Post comments and questions on Barlow’s performances by replying here.
I am enjoying these pieces–especially the first as it contains great energy and vitality in the fastest runs which to my ears act as a high spirited ostinato.
I also enjoy Clarence’s works. My favorite is “Estudio Siete”, which I would like to see it with Fischinger’s film. I am looking forward to playing it on a Disklavier to enjoy even more the energy, sound field richness, and animation when activating the mechanism.
The title for Barlow’s first piece was posted incorrectly on the discussion area, and has just been corrected to “Study No. 7” instead of 17. All the pieces on the Symposium performance pages with titles “Study No. __” are by Nancarrow.
I asked Clarence if we could use his rendition of Tenney’s “Spectral Canon”, which has a historical connection to Nancarrow. Jürgen Hocker, in his book “Encounters With Conlon Nancarrow” describes their association on pp. 159-60: Tenney (1934-2006) was a great admirer of Nancarrow, whom he met in 1974, after learning about him from Cage. He went to Mexico and heard the Studies in Nancarrow’s studio and they became friends. Tenney wrote the excellent analysis of Nancarrow’s Studies for the liner notes of the 1750 Arch Recordings, which were reprinted for the Wergo collection, assisting listeners in understanding this new music. He wrote “Spectral Canon for Conlon Nancarrow” in 1974 and noted how gratifying writing for the player piano was, but added that he was prevented from doing more because he was not as patient as Nancarrow.
There’s a chance we will have more information on Tenney and “Spectral Canon” before the Symposium is over.
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Great recordings! Some of these I’ve been wanting to hear for a long time. One note: it seems like Septima de Facto has been recorded at about 1/4 of the speed it should normally be played at.
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