashoff, 1987)
UA Köln (WDR: Tempo Tempo), Nov. 15, 2004
(Arditti-Quartet)
No. 16. – CollSt 6/SMI (ED 7688)
MEA (NPP) Mexico-City (P. de Bellas Artes), July 30, 1962
Arr. f. Chamber Ensemble (Mikhashoff, 1987/1995).
UA Amsterdam (Holland-Festival: De Ijsbreker), June 28, 1987
(Ad hoc-Ensemble, R. Kieft conduct.). – SMI
Arr. f. Small Orchestra (Tenney, 2000/01)
Arr. f. 2 Ps., 8-hds. (E. Oña, 2003)
UA Köln (WDR: Pianorama-Festival), Nov. 22, 2003
(J. Christof + B. Kobler + H. Kretzschmar + I. Roelcke)
No. 17 (Canon 12:15:20). – CollSt 6/SMI (ED 7688)
MEA (NPP) Mexico-City (P. de Bellas Artes), July 30, 1962
Arr. f. Xylophone, Vibraphone + amplified Cembalo (Mikhashoff, 1995).
- SMI
No. 18 (Canon 3:4). – CollSt 6/SMI (ED 7688)
MEA (NPP) Mexico-City (P. de Bellas Artes), July 30, 1962
Arr. f. Xylophon + amplified Cembalo (Mikhashoff, 1995). – SMI
Arr. f. P. 4 hds. (E. Oña, 1998)
UA Aarhus/Dänemark (NUMUS Festival), May 2, 1998
(Bugallo-Williams Piano Duo)
No. 19 (Canon 12:15:20). – SP 4
MEA (NPP) Mexico-City (P. de Bellas Artes), July 30, 1962
EEA (HPP) Boulogne-Billancourt/ Paris (Nancarrow-Retrospective),
Oct. 26, 1991
Arr. f. Marantz Computer-Piano (Klarenz Barlow)
UA Köln (WDR: Klaviere und Computer), May 2, 1985
Arr. f. Xylophone, Marimba, P. + amplified Cembalo
(Mikhashoff, 1995). – SMI
Arr. f. P. 4-hds. (H. Bugallo, 2000)
UA Malmö/Schweden, Aug. 16, 2000 (Bugallo-Williams Piano Duo)
Arr. f. 2 Disc-Pianos, stereoversion with panned motion (Kl. Barlow)
UA Berlin (Prenzlauer Berg: Kryptonale VI), Sept. 16, 2000
No. 20. – CollSt 5/SMI (ED 7687)
AEA (T) Aptos/Calif. (Cabrillo Music Festival), Aug. 27, 1977
EEA (HPP) Köln (WDR: Musik und Maschine), Oct. 15, 1988
MEA ? (NPP) Mexico-City (UNAM), Oct. 21, 1990
EA (Phonola) München (Gasteig), June 7, 2000 (W. Heisig)
Arr. f. P. 4-hds. (H. Bugallo, 2004)
UA Chicago/USA (Sound Field Festival), Oct. 12, 2004
(Bugallo-Williams Piano Duo)
Arr. f. 2 Ps., 8-hds. (E. Oña, 2003)
UA Köln (WDR: Pianorama-Festival), Nov. 22, 2003
(J. Christof + B. Kobler + H. Kretzschmar + I. Roelcke).
