Excerpts
Writing Halifax: Robin Walker
I have just re-read part of Robert Craft's book Stravinsky in Pictures and
Documents. Clearly mystified by his great mentor's regard for the pianola Craft
attempts, without convincing himself, to account for this interest:
Stravinsky's infatuation with the instrument is one of the inexplicable
eccentricities of his career - not the delight in the novelty of the machine reflected in
the Etude,. . . nor even his profligate expenditures of time and labour in
transcribing his music for this dodo (since he earned substantial sums of money
thereby), but in his musical enthusiasm for it. (p. 164).
Further down this same page Stravinsky himself offers two reasons for his 'musical
enthusiasm' (neither of which, incidentally, seem to register any effect on Craft's
denigration of the instrument in subsequent paragraphs). In The New York Times
Magazine, January 18, 1925, he firstly suggests that the player piano holds 'unplumbed
possibilities' in 'polyphonic truth.' Secondly, he writes in Les Nouvelles
Littéraires, December 8, 1928:
'I explained to Erik Satie that I was interested in the mechanical
piano, wanting to find in it not an instrument to reproduce my works but one that could
reconstitute them.'
The 'polyphonic truth' of the pianola, and its ability to 'reconstitute' already-written
music seem to me to be two compelling musical reasons for engaging with it. Illustration of
these points can be found in the pianola version of The Rite of Spring. For example between
figure 181 and 186 of the orchestra score, the pianola offers a clearer and more incisive
rendering of lines ('polyphonic truth') than in the richly textured original, and from
figure 186 to the end where the tonal consistency and clear attack of voices afforded by
the pianola 'reconstitutes' the cadence as a harmonic experience, as well as it being a
rhythmic one.
Composers select instruments to write for because they correspond to their expressive
intentions, and this was doubtless Stravinsky's reason for employing the player piano, The
pianola's mechanical reproduction of acoustic sound is for me a powerful symbol of the
ritual control of human emotion, which need I say - is at the heart of a composer's
artistic activity. Far from it being Craft's 'dodo' I have found the pianola entirely
responsive to the demands of a modern artistic vision - the period of its erstwhile
fashion in no way defining the period of its life or relevance.
An excerpt from "Halifax", by Robin Walker.
The piece I have written for pianola is named after the town of Halifax in the West
Riding of Yorkshire. I visit it regularly, always moved by the vast complex of disused
carpet mills rising out of the deep stone cleft of Dean Clough, and by other examples of
uniformly structured buildings placed in dramatically sculpted landscape. The piece I have
written is not a musical portrait of the town, rather the landscape of the town
corresponds in metaphor to the rifts and structures of my own mind. Using the vocabulary of
my Stravinsky preamble you could say that the landscape of Halifax is reconstituted in the
process of composition into a musical landscape of the mind.
Hindemith - Toccata fur Mechanisches Klavier: Rex Lawson
One of the idiosyncrasies of twentieth-century player piano composers is that so many
of them have thought themselves to be the first breakers of ground with regard to the
instrument. Even Conlon Nancarrow was largely unaware until recent years of the
considerable repertoire produced in earlier decades. In fact the first traceable pianola
composer was Homer Newton Bartlett, one of the founders of the American Guild of
Organists, whose Introduction and Andante Grazioso, Op 213 first graced the tracker
bars of New York push-ups around 1902/3, though this and a couple of other essays in the
form by Bartlett and Jacques Friedberger have not come publicly to light since player pianos
attained scholarly status.
Hindemith and his German colleagues in the mid-1920s were at least in part attracted to
the roll-operated piano because of its perceived novelty as a compositional medium. There
had been articles in Der Auftakt and Musikblätter des Anbruch, including an
important contribution to the latter in January 1926 by H.H. Stuckenschmidt, entitled
'Musikautomaten', and it was at the Donaueschinger Musiktagen in July of that year that a
number of important German roll compositions received their premieres. The Toccata
reproduced here was first performed in public on Sunday 25 July 1926, along with pieces by
Ernst Toch and Gerhard Münch, being repeated at a number of locations in Germany during
the following year, including Ulm and Chemnitz, no doubt with the willing co-operation of
a Welte company sharing the imminent and general worldwide slump.
The opening of the "Toccata für mechanisches Klavier".
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