Dated and annotated list of the works, premieres and arrangements of the music of Conlon Nancarrow

 
compiled by Monika FĂŒrst-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 JĂŒrgen 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 AutĂłnoma de MĂ©xico 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. FĂŒrst-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 JĂŒrgen 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 KĂŒnste: FĂŒr 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 KĂŒnste: FĂŒr 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 SaarbrĂŒcken (SR: Musik im 20. Jh.),  May 21, 1982
         (SaarbrĂŒcker String Quartet)
       AEA Aptos/Calif. (Cabrillo Music Festival), Aug. 26, 1982 (Kronos-Quartet)
         MEA Mexico-City (50 Años de MĂșsica 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 KĂŒnste: FĂŒr 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 AdĂšs, 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 (ThĂŒrmchen 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 AdĂšs (+ 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 (TrĂ­o 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. AdĂšs) 
         EA (2nd mvmt.), Birmingham (CBSO Center),  Oct. 17, 1998
         UA (3 mvmts. in a vers. revised by Thomas AdĂšs) Aldeburgh, July 26, 1999
         (Birmingham Contemporary Music Group, Thomas AdĂšs 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 KĂŒnste), 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/DĂ€nemark (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. AdĂšs, 1998). – SMI  
                           UA London (Barbican Festival), March 25, 2007
                           (Katia + Marielle LabĂšque)

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 “FĂŒr 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. AdĂšs, 1998). – SMI 
                           UA London (Barbican Festival), March 25, 2007
                           (Th. AdĂšs + 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 KĂŒnste), 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/DĂ€nemark (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) MĂŒnchen (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 MĂșsica contemporĂĄnea), 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 “FĂŒr 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) MĂŒnchen (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) MĂŒnchen (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 „FĂŒr Ligeti“),
         Oct. 17, 1988
         AEA (TPP) Seattle/Wash., Febr. 2, 1990
         MEA (NPP) Mexico-City (UNAM), Oct. 23, 1990
         EA (Phonola) MĂŒnchen (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) MĂŒnchen (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) MĂŒnchen (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 “FĂŒr 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) MĂŒnchen (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 „FĂŒr 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 fĂŒr 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 FĂŒrst-Heidtmann. All rights reserved.   

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