Folio. Unbound. 63ff. Notated in black ink on one side of the leaf only. On onionskin.
Signed in full by the composer at foot of first page of music following printed note: "Composers[!] Facsimile Edition," with printed copyright date "195" completed in Riegger's autograph.
Cuts and overpastes throughout.
Slightly worn and creased; many leaves with old tape repairs; small area (ca. 24 x 6 mm.) of first two leaves cut away, not affecting notation.
Possibly used in preparation of the published edition.
An American composer, "in the early 1930s Riegger had been a highly selfconscious radical pioneer; this was still the case 25 years later, although he could no longer be considered avant-garde. He spoke regularly on attitudes towards innovation in music, but the contemporary explorations of total serialism, indeterminacy and electronics left him unmoved, even when undertaken by friends of long standing (Cage and Luening) or by pupils (Feldman). Even so, given the prevailing neo-classicism of most American music of the day and the fact that only in the late 1950s did dodecaphony become a standard compositional tool, his continued reputation for radicalism was justified." Stephen Spackman in Grove Music Online
The piano quintet op. 47, commissioned for the Stanley Quartet by the University of Michigan, was composed in 1950-1951.
Price: $3,500.00 other currencies