5 pp. Large folio. Notated in black ink. On "Alpheus Music Corp. Hollywood, Calif. V-3" onionskin. With composer's name in block letters to head of first page, signed and dated at conclusion "Kent, Ohio April 1996 Recopied July 1996 Glendale, CA" and with manuscript copyright note in ink to foot of first page. With performance annotations in the composer's autograph in ink including "Roll types to be varied to enhance the openness and the flow that the composition entails. Image the composer's drawing before performance. The secrets are in the vibrations when manifested. Dynamics are to encampus[!] the contour of inner and outer experiences during actual performance." With original drawing in ink.
- A copy of the above in small folio. With composer's name in pencil in autograph to upper left corner of first page. With additional autograph performance annotations in pencil and some additional notation, both within the score and on a separate leaf.
- Untitled sketches. Small folio. 6 pp. on 2 bifolia. Notated in pencil. On "Golden Gate Series: G068 Professional Manuscript Paper." With manuscript copyright notes in both pencil and ink to foot of first page. With performance annotations in the composer's autograph throughout, primarily in pencil.
- Secrets of the Sky and Earth for Blake Tyson. Sketches. 2 pp. of a large bifolium. Notated in pencil. On "Judy Green Music... M-328" paper. With composer's name in pencil to upper outer corner of first page and with occasional performance annotations in pencil.
Very slightly worn and creased. In very good condition overall.
"In 1996 Blake Tyson, who had been accepted as a graduate percussion major at the Eastman School of Music, contacted the composer with a request to write a piece for him to premiere at Eastman. 'Secrets of the Sky and Earth' (1996), for marimba, depicts Nut, the Egyptian goddess of the sky, and Geb, the Egyptian earth god... The work, which premiered April 14, 1996, at the Eastman School, is based on the composer's concept of expanding or increasing the vibration of the entire range of the marimba as the chords employed throughout the work are played. El-Dabh considered this chordal relationship another secret of the universe..." Seachrist: The Musical World of Halim El-Dabh, pp. 169-170.
An Egyptian-born American composer, performer, ethnomusicologist, and educator, El-Dabh came to the United States in 1950, becoming a part of the New York music scene that included Cage, Varèse, and Hovhaness. He went on to study composition with Krenek, Copland, Dallapiccola, and others.
"El-Dabh’s compositional style is influenced by Egyptian folk and traditional music. Frequently monodic, his works feature complex rhythms and much use of percussion. His career was launched in 1949 with a highly acclaimed performance of It is Dark and Damp on the Front (1948) at All Saints Cathedral, Cairo. In 1950 he made his début as a solo drummer, under the direction of Stokowski, in the first performance of Tahmeela. Other works include Clytemnestra (1958), One More Gaudy Night (1961), A Look at Lightning (1962) and Lucifer (1975), commissioned by Martha Graham; Sound and Light of the Pyramids of Giza (1960), written for the Cultural Ministry of the Egyptian Government and performed daily at the pyramids; and New Pharaoh’s Suite, written for the Cleveland Museum of Art to accompany a visiting Ethiopian exhibit from the Louvre (1996). Spectrum no.1 ‘Symphonies in Sonic Vibration’ (1955) and Leiyla and the Poet (1959) have been recorded." Denise A. Seachrist in Grove Music Online.
An early pioneer of electronic music, El-Dabh composed one of the earliest known works of tape music, or "musique concrète," in 1944, The Expression of Zaar.
"El-Dabh is probably the best known composer of Arabic descent and his works are highly regarded in Egypt, where he is considered the foremost living composer among that nation's 'second generation' of contemporary composers." Wikipedia.
An interesting assemblage of material demonstrating the development of the work.
Price: $1,000.00 other currencies