From the Back Room: Music by Cowell and Ward

The 20th century American composers Henry Cowell and Robert Ward have both appeared here before; in this post we have the Symphony No. 7 from the former and two short orchestral works from the latter.

This is the first post in the second tranche of music from Buster's Back Room: projects rescued by popular acclaim from my own procrastination.

Cowell and Ward were one of the clear winners in the plebiscite; I had no idea folks were still interested in these unfashionable but rewarding composers.

Henry Cowell

For Cowell (1897-1965), the seventh symphony is one of the finest works of his "mature" period, where he put his piano-busting tone clusters aside for more euphonious material.

In his High Fidelity review, Alfred Frankenstein put Cowell's evolution into context: "As Sidney Cowell observes in her jacket notes, the work 'marks the absorption into Cowell's modal style (conspicuous since 1941) of the dissonant polyphonic and harmonic techniques that first established his reputation.' Translated into more general terms, this means that the symphony exhibits a bolder, more monumental, and more personal exploration of folkloric material than was common in Cowell's earlier music; it carries on where the Third Symphony of Ives leaves off and continues the Ives tradition in the noblest vein."

Robert Ward

From Robert Ward (1917-2013), we have his Jubilation Overture and an Adagio and Allegro for Orchestra. Alfred Frankenstein commented, "The solid, horn-colored, somewhat Harris-like sonorities of Robert Ward on the other side of the record are reproduced more successfully than Cowell's open polyphony. Both pieces are very big and broad in style; they convey the epic note without pose or forcing, and they should go far toward increasing interest in the work of this extremely able composer."

Both works were written during World War II, while Ward was in the Army. The Adagio and Allegro are from 1944, and Jubilation - presumably titled in celebration of war's end - was written the following year.

William Strickland

The reviewers were not particularly happy with the performances of the Vienna Symphony under conductor William Strickland (1914-91). Alfred Frankenstein had this to say: "The thinness and lack of clarity in the sound may be due as much to the performance as to the registration; at times one feels as if Strickland were struggling with a half-rehearsed ensemble containing not more than a dozen strings."

Actually, to a degree the skinny sound is an artifact of the recording, although the Vienna Symphony does not have the tonal allure of the same city's Philharmonic. This quality of performance and recording was the norm from the continental ensembles who recorded for such labels as the American Recording Society at the time. This particular release was on the M-G-M label, which also was committed to contemporary American music. The recording was subsidized by the American Composers Alliance.

Strickland, too, was devoted to promoting American music. He was one of the founders of the Nashville Symphony, and was its conductor until 1951.

I believe these are the only recordings of the Cowell symphony and Ward's Adagio and Allegro. There is a later recording of the latter's Jubilation.

For anyone interested in these composers, Cowell's Symphony No. 4 can be found here; Ward's Symphony No. 1 is here and his Symphony No. 3 is here.

LINK

Hanson Conducts Piston, Riegger, Hovhaness and Cowell

Howard Hanson

Composer-conductor Howard Hanson was legendary for his devotion to American music, as exemplified in the "American Music Festival Series" of LPs he conducted for Mercury in the mid-1950s.

We've been slowly making our way through the series. Today we have two albums - one devoted to Walter Piston's Symphony No. 3, the other to works by Wallingford Riegger, Alan Hovhaness and Henry Cowell.

Piston - Symphony No. 3

The third symphony of Walter Piston (1894-1976) is a distinguished work that won a Pulitzer Prize in 1948.

The critic Alfred Frankenstein has described it as follows: "[T]his is a very profound symphony, one of the most important of modern times ... The sonorities of the slow movements are very large and resonant, with strong emphasis on the darker colors; to this is contrasted a singularly vital, brilliant scherzo, and a broad, fine, march-like finale. The whole thing is mature, ripe, reasoned, and elemental in feeling; it is a symphony in the grand style and the great tradition. Hanson plays it with full, keen appreciation of its stature, and Mercury's engineers have given the music their best."

Walter Piston in 1948

The recording comes from 1954, and was made - like most if not all Hanson's recordings - with the Eastman-Rochester Symphony Orchestra in the Eastman Theater. The sound is very similar to the other recordings in the series - clear and just a bit astringent.

Piston's best known work is the ballet suite The Incredible Flutist, which has appeared here in two different recordings by the Boston Pops and Arthur Fiedler - from 1939 and from 1953.

LINK to Piston Symphony No. 3

Music by Riegger, Hovhaness and Henry Cowell

Hanson tended to be conservative musically, and even when he programmed such figures as Wallingford Riegger and Henry Cowell, he was apt to choose their less radical works.

Which is not to say these compositions were without merit. The longest item on this record is the Symphony No. 4 by Cowell (1897-1965). This work is in his later style, markedly less violent and experimental than works using such devices as the tone clusters that made him famous (or notorious).

Henry Cowell

Cowell's colleague Virgil Thomson wrote: "No other composer of our time has produced a body of works so radical and so normal, so penetrating and so comprehensive. Add to this massive production his long and influential career as a pedagogue, and Henry Cowell's achievement becomes impressive indeed. There is no other quite like it."

Another fellow composer, Arthur Berger, said the Cowell symphony "is one of his most successful and congenial achievements. It contains the evocations of early American music that have become a recognizable trademark of Cowell’s style, but never, to my knowledge, has he handled them with more polish. The work is one of the finest examples of the genre that, for want of a better name, we may call 'American neo-Gothic.'"

