Cowell, Henry. (1897 - 1965). Encores. Opus I. - Autograph Manuscript and Archive. A highly important archive from the pioneering American composer best known for his experimental, avant-garde works employing a wide range of innovative sonic resources, including new ways of playing the piano. The autograph manuscript is of the composer's hitherto unpublished and previously thought lost complete Opus I composition, of central importance to a complete understanding of the composer's oeuvre.
Autograph Manuscript in pencil. Upright folio (10.5 x 13.75 inches), 52 pages, on "Melodie" manuscript paper, contained within a heavy blue rag paper folder, the cover recto inscribed by the composer in gold ink "Encores by Henry Cowell, Opus I," with a complete Index on the verso listing the names, numbers and pagination of each of the included twelve included short works. The individual compositions each titled, signed "H. Cowell," many also including dedications at the head. In fine condition, with light handling wear, the covers separated at the spine.
From the estate of Royal Heath, sold together with the following supporting items, all from her collection:
Autograph Letter, signed "Henry," two pages, 6 x 9, in envelope postmarked January 25, 1917, addressed to Mrs. Royal Heath. In full: "I should have written before now, but everything seems in such a rumpus. But I appreciate your letter just the same, and was glad to get it. // I have studied at the...Institute for the past months, but it somehow seems so unmusical, I have given it up, and will study with Leo Ornstein if possible. The main thing is I hear quantitys [sic] of music. I have been a lot to the Metropolitan opera - they always have such good casts - Caruso, Farrar, Homer, Schuman Heink, Gadski, Scotti etc. And I hear the Boston, NY, and Philadelphia Symphony Orchestras. Besides lots of smaller concerts. I have had the good fortune to be introduced to the Manager of Steinway's and he send me tickets for almost everything. // Well, I am just now beginning with my pen in my mouth! And I don't think of a thing to say! // How are you and the family, you will write again, won't you, and tell me of the garden. I will see you again this summer. Affectionately , Henry."
Autograph noted signed "Henry" on a 1918 Holiday postcard addressed to Mrs. Royal Heath. In full: "A Merry Christmas! did you think I was dead? but I have only been lazy. Sincerely, Henry Cowell."
Facsimile of a 1-page composition titled "For Xmas '20," signed and inscribed at the bottom in green ink: "Dear Mrs. Heath: A Merry Xmas to you and the family. Have been hoping to see you, but nary seem to be able to - Henry."
Broadside poster "What Critics Say of Henry Cowell," 12 x 18.5 inches, featuring an inset portrait of the composer, inscribed in red ink "Palo Alto Recital: At Castilleja School / Sunday aft. May 10th at 3:30 / $1.00," and inscribed on the verso "Please help by informing your friends of this recital - Henry / Hope to see you soon." Contained in an envelope addressed to Mrs. Royal Heath, postmarked December 10, 1922.
Original outdoor snapshot photograph of Henry Cowell wearing overalls, a basket hanging from one arm while the other clutches a bunch of tree clippings. The verso inscribed "Henry / 1911."
Five original concert programs, 1920 - 1922, together with a clipped halftone photograph and an amusing newspaper clipping [Collier's, 2 May 1925], "He Thumps his Way to Fame."
In overall fine condition.
Born in Menlo Park, California in 1897 to a family of philosophical anarchists, Henry Cowell was recognized early as an uncommonly gifted child. From an early age, he studied the violin, mastered the piano, and read extensively in many fields. Home-schooled by his mother Clarissa, he received little formal education until, at the age of seventeen, he had the good fortune to be sent to study with Charles Seeger, who had been recently appointed Chairman of the Music Department at UC Berkeley. In "Henry Cowell, Bohemian" (p. 35), Michael Hicks notes that "a few days before Henry's fifteenth birthday he began taking lessons with a neighbor in exchange for his gardening services (an hour for an hour)" but that "within five weeks the neighbor left town." It seems likely, given the mention of "the garden" in the letter here, that this neighbor was, in fact, Mrs. Royal Heath. Indeed, Heath appears from 1912 onwards in references in the "Palo Alto Society" section of the San Francisco Call newspaper, and was evidently involved in various social and church committees. An early supporter and encourager of Cowell, they clearly remained in touch through at least 1922, during which time he sent her the present letters and programs and to whom he gifted the present manuscript of the Encores.
