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{{short description|1925 string piano composition by Henry Cowell}}
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{{short description|1925 string piano composition by Henry Cowell}}'''The Banshee''' (1925{{Audio||listen}}) is a [[string piano]] composition by [[Americans|American]] [[composer]] and [[music theorist]] [[Henry Cowell]] (1897–1965). It was the first [[piano]] piece composed to be performed entirely free of the keyboard, using only manual manipulation of the [[Piano string|strings]] within the instrument to produce sound.<ref name=":0">MARIA CIZMIC. "Embodied Experimentalism and Henry Cowell's The Banshee." ''American Music'' 28, no. 4 (2010): 436-58. doi:10.5406/americanmusic.28.4.0436.</ref><ref>{{Cite web|url=https://www.britannica.com/biography/Henry-Cowell|title=Henry Cowell {{!}} American composer|website=Encyclopedia Britannica|language=en|access-date=2019-10-10}}</ref><ref>{{Cite web|url=https://consequenceofsound.net/2011/10/tricks-or-treats-henry-cowell-the-banshee/|title=Tricks or Treats: Henry Cowell - The Banshee|date=2011-10-09|website=Consequence of Sound|language=en-US|access-date=2019-10-10}}</ref>
[[File:Banshee.jpg|thumb|upright 1.5|The [[banshee]], a wailing spirit in [[Celtic paganism|Celtic mythology]], serves as the inspiration for the piece]]
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'''The Banshee''' (1925{{Audio||listen}}) is a [[piano]] composition by American composer [[Henry Cowell]] (1897–1965). It was the first piano piece ever written to be performed entirely free of the keyboard, using only manual manipulation of the [[Piano string|strings]] within the instrument to produce sound via the flesh and [[fingernail|nails]] of the [[finger]].<ref name=":0">MARIA CIZMIC. "Embodied Experimentalism and Henry Cowell's The Banshee." ''American Music'' 28, no. 4 (2010): 436-58. doi:10.5406/americanmusic.28.4.0436.</ref><ref>{{Cite web|url=https://www.britannica.com/biography/Henry-Cowell|title=Henry Cowell {{!}} American composer|website=Encyclopedia Britannica|language=en|access-date=2019-10-10}}</ref><ref>{{Cite web|url=https://consequenceofsound.net/2011/10/tricks-or-treats-henry-cowell-the-banshee/|title=Tricks or Treats: Henry Cowell - The Banshee|date=2011-10-09|website=Consequence of Sound|language=en-US|access-date=2019-10-10}}</ref>


Cowell stated that his inspiration in creating the "stringpiano" method of playing came from a desire to reinvent the landscape of [[piano technique]], finding new usages and sounds for old instruments without necessarily inventing new ones. In addition to the string piano method changing the technical execution of producing sound, performance of ''The Banshee'' also required the performer to play the instrument in a new orientation, standing in the crook of the piano perpendicular to the strings, rather than seated at a bench.<ref>{{Cite journal|last=Cizmic|first=Maria|date=2010-11-24|title=Embodied Experimentalism and Henry Cowell's The Banshee|url=https://muse.jhu.edu/article/403067|journal=American Music|language=en|volume=28|issue=4|pages=436–458|issn=1945-2349}}</ref> This process of re-education was an intentional element of the piece, making [[Music school|conservatory]]-trained pianists re-assume the role of a new student, forced to individually pick out the notes on the strings to learn their placement. Due to this performance style, ''The Banshee'' was also a disruption of the contemporary expectations of piano recitals, intended to create discomfort for the audience as well as the [[pianist]].<ref name=":0" />
Cowell stated that his inspiration in creating the "[[string piano]]" method of playing came from a desire to reinvent the landscape of [[piano technique]], finding new usages and sounds for old instruments without necessarily inventing new ones. In addition to the string piano method changing the technical execution of producing sound, performance of ''The Banshee'' also required the performer to play the instrument in a new orientation, standing in the crook of the piano perpendicular to the strings, rather than seated at a bench.<ref>{{Cite journal|last=Cizmic|first=Maria|date=2010-11-24|title=Embodied Experimentalism and Henry Cowell's The Banshee|url=https://muse.jhu.edu/article/403067|journal=American Music|language=en|volume=28|issue=4|pages=436–458|doi=10.5406/americanmusic.28.4.0436|s2cid=193906668 |issn=1945-2349}}</ref> This process of re-education was an intentional element of the piece, making [[Music school|conservatory]]-trained pianists re-assume the role of a new student, forced to individually pick out the notes on the strings to learn their placement. Due to this performance style, ''The Banshee'' was also a disruption of the contemporary expectations of piano recitals, intended to create discomfort for the audience as well as the [[pianist]].<ref name=":0" />


