Sheet music $92.50

Original

Corroboree. Earle Brown. Piano sheet music.

Translation

Corroboree. Earle Brown. Piano sheet music.

Original

Corroboree composed by Earle Brown. 1926-. For 3 Pianos. or 2 Pianos. Modern. 3 performing scores. Composed 1964. First Performance. May 1964 by Aloys, Alfons and Bernhard Kontarsky. Published by Edition Peters. PE.P11129. Commissioned by Radio Bremen, Germany, for the Bremen Festival, May 1964. This is a set of 3 performance scores. the score includes detailed directions for performance. The title is an Australian native word defined by Webster as a nocturnal festivity with songs and symbolic dances by which the Australian aborigines celebrate events of importance. I have used five kinds of piano sounds as the basic structural material. single notes, chords, clusters, and pizzicato and muted sounds on the strings. The macro-form is fixed but there are degrees of flexibility and spontaneous exchange in most of the interior sections of the form. the possibility of intimate, immediate, and spontaneous exchanges and shifts of action and 'poetry' throughout the performance is extremely important. -- Earle Brown. from the performance notes.

Translation

Corroboree composed by Earle Brown. 1926-. For 3 Pianos. or 2 Pianos. Modern. 3 performing scores. Composed 1964. First Performance. May 1964 by Aloys, Alfons and Bernhard Kontarsky. Published by Edition Peters. PE.P11129. Commissioned by Radio Bremen, Germany, for the Bremen Festival, May 1964. This is a set of 3 performance scores. the score includes detailed directions for performance. The title is an Australian native word defined by Webster as a nocturnal festivity with songs and symbolic dances by which the Australian aborigines celebrate events of importance. I have used five kinds of piano sounds as the basic structural material. single notes, chords, clusters, and pizzicato and muted sounds on the strings. The macro-form is fixed but there are degrees of flexibility and spontaneous exchange in most of the interior sections of the form. the possibility of intimate, immediate, and spontaneous exchanges and shifts of action and 'poetry' throughout the performance is extremely important. -- Earle Brown. from the performance notes.