Zappa, Frank. (1940-1993). Handwritten Music Score. A rare 3pp. music manuscript for "Low Budget Symphony Orchestra" handwritten and scored by Frank Zappa himself for use by trombonist Bruce Fowler during the Grand Wazoo tour in September 1972. Our research reveals the song was performed twice during the six-date tour, first at the Hollywood Bowl on Sep. 10, and again at the sound check for the Boston Music Hall concert on Sep. 24. From the collection of Marty Perellis, Zappa's Road Manager during the early 70's, and authenticated by David Ocker, Zappa's music copyist from 1977-84. Though various ozalid copies of Zappa's handwritten and scored manuscripts have appeared in the marketplace, very rarely do actual original manuscripts in Zappa's hand surface. 12.5 x 28.5 inches and in fine condition.
The American composer, rock musician and guitarist was a pioneer of "extended improvisation using avant-garde techniques." His music "is eclectic and draws freely on the popular music of the 1950s and early 60s, embracing rhythm and blues, rock and roll, doo-wop, middle-of-the-road ballads, the world of Hollywood film music and of TV advertisements, treating them as objets trouvés; at the same time it also draws on the soundworlds of Stravinsky, Ives, Varèse and Stockhausen, creating multi-layered textures and employing montage techniques and abrupt stylistic juxtapositions which have the effect of Brechtian alienation and Dadaist confrontation, as in Burnt Weeny Sandwich (Reprise, 1970) and Over-Nite Sensation (Discreet, 1973). Zappa wanted his music to achieve the autonomy associated with high art music while subversively working from within the popular music industry. In the 1980s this was accentuated by the increasing esteem in which Zappa was held as a serious composer, so that his performances and two albums with the London SO (LSO: Zappa, 1983–7) and with the Ensemble Intercontemporain (The Perfect Stranger, 1984) appear at the same time as his bizarre synthesizer recreations of pieces by his 18th-century namesake (1984)...Zappa’s importance lies less in any obvious influence on rock music than in the way in which his music embraces American popular culture while simultaneously maintaining a critical distance from it, and in the way in which his musical critique at the same time constitutes a political and social critique." (Max Paddison, Grove Online)
The American composer, rock musician and guitarist was a pioneer of "extended improvisation using avant-garde techniques." His music "is eclectic and draws freely on the popular music of the 1950s and early 60s, embracing rhythm and blues, rock and roll, doo-wop, middle-of-the-road ballads, the world of Hollywood film music and of TV advertisements, treating them as objets trouvés; at the same time it also draws on the soundworlds of Stravinsky, Ives, Varèse and Stockhausen, creating multi-layered textures and employing montage techniques and abrupt stylistic juxtapositions which have the effect of Brechtian alienation and Dadaist confrontation, as in Burnt Weeny Sandwich (Reprise, 1970) and Over-Nite Sensation (Discreet, 1973). Zappa wanted his music to achieve the autonomy associated with high art music while subversively working from within the popular music industry. In the 1980s this was accentuated by the increasing esteem in which Zappa was held as a serious composer, so that his performances and two albums with the London SO (LSO: Zappa, 1983–7) and with the Ensemble Intercontemporain (The Perfect Stranger, 1984) appear at the same time as his bizarre synthesizer recreations of pieces by his 18th-century namesake (1984)...Zappa’s importance lies less in any obvious influence on rock music than in the way in which his music embraces American popular culture while simultaneously maintaining a critical distance from it, and in the way in which his musical critique at the same time constitutes a political and social critique." (Max Paddison, Grove Online)
Zappa, Frank. (1940-1993). Handwritten Music Score. A rare 3pp. music manuscript for "Low Budget Symphony Orchestra" handwritten and scored by Frank Zappa himself for use by trombonist Bruce Fowler during the Grand Wazoo tour in September 1972. Our research reveals the song was performed twice during the six-date tour, first at the Hollywood Bowl on Sep. 10, and again at the sound check for the Boston Music Hall concert on Sep. 24. From the collection of Marty Perellis, Zappa's Road Manager during the early 70's, and authenticated by David Ocker, Zappa's music copyist from 1977-84. Though various ozalid copies of Zappa's handwritten and scored manuscripts have appeared in the marketplace, very rarely do actual original manuscripts in Zappa's hand surface. 12.5 x 28.5 inches and in fine condition.
The American composer, rock musician and guitarist was a pioneer of "extended improvisation using avant-garde techniques." His music "is eclectic and draws freely on the popular music of the 1950s and early 60s, embracing rhythm and blues, rock and roll, doo-wop, middle-of-the-road ballads, the world of Hollywood film music and of TV advertisements, treating them as objets trouvés; at the same time it also draws on the soundworlds of Stravinsky, Ives, Varèse and Stockhausen, creating multi-layered textures and employing montage techniques and abrupt stylistic juxtapositions which have the effect of Brechtian alienation and Dadaist confrontation, as in Burnt Weeny Sandwich (Reprise, 1970) and Over-Nite Sensation (Discreet, 1973). Zappa wanted his music to achieve the autonomy associated with high art music while subversively working from within the popular music industry. In the 1980s this was accentuated by the increasing esteem in which Zappa was held as a serious composer, so that his performances and two albums with the London SO (LSO: Zappa, 1983–7) and with the Ensemble Intercontemporain (The Perfect Stranger, 1984) appear at the same time as his bizarre synthesizer recreations of pieces by his 18th-century namesake (1984)...Zappa’s importance lies less in any obvious influence on rock music than in the way in which his music embraces American popular culture while simultaneously maintaining a critical distance from it, and in the way in which his musical critique at the same time constitutes a political and social critique." (Max Paddison, Grove Online)
The American composer, rock musician and guitarist was a pioneer of "extended improvisation using avant-garde techniques." His music "is eclectic and draws freely on the popular music of the 1950s and early 60s, embracing rhythm and blues, rock and roll, doo-wop, middle-of-the-road ballads, the world of Hollywood film music and of TV advertisements, treating them as objets trouvés; at the same time it also draws on the soundworlds of Stravinsky, Ives, Varèse and Stockhausen, creating multi-layered textures and employing montage techniques and abrupt stylistic juxtapositions which have the effect of Brechtian alienation and Dadaist confrontation, as in Burnt Weeny Sandwich (Reprise, 1970) and Over-Nite Sensation (Discreet, 1973). Zappa wanted his music to achieve the autonomy associated with high art music while subversively working from within the popular music industry. In the 1980s this was accentuated by the increasing esteem in which Zappa was held as a serious composer, so that his performances and two albums with the London SO (LSO: Zappa, 1983–7) and with the Ensemble Intercontemporain (The Perfect Stranger, 1984) appear at the same time as his bizarre synthesizer recreations of pieces by his 18th-century namesake (1984)...Zappa’s importance lies less in any obvious influence on rock music than in the way in which his music embraces American popular culture while simultaneously maintaining a critical distance from it, and in the way in which his musical critique at the same time constitutes a political and social critique." (Max Paddison, Grove Online)