No. 21 (Canon X). – SP 7-8/CollSt 5/SMI (ED 7687)
MEA (NPP) Mexico-City (P. de Bellas Artes), July 30, 1962
AEA (T) Ojai/Calif. May 30, 1964
EEA (T) Bremen (RB: Pro Musica Nova), May 15, 1976
EEA (HPP) Amsterdam (Holland-Festival: De Ijsbreker), June 28, 1987
DEA (HPP) Köln (WDR: Musik und Maschine), Oct. 15, 1988
Arr. f. Synthesizer (Rick Bidlack/ Univ. of Calif., San Diego)
UA Buenos Aires (Encuentros Internacionales
de Música contemporánea), Oct. 1, 1984
Arr. f. Marantz Computer-Piano (Klarenz Barlow)
UA Köln (WDR: Klaviere und Computer), May 2, 1985
Arr. f. 2 Disc-Pianos, stereoversion with panned motion (Kl. Barlow)
UA Berlin (Prenzlauer Berg: Kryptonale VI), Sept. 16, 2000
Arr. f. 2 voices distributed on 12 stereo channels and circling
in opposite directions (C. Sandoval + Elektron. Studio der TU Berlin)
UA Berlin (Tesla), Nov. 30, 2006
No. 22 (Canon 1%:1,5%:2.25%). -
EEA (T) Kassel (Documenta, inf.), Summer 1982
MEA ? (TPP) Mexico-City (UNAM), Oct. 22, 1990
EEA (HPP) Boulogne-Billancourt/Paris (Nancarrow-Retrospective)
Oct. 24, 1991
No. 23. – SP 4
EEA (T) Kassel (Documenta, inf.), Summer 1982
EEA (HPP) Amsterdam (Holland-Festival/De Ijsbreker), June 28, 1987
DEA (HPP) Berlin (Kongresshalle: DAAD), Oct. 20, 1988
MEA (NPP) Mexico-City (UNAM), Oct. 23, 1990
No. 24 (Canon 14:15:16). – SP 6/CollSt 5/SMI (ED 7687)
AEA (T) Ojai /Calif., May 30, 1964
EEA (HPP) Hamburg (Opera stabile: Festkonzert “Für Ligeti”), Oct. 17, 1988
MEA ? (TPP) Mexico-City (UNAM), Oct. 23, 1990
No. 25. – SP 9
EEA (T) Bremen (RB: Pro Musica Nova), May 15, 1976
AEA (T) Aptos/Calif. (Cabrillo Music Festival), Aug. 27, 1977
EEA (HPP) Amsterdam (Holland-Festival: De Ijsbreker), June 28, 1987
MEA (NPP) Mexico-City (UNAM), Oct. 21, 1990
EA (Phonola) München (Musica Viva), Febr. 6, 2006 (W. Heisig)
No. 26 (Canon 1:1). – CollSt 5/SMI (ED 7687)
EEA (T) Kassel (Documenta, inform.), Summer 1982
AEA (2/4 TPP), New York (New Music America), Nov. 11, 1989
MEA ? (TPP) Mexico-City (UNAM), Oct. 23, 1990
EEA (HPP) Boulogne-Billancourt/Paris (Nancarrow-Retrospective),
Oct. 26, 1991
Arr. f. 2 + 4 Ps. (7 hds.) (Nancarrow, around 1960/1988)
UA (2 Grand Ps.) Köln (WDR: Musik und Maschine), Oct. 15, 1988
(J. Abe + S. Grotenhuis + G. Hommerson + J. Snyders)
Arr. f. Chamber Ensemble as part of the „Nancarrow-Suite“ (D. Stalvey, 1984)
UA Los Angeles (Monday Evening Concerts), Jan. 30, 1984
( New Music Group, W. Kraft conduct.)
Arr. f. Small Orchestra (W. Heisig, 1989)
UA Döbeln, Dec. 7, 1989
Arr. f. P. 4 hds. (H. Bugallo, 2000)
UA Stuttgart (Akademie Schloss Solitude), Oct. 1, 2000
(Bugallo-Williams Piano Duo)
No. 27 (Canon 5%:6%:8%:11%). – SP 4
EEA (T) Bremen (RB: Pro Musica Nova), May 15, 1976
EEA (HPP) Köln (WDR: Musik und Maschine), Oct. 15 1988
MEA (NPP) Mexico-City (UNAM), Oct. 23, 1990
1965 - 1969
No. 30 f. Prepared Piano. – PS + PR, no S
MEA ? (TPP) Mexico-City (UNAM), Oct. 23, 1990
EEA (without prep.) (HPP) Köln (Musik-Triennale), June 3, 1997
AEA Berkeley Art Museum, Nov. 2, 2012 (on occassion of the centennial
“Nancarrow at 100”) with Trimpin’s interactive sound-installation “Nancarrow
Percussion Orchestra”.Transcribed into MIDI-Data, Study No. 30 was
played on a reconstructed Player Piano whose strings where struck by electronic
solenoids.The 30 materials for the preparation of 48 strings were original
and fixed according to Nancarrow’s list of preparations - s Bequest.
No. 28. -
MEA ? (TPP) Mexico-City (UNAM), Oct. 23, 1990
EEA (HPP) Köln (Musik-Triennale), June 14, 1997
No. 29. -
EEA (HPP) Köln (WDR: Musik und Maschine), Oct. 15, 1988
MEA (NPP) Mexico-City (UNAM), Oct. 23, 1990 or Nov. 23, 1993
(World Music Days)
No. 31 (Canon 21:24:25). – SP 4
EEA (T) Kassel (Documenta, inform.), Summer 1982
EEA (HPP) Berlin (Kongresshalle: DAAD), Oct. 20, 1988
MEA (NPP) Mexico-City (UNAM), Oct. 23, 1990
Arr. f. String Quartet (Paul Usher, 2003). – Commission by WDR
UA Köln (WDR: Tempo Tempo), Nov.14, 2004 (Arditti-Quartet)
No. 32 (Canon 5:6:7:8). – SP 10
EEA (T) Kassel (Documenta, inform.) Summer 1982
MEA ? (TPP) Mexico-City (UNAM), Oct. 23, 1990
EEA (HPP) Köln (Musik-Triennale), June 14, 1997
Arr. f. Chamber Ensemble as part of the “Nancarrow-Suite” (D. Stalvey, 1984)
UA Los Angeles (Monday Evening Concerts), Jan. 30, 1984
(New Music Group, W. Kraft conduct.)
