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Henry Dixon Cowell (/ˈkaʊəl/; March 11, 1897 – December 10, 1965) was an American composer, music theorist, pianist, teacher, publisher, and impresario. His contribution to the world of music was summed up by Virgil Thomson, writing in the early 1950s:[1]

Henry Cowell's music covers a wider range in both expression and technique than that of any other living composer. His experiments begun three decades ago in rhythm, in harmony, and in instrumental sonorities were considered then by many to be wild. Today they are the Bible of the young and still, to the conservatives, "advanced."... No other composer of our time has produced a body of works so radical and so normal, so penetrating and so comprehensive. Add to this massive production his long and influential career as a pedagogue, and Henry Cowell's achievement becomes impressive indeed. There is no other quite like it. To be both fecund and right is given to few.[2]

Contents

1 Early life 2 Prime of career

2.1 Musical pioneer 2.2 Ultra-modernist and world music leader

3 Imprisonment 4 Late career 5 Symphonies 6 See also 7 Notes 8 Sources 9 Further reading 10 Selected discography

10.1 Recordings by Cowell 10.2 Selected other recordings of his works

11 External links

11.1 Archives 11.2 Other 11.3 Listening

Early life[edit] Born in rural Menlo Park, California, to two bohemian writers—his father was an Irish immigrant and his mother, a former schoolteacher, had relocated from Iowa—Cowell demonstrated precocious musical talent and began playing the violin at the age of five. After his parents' divorce in 1903, he was raised by his mother, Clarissa Dixon, author of the early feminist novel Janet and Her Dear Phebe. His father, with whom he maintained contact, introduced him to the Irish music that would be a touchstone for Cowell throughout his career. While receiving no formal musical education (and little schooling of any kind beyond his mother's home tutelage), he began to compose in his mid-teens. By the summer of 1914, Cowell was writing truly individualistic works, including the insistently repetitive Anger Dance (originally Mad Dance).[3] That fall, the largely self-taught Cowell was admitted to the University of California, Berkeley, as a protégé of Charles Seeger. There he studied harmony and other subjects under Seeger and Edward Griffith Stricklen and counterpoint under Wallace Arthur Sabin.[4] After two years at Berkeley, Cowell pursued further studies in New York where he encountered Leo Ornstein, the radically "futurist" composer-pianist. Still a teenager, Cowell wrote the piano piece Dynamic Motion (1916), his first important work to explore the possibilities of the tone cluster ( listen (help·info)). It requires the performer to use both forearms to play massive secundal chords and calls for keys to be held down without sounding to extend and intensify its dissonant cluster overtones.[5] Cowell soon returned to California, where he had become involved with a theosophical community, Halcyon, led by the Irish poet John Varian, who fueled Cowell's interest in Irish folk culture and mythology. In 1917, Cowell wrote the music for Varian's stage production The Building of Banba; the prelude he composed, The Tides of Manaunaun, with its rich, evocative clusters, would become Cowell's most famous and widely performed work.[6] In later years, Cowell would claim that the piece had been composed around 1912 (and Dynamic Motion in 1914), in an evident attempt to make his musical innovations appear even more precocious than they already were.[7] Prime of career[edit] Musical pioneer[edit] Beginning in the early 1920s, Cowell toured widely in North America and Europe as a pianist, playing his own experimental works, seminal explorations of atonality, polytonality, polyrhythms, and non-Western modes. It was on one of these tours that in 1923, his friend Richard Buhlig introduced Cowell to young pianist Grete Sultan in Berlin. They worked closely together—an aspect vital to Grete Sultan's personal and artistic development. Cowell later made such an impression with his tone cluster technique that Béla Bartók
Béla Bartók
requested his permission to adopt it. Another novel method advanced by Cowell, in pieces such as Aeolian Harp (ca. 1923), was what he dubbed "string piano"—rather than using the keys to play, the pianist reaches inside the instrument and plucks, sweeps, and otherwise manipulates the strings directly. Cowell's endeavors with string piano techniques were the primary inspiration for John Cage's development of the prepared piano.[8] In early chamber music pieces, such as Quartet Romantic (1915–17) and Quartet Euphometric (1916–19  listen (help·info)), Cowell pioneered a compositional approach he called "rhythm-harmony": "Both quartets are polyphonic, and each melodic strand has its own rhythm," he explained. "Even the canon in the first movement of the Romantic has different note-lengths for each voice."[9] In 1919, Cowell had begun writing New Musical Resources, which would finally be published after extensive revision in 1930. Focusing on the variety of innovative rhythmic and harmonic concepts he used in his compositions (and others that were still entirely speculative), it would have a powerful effect on the American musical avant-garde for decades after. Conlon Nancarrow, for instance, would refer to it years later as having "the most influence of anything I've ever read in music."[10] Cowell's interest in harmonic rhythm, as discussed in New Musical Resources, led him in 1930 to commission Léon Theremin
Léon Theremin
to invent the Rhythmicon, or Polyrhythmophone, a transposable keyboard instrument capable of playing notes in periodic rhythms proportional to the overtone series of a chosen fundamental pitch. The world's first electronic rhythm machine, with a photoreceptor-based sound production system proposed by Cowell (not a theremin-like system, as some sources incorrectly state), it could produce up to sixteen different rhythmic patterns simultaneously, complete with optional syncopation. Cowell wrote several original compositions for the instrument, including an orchestrated concerto, and Theremin
Theremin
built two more models. Soon, however, the Rhythmicon
Rhythmicon
