Nancarrow - Quartets & Studies
Arditti Quartet
For all their density, velocity and spiky intensity, Nancarrow's scores cannot conceal his fundamental musicality, inventiveness and lyricism, nor a deep-seated classicism. The Arditti Quartet...
Nancarrow - Quartets & Studies
Arditti Quartet
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For all their density, velocity and spiky intensity, Nancarrow's scores cannot conceal his fundamental musicality, inventiveness and lyricism, nor a deep-seated classicism. The Arditti Quartet...
About
"Most transcriptions are very good; moreover, most people don't like to hear a piano play automatically, they want more activity." Conlon Nancarrow.
Conlon Nancarrow is one of the most original figures in the history of music. In the late 1940s, he turned to the instrument that later became inseparable from his name: the player piano. In 1987 the pianist Ivar Mikhashoff arranged Study No. 15 for string quartet. 17 years later the English composer Paul Usher also chose the string quartet when he transcribed the Studies for Player Piano Nos. 31 and No. 33 in preparation for his Nancarrow Concerto for pianola and chamber orchestra.These works are tailor-made for the Arditti Quartet. Quartets and Studies presents a collection of highly virtuosic compositions by Nancarrow and arrangements by Usher, Mikhashoff and Nancarrow.
Contents and tracklist
- Conlon Nancarrow
Awards and reviews
May 2008
For all their density, velocity and spiky intensity, Nancarrow's scores cannot conceal his fundamental musicality, inventiveness and lyricism, nor a deep-seated classicism. The Arditti Quartet negotiate all these elements with aplomb.
December 2007
Not content to reproduce the comparatively benign rhythmic transformations of the early studies, the Ardittis set out to tackle head-on some of Nancarrow's most ferociously difficult works. The notorious Study No 33 (fittingly described by Kyle Gann as a "monster") is executed with mind-boggling precision and control, while the rarely performed Toccata for violin and player piano (1935) must send out as possibly the first - and certainly the strangest - "karaoke" composition.