Nawakht Soutiane. Book IV, Mekta in the Art of Kita. [Autograph manuscript]. Halim EL-DABH.
Nawakht Soutiane. Book IV, Mekta in the Art of Kita. [Autograph manuscript]
Nawakht Soutiane. Book IV, Mekta in the Art of Kita. [Autograph manuscript]
Nawakht Soutiane. Book IV, Mekta in the Art of Kita. [Autograph manuscript]

Nawakht Soutiane. Book IV, Mekta in the Art of Kita. [Autograph manuscript]

(Geometrical Circles with Feelings). To Felipe Hall.

©1998, 2008.

Large folio, 350 x 279 mm. 8 pp. Notated in pencil on heavy Judy Green MP-709 music paper on one side of the leaf only. Signed in both English and Arabic at head and in both English and Arabic at conclusion, dated Kent, Ohio, 11-11-1998. With copyright "1998 by Halim El-Dabh 1577 Chadwic[!] Rd Kent, OH 44240" in pencil and "2008 El-Dabh LLC" in blue ink to foot of first page.

With "Geometric Circles with Feelings in a Frequency Vibrations of 7's and 5's" in pencil to foot of page 1 and performance indications including "reflective each tone having its own body speaking in the quietness of its surroundings," "reflective with resonance," "emphasize the inner melodic content," and "espressivo with Eb[!] and flow."

Together with:
- Autograph performance annotations in pencil relative to "Geometrical Circles." 1 page, folio.
- 1 measure autograph musical notation relative to the above work on a slip of music paper
- Presentation inscription in photocopy: "Dear Felipe I am enclosing Nawkht-Soufiane of Book IV Mekta' in the Art of Kita' ... It is dedicated to you with great admiration to your capabilist[!] in the art of piano performance with love Halim El-Dabh ... Armistice Day Nov. 11 - 1998" with additions in Arabic. 1 page, large folio.
- 3 photocopies of the score, 2 with autograph markings in pencil including occasional performance indications and additional notation.

This fourth book of El-Dabh's seminal piano work Mekta' in the Art of Kita' (1955) was composed for the pianist and composer Felipe Hall. These keyboard pieces, called "the basis of El-Dabh's compositional style ... convey [his] emphasis on melody and rhythm while allowing a new harmony to develop from the friction around the points of unison. For the Western-trained musician, the works are appealing because they convey an Eastern sound of one linear melody superimposed on another linear melody. The resulting harmony is not conventional, but it is not too harsh or too far out of the ordinary for the Western-trained ear. El-Dabh employs the piano in different ways - utilizing superimposed chords, playing inside the piano, modifying the sound of the piano by inserting varioius items between the strings, and by affixing various African percussion instruments to the body of the piano..." Seachrist: The Musical World of Halim El-Dabh, p. 200.

"The title ... comes from a specific type of poetry found in the oasis area of Egypt that explores the juxtaposition of ideas and evolution of ideas. It derives from a basic philosophy that the whole is part of the unit, and the unit is part of the whole. Therefore in El-Dabh's conception, each tone that he explores actually consists of all the elements of everything he composes, and all the elements are in each tone. The words kita' and mekta' are used to describe musical feelings in Arabic ... El-Dabh Finished Mekta' ... [at the MacDowell Colony in Peterborough, New Hampshire in 1956] and began to explore the possibility of utilizing magnetic tape in his compositions ..." op. cit., pp. 43-44 and 47.

El-Dabh's ballet, A Look at Lightening, commissioned by Martha Graham, "was based on the piano pieces Mekta' ... of which Graham had become enamored." op. cit., p. 75.

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 #32122

Price: $2,500.00  other currencies

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