Arr. f. P. 4-hds. (H. Bugallo, 2004)
UA Berkeley/Calif. (Cal Performances),
Febr. 23, 2005 (Bugallo-Williams Piano Duo)
No. 33 (Canon √2:2). – CollSt 5/SMI (ED 7687)
EEA (T) Kassel (Documenta, inform.), Summer 1982
MEA ? (TPP) Mexico-City (UNAM), Oct. 23, 1990
EEA (HPP) Köln (Musik-Triennale), June 3, 1997
Arr. f. String Quartet (Paul Usher, 2003). – Commission by WDR
UA Köln (WDR: Tempo Tempo), Nov. 14, 2004 (Arditti-Quartet)
AEA New York (Carnegie Hall), Dec. 4, 2004 (Arditti-Quartet)
No. 37 (Canon 150:160 5/7:168 3/4:180:187 1/2:200:210:225:240:250:262 1/2:281 1/4). – CollSt 3/SMI (ED 7685)
EEA (T) Graz (Steir. Herbst: ISCM), Oct. 31, 1982
EEA (HPP) Amsterdam (Holland-Festival: De Ijsbreker), June 28, 1987
DEA (HPP) Köln (WDR: Musik und Maschine), Oct. 15, 1988
MEA (NPP) Mexico-City (UNAM), Oct. 21, 1990
EA (Phonola) München (Musica Viva), Febr. 6, 2006 (W. Heisig)
Arr. f. 12 Synthesizers (Robert Willey)
UA San Diego (Pacific Rim Festival at the Univ. of Calif.), May 1986
Arr. f. TPP, Xylophone + Woodblocks (Trimpin)
UA New York (New Music America), Nov. 11, 1989
Arr. f. TPP and Xylophone Installation/6 octaves (Trimpin)
UA Mexico-City (World Music Days), Nov. 23, 1993
Arr. f. 12 spatially distributed stereo channels (C. Sandoval +
Electron. Studio of the TU Berlin)
UA Berlin (Tesla), Nov. 30, 2006
nach 1969 beendet
No. 34 (Canon 9:10:11). -
MEA ? (TPP) Mexico-City (UNAM), Oct. 23, 1990
EEA (HPP) Köln (Musik-Triennale), June 3, 1997
Arr. f. String Trio (Nancarrow, 1988/Graeme Jennings, 2004)
UA Köln (WDR: Tempo Tempo), Nov. 14, 2004 (Arditti–Quartet)
No. 35. – SP 4
EEA (T) Bremen (RB: Pro Musica Nova), May 15, 1976
AEA (T) San Francisco (Speaking of Music), Febr. 2, 1984
MEA ? (TPP) Mexico-City (UNAM), Oct. 23, 1990
EEA (HPP) Köln (Musik-Triennale), June 14, 1997
No. 36 (Canon 17:18:19:20). – SP 4
EEA (T) Bremen (RB: Pro Musica Nova), May 15, 1976
AEA (T) San Francisco (New Music America), June 12, 1981
EEA (HPP) Amsterdam (Holland-Festival: De Ijsbreker), June 28, 1987
DEA (HPP) Hamburg (opera stabile: Festkonzert „Für Ligeti“),
Oct. 17, 1988
AEA (TPP) Seattle/Wash., Febr. 2, 1990
MEA (NPP) Mexico-City (UNAM), Oct. 23, 1990
EA (Phonola) München (Gasteig), June 7, 2000 (W. Heisig)
1973
No. 40 for 2 Player Pianos (Canon e:pi). – 2 parts: 40a for one PP,
40b for two PPs (= 40a combined with itself). – SP 4
EEA 40 a+b (T) Bremen (RB: Pro Musica Nova), May 15, 1976
AEA 40 a+b (T) San Francisco (Hills Gallery for Contemporary Arts),
March 7, 1981
AEA 40 a+b (TPP, informal) New York (New Music America),
11. Nov. 1989
MEA 40a (TPP) Mexico-City (UNAM), Oct. 23, 1990
EEA 40 a+b (2 HPP) Donaueschingen (Musiktage), Oct. 14, 1994
EA 40b (Pianola + Phonola) München (Gasteig), June 7, 2000
(R. Lawson + W. Heisig)
1975
No. 38 (Canon 24:25).
