Young and Matured Henry Cowell with his music note.
 
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[440] draft: "Metropolitan Cross-Currents."
(3) Counter-Rhythm. Allegro, p37-63
 D HC to his father, 16 Mar 1928: "Today I have finished my concerto."
On 9 Dec 1927 HC had written his father of the concerto being "com-
missioned by George Zaslawsky," director of the Beethoven ("con-
ductorless") Symphony Orchestra of New York, but the MSS and
published score show no evidence of a commission or dedication. For
the genesis of the 1st movement, see no. 406, C.
 I Solo pf 3433 4431 timp, perc str
 F Movements 1 and 2 were first performed by the Beethoven Orchestra
at Carnegie Hall, New York, 26 Apr 1930, with HC as soloist. Move-
ment 3 apparendy was beyond the orchestra's capability on short
notice, so the 1st movement was played again after the 2nd (to the
bafflement of the Herald-Tribune critic). The first complete public
performance was at Havana, Cuba, 28 Dec 1930, cond. Pedro San-
juan, with HC as soloist. The first complete performance in the U.S.A.
was not until 12 Oct 1978, by Doris Hays, pianist, with the Omaha
Symphony Orchestra, cond. Thomas Briccetti, Orpheum Theater,
Omaha.
 M (a) Pencil sketches incomplete in 12p, plus 4p of ink flute parts
(x) Negative photostats apparently from a copyist's score
(y) Copyist's ink score complete in 72p in FC at PhFL (no. 758)
 P Full score (63p, as above) and parts copyright 1931, Editions Maurice
Senart (later Salabert, with G. Schirmer owning the rights in the
Western Hemisphere)
 C It is too bad that HC, who had no help with his Concerto during
his life from either critics or other pianists, could not have heard Doris
Hays play his Concerto (the first complete performance in New York,
50 years after it was written) and read Andrew Porter's comments
after that performance in the New Yorker (20 Nov 1978, pl61-62):
"Miss Hays is a Cowell specialist . . . [with a] command of his ex-
uberant, extravagant piano techniques and her feeling for his ex-
uberant yet poetic musicality. . . . Miss Hays is also adept at playing
tunes with her right elbow striking the top note of a cluster precisely.
It's not easy. Just try it. The Concerto is a dashing experiment rather
than an important composition. It is quite short?about seventeen
minutes?and is exhilarating to listen to. It might be a hit at a Philhar-
monic concert."
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