would be virtually forgotten, remaining so until the 1960s, when progressive pop music producer Joe Meek experimented with its rhythmic concept. Cowell pursued a radical compositional approach through the mid-1930s, with solo piano pieces remaining at the heart of his output—important works from this era include The Banshee (1925), requiring numerous playing methods such as pizzicato and longitudinal sweeping and scraping of the strings ( listen (help·info)),[11] and the manic, cluster-filled Tiger (1930), inspired by William Blake's famous poem.[12] Much of Cowell's public reputation continued to be based on his trademark pianistic technique: a critic for the San Francisco News, writing in 1932, referred to Cowell's "famous 'tone clusters,' probably the most startling and original contribution any American has yet contributed to the field of music."[13] A prolific composer of songs (he would write over 180 during his career), Cowell returned in 1930–31 to Aeolian Harp, adapting it as the accompaniment to a vocal setting of a poem by his father, How Old Is Song? He built on his substantial oeuvre of chamber music, with pieces such as the Adagio for Cello and Thunder Stick (1924) that explored unusual instrumentation and others that were even more progressive: Six Casual Developments (1933), for clarinet and piano, sounds like something Jimmy Giuffre
Jimmy Giuffre
would compose thirty years later. His Ostinato Pianissimo (1934) placed him in the vanguard of those writing original scores for percussion ensemble. He created forceful large-ensemble pieces during this period as well, such as the Concerto for Piano and Orchestra (1928)—with its three movements, "Polyharmony," "Tone Cluster," and "Counter Rhythm" ( listen (help·info))—and the Sinfonietta (1928), whose scherzo Anton Webern
Anton Webern
conducted in Vienna.[14] In the early 1930s, Cowell began to delve seriously into aleatoric procedures, creating opportunities for performers to determine primary elements of a score's realization.[15] One of his major chamber pieces, the Mosaic Quartet (String Quartet No. 3) (1935), is scored as a collection of five movements with no preordained sequence. Ultra-modernist and world music leader[edit] Cowell was the central figure in a circle of avant-garde composers that included his good friends Carl Ruggles and Dane Rudhyar, as well as Leo Ornstein, John Becker, Colin McPhee, French expatriate Edgard Varèse, and Ruth Crawford, whom he convinced Charles Seeger
Charles Seeger
to take on as a student (Crawford and Seeger would eventually marry). Cowell and his circle were sometimes referred to as "ultra-modernists," a label whose definition is flexible and origin unclear (it has also been applied to a few composers outside the immediate circle, such as George Antheil, and to some of its disciples, such as Nancarrow); Virgil Thomson
Virgil Thomson
styled them the "rhythmic research fellows."[16] In 1925, Cowell organized the New Music Society, one of whose primary activities was the staging of concerts of their works along with those of artistic allies such as Wallingford Riegger
Wallingford Riegger
and Arnold Schoenberg, who would later ask Cowell to play for his composition class during one of his European tours. In 1927 Cowell founded the periodical New Music Quarterly, which would publish many significant new scores under his editorship, both by the ultra-modernists and many others, including Ernst Bacon, Otto Luening, Paul Bowles, and Aaron Copland. Before the publication of the first issue, he solicited contributions from a then-obscure composer who would become one of his closest friends, Charles Ives. Major scores by Ives, including the Comedy from the Fourth Symphony, Fourth of July, 34 Songs, and 19 Songs, would receive their first publication in New Music; in turn, Ives would provide financial support to a number of Cowell's projects (including, years later, New Music itself). Many of the scores published in Cowell's journal were made even more widely available as performances of them were issued by the record label he established in 1934, New Music Recordings. The ultra-modernist movement had expanded its reach in 1928, when Cowell led a group that included Ruggles, Varèse, his fellow expatriate Carlos Salzedo, American composer Emerson Whithorne, and Mexican composer Carlos Chávez
Carlos Chávez
in founding the Pan-American Association of Composers, dedicated to promoting composers from around the Western Hemisphere and creating a community among them that would transcend national lines. Its inaugural concert, held in New York City in March 1929, featured exclusively Latin American music, including works by Chávez, Brazilian composer Heitor Villa-Lobos, Cuban composer Alejandro García Caturla, and the French-born Cuban Amadeo Roldán. Its next concert, in April 1930, focused on the U.S. ultra-modernists, with works by Cowell, Crawford, Ives, Rudhyar, and others such as Antheil, Henry Brant, and Vivian Fine.[17] Over the next four years, Nicolas Slonimsky
Nicolas Slonimsky
conducted concerts sponsored by the association in New York, across Europe, and, in 1933, Cuba.[18] Cowell himself had performed there in 1930 and met with Caturla, whom he was publishing in New Music.[19] Cowell would continue to work on both his behalf and Roldán's, whose Rítmica No. 5 (1930) was the first free-standing piece of Western classical music written specifically for percussion ensemble.[20] During this era, Cowell also spread the ultra-modernists' experimental creed as a highly regarded teacher of composition and theory—among his many students were George Gershwin, Lou Harrison, who said he thought of Cowell as "the mentor of mentors,"[21] and John Cage, who proclaimed Cowell "the open sesame for new music in America."[22] Encouragement of the music of Caturla and Roldán, with their proudly African-based rhythms, and of Chávez, whose work often involved instruments and themes of Mexico's indigenous peoples, was natural for Cowell. Growing up on the West Coast, he had been exposed to a great deal of what is now known as "world music"; along with Irish airs and dances, he encountered music from China, Japan, and Tahiti. These early experiences helped form his unusually eclectic musical outlook, exemplified by his famous statement "I want to live in the whole world of music."[23] He went on to investigate Indian classical music
Indian classical music
and, in the late 1920s, began teaching a course, "Music of the World's Peoples," at the New School for Social Research in New York and elsewhere—Harrison's tutelage under Cowell would begin when he enrolled in a version of the course in San Francisco. In 1931 a Guggenheim fellowship enabled Cowell to go to Berlin to study comparative musicology (the predecessor to ethnomusicology) with Erich von Hornbostel. He studied Carnatic theory and gamelan, as well, with leading instructors from South India (P. Sambamoorthy), Java (Raden Mas Jodjhana), and Bali (Ramaleislan).[24] Imprisonment[edit]

