Quadrophonic tape player installation for the 8th Berlin Biennale 
In the early 1950s, Conlon Nancarrow devised a concept for an automated musical machine similar to the player piano that, instead of hitting strings, would play percussion instruments. He developed a number of devices that would translate punched roll compositions into a “percussion orchestra,” but without much success. Instead, he recorded stock drum beats, of which a small portion was used in his only musique concrète work: Piece for Tape (undated).
After more than 60 years, some of the tapes were rescued from his studio, restored, and sent to Berlin-based composer Nils Frahm. Frahm rearranged the sounds to create a nine-week-long composition that functions as the soundtrack to the exhibition.
This installation puts Conlon Nancarrow’s practice - read more broadly, from beyond the confines of just the music world - into perspective. It comprises Nancarrow’s original papers and reproductions and works by other artists that accompanied him, personally or remotely, in his practice. Rescuing tapes, tuning a piano, and writing and re-writing letters are among a number of other contemporary gestures which act as narrative joints that advance the missing links in this geographical essay, including a composition (the length of which spans the entire duration of the 8th Berlin Biennale exhibition) by pianist Nils Frahm, who has rearranged Nancarrow’s never previously heard stock percussion recordings.

Creative Direction by FELD
Design & Production management by Karsten Schuhl
Photos by Anders Sune Berg and Jens Ziehe
Made as a part of FELD

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