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The "Three movements
for chamber orchestra" are transcriptions of player piano rolls (not punching scores...
not final scores) I choose
in Nancarrow's studio aver a very stressing situation. Due to health
problems, Conlon was unable to write new pieces for the already paid
After some talks with Yoko and Conlon, we decided to choose a pool of
rolls from many different unfinished
rolls I found in Nancarrow's studio. (Unfinished
means there were not an obvious musical ending in a roll, the work
was clearly interrupted. The third movement is for sure one of this).
sessions and discussions,
Conlon decided which rolls in the pool should be used. Thereafter
I started the transcriptions. None of these rolls had a clear
identification and of course I had to deduce
many of the tempi and rhythms involved. A
lot of guessing work I must say.
Parnassus first objection about this work was that the commission was thought for a new piece and not for recycled material. In the other hand, the score I deliver presented serious problems, up to the point it was musically not viable. I remember I booked a private company to make the final score from my manuscript and I still regret I never made a detailed proof-reading of the score I finally sent to N.Y. Still, most likely much of these errors may be mine. I think the task was too much for me at that time. Conlon made the orchestration for the first two movements (first movement's percussion instruments should be played by the same musicians. See Conlon's handwritten instrumentations above) and I did the third one.