The Legend. Piece for orchestra in three movements. Autograph musical manuscript full score and associated material. Halim EL-DABH.
The Legend. Piece for orchestra in three movements. Autograph musical manuscript full score and associated material.
The Legend. Piece for orchestra in three movements. Autograph musical manuscript full score and associated material.
The Legend. Piece for orchestra in three movements. Autograph musical manuscript full score and associated material.
The Legend. Piece for orchestra in three movements. Autograph musical manuscript full score and associated material.

The Legend. Piece for orchestra in three movements. Autograph musical manuscript full score and associated material.

Folio, 357 x 280 mm. Autograph musical manuscript. Full score. Fair copy. With "The Legend Halim El-Dabh [in Arabic] A visual rendition of frozen sound within Vertical Bars..." and notes on performance to title.

First movement, pp. 2-13 (page 5 in photocopy). Folio, 357 x 280 mm. In ink on 24-stave "Circle Blue Print Co." onionskin. With copyright date 2008 to foot of first page of music.

Second movement, pp. 14-44. Large folio, 397 x 312 mm. In ink on 24-stave 'Independent Music Publishers" onionskin.

Third movement, pp. 45-91. Folio, 357 x 280. In ink on 24-stave "Circle Blue Print Co." onionskin.

Some wear and browning; minor edge tears.

Together with:
A dye-line copy of the autograph musical manuscript. Full score. Large folio. 91 pp. Black spiral binding. With autograph title and signature to recto of first leaf and with "The work has been conceived completly[!] in June 1952 - The score is completed by May 1953" and signed and dated at conclusion. With occasional markings and notation in blue pencil to first three pages and occasional additional pencil markings. Slightly worn; first two leaves partially detached; margins browned.

" In 1952 El-Dabh composed a work scored for full orchestra; however, it cannot be termed a symphony. Francis Judd Cooke was very intrigued by the piece and encouraged El-Dabh to submit it for a competition to be held in Belgium. The Legend ... treated the fermata as a point of activity in itself rather than as a lengthening of a pitch or a rest, often at a cadential point at the end of a phrase. In addition to the fermata, El-Dabh employed a symbol he referred to as an "antifermata," which he drew as a coil to represent the shortening of a pitch or a rest from its usual value..."

" ... Unusual characteristics of the piece include the composer's requiring the first violin to play an E-flat to an E-1/4-sharp on the D string, and combining the harp and the strings of the piano, plucked on the inside of the instrument, as continuations of each other ... Later the horns are required to play into the piano, which produces greater resonance of the sound. Included in the battery of percussion instruments is a set of Afro-Caribbeam drums (bongos, timales, and conga), as well as xylophone, vibraphone, marimba, cymbals, gong, and a set of four chromatic timpani (played by two performers) ranging from high B to low F ... " Seachrist: The Musical World of Halim El-Dabh, pp. 36-37.

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 nations's 'second generation' of contemporary composers." Wikipedia. Item #31701

Price: $8,500.00  other currencies

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