AEA (T) New York, March 1981 (?)
Later (1981 ?) renamed Study No. 43.
1976
No. 41 for 2 Player Pianos. – 3 parts: 41a for one PP, 41b for the 2nd. PP,
41c for both PPs (= 41 a+b simult.). – CollSt 2/SMI (ED 7684)
AEA 41c (T) Aptos/Calif. (Cabrillo Music Festival), Aug. 27, 1977
EEA 41a-c (T) Kassel (Documenta, inform.), Summer 1982
EEA 41a-c (2 HPP) Köln (WDR: Musik der Zeit), March 20, 1995
EA (Pianola + Phonola) München (Musica Viva), Jan. 26, 2008
(R. Lawson + W. Heisig)
1977
No. 39 (Canon 60:61). – Commission by the European Broadcast Union
(UER, 1977). – 3 different parts on the same PP: 39a, 39b, 39c = 39a+b
EEA (T) Bremen (RB: Pro Musica Nova), May 12, 1980
AEA (T) Aptos/Calif. (Cabrillo Music Festival), Aug. 26, 1982
Later (1981 ?) renamed Study No. 48 for 2 Player Pianos
1981
No. 42. - Commission by Betty Freeman.
AEA (T) Los Angeles (Monday Evening Concerts), Nov. 2, 1981
MEA ? (NPP) Mexico-City (UNAM), Oct. 23, 1990
EEA (HPP) Köln (Musik-Triennale), June 14, 1997
No. 43 (Canon 24:25), originally Study No. 38 (1975). - Commission by “Sterischer Herbst”
for the ISCM-Festival in Graz 1982
EEA (T) Graz, Oct. 31, 1982
EEA (HPP) Hamburg (opera stabile: Festkonzert “Für Ligeti”), Oct. 17, 1988
MEA ? (TPP) Mexico-City (UNAM), Oct. 23, 1990
No. 44 (Aleatory Canon/Round) for 2 Player Pianos. - Commission by Betty Freeman. -
2 parts: 44a for one PP, 44b for both PPs.
AEA (T) Los Angeles (Monday Evening Concerts), Dec. 6, 1982
AEA (2 TPP) Telluride/Col. (Composer to Composer), Aug. 19, 1989
EEA (2 HPP) Köln (Musik-Triennale), June 3, 1997
EA (Pianola + Phonola) München (Gasteig), June 7, 2000
(R. Lawson + W. Heisig)
Arr. f. 2 Ps. (H. Bugallo, 2004)
UA Birmingham (Barber Institute of Fine Arts), April 26, 2006
(Bugallo-Williams Piano Duo)
No. 48 (Canon 60:61) for 2 Player Pianos, originally Study No. 39 (1977). -
3 parts: 48a for one PP, 48b for the same or the second PP, 48c = 48a + 48b for both PPs.
AEA (2 TPP) Telluride/Color. (Composer to Composer), Aug. 19, 1989
EEA (2 HPP) Donaueschingen (Musiktage), Oct. 17, 1997
Arr. f. 2 TPP + Xylophone (Trimpin)
UA New York (New Music America), Nov. 11, 1989
1983
No. 45. - Commission by B. Freeman. – 5 mvmts. (Betty Freeman Suite).
AEA (T) Los Angeles (Monday Evening Concerts), Jan. 30, 1984
Later (1986 ?) shortened. Only 2 movmts. (a + b in reversed order) were adopted from the
original vers. of 5 mvmts., the third is new. - 3 parts: 45a, 45b, 45c.