Sidney Robertson Cowell

In May 1936, Cowell was arrested on a "morals" charge for allegedly having oral sex with a seventeen-year-old boy. After initially denying the allegation, under questioning he admitted not only to it but to additional sex acts with the teenager and his male friends. While jailed awaiting a court hearing, he wrote a full confession accompanied by a request for leniency on the basis that "he was not exclusively homosexual but was in fact in love with a woman he hoped to marry".[25] The charge was not dropped and Cowell, overruling his attorneys, pled guilty; probation was denied, and he received the standard sentence of one to fifteen years.[26] In August 1937, after a parole hearing, the board of pardons fixed his term of incarceration at the maximum decade-and-a-half.[27] Cowell would ultimately spend four years in San Quentin State Prison.[28] There he taught fellow inmates, directed the prison band, and continued to write music at his customary prolific pace, producing around sixty compositions,[29] including two major pieces for percussion ensemble: the Oriental-toned Pulse (1939) and the memorably sepulchral Return (1939). He also continued his experiments in aleatory music: for all three movements of the Amerind Suite (1939), he wrote five versions, each more difficult than the last. Interpreters of the piece are invited to simultaneously perform two or even three versions of the same movement on multiple pianos. In the Ritournelle (Larghetto and Trio) (1939) for the dance piece Marriage at the Eiffel Tower, performing in Seattle, he explored what he called "elastic" form. The twenty-four measures of the Larghetto and the eight of the Trio are each modular; though Cowell offers some suggestions, any hypothetically may be included or not and played once or repeatedly, allowing the piece to stretch or contract at the performers' will—the practical goal being to give a choreographer freedom to adjust the length and character of a dance piece without the usual constraints imposed by a prewritten musical composition.[30] Cowell had contributed to the Eiffel Tower project at the behest of Cage, who was not alone in lending support to his friend and former teacher. Cowell's cause had been taken up by composers and musicians around the country, although a few, including Ives, broke contact with him. Cowell was eventually paroled in 1940; he relocated to the East Coast and the following year married Sidney Hawkins Robertson (1903–1995, married name Sidney Robertson Cowell), a prominent folk-music scholar who had been instrumental in winning his freedom. Cowell was granted a pardon in 1942. Late career[edit] Despite the pardon—which allowed him to work at the Office of War Information, creating radio programs for broadcast overseas—arrest, incarceration, and attendant notoriety had a devastating effect on Cowell. Conlon Nancarrow, on meeting him for the first time in 1947, reported, "The impression I got was that he was a terrified person, with a feeling that 'they're going to get him.'"[31] The experience took a lasting toll on his music: Cowell's compositional output became strikingly more conservative soon after his release from San Quentin, with simpler rhythms and a more traditional harmonic language. Many of his later works are based on American folk music, such as the series of eighteen Hymn and Fuguing Tunes (1943–64); folk music had certainly played a role in a number of Cowell's prewar compositions, but the provocative transformations that had been his signature were now largely abandoned. And, as Nancarrow observed, there were other consequences to Cowell's imprisonment: "Of course, after that, politically, he kept his mouth completely shut. He had been radical politically, too, before."[31] No longer an artistic radical, Cowell nonetheless retained a progressive bent and continued to be a leader (along with Harrison and McPhee) in the incorporation of non-Western musical idioms, as in the Japanese-inflected Ongaku (1957), Symphony No. 13, "Madras" (1956–58) (which had its premiere in the eponymous city), and Homage to Iran (1959). His most compelling, poignant songs date from this era, including Music I Heard (to a poem by Conrad Aiken; 1961) and Firelight and Lamp (to a poem by Gene Baro; 1962). Despite the break in his friendship with Ives, Cowell, in collaboration with his wife, wrote the first major study of Ives's music and provided crucial support to Harrison as his former pupil championed the Ives rediscovery. Cowell resumed teaching—Burt Bacharach, J. H. Kwabena Nketia, and Irwin Swack[32] were among his postwar students—and served as a consultant to Folkways Records
Folkways Records
for over a decade beginning in the early 1950s, writing liner notes and editing such collections as Music of the World's Peoples (1951–61) (he also hosted a radio program of the same name)[33] and Primitive Music of the World (1962). In 1963 he recorded searching, vivid performances of twenty of his seminal piano pieces for a Folkways album. Perhaps liberated by the passage of time and his own seniority, in his final years Cowell again produced a number of impressively individualistic works, such as Thesis (Symphony No. 15; 1960) and 26 Simultaneous Mosaics (1963). Cowell was elected to the American Institute of Arts and Letters in 1951. He died in 1965 in Shady, New York, after a series of illnesses. Symphonies[edit]

