Reich, Steve. (b. 1936). Drumming - SIGNED Leporello Score . New York and Los Angeles: John Gibson and Multiples. 1972.
Drumming, for eight small tuned Drums, three Marimbas, three Glockenspiels, male and female Voices, Whistling and Piccolo. Signed leporello format score of the American composer's percussion work, described as "minimalism's first masterpiece." Reich has signed in pencil on the final page of the scoreand numbered 224/50. Together with a separately printed colophon page from the publisher with hand-written numbering. In very good condition, the upper edge very
slightly warped. 11 x 14 inches (28 x 35.5 cm).
Reich's 1971 work Drumming was begun after the composer visited Ghana and observed master drummers performing there. Inspired by the Ghanaian tradition, the work also employs Reich's trademark technique of phasing: two players begin playing a repeated pattern, and one slowly changes tempo until they are out of sync. K. Robert Schwarz describes the work as "minimalism's first masterpiece," also noting that it marks a transition between Reich's earlier, more austere compositions and his later, freer pieces.
Reich, Steve. (b. 1936). Drumming - SIGNED Leporello Score . New York and Los Angeles: John Gibson and Multiples. 1972.
Drumming, for eight small tuned Drums, three Marimbas, three Glockenspiels, male and female Voices, Whistling and Piccolo. Signed leporello format score of the American composer's percussion work, described as "minimalism's first masterpiece." Reich has signed in pencil on the final page of the scoreand numbered 224/50. Together with a separately printed colophon page from the publisher with hand-written numbering. In very good condition, the upper edge very
slightly warped. 11 x 14 inches (28 x 35.5 cm).
Reich's 1971 work Drumming was begun after the composer visited Ghana and observed master drummers performing there. Inspired by the Ghanaian tradition, the work also employs Reich's trademark technique of phasing: two players begin playing a repeated pattern, and one slowly changes tempo until they are out of sync. K. Robert Schwarz describes the work as "minimalism's first masterpiece," also noting that it marks a transition between Reich's earlier, more austere compositions and his later, freer pieces.