Young and Matured Henry Cowell with his music note.
 
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(4) ♩ = 120, p5-6
(5) ♩=100-♩=60, p6-7 .
 D HC to Olive Cowell, 3 Feb 1941: ". . . just finished the music (5
movements) for Erick Hawkins's dance." Written at the request of
Erick Hawkins for his first solo dance recital.
 I Wind: Chinese fl & ob, Hungarian pipe [tarogato?], English rec in
C. Perc: low rattle, tom-tom (sm), low dr, thunder stick. "All
movements may be played on an ordinary flute if preferred."
 F YMHA Dance Theatre, New York, 20 Apr 1941. The program an-
nounced in the New York Times and New York Herald-Tribune that
morning and the printed program in the YMHA Archives both specify
only "piano by Ralph Gilbert" as accompaniment. But SBC, who was
there, says that HC played the wind instruments and Ralph Gilbert
the percussion; and several dance reviewers mention HC's masterful
use in his score of exotic instruments, one going so far as to mention
the Chinese oboe. Evidently the program was made up and sent to
the printer and to the newspapers before the more elaborate last-
minute arrangements were made.
 M (a) Ink score on 7 masters
(b) Pencil condensed score complete, with ink emendations and
many dance cues, on 4p
 P Two MS scores reproduced in facsimile in Soundings 11, copyright
1981 by Soundings Press, Santa Fe, NM: source (a) on p2-8, hand-
printed score made by Eugene E. Bowen, plO-17
 C The unusual score drew unusually favorable reviews. Edwin Denby,
in Modem Music 18:4 (May-Jun 1941), p270: "I enjoyed Henry
Cowell's music for the Coyote dance on the program, and noticed
again how an interesting accompaniment helps me watch a dance
in a friendly and lively spirit." Robert Sabin, Dance Scope 2:2 (May-
Jun 1941), p8: ". . . one of the best dance scores written in years.
 .. . like other Cowell dance scores [it] employed some of the unusual
percussion instruments."
610 Indiana University Overture [for orchestra] 1941
Moderate - Allegro non troppo - Lento espressivo - Faster - March
 D 18 Feb 1941. This work, like no. 598, was commissioned in the sum-
mer of 1940 by Fabien Sevitzky, then director of the Indianapolis Sym-
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