The respect, friendship and conviction of a group of dreamers.

Ivan Lopez

The respect, but above all the admiration that is among the members of a special community of composers, promotes the establishment of a new era of musicians which lay in high America. Both the International Composers Guild (1921-1927), and the Pan-American Association of Composers (1928-1934) they were the platform to carry out propagation of the music of Western Music. Even the thrust coming by New Music Society of California or by Society’s New Music Quarterly was already making noise in some places of America. In my opinion this only could be possible thanks to the empathy of a large group of enthusiastic composers, above all of the respect between each other.

 

Despite sometimes being so far away among them, the confidence they had to left in their hands some score or personal work it encouraged these great musicians to spread his work around the world. Without a doubt these companions of battle used help much among them. At the very beginning guided by Edgar Varèse above all, this group of thirsty artist showed similar concerns and objectives. A letter Varèse wrote to Nicolas Slonimsky in April 26 1931 shows us the confidence they had to praise their music or even ask a personal favor:

 

“Dear Mr. Slonimsky, I have just received the program of your New York concert with the Pan-American Association of Composers, and it is very gratifying for me to know from your program notes how you feel about my music. I hope that when you have your own orchestra you will conduct my big works. Cowell write me of a prospective concert in Paris. May I suggest- may I even insist- that you play Integrales instead of Octandre…” 1

 

The figure of Varèse and his music influenced not only of its time, even years after were pieces that were models to follow up in the musicians of the rock era, such is the case of Frank Zappa:

“On my fifteenth birthday, my mother said she would spend five dollars on me( a lot of money for us then), and asked me what I wanted. I said. “Well, instead of buying me something, why don’t you just let me make a long-distancephone call?”… I decided that I would call Edgar Varèse, I don’t remember exactly what I said when I finally spoke to him- probably something articulate like “Gee I really dig your music.” 2

 

One of the aspects that artist used to promote the music of America was the “Indigenismo”. According to Joel Sachs, “Henry (Cowell) used the word “Indigenous” to signify both the use of native materials and the development of techniques independent of European Models.” 3 The Indigenous adopted by all and each of the cultures that is uncontainable to remove links with Europe.

The attachment to his roots is faith that moves these big musicians to export and helped each other take care of his own music. Edgar Varèse along with Slonimsky took away this great idea of independence of the old continent. Thanks to music representing its ideals but especially those ties that strengthened their friendship and working togheter, the music in America in the first third of the Century is met everywhere. Even though sometimes It didn’t had great success, friendship and resourcefulness carry out this great feat in the history of western music.

 

Bibliography:

Deane L. Root, “The Pan American Association of Composers (1928-1934)”, Anuario Interamericano de Investigacion Musical, Vol 8 (1972) pp/ 49-70, University of Texas Press. Accesed 23-03-2017 20:30 UTC.

1Nicolas Slonimsky, “ Music Since 100”, Fifth Edition. Schirmer Books An imprint of Macmillan Publishing Company. Maxwell Macmillan Canada, Toronto.Charles Scribner’s Sons ( 1937). Fifth edition (1994) pp/ 1050 -1051.

CALL # ML 197 .S634 1994

 

2Oja Carol J., “Making Music Modern: New York in the 1920’s”, Creating a God, The reception of Edgar Varèse” pp. 25  Reviewed by: Bob Gilmore Vol. 83, No4. (Nov,2002).pp. 646-651, Publishes by: Oxford University Press htt://0-www.jstor.org.lib.utep.edu/stable/3526395

 

3Joel Sachs, “Henry Cowell, A Man Made of Music”. Oxford University Press, Inc. 198 Madison Avenue, New York, NY 10016.(2012) pp/ 234-238.

CALL # ML 410 .C859 S23 2012

 

Thomson Virgil, “The State of Music & Other Writings”, The library of America , by Literary Classic of the United States, Inc. New York, N.Y. (2016) pp./  636-44.

CALL # ML 60 .T513 2016

 

Read Gardner , “Style and Orchestration” Foreword by Nicolas Slonimsky. Schimer Books, A Division of Macmillan Publishing Co., Inc. (1979) pp./ 249.

CALL # ML 455 . R4

 

Dawney Michael, “Perfect Pitc: A Life Story by Nicolas Slonimsky” RSA Journal, Vol. 136, No. 5387 (October 1988), p. 846. Royal Society for the Encouragement of Arts, Manufactures and Commerce. http://www.jstor.org/stable/41377313 Accessed: 27-03-2017 07:05 UTC

 

The Panamericans and Martha Graham” The American Magazine of Art, Vol.27, No. 6 (June 1934), p. 340. http://www.jstor.org/stable/23932242 Accessed: 27-03-2017 06:36 UTC

 

Nicolas Slonimsky, “CHARLES IVES: The Man and his Music”. The Choral Journal, Vol 15, No. 5 (January 1975), pp. 15-16. American Choral Directors Association. http://www.jstor.org/stable/23544649 Accessed: 27-03-2017 07:05 UTC

 

El-Dabh Halim “Edgar Varèse” by Fernand Ouellette and Derek Coltman. Music Educators Journal, Vol. 55, No. 3 (Nov.,1968), pp. 119-120. Sage Publications, Inc. on behalf of MENC: The National Association foir Music Education http://www.jstor.org/stable/3392394

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