Symphony no. 1 in Bm, 1918 (revised 1922, 1940)[34] Symphony no. 2, ‘Anthropos’, 1938 Symphony no. 3, ‘Gaelic’ for band and strings 1942 Symphony no. 4, ‘Short Symphony’ 1946 Symphony no. 5, 1948 Symphony no. 6 ,1952 Symphony no. 7, 1952 Symphony no. 8, for orchestra, with mixed chorus and optional contralto solo, 1952 Symphony no. 9, 1953 Symphony no. 10, 1953 Symphony no. 11, ‘Seven Rituals of Music’ 1953 Symphony no. 12, 1956 Symphony no. 13, ‘Madras’, 1958 Symphony no. 14, 1960, Symphony no. 15, ‘Thesis’, 1960 Symphony no. 16, ‘Icelandic’, 1962 Symphony no. 17, 1962 Symphony no. 18, 1964 Symphony no. 19, 1965 Symphony no. 20, 1965 Symphony no. 21 (incomplete) 1965 p. 353

See also[edit]

List of solo piano compositions by Henry Cowell

Notes[edit] Note: Correct dating and orthography of titles throughout is based on the standard musicography, The Music of Henry Cowell: A Descriptive Catalogue, by William Lichtenwanger (Brooklyn, N.Y.: Brooklyn College Institute for Studies in American Music, 1986).