Notated an octave higher, the score specifies 12 different methods for playing the strings, including the scraping of fingernails, using the flat of the hand, and the flesh of the fingers.<ref>{{Cite web|url=https://www.allmusic.com/composition/the-banshee-for-piano-strings-hc-405-mc0002355633|title=The Banshee, for piano strings, HC… {{!}} Details|website=AllMusic|language=en-us|access-date=2019-10-10}}</ref>
Notated an octave higher, the score specifies 12 different methods for playing the strings, including the scraping of fingernails, using the flat of the hand, and the flesh of the fingers.<ref>{{Cite web|url=https://www.allmusic.com/composition/the-banshee-for-piano-strings-hc-405-mc0002355633|title=The Banshee, for piano strings, HC… {{!}} Details|website=AllMusic|language=en-us|access-date=2019-10-10}}</ref>


==References==
==References==
{{reflist}}
{{Reflist}}


== External links ==
== External links ==
* [https://www.youtube.com/watch?v=WaIByDlFINk The Banshee] video of performance by Joan Cerveró and Víctor Trescolí
* [https://www.youtube.com/watch?v=WaIByDlFINk The Banshee] video of performance by Joan Cerveró and Víctor Trescolí

{{Henry Cowell}}
{{Portal bar|Classical music|Music}}
{{Authority control}}


{{DEFAULTSORT:Banshee}}
{{DEFAULTSORT:Banshee}}
[[Category:Compositions for solo piano]]
[[Category:20th-century classical music]]
[[Category:1925 compositions]]
[[Category:Compositions by Henry Cowell]]
[[Category:Compositions by Henry Cowell]]
[[Category:Compositions for solo piano]]
[[Category:Compositions that use extended techniques]]
[[Category:Modernist compositions]]


{{Classical-composition-stub}}
{{Classical-composition-stub}}

Latest revision as of 20:23, 19 June 2023

The banshee, a wailing spirit in Celtic mythology, serves as the inspiration for the piece

The Banshee (1925) is a piano composition by American composer Henry Cowell (1897–1965). It was the first piano piece ever written to be performed entirely free of the keyboard, using only manual manipulation of the strings within the instrument to produce sound via the flesh and nails of the finger.[1][2][3]

Cowell stated that his inspiration in creating the "string piano" method of playing came from a desire to reinvent the landscape of piano technique, finding new usages and sounds for old instruments without necessarily inventing new ones. In addition to the string piano method changing the technical execution of producing sound, performance of The Banshee also required the performer to play the instrument in a new orientation, standing in the crook of the piano perpendicular to the strings, rather than seated at a bench.[4] This process of re-education was an intentional element of the piece, making conservatory-trained pianists re-assume the role of a new student, forced to individually pick out the notes on the strings to learn their placement. Due to this performance style, The Banshee was also a disruption of the contemporary expectations of piano recitals, intended to create discomfort for the audience as well as the pianist.[1]

Notated an octave higher, the score specifies 12 different methods for playing the strings, including the scraping of fingernails, using the flat of the hand, and the flesh of the fingers.[5]

References

[edit]
  1. ^ a b MARIA CIZMIC. "Embodied Experimentalism and Henry Cowell's The Banshee." American Music 28, no. 4 (2010): 436-58. doi:10.5406/americanmusic.28.4.0436.
  2. ^ "Henry Cowell | American composer". Encyclopedia Britannica. Retrieved 2019-10-10.
  3. ^ "Tricks or Treats: Henry Cowell - The Banshee". Consequence of Sound. 2011-10-09. Retrieved 2019-10-10.
  4. ^ Cizmic, Maria (2010-11-24). "Embodied Experimentalism and Henry Cowell's The Banshee". American Music. 28 (4): 436–458. doi:10.5406/americanmusic.28.4.0436. ISSN 1945-2349. S2CID 193906668.
  5. ^ "The Banshee, for piano strings, HC… | Details". AllMusic. Retrieved 2019-10-10.
[edit]
  • The Banshee video of performance by Joan Cerveró and Víctor Trescolí
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