EEA (HPP) Köln (Musik-Triennale), June 10, 1997
Arr. f. 3 Strings (Nancarrow 1991/92)
1987
No. 47 (finale of the original Study No. 45)
EEA (HPP) Köln (Musik-Triennale), June 14, 1997
Arr. f. TPP + 2 Bass Clarinets with automatic keys
(Trimpin, 1993)
UA San Francisco (Other Minds-Festival), Nov. 4, 1993
No. 49 (Canon 4:5:6), originally a Suite (composed by Nancarrow for the application for
the Grawemeyer Grant). Later, the 3 mvmts. were to form the central parts of a
Concerto for Pianola and Orchestra planned for Rex Lawson, but never realized. -
3 parts: 49a, 49b, 49c
EEA 49a (HPP) Donaueschingen (Musiktage), Oct. 15, 1994
EEA 49b+ c Köln (HPP) (Musik-Triennale), June 10, 1997
Arr. of Study No. 49b + c for instruments (Carlos Sandoval)
s. Study for Orchestra (1991)
1988
Piece for György Ligeti, expanded vers. of Study 3 for PP (1948/49)
EEA (HPP) Hamburg (opera stabile: Festkonzert „Für Ligeti“), Oct. 17, 1988
MEA (NPP) Mexico-City (UNAM), Oct. 23, 1990
around 1988
No. 46 (overture of the original Study No. 45)
EEA (HPP) Boulogne-Billancourt/Paris (Nancarrow-Retrospective),
Oct. 26, 1991
No. 50 (Canon 5:7). – Player Piano-Version of the 2nd part of
Piece for Small Orchestra No. 2 (Nancarrow, 1987/88)
1991
Para Yoko for Player Piano, punched by C. Sandoval.
EEA (HPP) Boulogne-Billancourt/Paris (Nancarrow-Retrospective),
Oct. 21, 1991
MEA (TPP) Mexico-City (Jornadas Internacionales: C. Nancarrow/UNAM),
Oct. 27, 1998
1992
No. 51 (also named No. 3750 by Nancarrow), punched by C. Sandoval
1993
Contraption Nr. 1 f. Trimpin’s computer controlled Instant Prepared Piano (IPP), punched
by Carlos Sandoval
UA (IPP) San Francisco (Other Minds-Festival), Nov. 4, 1993
Arr. f. TPP and a spatially distributed xylophone installation/6 octaves
(Trimpin/Nancarrow)
UA Mexico-City (World Music Days/ISCM), Nov. 23, 1993
Arr. f. IPP + sound installation “Conloninpurple” (Trimpin)
UA Newport Beach/Calif. (Orange County Museum of Art),
Oct. 6, 2001
*
C. BEQUEST
Nine little pieces for piano (ca. 1940)
AEA Pittsburgh, April, 2, 2012 (Helena Bugallo)
EEA Basel (Gare du Nord), April 27, 2012 (H. Bugallo)
Piece for Tape (musique concrete), early 1950s
UA (T) Basel (Tage für live-elektronische Musik), Nov. 14, 1997
Arr. f. solo percussion (Dominic Murcott)
EEA ? UK (Cheltenham Festival), ? ? 2010 (Joby Burgess)
AEA Berkeley (Art Museum, on occasion of “Nancarrow at 100”)
Nov. 4, 2012 (Chris Froh)
Piece f. strings & percussion
UA with sound installation “Jackbox” (Trimpin)
Donaueschingen (Musiktage), Oct.19, 2007
Nancarrow Percusssion Orchestra/MATRIX 244 is an interactive sound sculpture
made by Trimpin, in which he tries by electronical means to recreate Nancarrow’s idea of a mechanical percussion orchestra (with which N. experimented from ca.1947 into the 1950s).
The sound sculpture consists of three reconstructed Player Pianos with strings struck by
electronic solenoids playing 25 original PRs (scanned into MIDI-files) and “orchestrated”
with drums, woodblocks, brass, bronze, copper and ceramic instruments, posthumously
found in Nancarrow’s studio. - S. also Study for Prepared Player Piano No. 30
UA Berkeley (Art Museum), Nov, 2, 2012 (on occasion of the
centennial celebration “Nancarrow at 100”)
More than 60 piano-rolls of unfinished or not registered pieces for player piano,
among them:
Study (unnumbered), a canon 3:4:5:6 = the basis for the beginning of the 3rd mvmt.
of Strg. Qu. No. 3 (1987) and for the 3rd mvmt. of Three Movements for
Chamber Orchestra (1993)
Trilogy: 3 PR for Player Piano with 5 four-voice canons 3:4:5:6
(A=Canon 1, B=Canon 2, C=Canons 3-5)
Trilogy later was used for String Quartet No. 3:
A= 2nd mvmt., B=1st mvmt., C=3rd mvmt. (from bar 5 on).
UA (HPP) Köln (WDR:Tempo Tempo), Nov. 14, 2004
C later was orchestrated for the 3rd mvmt. of Three Movements
for Chamber Orchestra (Carlos Sandoval, 1993)
Study No. 18 for PP (2nd version), derived from the 2nd half of the existing Study No. 18
(Canon 3:4 )
Copyright © 2012 Monika Fürst-Heidtmann. All rights reserved.
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