^ The most recent standard collection of Virgil Thomson's writings, edited by Richard Kostelanetz and published in 2002, identifies Thomson's statement as undated. The statement is excerpted at length in the liner notes to the Smithsonian Folkways CD Henry Cowell: Piano Music issued in 1993. There the quote is dated 1953, but no source is provided. Given that (a) many of the dates listed for Cowell's piano pieces in the Folkways liner notes are incorrect (see Hicks [2002], p. 80, for more on that topic) and (b) Thomson refers to "experiments begun three decades ago," a date earlier than 1953 is plausible. ^ Thomson (2002), p. 167. ^ Cowell describes the inspiration for the piece in the commentary track he recorded for Folkways in 1963: "The Anger Dance was composed at a time when I had been very much annoyed by the fact that a doctor to whom I showed a bent-up leg suggested that it should be cut off immediately. And since I didn't in the least approve of this, and thinking of it over and over again made me more and more angry, I stomped home on my crutches, and the phrases of the Anger Dance went through my mind louder and louder as I walked home" (track 20/5:06–5:41). Cowell biographer Michael Hicks (2002) describes the work as one of Cowell's "most prescient" and "proto-minimalist" (p. 60). The piece does, in terms of structure, anticipate minimalist procedures, and an interpretation by Steffen Schleiermacher from 1993 is simultaneously metronomic and jazzy in a way that reveals its kinship with the work of Steve Reich, in particular. But in his own 1963 recording, Cowell expresses a torment, through jagged tempi and ambivalent dynamics (all clearly purposeful), that renders Anger Dance very different in character from the work of the American minimalists. ^ Hicks (2002), p. 68. ^ Bartok et al. (1993), p. 14 (unpaginated). ^ Hicks (2002), p. 85. ^ Hicks (2002), p. 58. ^ Nicholls (1998), p. 523. ^ Quoted in Oja (1998), p. 4 (unpaginated). ^ Quoted in Gann (1995), p. 43. ^ Bartok et al. (1993), p. 12 (unpaginated). ^ For the composer's description of the inspiration, listen to Cowell (1993), 11:58–12:05. ^ Quoted in Mead (1981), p. 190. ^ Kirkpatrick (1997), p. 105. ^ It is possible that Cowell had earlier dabbled in a more whimsical form of aleatory. The liner notes to the Folkways Henry Cowell: Piano Music, written in 1963 and revised in 1993, assert that each phrase of Anger Dance "may be repeated many times, depending on how angry the player is able to feel." Of Advertisement (Third Encore to Dynamic Motion) (1917, not 1914 as the liner notes state)—which Cowell called "a satire on repititious advertisement of a raucous nature" (track 20/2:14–2:20)—it is likewise said that "there is a section that may be repeated, to emphasize the absurdity, as many times as the performer likes." Nicholls (1991) notes that, in fact, the published score of Anger Dance "gives specific instructions regarding the number of repetitions each musical fragment should be subjected to" (p. 167). He observes, however, that Cowell in his own recording of the piece reiterates certain phrases beyond the specified number. ^ Thomson (2002 [1961]), p. 164. ^ Oja (2000), p. 194. ^ "Nicolas Slonimsky: Maverick Conductor" essay by Carol J. Oja; part of the American Composers Orchestra website. Retrieved 4/14/07. ^ Sublette (2004), p. 405. ^ Solberger (1992), p. 2 (unpaginated). For instrumentation details, see Percussion Ensemble Music 1910–1940. The first entr'acte in Dmitri Shostakovich's opera The Nose (1928) is scored for percussion ensemble. ^ "An interview with Lou Harrison" interview by Alan Baker, June 2002; part of the American Public Media/American Mavericks website. Retrieved 4/14/07. ^ Cage (1959), p. 71. ^ Quoted in Nicholls (1991), p. 134. ^ Harrison (1997), p. 166; "Cowell, Henry" essay by David Nicholls, from The New Grove Dictionary of Music Online; part of the Music Library of The University of South Carolina website. Retrieved 4/14/07. Note that this source includes a photograph of a man with a Rhythmicon; the man is not Cowell, as the image's position in the article implies, but an associate, musical theorist Joseph Schillinger. ^ Hicks (2002), p. 134. See also Miller and Collins (2005), pp. 473–76. ^ Hicks (2002), pp. 135–36. ^ Miller and Collins (2005), pp. 476, 482. ^ Krinsky, Charles (2002). "Cowell, Henry". glbtq.com. Archived from the original on 2007-10-09. Retrieved 2007-08-16.  ^ Boziwick (2000). ^ Nicholls (1991), p. 167. ^ a b Quoted in Gann (1995), p. 44. ^ Irwin Swack Music ^ Essential Cowell: Selected Writings on Music publisher's summary; part of the McPherson & Co. website. Retrieved 4/14/07. ^ Lichtenwanger. "The Music of Henry Cowell, a Descriptive Catalogue". 

Sources[edit]

Bartok, Peter, Moses Asch, Marian Distler, and Sidney Cowell; revised by Sorrel Hays (1993 [1963]). Liner notes to Henry Cowell: Piano Music (Smithsonian Folkways 40801). Boziwick, George (2000). " Henry Cowell
Henry Cowell
at the New York Public Library: A Whole World Of Music," Notes [Music Library Association], 57.1 (available online). Bredow, Moritz von. 2012. "Rebellische Pianistin. Das Leben der Grete Sultan zwischen Berlin und New York." (Biography, in German. Contaomns many links to Henry Cowell
Henry Cowell
and his work). Schott Music, Mainz, Germany. ISBN 978-3-7957-0800-9 Cage, John (1959). "History of Experimental Music in the United States" (available online), in Silence (1971 [1961]), pp. 67–75. Middletown, Conn.: Wesleyan University Press. ISBN 0-8195-6028-6 Cowell, Henry (1993 [1963]). "Henry Cowell's Comments: The composer describes each of the selections in the order in which they appear." Track 20 of Henry Cowell: Piano Music (Smithsonian Folkways 40801). Gann, Kyle (1995). The Music of Conlon Nancarrow. Cambridge, New York, and Melbourne: Cambridge University Press. ISBN 0-521-02807-8 Harrison, Lou (1997). "Learning from Henry," in The Whole World of Music: A Henry Cowell
Henry Cowell
Symposium, ed. Nicholls; pp. 161–167. Hicks, Michael (2002). Henry Cowell, Bohemian. Urbana: University of Illinois Press. ISBN 0-252-02751-5 Kirkpatrick, John, et al. (1997 [1988]). 20th-Century American Masters: Ives, Thomson, Sessions, Cowell, Gershwin, Copland, Carter, Barber, Cage, Bernstein. New York and London: W. W. Norton. ISBN 0-393-31588-6 Lichtenwanger, William (1986). The Music of Henry Cowell: A Descriptive Catalogue. Brooklyn, N.Y.: Brooklyn College Institute for Studies in American Music. ISBN 0-914678-26-4 Mead, Rita H. (1981). Henry Cowell's New Music, 1925–1936. Ann Arbor, Mich.: UMI Research Press (excerpted online). ISBN 0-8357-1170-6 Miller, Leta H., and Rob Collins (2005). "The Cowell-Ives Relationship: A New Look at Cowell's Prison Eyes." American Music 23, no. 4 (Winter): 473–92 (available online). Nicholls, David (1991 [1990]). American Experimental Music 1890–1940. Cambridge, New York, and Melbourne: Cambridge University Press. ISBN 0-521-42464-X Nicholls, David, ed. (1997). The Whole World of Music: A Henry Cowell Symposium. Amsterdam: Harwood Academic Press. ISBN 90-5755-003-2 Nicholls, David, ed. (1998). The Cambridge History of American Music. Cambridge, New York, and Melbourne: Cambridge University Press. ISBN 0-521-45429-8 Oja, Carol J. (1998). Liner notes to Henry Cowell: Mosaic (Mode 72/73). Oja, Carol J. (2000.) Making Music Modern: New York in the 1920s. New York: Oxford University Press. ISBN 0-19-505849-6 Sollberger, Harvey (1992 [1974]). Liner notes to Percussion Music: Works by Varèse, Colgrass, Saperstein, Cowell, Wuorinen (Nonesuch 9 79150-2). Sublette, Ned (2004). Cuba and Its Music: From the First Drums to the Mambo. Chicago: Chicago Review Press. ISBN 1-55652-516-8 Thomson, Virgil (2002). Virgil Thomson: A Reader—Selected Writings 1924–1984. Edited by Richard Kostelanetz. New York and London: Routledge. ISBN 0-415-93795-7

