Hostname: page-component-586b7cd67f-dsjbd Total loading time: 0 Render date: 2024-11-25T06:00:24.786Z Has data issue: false hasContentIssue false

An Unlikely Synergy: Lou Harrison and Arnold Schoenberg

Published online by Cambridge University Press:  01 May 2009

Abstract

This essay addresses the unlikely but profound synergy between Arnold Schoenberg and Lou Harrison. Despite their personal rapport and mutual interests in visual art, they held antithetical beliefs about the nature of musical composition. Schoenberg maintained that a composition was the presentation of a metaphysical “Idea.” Harrison saw composition as the process of systematically gathering and assembling resources and techniques.

After studying with Henry Cowell and Schoenberg, Harrison displayed a fascination with musical resources that led him to compose twelve-tone works using disparate compositional tools. A 1937 piano piece combines Schoenberg's methods of variation with Cowell's and Seeger's techniques of “dissonation.” The “Conductus” from the 1942 Suite for Piano, a work inspired by Schoenberg's Suite für Klavier, op. 25, explores all twelve prime forms of the row in light of Cage's square-root form. A nontonal 1944 string quartet ends on a triad like Schoenberg's Ode to Napoleon, op. 41.

In the 1950s Harrison rejected the aims of the total-serialist movement and found his own voice in just intonation instead. By the 1980s all vestiges of twelve-tone technique disappeared from his pieces; however, analogous serial techniques resurfaced in his paintings. Thus Harrison retained deep respect for Schoenberg as a composer, teacher, and friend.