In a 12 January, 1913 letter to his father, Henry Cowell proudly writes that "I have finished Opus I by Henry Cowell, and bound it, as a Christmas present to myself." The collection of short pieces includes generic titles such as "Etude" or "Scherzo," as well as more evocative ones such as "The Cloudlet" or "The Lotus," and nine of the works bear dedications, including one to his father and the rest to female neighbors. Until the discovery of the present manuscript, only two of the twelve works were known to survive. Writing of the 46-measure "Flashes of Hell," Michael Hicks writes that it "foreshadows much of Cowell's writing over a lifetime" and that "although many of its predilections would be trained out of him, this early piece harbors traits that would characterize much of his later and more celebrated music: the musical restlessness of youth in the form of velocity without direction and activity without structure." (Hicks, p. 36)
Autograph Manuscript in pencil. Upright folio (10.5 x 13.75 inches), 52 pages, on "Melodie" manuscript paper, contained within a heavy blue rag paper folder, the cover recto inscribed by the composer in gold ink "Encores by Henry Cowell, Opus I," with a complete Index on the verso listing the names, numbers and pagination of each of the included twelve included short works. The individual compositions each titled, signed "H. Cowell," many also including dedications at the head. In fine condition, with light handling wear, the covers separated at the spine.
From the estate of Royal Heath, sold together with the following supporting items, all from her collection:
Autograph Letter, signed "Henry," two pages, 6 x 9, in envelope postmarked January 25, 1917, addressed to Mrs. Royal Heath. In full: "I should have written before now, but everything seems in such a rumpus. But I appreciate your letter just the same, and was glad to get it. // I have studied at the...Institute for the past months, but it somehow seems so unmusical, I have given it up, and will study with Leo Ornstein if possible. The main thing is I hear quantitys [sic] of music. I have been a lot to the Metropolitan opera - they always have such good casts - Caruso, Farrar, Homer, Schuman Heink, Gadski, Scotti etc. And I hear the Boston, NY, and Philadelphia Symphony Orchestras. Besides lots of smaller concerts. I have had the good fortune to be introduced to the Manager of Steinway's and he send me tickets for almost everything. // Well, I am just now beginning with my pen in my mouth! And I don't think of a thing to say! // How are you and the family, you will write again, won't you, and tell me of the garden. I will see you again this summer. Affectionately , Henry."
Autograph noted signed "Henry" on a 1918 Holiday postcard addressed to Mrs. Royal Heath. In full: "A Merry Christmas! did you think I was dead? but I have only been lazy. Sincerely, Henry Cowell."
Facsimile of a 1-page composition titled "For Xmas '20," signed and inscribed at the bottom in green ink: "Dear Mrs. Heath: A Merry Xmas to you and the family. Have been hoping to see you, but nary seem to be able to - Henry."
Broadside poster "What Critics Say of Henry Cowell," 12 x 18.5 inches, featuring an inset portrait of the composer, inscribed in red ink "Palo Alto Recital: At Castilleja School / Sunday aft. May 10th at 3:30 / $1.00," and inscribed on the verso "Please help by informing your friends of this recital - Henry / Hope to see you soon." Contained in an envelope addressed to Mrs. Royal Heath, postmarked December 10, 1922.
Original outdoor snapshot photograph of Henry Cowell wearing overalls, a basket hanging from one arm while the other clutches a bunch of tree clippings. The verso inscribed "Henry / 1911."
Five original concert programs, 1920 - 1922, together with a clipped halftone photograph and an amusing newspaper clipping [Collier's, 2 May 1925], "He Thumps his Way to Fame."
In overall fine condition.
