Naxos continue to dig out interesting
music by fairly obscure composers. There
is a companion disc of Henry Cowell’s
music from the ensemble Continuum (see
link below to a review of both) which
also mixes piano music, song and chamber
music. Given that this was recorded
15 years ago, I would imagine it has
been issued before but I know not where.
Understanding of Cowell’s
music is aided by the biographical information
provided in Joel Sachs’s excellent notes.
He was born in California to Irish parents
who were writers and anarchists. They
separated and Cowell’s education suffered
until he met a Stanford university professor
at the age of 12 who recognized his
various talents. Studying English and
Music at Stanford, his approach was
unorthodox but he was soon composing
and performing his own works. Two of
Cowell’s innovations were the "tone
cluster" based on multiple seconds and
a technique of playing the piano which
involves, in part, playing the strings
directly.
This disc opens with
four piano pieces from the 1920s and
1930s which provide a good demonstration
of these techniques. The quartet which
follows was written in 1954 for the
harpsichordist Sylvia Marlowe. It is
baroque-inspired and succinct but provides
a memorable concoction of styles. The
Anti-Modernist Songs were written
in 1938 after Cowell had been imprisoned
for 15 years; he was paroled after 4
years "to the supervision of Percy Grainger"
– I should imagine they got on well!
The six-movement Suite for violin and
piano dates from 1925. The first and
fifth are particularly striking, with
the piano concentrating on tone clusters
whilst the violin sings from a bygone
age.
The last two pieces
on the disc are for chamber-sized orchestra.
Polyphonica is a taut miniature
whilst the Irish Suite delves
Cowell’s roots. The "string piano" solo
part in the latter essentially means
a piano played using Cowell’s technique.
This part had to be reconstructed by
the soloist, Cheryl Seltzer and the
work was thought to have been unperformed
for 60 years before the recording was
made.
All this music is played
with great conviction by members of
Continuum. Pictures of this ensemble
in the booklet are striking and convey
their enthusiasm. Excellent presentation
and recorded sound, a varied and worthwhile
programme at bargain price, need I say
more?
Turning to the second
volume: If the mood is right, John Cage’s
works for the prepared piano (one with
various items inserted between the strings)
can be quite conducive listening. Henry
Cowell taught Cage but it might be argued
that his innovations were greater. No
artificial aids here but almost every
other means of obtaining different kinds
of sounds from the piano is on offer
(including the usual approach). Each
of the works on this disc features the
piano but the combinations of instruments
(and baritone voice in the songs) are
interestingly varied. Both the Homage
to Iran (which reflects Cowell’s
fascination with Asia) and the Set
of Five include important percussion
parts and the Six Casual Developments
is for clarinet and piano. This latter
piece lasts less than 8 minutes but
is a work of some substance and originality.
Indeed, throughout the programme, Cowell’s
musical personality shines brightly
and is considerably more approachable
than Cage’s. He also taught Gershwin
(who was just a year younger) and admirers
of the great George will recognise the
kinship.
This is even more fascinating
than the first volume. As previously,
there is both commitment and panache
from the performers and a decent recording.
A well-documented and worthy addition
to the American Classics series. Cowell
was a prolific composer who wrote twenty
symphonies and much else besides. Hopefully
Naxos will give us the opportunity to
explore his music further.
Patrick C Waller
Link to Review: http://www.musicweb-international.com/classrev/2005/Jan05/Cowell_Naxos.htm
Continuum/Cheryl Seltzer; Joel Sachs 
