Mert-Nūt Aria from the opera "Ptahmose" 1972 Revised for Dawn Padmore In dedication to the African Festival at Cambridge England August 2001. Autograph musical manuscript piano-vocal score. Halim EL-DABH.

Mert-Nūt Aria from the opera "Ptahmose" 1972 Revised for Dawn Padmore In dedication to the African Festival at Cambridge England August 2001. Autograph musical manuscript piano-vocal score.

Large folio, 354 x 279 mm. 5 pp., notated in pencil on one side of the leaf only on 14-stave Judy Green music paper. With "Halim El-Dabh" at upper outer corner of first page of music. Text in English.

Worn and creased; some small edge tears.

"In early August 2001 an international symposium and festival entitled Composition in Africa and the Diaspora was held at Churchill College of [the] University of Cambridge in England. As announced in the symposium's program, the event was "dedicated to Professor J.H. Kwabena Nketia, Ghanian scholar and composer and to Professor Halim El-Dabh, Egyptian composer, in celebration of their 80th birthdays." The symposium commenced with an eloquent speech by Akin Euba ... which focused on Nketia and El-Dabh and their contributions to music ... The moving award was followed by two keynote addresses by the respective biographers of the honored men. Denise Seachrist spoke of El-Dabh's experiences at the Columbia-Princeton Electronic Music Center, and Euba addressed Nketia's relationship to the African avant-garde." Seachrist: The Musical World of Halim El-Dabh, pp. 179-180.

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. Item #32114

Price: $1,500.00  other currencies

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