Type
Research Article
Copyright
Copyright © The Society for American Music 2009

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

References

Adorno, Theodor. “On the Problem of Musical Analysis.Music Analysis 1/2 (1982): 169–87.CrossRefGoogle Scholar
Babbitt, Milton. “Some Aspects of Twelve-Tone Composition.The Score and I. M. A. Magazine 12 (1955): 5361.Google Scholar
Baker, Don Russell. “The Percussion Ensemble Music of Lou Harrison, 1939–42.” D.M.A. thesis, University of Illinois at Urbana-Champaign, 1985.Google Scholar
Bernstein David, W. “John Cage, Arnold Schoenberg, and the Musical Idea.” In John Cage: Music, Philosophy, and Intention, 1933–1950, ed. Patterson, David, 1546. New York: Routledge, 2002.Google Scholar
Bernstein David, W. “John Cage's Aesthetics of Indifference.” In The New York Schools of Music and Visual Arts, ed. Johnson, Steven, 113–35. New York: Routledge, 2002.Google Scholar
Bernstein David, W. “Music to the Late 1940s.” In The Cambridge Companion to John Cage, ed. Nicholls, David, 6469. Cambridge: Cambridge University Press, 2002.Google Scholar
Cage, John. “The East in the West.” Asian Music 1/1 (Winter 1968–69): 1518.CrossRefGoogle Scholar
Cage, John. Silence. Middletown, Conn.: Wesleyan University Press, 1961.Google Scholar
Cage, John. I–VI. Cambridge, Mass.: Harvard University Press, 1989.Google Scholar
Carey, Leslie David. “Double Music: A Historio-Analytic Study.” M.A. thesis, University of California at San Diego, 1978.Google Scholar
Carpenter, Patricia. “Grundgestalt as Tonal Function.Music Theory Spectrum 5 (1983): 1538.Google Scholar
Carpenter, Patricia. “Musical Form and Musical Idea: Reflections on a Theme of Schoenberg, Hanslick, and Kant.” In Music and Civilization: Essays in Honor of Paul Henry Lang, ed. Strainchamps, Edmond and Maniates, Maria Rika, with Hatch, Christopher, 394427. New York: W. W. Norton, 1984.Google Scholar
Cowell, Henry. “Atonal and Tonal Systems.” Unpublished manuscript (ca. 1945). Henry Cowell Collection, New York Public Library.Google Scholar
Cowell, Henry. “Current ChronicleMusical Quarterly 35/1 (1949): 111.Google Scholar
Cowell, Henry. “Double Counterpoint.Dune Forum 1/3 (March 1934): 7879.Google Scholar
Cowell, Henry. “The Nature of Melody.” Unpublished typescript (1937). Henry Cowell Collection, New York Public Library.Google Scholar
Cowell, Henry. New Musical Resources. Cambridge: Cambridge University Press, 1996, orig. 1930.CrossRefGoogle Scholar
Cowell, Henry. “Our Inadequate Notation.” In Essential Cowell: Selected Writings on Music, ed. Higgins, Dick, 244–48. New York: McPherson, 2002.Google Scholar
Cowell, Henry. “Review of Bruckner, Mahler, Schoenberg by Dika Newlin.Musical Quarterly 33/3 (1947): 410–12.Google Scholar
Cowell, Henry. “Who Is the Greatest Living Composer?Northwest Musical Herald 7 (March–April 1933): 78.Google Scholar
Cowell, Sidney Robertson. “The Cowells and the Written Word.” In A Celebration of American Music: Words and Music in Honor of H. Wiley Hitchcock, ed. Crawford, Richard, Lott, R. Allen, and Oja, Carol J., 7991. Ann Arbor: University of Michigan Press, 1990.Google Scholar
Crawford, Dorothy Lamb. Evenings on and off the Roof: Pioneering Concerts in Los Angeles, 1939–1971. Berkeley: University of California Press, 1995.Google Scholar
Cross Charlotte, M.Three Levels of ‘Idea’ in Schoenberg's Thought and Work.” Current Musicology 30 (1980): 2436.Google Scholar
Feisst, Sabine. “Henry Cowell und Arnold Schönberg: eine unbekannte Freundschaft.Archiv für Musikwissenschaft 55/1 (1998): 5771.CrossRefGoogle Scholar
Forte, Allen. “Theory.” In The Dictionary of Contemporary Music, ed. Vinton, John, 756. New York: E. P. Dutton, 1974.Google Scholar
Frankenstein, Alfred. “The Wind Quintet's Virtuosity.” San Francisco Chronicle, 17 April 1963.Google Scholar
Fuller, Donald. “Russian and American Season.” Modern Music 22 (1944–45): 254–57.Google Scholar
Gann, Kyle. American Music in the Twentieth Century. New York: Schirmer Books, 1997.Google Scholar
Gann, Kyle. “Subversive Prophet: Henry Cowell as Theorist and Critic.” In The Whole World of Music: A Henry Cowell Symposium, ed. Nicholls, David, 171221. Amsterdam: Harwood Academic, 1997.Google Scholar
