Young and Matured Henry Cowell with his music note.
 
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605 Four Irish Tales [for piano and orchestra] 1940
(1) The Tides of Manaunaun. Largo, pl-5 [ = 219/la]
(2) Exultation. Allegro, p6-15 [ = 328b]
(3) The Harp of Life. Largo, pl-8 [ = 384a]
(4) The Lilt of the Reel. Allegro - Poco meno mosso, pl-12
[=463/lc]
 D 24 Nov 1940. Leopold Stokowski had taken an especial interest in HC
while HC was in San Quentin, and in the spring of 1940 asked about
 apiano concerto or other work that HC could play with the All-
American Youth Orchestra after leaving San Quentin. This work,
comprising arrangements of four earlier piano solo pieces, was the
result.
 I Solo pf 3333 4331 timp, perc str
 F Not ready in time for 1940 performance by Stokowski and his All-
American Youth Orchestra, this was first performed publicly (1) over
radio station WNYC, New York, 24 Nov 1940, by HC with the New
York Youth Orchestra, cond. Fritz Mahler, and (2) in the Westchester
County Center Auditorium, White Plains, NY, 6 Dec 1940, by HC
and the Westchester Symphony, cond. Louis Green (as Four Irish
Tunes). The first of many performances by Stokowski and his Or-
chestra was at Atlantic City (Convention Hall), 11 May 1941, HC
as pianist. Another notable early performance by Stokowski with HC
as pianist was with the New York Philharmonic at Carnegie Hall,
New York, on the opening concert of the Philharmonic's centennial
season, 9 Oct 1941.
 M (a) Ink fair copy full score (with lettering by Blanche Walton) com-
plete on 35 masters plus cover/title-page, as above; with earlier
title. Four Irish Legends. Ozalid prints, plus copyist's parts, in
FC at PhFL (no. 787p).
(b) Pencil draft full score complete on 35p (titled Four Irish Leg-
ends) in Grainger Museum, University of Melbourne, Australia
 P Materials on rental from AMP since 1943
 C Stokowski toned down the Irish atmosphere a bit by naming the first
movement Deep Tides and the last Country Reel. He also, according
to SRC, felt the need of some unifying feature to better relate the
movements to each other, and of some factor to replace the Irish with
 amore American flavor. HC replied that the only common denomi-
nator he could think of was that all four movements were composed
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