“The decision to transcribe and vocalise the player piano rolls of Nancarrow was obvious, ridiculous, audacious, scary and irresistible in equal measure, and the project began in 2015. There are so many vocal influences in the music of Nancarrow that flicker and flitter in and out of focus as the music plays out its complex structure. The piano rolls have often been transcribed for various ensembles such as the ‘Bang on a Can All Stars’ and the London Sinfonietta, but have never been performed by voices. Famously, Nancarrow was traumatised by an early encounter with an ensemble when they couldn’t get anywhere near the dazzling rhythms and precision that he wanted.” She further explains that another reason for her interpretation of Nancarrow is a more metaphysical one: “I sometimes call myself a post-cyborg atomic mezzo-soprano. This description is both ironic and deadly serious. “What is it like to be a flesh-brain composer in the age of AI? Who am I? Why am I here? What do you all want from me ?!”
DE PLAYER 2021
DOB 108
Edition: 150