Garland, Peter, ed. A Lou Harrison Reader. Santa Fe, N.M.: Soundings Press, 1987.Google Scholar
George, William. “Adolph Weiss.” Ph.D. diss., University of Iowa, 1971.Google Scholar
Goldberg, Albert. “Schoenberg Looks Backward—and Ahead.” Los Angeles Times, 26 September 1948.Google Scholar
Greer, Taylor Aitken. A Question of Balance: Charles Seeger's Philosophy of Music. Berkeley: University of California Press, 1998.CrossRefGoogle Scholar
Harrison, Lou. “Carl Ruggles.” In A Lou Harrison Reader, ed. Garland, Peter, 4344. Santa Fe, N.M.: Soundings Press, 1987.Google Scholar
Harrison, Lou. “Homage to Schoenberg: The Late Works.” Modern Music 21/3 (March–April 1944): 134–38.Google Scholar
Harrison, Lou. Joys and Perplexities: Selected Poems of Lou Harrison. Winston-Salem, N.C.: Jargon Society, 1992.Google Scholar
Harrison, Lou. Music Primer. New York: C. F. Peters, 1971.Google Scholar
Harrison, Lou. “Schoenberg in Several Ways.National Centre for the Performing Arts (Bombay) Quarterly Journal 4 (1975): 934.Google Scholar
Harrison, Lou. “Schoenberg's Birthday; Thomson's Bugles.” Modern Music 22 (November 1944–June 1945): 107–11.Google Scholar
Hicks, Michael. “John Cage's Studies with Schoenberg.American Music 8/2 (1990): 125–40.CrossRefGoogle Scholar
Higgins, Dick, ed. Essential Cowell: Selected Writings on Music. New York: McPherson, 2002.Google Scholar
Hisama, Ellie. Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon. Cambridge: Cambridge University Press, 2001.Google Scholar
Hitchcock, H. Wiley. “Henry Cowell's Ostinato Pianissimo.Musical Quarterly 70/1 (1984): 2344.Google Scholar
Kawabata, Maiko. “Schoenberg at UCLA: Reminiscences with Leonard Stein.Echo 2/2 (2000): 116.Google Scholar
Kim, Na Young. “An Analysis of and Performance Guide to Lou Harrison's Suite for Piano and Kenneth Leighton's Six Studies: Study-Variations, Op. 56.” D.M.A. thesis, The Ohio State University, 2004.Google Scholar
Laban, Rudolf. The Language of Movement; A Guidebook to Choreutics, ed. Ullmann, Lisa. Boston: Plays, 1974.Google Scholar
Mead Rita, H.. “Henry Cowell's New Music Society.Journal of Musicology 1/4 (1982): 449–63.CrossRefGoogle Scholar
Miller Leta, E. “The Art of Noise: John Cage, Lou Harrison, and the West Coast Percussion Ensemble.” In Perspectives on American Music 1900–1950, ed. Saffle, Michael, 215–64. New York: Garland, 2000.Google Scholar
Miller Leta, E.. “Henry Cowell and Modern Dance: The Genesis of Elastic Form.American Music 20/1 (2002): 124.CrossRefGoogle Scholar
Miller Leta, E.Lou Harrison and the Aesthetics of Revision, Alteration, and Self-Borrowing.” Twentieth-Century Music 2/1 (March 2005): 129.Google Scholar
Miller Leta, E. Lou Harrison: Selected Keyboard and Chamber Music, 1937–1994. Music in the United States of America 8. Madison, Wisc.: A-R Editions, 1998.Google Scholar
Miller Leta, E.. “Method and Madness in Lou Harrison's Rapunzel.Journal of Musicology 19/1 (2002): 85124.Google Scholar
Miller, Leta E., and Lieberman, Fredric. Composing a World: Lou Harrison, Musical Wayfarer. Urbana: University of Illinois Press, 2004.Google Scholar
Miller, Leta E., and Lieberman, Fredric. Lou Harrison. Urbana: University of Illinois Press, 2006.Google Scholar
Neff, Severine. “Schoenberg and Goethe: Organicism and Analysis.” In Music Theory and the Exploration of the Past, ed. Hatch, Christopher and Bernstein, David W., 409–33. Chicago: University of Chicago Press, 1993.Google Scholar
Neff, Severine. “Schoenberg as Theorist: Three Forms of Presentation.” In Schoenberg and His World, ed. Frisch, Walter, 5583. Princeton, N.J.: Princeton University Press, 1999.Google Scholar
Nicholls, David. American Experimental Music (1890–1940). Cambridge: Cambridge University Press, 1990.Google Scholar
Nicholls, David. “‘Nicht jedermann kann ein Waisenkind sein’: John Cage und die Ultramodernen.MusikTexte 106 (2005): 2630.Google Scholar
Perlis, Vivian. Charles Ives Remembered: An Oral History. New Haven, Conn.: Yale University Press, 1974.Google Scholar
Pritchett, James. The Music of John Cage. Cambridge: Cambridge University Press, 1993.Google Scholar
Rao, Nancy Yunhwa. “American Compositional Theory in the 1930s: Scale and Exoticism in ‘The Nature of Melody’ by Henry Cowell.Musical Quarterly 85/4 (2001): 595640.CrossRefGoogle Scholar