Further reading[edit]

Carwithen, Edward R. (1991). Henry Cowell: Composer
Composer
and Educator. Ph.D. dissertation. Gainesville: University of Florida,. Cowell, Henry, and Sidney Cowell (1981 [1955]). Charles Ives
Charles Ives
and His Music. New York: Da Capo. ISBN 0-306-76125-4 Cowell, Henry (1996 [1930]). New Musical Resources. Annotated, with an accompanying essay, by David Nicholls. Cambridge, New York, and Melbourne: Cambridge University Press. ISBN 0-521-49974-7 Cowell, Henry (2002). Essential Cowell: Selected Writings on Music, edited, with an introduction, by Dick Higgins, preface by Kyle Gann. Kingston, N.Y.: McPherson. ISBN 0-929701-63-1 Galván, Gary (2006). “Cowell in Cartoon: A Pugilistic Pianist’s Impact on Pop Culture.” Hawaii International Conference on Arts and Humanities, January 11–14, 2006, Conference Proceedings. ISSN 1541-5899[full citation needed] Galván, Gary (2007). Henry Cowell
Henry Cowell
in the Fleisher Collection. Ph.D. dissertation. Gainesville: University of Florida. Johnson, Steven (1993). "Henry Cowell, John Varian, and Halcyon." American Music 11, no. 1 (Spring): 1-27. Sachs, Joel (2012). Henry Cowell: A Man Made of Music. Oxford: Oxford University Press. ISBN 978-0-19-510895-8. Saylor, Bruce (1977). The Writings of Henry Cowell: A Descriptive Bibliography. Brooklyn, N.Y.: Brooklyn College Institute for Studies in American Music. ISBN 0-914678-07-8 Spilker, John D. (2010). "Substituting a New Order": Dissonant Counterpoint, Henry Cowell, and the Network of Ultra-Modern Composers. Ph.D. dissertation, Tallahassee: Florida State University.

Selected discography[edit] Recordings by Cowell[edit]

Henry Cowell: Piano Music (Smithsonian Folkways 40801)—performances of twenty of his compositions for solo piano, including Dynamic Motion, The Tides of Manaunaun, Aeolian Harp, The Banshee, and Tiger, and a commentary track (album pictured in article) Tales of Our Countryside (American Columbia 78rpm Set X 235, recorded July 5, 1941)—the All-American Youth Orchestra conducted by Leopold Stokowski, with Cowell as piano soloist

Selected other recordings of his works[edit]

