The life and work of Conlon Nancarrow: a composer who turned an anachronistic gadget, the player piano, into a vehicle for greatness. Born in Texarkana, Arkansas in 1912, Nancarrow was active in his early years as a trumpeter, playing jazz and other types of popular music. He attended the Cincinnati College Conservatory of Music from 1929-32, and later studied composition and counterpoint in Boston with Nicolas Slonimsky, Walter Piston, and Roger Sessions (1933-36).
In 1937 Nancarrow enlisted in the Abraham Lincoln Brigade to fight against Franco in the Spanish Civil War. On his return to the United States in 1939 he became involved in the New York new music scene, contributing several reviews to Modern Music and associating with other composers such as Elliot Carter and Aaron Copland.
Nancarrow was a dedicated socialist, which made him politically unacceptable in the United States. This was brought plainly home when he applied for a passport and was denied. Angry at such treatment, he moved to Mexico City in the early 1940s, becoming a Mexican citizen in 1956. He died there in 1997.
Nancarrow returned to the player piano partly because of Mexico's extreme musical isolation. Another more compelling reason was his long-standing frustration at the inability of musicians to deal with even moderately difficult rhythms. He goes so far as to say that "As long as I've been writing music I've been dreaming of getting rid of the performers." With the advent of the phonograph, the player piano has been relegated to the status of an object of nostalgia. But not so for Nancarrow, who since the late 1940s has composed almost exclusively for the instrument.
This half-hour portrait includes interviews with family, friends, and other composers, interweaving the man and his music in ways that illuminate both. This program was written, produced, and narrated by Helen Borten.
Musical Selections: Study No. 40b -- Shreveport Stomp / Jelly Roll Morton -- Just Snap Your Fingers at Care / [arr. by George Gershwin] -- Study No. 43 -- Study No. 21 -- Study No. 2b -- Study No. 43 -- Study No. 1 -- Study No. 3a -- Study No. 40a -- Study No. 12 -- Study No. 21 -- Study No. 26 -- Study No. 27 -- Study No. 41a -- Study No. 45b -- Study No. 43 -- Study No. 43b
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