{"id":10685,"date":"2021-01-18T17:16:21","date_gmt":"2021-01-18T16:16:21","guid":{"rendered":"http:\/\/blog.cronicaelectronica.org\/?p=10685"},"modified":"2021-01-18T17:16:22","modified_gmt":"2021-01-18T16:16:22","slug":"oyvind-brandtseggs-nancarrow-biotope-reviewed-by-salt-peanuts","status":"publish","type":"post","link":"http:\/\/blog.cronicaelectronica.org\/?p=10685","title":{"rendered":"\u00c3\u02dcyvind Brandtsegg\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Nancarrow Biotope\u00e2\u20ac\u009d reviewed by Salt Peanuts"},"content":{"rendered":"\n
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American iconoclast composer Conlon Nancarrow\u00e2\u20ac\u2122s \u00c2\u00abStudies for Player Piano\u00c2\u00bb is a series of 49 \u00c3\u00a9tudes for a mechanical piano, exceeding human performer limitations, composed between 1948 and 1992 and often relying on mathematical formulas and overtone series. These \u00c2\u00abStudies\u00c2\u00bb emphasize in a playful and acrobatic manner, often with provocative and complex sounds, that the use of a mechanical piano does not necessarily lead to the automation of the music.  Nancarrow (1912-1997), who was also a jazz trumpeter and his work inspired John Cage and Frank Zappa, said that his \u00c2\u00abessential concern, whether you can analyze it or not, is emotional; there\u00e2\u20ac\u2122s an impact that I try to achieve by these means\u00c2\u00bb.<\/p>\n\n\n\n

The Norwegian composer-performer \u00c3\u02dcyvind Brandtsegg, who works in the fields of computer improvisation and sound installations, orchestrated Nancarrow\u00e2\u20ac\u2122s \u00c2\u00abStudies for Player Piano\u00c2\u00bb for pipe organ, Disklavier and electronics. Brandtsegg transferred the punched paper rolls that Nancarrow has coded with his own hands for the experimental \u00c2\u00abStudies\u00c2\u00bb into midi-files using algorithmic improvisation software he had written. Since Nancarrow\u00e2\u20ac\u2122s \u00c2\u00abStudies\u00c2\u00bb require an extraordinary degree of articulation due to the complex rhythmic passages and high tempi, Brandtsegg often had to adjust every single note due to the slight differences in timing between the organ pipes he used in the two concerts that document \u00c2\u00abNancarrow Biotope\u00c2\u00bb. These concerts were recorded in the highly resonant spaces of the Stavanger Concert Hall and the Nidaros Cathedral in Trondheim in October 2019 and April 2020.<\/p>\n\n\n\n

\u00c2\u00abNancarrow Biotope\u00c2\u00bb offers Brandtsegg\u00e2\u20ac\u2122s arrangements of 12 of Nancarrow\u00e2\u20ac\u02dcs \u00c2\u00abStudies\u00c2\u00bb plus two corresponding compositions by Brandtsegg and three more by Brandtsegg and pipe organ player Petra Bj\u00c3\u00b8rkhaug. The tasking process of transforming and arranging Nancarrow\u00e2\u20ac\u02dcs \u00c2\u00abStudies\u00c2\u00bb charges these exquisite compositions with weird, but hypnotic and celestial qualities, sometimes even with irreverent spiritual veins or letting these \u00c2\u00abStudies\u00c2\u00bb come close to jazz territories. Furthermore, the interpretation of these \u00c2\u00abStudies\u00c2\u00bb by the reverberating, mechanical-controlled pipe organs opens these refined \u00c2\u00abStudies\u00c2\u00bb to urgent and powerful, rhythmic improvisation strategies. Nancarrow\u00e2\u20ac\u2122s timeless and prophetic \u00c2\u00abStudies\u00c2\u00bb shed, again, an insightful perspective on the way we use or struggle with automation and mechanization within our modern society\u00e2\u20ac\u2122s expressive aesthetics.<\/p>\n\n\n\n

\u00c2\u00abNancarrow Biotope\u00c2\u00bb is released on cassette (plus download option) by the Portuguese label Cr\u00c3\u00b3nica. Eyal Hareuveni<\/em><\/p>\n\n\n\n

via Salt Peanuts<\/a><\/p>\n\n\n\n