American Piano Concertos: Henry Cowell
Henry Cowell
(col legno 20064)—large-ensemble pieces, including Concerto for Piano and Orchestra and Sinfonietta, as well as The Tides of Manaunaun
The Tides of Manaunaun
and other pieces for solo piano; performed by the Saarbrücken Radio Symphony Orchestra, Michael Stern—director, Stefan Litwin—piano The Bad Boys!: George Antheil, Henry Cowell, Leo Ornstein
Leo Ornstein
(hatHUT 6144)—solo piano pieces, including Anger Dance, The Tides of Manaunaun, and Tiger; performed by Steffen Schleiermacher Dancing with Henry (mode 101)—solo and chamber pieces, including two versions of Ritournelle (Larghetto); performed by California Parallèle Ensemble, Nicole Paiement–conductor and director, Josephine Gandolfi—piano Henry Cowell
Henry Cowell
(First Edition 0003)—orchestral pieces, including Ongaku and Thesis (Symphony No. 15); performed by Louisville Orchestra, Robert S. Whitney and Jorge Mester—conductors Henry Cowell: A Continuum Portrait, Vol. 1 (Naxos 8.559192) and Vol. 2 (Naxos 8.559193)—solo, chamber, vocal, and large-ensemble pieces; performed by Continuum, Cheryl Seltzer and Joel Sachs—directors Henry Cowell: Mosaic (mode 72/73)—solo and chamber pieces, including Quartet Romantic, Quartet Euphometric, Mosaic Quartet (String Quartet No. 3), Return, and three versions of 26 Simultaneous Mosaics; performed by Colorado String Quartet and Musicians Accord Henry Cowell: Persian Set (Composers Recordings Inc. CRI-114 recorded April 1957 and reissued on Citadel CTD 88123)—Four movements for Chamber Orchestra, Leopold Stokowski—conductor Henry Cowell: Persian Set (Koch 3-7220-2 HI)—orchestral and large-ensemble pieces, including Hymn and Fuguing Tune No. 2; performed by Manhattan Chamber Orchestra, Richard Auldon Clark—conductor New Music: Piano Compositions by Henry Cowell
Henry Cowell
(New Albion 103)—solo piano pieces, including Dynamic Motion, The Tides of Manaunaun, Aeolian Harp, and Tiger; performed by Chris Brown, Sorrel Hays, and others Songs of Henry Cowell
Henry Cowell
(Albany–Troy 240)—including How Old Is Song?, Music I Heard, and Firelight and Lamp; performed by Mary Ann Hart—mezzo-soprano, Robert Osborne—bass-baritone, Jeanne Golan—pianist

External links[edit] Archives[edit]

Henry Cowell
Henry Cowell
papers, 1851-1994, held by the Music Division, New York Public Library for the Performing Arts. Henry Cowell
Henry Cowell
collection of Noncommercial Recordings, 1940-1953, held by the Rodgers and Hammerstein Archives of Recorded Sound, New York Public Library for the Performing Arts. Henry Cowell
Henry Cowell
collection at Library of Congress

Other[edit]

Berlin Students: Henry Cowell
Henry Cowell
list of works (the most comprehensive on the Web, though incomplete—the standard Lichtenwanger catalogue lists almost 1,000 compositions; be aware also that some dates, particularly of the early piano pieces, are incorrect) and transcriptions of Schoenberg–Cowell correspondence Drums Along the Pacific more on the association between Cowell and Harrison (and Cage) "Henry Cowell: Giving Us Permission" 2006 essay by composer Peter Garland Henry Cowell—Piano Music independent website dedicated to the piano music of Henry Cowell Henry Cowell
Henry Cowell
Work List instrumentation of eighty works per music publisher G. Schirmer "New Growth from New Soil" 2004–5 master's thesis on Cowell with extensive bibliography, including his periodical writings Opaque Melodies: The Rhythmicon—Definition/Background clearest extended discussion of the Rhythmicon "Sidney and Henry Cowell" essay by Peter Stone for the Association for Cultural Equity "Subversive Prophet: Henry Cowell
Henry Cowell
as Theorist and Critic" a consideration by critic Kyle Gann of Cowell's influence What's This (First Encore to Dynamic Motion) for piano score from Sibley Music Library Digital Scores Collection Free scores by Henry Cowell
Henry Cowell
at the International Music Score Library Project (IMSLP)

Listening[edit]

The Aeolian Harp Piece by Henry Cowell
Henry Cowell
on YouTube
YouTube
video of performance by Lydia Aoki American Mavericks: The Online Rhythmicon
Rhythmicon
a virtual version of the instrument, playable on computer American Mavericks: Program 1—The Meaning of Maverick three works by Cowell on demand, including Concerto for Piano and Orchestra, plus the program itself, including discussion of Cowell and excerpts of his work Art of the States: Henry Cowell
Henry Cowell
seven works by the composer, including The Tides of Manaunaun
The Tides of Manaunaun
and Aeolian Harp Epitonic.com: Henry Cowell
Henry Cowell
featuring tracks from New Music: Piano Compositions by Henry Cowell
Henry Cowell
(New Albion 103) Henry Cowell: Hymn and Fuguing Tune #2 on YouTube
YouTube
video of performance by community orchestra Henry Cowell
Henry Cowell
Musical Autobiography 100 minutes of Cowell talking about his life and playing recordings of his music Radio National (Australian Broadcasting Corporation) broadcast in two episodes of Henry Cowell
Henry Cowell
radio documentary, directed by Guy Livingston. SFCCO Performs Cowell's Symphony No. 13 on YouTube
YouTube
video of performance of the first two movements by San Francisco Composers Chamber Orchestra SFCCO Performs Cowell's Symphony No. 13 full audio of performance by San Francisco Composers Chamber Orchestra ConcertZender Radio (The Netherlands) Broadcast and podcast on Henry Cowell's symphonies, hosted by Guy Livingston. Photos and references Audio clips and notes related to the ABC documentary, including a photo essay curated by George Boziwick, at the Music Division of the New York Public Library of the Performing Arts.

