Unity at the Crossroad [Dedicated to the Youth Orchestra of the Conservatoire]. Photocopy of the autograph musical manuscript full score and parts. Halim EL-DABH.

Unity at the Crossroad [Dedicated to the Youth Orchestra of the Conservatoire]. Photocopy of the autograph musical manuscript full score and parts.

Folio, 347 x 246 mm. With original titling whited out and replaced with autograph titling in block letters in English with autograph Arabic titling above.

24 pp. notated on "Carpentier No. 124, Système Siestrop Déposé" music paper on both sides of the leaf. Signed by El-Dabh in both Arabic and English at conclusion and dated Cairo - Egypt Februrary 19, 1970.

Parts (all dye-line copies and notated on one side of the leaf only):
Flauto I: 2 pp.
Flauto II: 3 pp.
Oboe I: 2 pp.
Oboe II: 2 pp.
Clarinet I: 2 pp.
Clarinet II: 2 pp.
Corno I: 2 pp.
Corno II: 1 p.
Trompet I: 2 pp.
Trompet II: 2 pp.
Trombone I: 2 pp.
Trombone II: 2 pp.
Timbales: 2 pp.
Timpani: 2 pp.
Yeteli discs, bass drum, large woodblock, xylophone: 8 pp. notated on both sides of the leaf
Violin I: 2 pp.
Violin II: 2 pp.
Viola: 2 pp.
Cello: 2 pp.
Contrabass: 2 pp.

Slightly worn; remnants of old tape at top, center, and bottom margin.

"Unity at the Crossroad (1978), for full orchestra, was composed and premiered in Cairo [in 1978] ... In the piece El-Dabh addressed the concept of various cultures meeting and unifying over their commonalities; he envisioned world peace being achieved through this kind of unity. Inspired by Deborah's [his wife's] interest in Brazil, the work also is a reference to the Afro-Brazilian concept of the crossroads, which are believed to be very dangerous. Eshu, the trickster god, is believed to be present at crossroads, ready always to play tricks on the unsuspecting; if one's house is built at a crossroads, one must always be on guard. For El-Dabh, crossroads mean that one must make a conscious choice and that when people meet at a crossroads they must make an active, conscious effort to achieve and maintain unity. The piece expressed El-Dabh's desire that Mary and his daughters would accept, or at the very least tolerate, his new wife and his remarriage." Seachrist: The Musical World of Halim El-Dabh, pp. 129-130.

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 #32121

Price: $250.00  other currencies

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