Young and Matured Henry Cowell with his music note.
 
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(3) Sentimental Blues (without apology to Porgy and Bess), p3-5
(4) Meeting Section, p6-7
 D 1937 (HC's date with signature on source (b) below)
 F Danced by Marian Van Tuyl and Group at Lisser Hall, Mills Col-
lege, Oakland, CA, May 1938
 M (a) March on Given Form, ozalid prints on 4p containing (1) sec-
tion A ("Piano") in 20 consecutive measures on 3 staves marked
"Harmonic Dissonant Version (the simple version is made by
using the melody and bass only)," pi; (2) section B (for 5 per-
cussion instruments of different pitches) on 3 staves varying from
13 to 21 measures in length, plus D.C., pl-2; (3) following, on
p2^, are 37 different measure units of varying lengths and
character. HC's heading: "Single measures with which to con-
struct passages. They may be used in any order of succession,
transposed, sequenced, inverted, retrograde, used in part, the
two hands inverted one to the other, etc." (See Plates 3 and 4.)
(x) Ozalid prints of condensed score by Lou Hamson, lip (p3 miss-
ing), with diagrams and instructions regarding the use of HC's
elastic form
(y) Lou Harrison's condensed score (in a fair copy) for the per-
formers, representing his working out of the piece from HC's
sketches and instructions, complete on 7p of a 7-leaf accordion
fold (paged as above); in CC at LC (See Plate 5.)
 C Marian Van Tuyl was at the time head of the dance department at
Mills College, Oakland, CA
540 [Untitled jig for piano]
Allegro
 D [ca 1930-37?]
 M Pencil sketches on l^p, possibly more, of 3. The 6/8 tunes on p2-3
may or may not be sketches for the same piece. In the middle of p3
HC wrote in large letters a reminder: "Write EXTACY for piano?
also orchestra for Amadeo Roldan," the Cuban composer and con-
ductor. Below these words are 24m, plus repeats and D.C., of a 6/8
melody (no accompaniment). The Ecstasy reference may be to his
solo song of earlier that year (no. 533).
541 Symphony No. 2: Anthropos [for orchestra]
(1) Repose. Largo. Sostenuto, pl-5
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