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American Five

John J. Becker Henry Cowell Charles Ives Wallingford Riegger Carl Ruggles

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Modernist composers

Europe

Béla Bartók Alban Berg Luciano Berio Pierre Boulez Benjamin Britten Ferruccio Busoni Jacques Calonne Paul Dukas Henri Dutilleux Hans Werner Henze Arthur Honegger Leoš Janáček György Ligeti Witold Lutosławski Gustav Mahler Igor Markevitch Olivier Messiaen Darius Milhaud Nikolai Myaskovsky Luigi Nono Gavriil Popov Francis Poulenc Sergei Prokofiev Nikolai Roslavets Arnold Schoenberg Alexander Scriabin Dmitri Shostakovich Karlheinz Stockhausen Richard Strauss Igor Stravinsky Michael Tippett Ernst Toch Fartein Valen Edgard Varèse William Walton Anton Webern Kurt Weill Iannis Xenakis

N. America

George Antheil Milton Babbitt John J. Becker John Cage Elliott Carter Carlos Chávez Aaron Copland Henry Cowell Ruth Crawford Seeger Charles Ives Conlon Nancarrow Leo Ornstein Silvestre Revueltas Wallingford Riegger George Rochberg Dane Rudhyar Carl Ruggles Charles Seeger Roger Sessions

S. America

Mozart Camargo Guarnieri Alberto Ginastera Heitor Villa-Lobos Gilberto Mendes Leon Schidlowsky

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Musical modernism

Genres and techniques

Abstractionism Athematicism Atonality Dissonant counterpoint Dada Experimental music Expressionism Futurism Impressionism Microtonal music Modality Modes of limited transposition Neoclassicism Neotonality New Objectivity Noise music Pandiatonicism Polyrhythm Polytonality Process music Quartal and quintal harmony Serialism Surrealism Sound collage Sound mass Tone cluster Tropes Twelve-tone technique

Related topics

Postmodern music

See also: Modernist composers

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Laurel Leaf Award

WGBH (FM) (1951) Maro and Anahid Ajemian (1952) Herman Neuman (1953) Green Bay Symphonietta (1954) George Szell
George Szell
(1955) Robert Whitney (1956) Howard Hanson
Howard Hanson
/ Juilliard String Quartet
Juilliard String Quartet
(1957) Thor Johnson
Thor Johnson
(1958) Martha Graham
Martha Graham
/ Jack Benny
Jack Benny
(1959) Howard Mitchell
Howard Mitchell
/ Oliver Daniel (1960) Helen Thompson / William Strickland (1961) Bethany Beardslee
Bethany Beardslee
/ Hugh Ross / Samuel Rosenbaum (1962) Carl Haverlin / Claire Reis (1963) Walter Hinrichsen / Margaret L. Crofts / Max Pollikoff (1964) Henry Cowell
Henry Cowell
/ Avery Claflin / Elizabeth Ames (1965) Henry A. Moe / Lawrence Morton (1966) WBAI
WBAI
/ Fromm Foundation (1967) Aaron Copland
Aaron Copland
(1968) Group for Contemporary Music (1969) Otto Luening / Harris Danziger / Third Street Music Settlement School (1970) Alice M. Ditson Fund (1971) Leopold Stokowski
Leopold Stokowski
(1972) MacDowell Colony
MacDowell Colony
(1973) Teresa Sterne
Teresa Sterne
(1974) Nelson Rockefeller
Nelson Rockefeller
(1975) Gunther Schuller
Gunther Schuller
(1976) Arthur Weisberg (1977) James Dixon (1978) Ralph Shapey (1979) John Duffy / Meet the Composer
Composer
/ Joseph Machlis (1980) Carter Harman (1981) Martha Baird Rockefeller Fund for Music (1982) Lukas Foss
Lukas Foss
(1983) Opus One / Max Schubel / Ernest S. Heller (1984) Nicolas Slonimsky
Nicolas Slonimsky
(1985) Raymond Des Roches (1986) Francis Thorne (1987) American Music Center (1988) Betty Allen / The Harlem School of the Arts
The Harlem School of the Arts
/ Mimi Stern-Wolfe (1989) Center for New Music (1990) Boston Musica Viva (1991) Cleveland Chamber Symphony
Cleveland Chamber Symphony
(1992) Leonard Slatkin
Leonard Slatkin
(1993) Society for New Music (1994) Minnesota Composers Forum (1995) Los Angeles Philharmonic New Music Group
Los Angeles Philharmonic New Music Group
(1996) Speculum Musicae (1997) David Alan Miller (1998) Lou Rodgers (1999) Gregg Smith Singers (2003) Fred Sherry (2007) Harold Rosenbaum
Harold Rosenbaum
(2008) Phyllis Bryn-Julson (2009) innova Recordings (2012)

Authority control

WorldCat Identities VIAF: 5117233 LCCN: n50077514 ISNI: 0000 0000 8084 7033 GND: 118872079 SELIBR: 276054 SUDOC: 067049451 BNF: cb13892809m (data) BIBSYS: 90633330 MusicBrainz: 7ee6189d-f3f3-4478-afc4-0afad4d8a506 NDL: 01063577 BNE: XX1234

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