Born in Menlo Park, California in 1897 to a family of philosophical anarchists, Henry Cowell was recognized early as an uncommonly gifted child. From an early age, he studied the violin, mastered the piano, and read extensively in many fields. Home-schooled by his mother Clarissa, he received little formal education until, at the age of seventeen, he had the good fortune to be sent to study with Charles Seeger, who had been recently appointed Chairman of the Music Department at UC Berkeley. In "Henry Cowell, Bohemian" (p. 35), Michael Hicks notes that "a few days before Henry's fifteenth birthday he began taking lessons with a neighbor in exchange for his gardening services (an hour for an hour)" but that "within five weeks the neighbor left town." It seems likely, given the mention of "the garden" in the letter here, that this neighbor was, in fact, Mrs. Royal Heath. Indeed, Heath appears from 1912 onwards in references in the "Palo Alto Society" section of the San Francisco Call newspaper, and was evidently involved in various social and church committees. An early supporter and encourager of Cowell, they clearly remained in touch through at least 1922, during which time he sent her the present letters and programs and to whom he gifted the present manuscript of the Encores.
In a 12 January, 1913 letter to his father, Henry Cowell proudly writes that "I have finished Opus I by Henry Cowell, and bound it, as a Christmas present to myself." The collection of short pieces includes generic titles such as "Etude" or "Scherzo," as well as more evocative ones such as "The Cloudlet" or "The Lotus," and nine of the works bear dedications, including one to his father and the rest to female neighbors. Until the discovery of the present manuscript, only two of the twelve works were known to survive. Writing of the 46-measure "Flashes of Hell," Michael Hicks writes that it "foreshadows much of Cowell's writing over a lifetime" and that "although many of its predilections would be trained out of him, this early piece harbors traits that would characterize much of his later and more celebrated music: the musical restlessness of youth in the form of velocity without direction and activity without structure." (Hicks, p. 36)
Cowell, Henry. (1897 - 1965). Encores. Opus I. - Autograph Manuscript and Archive. A highly important archive from the pioneering American composer best known for his experimental, avant-garde works employing a wide range of innovative sonic resources, including new ways of playing the piano. The autograph manuscript is of the composer's hitherto unpublished and previously thought lost complete Opus I composition, of central importance to a complete understanding of the composer's oeuvre.
Autograph Manuscript in pencil. Upright folio (10.5 x 13.75 inches), 52 pages, on "Melodie" manuscript paper, contained within a heavy blue rag paper folder, the cover recto inscribed by the composer in gold ink "Encores by Henry Cowell, Opus I," with a complete Index on the verso listing the names, numbers and pagination of each of the included twelve included short works. The individual compositions each titled, signed "H. Cowell," many also including dedications at the head. In fine condition, with light handling wear, the covers separated at the spine.
From the estate of Royal Heath, sold together with the following supporting items, all from her collection:
Autograph Letter, signed "Henry," two pages, 6 x 9, in envelope postmarked January 25, 1917, addressed to Mrs. Royal Heath. In full: "I should have written before now, but everything seems in such a rumpus. But I appreciate your letter just the same, and was glad to get it. // I have studied at the...Institute for the past months, but it somehow seems so unmusical, I have given it up, and will study with Leo Ornstein if possible. The main thing is I hear quantitys [sic] of music. I have been a lot to the Metropolitan opera - they always have such good casts - Caruso, Farrar, Homer, Schuman Heink, Gadski, Scotti etc. And I hear the Boston, NY, and Philadelphia Symphony Orchestras. Besides lots of smaller concerts. I have had the good fortune to be introduced to the Manager of Steinway's and he send me tickets for almost everything. // Well, I am just now beginning with my pen in my mouth! And I don't think of a thing to say! // How are you and the family, you will write again, won't you, and tell me of the garden. I will see you again this summer. Affectionately , Henry."
Autograph noted signed "Henry" on a 1918 Holiday postcard addressed to Mrs. Royal Heath. In full: "A Merry Christmas! did you think I was dead? but I have only been lazy. Sincerely, Henry Cowell."
Facsimile of a 1-page composition titled "For Xmas '20," signed and inscribed at the bottom in green ink: "Dear Mrs. Heath: A Merry Xmas to you and the family. Have been hoping to see you, but nary seem to be able to - Henry."
Broadside poster "What Critics Say of Henry Cowell," 12 x 18.5 inches, featuring an inset portrait of the composer, inscribed in red ink "Palo Alto Recital: At Castilleja School / Sunday aft. May 10th at 3:30 / $1.00," and inscribed on the verso "Please help by informing your friends of this recital - Henry / Hope to see you soon." Contained in an envelope addressed to Mrs. Royal Heath, postmarked December 10, 1922.
