Conlon Nancarrow

Conlon Nancarrow is best remembered for his studies for player piano, being one of the first composers to use auto-playing musical instruments.

Nancarrow was born in Texarkana, Arkansas. He played trumpet in a jazz band in his youth, before studying music first in Cincinnati, Ohio and later in Boston, Massachusetts with Roger Sessions, Walter Piston and Nicolas Slonimsky. He met Arnold Schoenberg during that composer's brief stay in Boston in 1933.

Nancarrow moved to Mexico in 1940, and it was there that he did the work he is best known for today. He had already written some music in the United States, but the extreme technical demands his compositions required meant that satisfactory performances were very rare. That situation did not improve in Mexico's musical environment, also with few musicians available who could perform his works, so the need to find an alternative way of having his pieces performed became even more pressing. Taking a suggestion from Henry Cowell's book New Musical Resources, which he bought in New York in 1939, Nancarrow found the answer in the player piano, with its ability to produce extremely complex rhythmic patterns at a speed far beyond the abilities of humans.

Nancarrow's first pieces combined the harmonic language and melodic motifs of early jazz pianists like Art Tatum with extraordinarily complicated metrical schemes. The first five rolls he made are called the Boogie-Woogie Suite (later assigned the name Study No. 3 a-e). His later works were abstract, with no obvious references to any music apart from his own.

Many of these later pieces (which he generally called studies) are canons in augmentation or diminution (i.e. prolation canons). While most canons using this device, such as those by Johann Sebastian Bach, have the tempos of the various parts in quite simple ratios, such as 2:1, Nancarrow's canons are in far more complicated ratios. The Study No. 40, for example, has its parts in the ratio e:pi, while the Study No. 37 has twelve individual melodic lines, each one moving at a different tempo.

Having spent many years in obscurity, Nancarrow benefited from the 1969 release of an entire album of his work by Columbia Records as part of a brief flirtation of the label's classical division with modern avant-garde music. At age 65, he started coming to wide public attention. He became better known in the 1980s and was lauded by many, including György Ligeti, as one of the most significant composers of the century.

In 1982, he received a MacArthur Award which paid him $300,000 over 5 years. This increased interest in his work prompted him to write for conventional instruments, and he composed several works for small ensembles.

The complete contents of Nancarrow's studio, including the player piano rolls, the instruments, the libraries, and other documents and objects, are now in the Paul Sacher Foundation in Basel.