The Banshee (Cowell): Difference between revisions
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'''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> |
'''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> |
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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. 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 recital]]s, intended to create discomfort for the audience as well as the [[pianist]].<ref name=":0" /> |
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. 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 recital]]s, intended to create discomfort for the audience as well as the [[pianist]].<ref name=":0" /> |
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==References== |
==References== |
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Revision as of 09:57, 31 December 2018
The Banshee (1925) is a string piano composition by 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 strings within the instrument to produce sound.[1]
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. 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]
References
External links
- The Banshee video of performance by Joan Cerveró and Víctor Trescolí
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