Wallingford Riegger

The New Dance by Wallingford Riegger (1885-1961) is, again, a conventional work. In its initial form it was part of a longer piece for piano four-hands and percussion written for the Humphrey-Weidman dance group. The composer later orchestrated the final section, which is what Hanson recorded.

Critical opinions were mixed, with Berger calling it slick and Peter Hugh Reed, conversely, writing: "This perorative fragment, based throughout on à single rhythmic patter which juxtaposes the rhumba and conga beats is a stunning tour de force that needs no reference to its primary context for maximal effect."

Alan Hovhaness

Critics tended to be dismissive of Alan Hovhaness (1911-2000), often accusing him of producing meandering, innocuous music. Reed was more positive than most: "The Hovhaness effort, subtitled Arevakal after the Armenian word for the Lenten season, is à recent (1951) opus of a kind with every other composition for which this singular figure is known to concert audiences. That is to say, briefly, that it mingles the modes and melodies of the composer’s homeland with a kind of post-Scriabin theosophy." Audiences did and do find Hovhaness' works attractive, and they are pleasant to hear.

This second LP dates from 1953, and displays sound very similar to the Piston symphony.

Hovhaness's St. Vartan Symphony and The Flowering Peach are available on the blog, both newly remastered. Also on the blog is a suite called Images in Flight, with both Cowell and Hovhaness (and Paul Creston) making use of the Eastern Airlines theme in a promotional effort shepherded by Andre Kostelanetz. The resulting LP ican be found here, along with an unrelated PanAm promotional record.

LINK to the Hanson recording of Riegger, Hovhaness and Cowell

Previous Installments in the American Music Festival Series

• Morton Gould's Latin American Symphonette; Samuel Barber's School for Scandal Overture, Adagio for Strings, Essay for Orchestra No. 1

• Barber's Symphony No. 1; Hanson's Sinfonia Sacra and Cherubic Hymn

• Music for Democracy: Randall Thompson's The Testament of Freedom and Hanson's Songs from Drum Taps.

• Edward MacDowell's Second Indian Suite

• Americana for Solo Winds and String Orchestra, including Hanson's Serenade for Flute, Strings and Harp

• Hanson's Symphony No. 4, along with an alternative recording led by Dean Dixon

• American Music for String Orchestra with works by Mennini, Foote and Canning

• Music of Charles Tomlinson Griffes and Charles Martin Loeffler

Pavane for Two Dead Airlines

I enjoy at least some promotional LPs, and here are two good ones, both honoring now-defunct airlines.

Above we have "The Name of the Game Is Go," issued to celebrate a new advertising campaign, circa 1970, for Pan Am, at the time the largest international airline serving the U.S. The audience was likely travel agents, among others.

Below is a 1965 LP, "Images in Flight," which took the unusual step of having three conservative American composers gussy up the Eastern Airlines theme music into an aural travelogue depicting some of the destinations Eastern served. The cover notes imply that the record was a giveaway for Eastern employees, but I have seen the LP many times over the years, so I suspect its circulation was wider.

Both albums come from a time when air travel was rather more glamorous than it is nowadays. My own flying experience spans the period from when these records were issued until today, and I can tell you the only things I don't miss from those earlier days are cigarette smoke in the cabin and the less sophisticated weather forecasts of the time, which often led to bumpy if not dangerous flights.

But rather than going off into a reverie about the old days, let's look at each of the albums in turn.

Pan Am

The Pan Am record is listed online as coming from 1969, but since it references the Boeing 747, which Pan Am did not fly until 1970, I believe it is from a little later. The first side is devoted to several iterations of "Name of the Game is Go" advertising spots, which feature the catchy theme developed for the campaign and various versions of the clever lyrics. Each spot ends with a segue into the older "Pan Am Makes the Going Great" tagline music.

As usual with advertising jingles, the composer and copywriter for the "Name of the Game" spots are anonymous. However, "Goin's Great" music is also present in two recordings made of the music as adapted into song form, as performed by Sammy Davis, Jr. and Steve Allen circa 1969. The credits ascribe the music to Stanley Applebaum and lyrics to Sammy Cahn. Allen helpfully quotes "Shortnin' Bread" in his piano solo, suggesting where Applebaum may have found inspiration.

Gatefold - click to enlarge

The album's covers and gatefold display the ad campaign's print element. The artwork is by Henry "Hank" Syverson, a cartoonist with a very distinct style who worked for magazines and advertisements.

The music, arrangements, lyrics and artwork are all redolent of the time, and were largely aimed at the tired businessman looking to get away from it all. As was the custom then, women were mainly stereotyped as housewives.

Note (October 2024): this LP has now been remastered.

LINK to The Name of the Game Is Go

Eastern Airlines

The Eastern LP is the result of a collaboration between the airline and Andre Kostelanetz, a high-toned mood music maestro and the conductor of the New York Philharmonic's pops concerts. Kostelanetz then commissioned three reputable composers - Alan Hovhaness, Paul Creston and Henry Cowell - to produce a suite, "Images in Flight," making use of the airline's theme music. As with the Pan Am music, the composer of the Eastern theme is anonymous.

The result, as recorded by the New Yorkers in 1965, is surprisingly palatable in its easy-going way. The album is filled out by an instrumental version of the Eastern theme music, called "Bermuda Concerto" for some reason, as arranged by Clay Wernick (I believe) and performed by studio pianist Dick Hyman and the Kostelanetz ensemble. The balance of the LP consists of reissued Kostelanetz sides mainly on the travel theme.

The sound on these records is generally above average for promotional items, which often have dim sonics. The "Images in Flight" suite sounds quite good.

Note (October 2024): this LP has now been remastered.

LINK to Images in Flight