Cowell, Henry (1897-1965). Three works for solo piano. New York: Breitkopf & Härtel. 1922. Three separate scores, 12.25"x9.25" each, all with blue paper cover with orange print. Individual works are as follows:
1. Exultation for Piano (1922). Title page, list of compositions, 2-5pp. No PN. Single page 'teaser' excerpt from Ornstein's A la Chinoise included at the end. Minor wear in lower left corner, some fingering markings by previous owner. Some staining on cover.
2. Antinomy for Piano (1922). ("Fourth Encore to "Dynamic Motion"). Title page, list of compositions, explanation of symbols,1-7pp. No PN. Single page 'teaser' excerpt from Ornstein's A la Chinoise included at the end. Interior bifolium is loose from stapled binding, otherwise fine condition.
3. Fabric for Piano (1920). Title page, list of compositions, explanation of new rhythms and notes, 2-3pp. No PN. Single page 'teaser' excerpts from Ornstein's A la Chinoise and L'Isle d'Eléphantine at the end. Crisp printing, in fine condition.
In the early 1920s Cowell stood at the forefront of American "ultramodern" composition. These works, which incorporate his novel notehead shapes in Fabric and Antinomy (such as triangles and diamonds in place of the usal ovals) are outstanding practical demonstrations of the ideas about rhythm that he was simultaneously developing in his theoretical treatise New Musical Resources. Exultation showcases another aspect of Cowell's sound: enormous tone clusters, which required the pianist to play with his or her forearms. The dramatic iconoclasm of Cowell's performing theatrics - just a few years after these works he would write his most well known modernist piano work, The Banshee - sought to upend the established order of musical composition and open, as he put it, "the whole world of music" to audiences.
1. Exultation for Piano (1922). Title page, list of compositions, 2-5pp. No PN. Single page 'teaser' excerpt from Ornstein's A la Chinoise included at the end. Minor wear in lower left corner, some fingering markings by previous owner. Some staining on cover.
2. Antinomy for Piano (1922). ("Fourth Encore to "Dynamic Motion"). Title page, list of compositions, explanation of symbols,1-7pp. No PN. Single page 'teaser' excerpt from Ornstein's A la Chinoise included at the end. Interior bifolium is loose from stapled binding, otherwise fine condition.
3. Fabric for Piano (1920). Title page, list of compositions, explanation of new rhythms and notes, 2-3pp. No PN. Single page 'teaser' excerpts from Ornstein's A la Chinoise and L'Isle d'Eléphantine at the end. Crisp printing, in fine condition.
In the early 1920s Cowell stood at the forefront of American "ultramodern" composition. These works, which incorporate his novel notehead shapes in Fabric and Antinomy (such as triangles and diamonds in place of the usal ovals) are outstanding practical demonstrations of the ideas about rhythm that he was simultaneously developing in his theoretical treatise New Musical Resources. Exultation showcases another aspect of Cowell's sound: enormous tone clusters, which required the pianist to play with his or her forearms. The dramatic iconoclasm of Cowell's performing theatrics - just a few years after these works he would write his most well known modernist piano work, The Banshee - sought to upend the established order of musical composition and open, as he put it, "the whole world of music" to audiences.
Cowell, Henry (1897-1965). Three works for solo piano. New York: Breitkopf & Härtel. 1922. Three separate scores, 12.25"x9.25" each, all with blue paper cover with orange print. Individual works are as follows:
1. Exultation for Piano (1922). Title page, list of compositions, 2-5pp. No PN. Single page 'teaser' excerpt from Ornstein's A la Chinoise included at the end. Minor wear in lower left corner, some fingering markings by previous owner. Some staining on cover.
2. Antinomy for Piano (1922). ("Fourth Encore to "Dynamic Motion"). Title page, list of compositions, explanation of symbols,1-7pp. No PN. Single page 'teaser' excerpt from Ornstein's A la Chinoise included at the end. Interior bifolium is loose from stapled binding, otherwise fine condition.
3. Fabric for Piano (1920). Title page, list of compositions, explanation of new rhythms and notes, 2-3pp. No PN. Single page 'teaser' excerpts from Ornstein's A la Chinoise and L'Isle d'Eléphantine at the end. Crisp printing, in fine condition.
In the early 1920s Cowell stood at the forefront of American "ultramodern" composition. These works, which incorporate his novel notehead shapes in Fabric and Antinomy (such as triangles and diamonds in place of the usal ovals) are outstanding practical demonstrations of the ideas about rhythm that he was simultaneously developing in his theoretical treatise New Musical Resources. Exultation showcases another aspect of Cowell's sound: enormous tone clusters, which required the pianist to play with his or her forearms. The dramatic iconoclasm of Cowell's performing theatrics - just a few years after these works he would write his most well known modernist piano work, The Banshee - sought to upend the established order of musical composition and open, as he put it, "the whole world of music" to audiences.
1. Exultation for Piano (1922). Title page, list of compositions, 2-5pp. No PN. Single page 'teaser' excerpt from Ornstein's A la Chinoise included at the end. Minor wear in lower left corner, some fingering markings by previous owner. Some staining on cover.
2. Antinomy for Piano (1922). ("Fourth Encore to "Dynamic Motion"). Title page, list of compositions, explanation of symbols,1-7pp. No PN. Single page 'teaser' excerpt from Ornstein's A la Chinoise included at the end. Interior bifolium is loose from stapled binding, otherwise fine condition.
3. Fabric for Piano (1920). Title page, list of compositions, explanation of new rhythms and notes, 2-3pp. No PN. Single page 'teaser' excerpts from Ornstein's A la Chinoise and L'Isle d'Eléphantine at the end. Crisp printing, in fine condition.
In the early 1920s Cowell stood at the forefront of American "ultramodern" composition. These works, which incorporate his novel notehead shapes in Fabric and Antinomy (such as triangles and diamonds in place of the usal ovals) are outstanding practical demonstrations of the ideas about rhythm that he was simultaneously developing in his theoretical treatise New Musical Resources. Exultation showcases another aspect of Cowell's sound: enormous tone clusters, which required the pianist to play with his or her forearms. The dramatic iconoclasm of Cowell's performing theatrics - just a few years after these works he would write his most well known modernist piano work, The Banshee - sought to upend the established order of musical composition and open, as he put it, "the whole world of music" to audiences.