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曲目リスト
| 1. No. 5, Texarkana (2000) |
| 2. No. 3, Nude Rolling Down an Escalator (1997-99) |
| 3. No. 9, Petty Larceny (2003) |
| 4. No. 6, Bud Ran Back Out (2001) |
| 5. No. 7, Cosmic Boogie-Woogie (2000-2001) |
| 6. No. 1, Despotic Waltz (1997) 2:13 |
| 7. No. 4, Folk Dance for Henry Cowell (1999) |
| 8. No. 2, The Waiting (1997) |
| 9. No. 8, Tango da Chiesa (2002) |
| 10. No. 10, Unquiet Night (in memoriam Jonathan Kramer) (2004) |
商品の説明
内容紹介
"Some of the rhythms developed through the present acoustical investigation could not be played by any living performer; but these highly engrossing rhythmical complexes could easily be cut on a player-piano roll. This would give a real reason for writing music specially for player-piano . . ." Henry Cowell Like many composers of subsequent generations, Kyle Gann (born 1955) was captivated by Cowells theories and Nancarrows music. His book, The Music of Conlon Nancarrow, is the essential source for any serious study of Nancarrows work. Knowing so much about Nancarrows music, its hardly surprising that it would occur to Gann to consider the question of how he might make the mechanical piano his own. His answer is the music on this recording.
The instrument isnt exactly the same. Nancarrow employed the old-fashioned player piano, driven by paper rolls with holes punched in them. Gann uses the more recent Disklavier, which is controlled by a computer via MIDI data. However, like Nancarrow, Gann employs the mechanical piano for both musical and practical reasons.
The musical attraction, of course, is the one Cowell observed: The instrument allows the composer to compose with tempo relationships and rhythmic velocities not readily playable by human performers. The practical appeal is that Gann felt that not enough people were playing his music. So in the do-it-yourself spirit of Nancarrow, Lou Harrison, Harry Partch and so many other American composers, he decided to take matters into his own virtual hands.
But although Ganns reasons for working with the mechanical piano are similar to Nancarrows, the musical results are quite different. Gann picks up where Nancarrow left off, developing his own personal methods of working with multiple tempo layers, and weaving elements of popular and classical music into his vivid and distinctive musical tapestries.
Ganns music embraces a wide range of influences but sounds like no other. His fascination with complex tempo structures and microtonal tunings places him in the experimentalist tradition from Cowell to La Monte Young. Yet the directness and accessibility of his music reveal his affinity with American populists such as Roy Harris and Virgil Thomson. In this highly personal blend of experimentalism and populism, Ganns closest musical forebears are Partch and Charles Ives. In the spirit of Ives, Ganns music invokes ragtime, jazz, folk music and Native American music on equal footing with classical music and purely abstract sonic speculations.
Product Description
"Some of the rhythms developed through the present acoustical investigation could not be played by any living performer; but these highly engrossing rhythmical complexes could easily be cut on a player-piano roll. This would give a real reason for writing music specially for player-piano . . ." 幽enry Cowell Like many composers of subsequent generations, Kyle Gann (born 1955) was captivated by Cowell痴 theories and Nancarrow痴 music. His book, The Music of Conlon Nancarrow, is the essential source for any serious study of Nancarrow痴 work. Knowing so much about Nancarrow痴 music, it痴 hardly surprising that it would occur to Gann to consider the question of how he might make the mechanical piano his own. His answer is the music on this recording.
The instrument isn稚 exactly the same. Nancarrow employed the old-fashioned player piano, driven by paper rolls with holes punched in them. Gann uses the more recent Disklavier, which is controlled by a computer via MIDI data. However, like Nancarrow, Gann employs the mechanical piano for both musical and practical reasons.
The musical attraction, of course, is the one Cowell observed: The instrument allows the composer to compose with tempo relationships and rhythmic velocities not readily playable by human performers. The practical appeal is that Gann felt that not enough people were playing his music. So in the do-it-yourself spirit of Nancarrow, Lou Harrison, Harry Partch and so many other American composers, he decided to take matters into his own virtual hands.
But although Gann痴 reasons for working with the mechanical piano are similar to Nancarrow痴, the musical results are quite different. Gann picks up where Nancarrow left off, developing his own personal methods of working with multiple tempo layers, and weaving elements of popular and classical music into his vivid and distinctive musical tapestries.
Gann痴 music embraces a wide range of influences but sounds like no other. His fascination with complex tempo structures and microtonal tunings places him in the experimentalist tradition from Cowell to La Monte Young. Yet the directness and accessibility of his music reveal his affinity with American populists such as Roy Harris and Virgil Thomson. In this highly personal blend of experimentalism and populism, Gann痴 closest musical forebears are Partch and Charles Ives. In the spirit of Ives, Gann痴 music invokes ragtime, jazz, folk music and Native American music on equal footing with classical music and purely abstract sonic speculations.
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