Rao, Nancy Yunhwa. “Partnership in Modern Music: Charles Seeger and Ruth Crawford, 1929–31.American Music 15/3 (1997): 352–80.CrossRefGoogle Scholar
Ravenscroft, Brenda. “Working Out the ‘Is-Tos and As-Tos’: Lou Harrison's Fugue for Percussion.Perspectives of New Music 38/1 (2000): 2543.CrossRefGoogle Scholar
Rischitelli, Victor. “Henry Cowell (1897–1965) and the Impact of His First European Tour.” M.A. thesis, Australian Catholic University, 2005.Google Scholar
Rutman, Neil. “The Solo Piano Works of Lou Harrison.” D.M.A. thesis, Peabody Institute of the Johns Hopkins University, 1982.Google Scholar
Scharenberg, Sointu. Überwinden der Prinzipien. Betrachtungen zu Arnold Schönbergs unkonventioneller Lehrtätigkeit zwischen 1898 und 1951. Saarbrücken: Pfau Verlag, 2002.Google Scholar
Schoenberg, Arnold. “Geistig-Sinnlich” (Intellectual-Sensual). Unpublished manuscript T01.08, 4 December 1931. Arnold Schönberg Center, Vienna, Austria.Google Scholar
Schoenberg, Arnold. Models for Beginners in Composition. New York: G. Schirmer, 1942.Google Scholar
Schoenberg, Arnold. The Musical Idea and the Logic, Technique and Art of Its Presentation, ed. and trans. Carpenter, Patricia and Neff, Severine. New York: Columbia University Press, 1995.Google Scholar
Schoenberg, Arnold. “My Subject: Beauty and Logic in Music.” Unpublished manuscript T67.02, undated. Arnold Schönberg Center, Vienna, Austria.Google Scholar
Schoenberg, Arnold. Preliminary Exercises in Counterpoint, ed. Stein, Leonard. New York: St. Martin's Press, 1964.Google Scholar
Schoenberg, Arnold. Style and Idea: The Selected Writings of Arnold Schoenberg, ed. Stein, Leonard, trans. Black, Leo. Berkeley: University of California Press, 1984.Google Scholar
Schoenberg, Arnold. Zusammenhang, Kontrapunkt, Instrumentation, Formenlehre/Coherence, Counterpoint, Instrumentation, Instruction in Form, ed. Neff, Severine, trans. Cross, Charlotte M. and Neff, Severine. Lincoln: University of Nebraska Press, 1994.Google Scholar
Seeger, Charles. “On Dissonant Counterpoint,” Modern Music 7/4 (1930): 2531.Google Scholar
Seeger, Charles. “Tradition and Experiment in the New Music.” In Studies in Musicology II, ed. Pescatello, Ann M., Section I, 17274. Berkeley: University of California Press, 1994.Google Scholar
Shoaf, Wayne. “Schoenberg on Inspiration.Newsletter of the Arnold Schoenberg Institute 1/1 (1987): 13.Google Scholar
Slonimsky, Nicolas. Perfect Pitch: A Life Story. Oxford: Oxford University Press, 1988.Google Scholar
Stein, Erwin, ed. Arnold Schoenberg: Letters. New York: St. Martin's Press, 1964.Google Scholar
Straus, Joseph. The Music of Ruth Crawford Seeger. Cambridge: Cambridge University Press, 1995.Google Scholar
Straus, Noel. “Schoenberg at the Age of 70.” New York Times, 10 September 1944.Google Scholar
Stuckenschmidt, H. H. Arnold Schoenberg: His Life, World, and Work, trans. Searle, Humphrey. New York: Schirmer Books, 1977.Google Scholar
Tick, Judith. “Dissonant Counterpoint Revisited: The First Movement of Ruth Crawford Seeger's String Quartet of 1931.” In A Celebration of American Music: Words and Music in Honor of H. Wiley Hitchcock, ed. Crawford, Richard, Lott, R. Allen, and Oja, Carol J., 405–21. Ann Arbor: University of Michigan Press, 1990.Google Scholar
Tomkins, Calvin. The Bride and the Bachelors: Five Masters of the Avant Garde. New York: Penguin Books, 1976.Google Scholar
Tusler Adelaide, G. “Interview with Peter Yates”, Evenings on the Roof, 1939–1954. Under the auspices of the Oral History Program. Los Angeles: University of California at Los Angeles, 1972.Google Scholar
Von, Gunden, Heidi, A. The Music of Lou Harrison. Metuchen, N.J.: Scarecrow Press, 1995.Google Scholar
Weisgall, Hugo. “The Music of Henry Cowell.Musical Quarterly 45/4 (1959): 484507.CrossRefGoogle Scholar
Weiss, Adolph. “The Lyceum of Schoenberg.Modern Music 9 (1932): 99107.Google Scholar

Discography

Boriskin, Michael. “The Equal-Tempered Lou Harrison.” Newport Classics NPD 85520, 1995.Google Scholar
California, Wind Quintet. Schoenbergiana. Unpublished CD. The Lou Harrison Collection, University of California at Santa Cruz.Google Scholar

Schoenbergiana sound file

Schoenbergiana sound file

Download Schoenbergiana sound file(Video)
Video 6.3 MB