Young and Matured Henry Cowell with his music note.
 
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 C Many have misunderstood HC's use of the "hymn and fuguing tune"
form, some even assuming that he actually used melodies from the
Billings period. This is his statement in the published score of No. 1:
[This work] is written in a manner which is frankly influenced by
the early American style of Billings and of Walker. However, the early
style is not exactly imitated, nor are any of the tunes and melodies
taken from these early masters. Rather, I asked myself the question,
What would have happened in America if this fine, serious early style
had developed? [This work] which uses old modes [and] open chords
... is a modern version of this old style.
652 Improvisation on a Persian Mode for Orchestra 1943
Moderate (♩ = 90). With great fervor?always with intensity of tone
 D 1943. "Written for Persian Desk, O.W.I."
 I 2122 22(1 opt)21(opt) 2 dr (sm, Ig) harp str
 M (a) Ink score complete in 39m on 3 masters in CC at NYPL; ozalid
prints at LC
(b) Pencil draft, titled Persia, complete in 37m of condensed score
on Ip
 C During 1943-45 HC was a senior music editor in the overseas branch
of the Office of War Information in Washington.
653 Stonecrop For any two treble instruments 1943
Allegro moderate
 D 1943
 I "Recorders in C" designated at the end
 M Ink score by SRC complete in 23m on 1 master, in CC at NYPL;
machine copy at LC
 C At the beginning the parts are designated "Miss [Anita] Smith" and
"Miss [Alice] Henderson." "Idea by Sidney R. Cowell."
654 Fabric Ending (Finale) [for piano]
Fairly fast?resolutely
 D [1943?] This piece, "for Si-lan Chen," the dancer (female), seems to
have no connection with the earlier Fabric (no. 307); perhaps the
dancer had choreographed Fabric and needed a new ending.
 M Pencil draft complete in 22m on Ip
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