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August 12, 2006


Herb Levy

Prior to reading your post, I'd assumed that MD&G had licensed the 1750 Arch recordings made in the 1970s, resequencing the works in numerical order for some weirdly anal reason.

Does the label, or Hocker, provide any rationale for making the first album of the Studies for Player Piano recorded without the supervision of the composer?

My understanding is that the dynamics for Nancarrow's pieces are recorded as a separate track of holes punched along the side. If this is true, it seems as if Hocker can do little more than decide how fast each of these works will be played by Nancarrow's Ampico player pianos.

That hardly seems like enough room for interpretation to warrant new recordings. But hey.

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