Original outdoor snapshot photograph of Henry Cowell wearing overalls, a basket hanging from one arm while the other clutches a bunch of tree clippings. The verso inscribed "Henry / 1911."
Five original concert programs, 1920 - 1922, together with a clipped halftone photograph and an amusing newspaper clipping [Collier's, 2 May 1925], "He Thumps his Way to Fame."
In overall fine condition.
Born in Menlo Park, California in 1897 to a family of philosophical anarchists, Henry Cowell was recognized early as an uncommonly gifted child. From an early age, he studied the violin, mastered the piano, and read extensively in many fields. Home-schooled by his mother Clarissa, he received little formal education until, at the age of seventeen, he had the good fortune to be sent to study with Charles Seeger, who had been recently appointed Chairman of the Music Department at UC Berkeley. In "Henry Cowell, Bohemian" (p. 35), Michael Hicks notes that "a few days before Henry's fifteenth birthday he began taking lessons with a neighbor in exchange for his gardening services (an hour for an hour)" but that "within five weeks the neighbor left town." It seems likely, given the mention of "the garden" in the letter here, that this neighbor was, in fact, Mrs. Royal Heath. Indeed, Heath appears from 1912 onwards in references in the "Palo Alto Society" section of the San Francisco Call newspaper, and was evidently involved in various social and church committees. An early supporter and encourager of Cowell, they clearly remained in touch through at least 1922, during which time he sent her the present letters and programs and to whom he gifted the present manuscript of the Encores.
In a 12 January, 1913 letter to his father, Henry Cowell proudly writes that "I have finished Opus I by Henry Cowell, and bound it, as a Christmas present to myself." The collection of short pieces includes generic titles such as "Etude" or "Scherzo," as well as more evocative ones such as "The Cloudlet" or "The Lotus," and nine of the works bear dedications, including one to his father and the rest to female neighbors. Until the discovery of the present manuscript, only two of the twelve works were known to survive. Writing of the 46-measure "Flashes of Hell," Michael Hicks writes that it "foreshadows much of Cowell's writing over a lifetime" and that "although many of its predilections would be trained out of him, this early piece harbors traits that would characterize much of his later and more celebrated music: the musical restlessness of youth in the form of velocity without direction and activity without structure." (Hicks, p. 36)
Autograph Manuscript in pencil. Upright folio (10.5 x 13.75 inches), 52 pages, on "Melodie" manuscript paper, contained within a heavy blue rag paper folder, the cover recto inscribed by the composer in gold ink "Encores by Henry Cowell, Opus I," with a complete Index on the verso listing the names, numbers and pagination of each of the included twelve included short works. The individual compositions each titled, signed "H. Cowell," many also including dedications at the head. In fine condition, with light handling wear, the covers separated at the spine.
From the estate of Royal Heath, sold together with the following supporting items, all from her collection:
Autograph Letter, signed "Henry," two pages, 6 x 9, in envelope postmarked January 25, 1917, addressed to Mrs. Royal Heath. In full: "I should have written before now, but everything seems in such a rumpus. But I appreciate your letter just the same, and was glad to get it. // I have studied at the...Institute for the past months, but it somehow seems so unmusical, I have given it up, and will study with Leo Ornstein if possible. The main thing is I hear quantitys [sic] of music. I have been a lot to the Metropolitan opera - they always have such good casts - Caruso, Farrar, Homer, Schuman Heink, Gadski, Scotti etc. And I hear the Boston, NY, and Philadelphia Symphony Orchestras. Besides lots of smaller concerts. I have had the good fortune to be introduced to the Manager of Steinway's and he send me tickets for almost everything. // Well, I am just now beginning with my pen in my mouth! And I don't think of a thing to say! // How are you and the family, you will write again, won't you, and tell me of the garden. I will see you again this summer. Affectionately , Henry."
Autograph noted signed "Henry" on a 1918 Holiday postcard addressed to Mrs. Royal Heath. In full: "A Merry Christmas! did you think I was dead? but I have only been lazy. Sincerely, Henry Cowell."
Facsimile of a 1-page composition titled "For Xmas '20," signed and inscribed at the bottom in green ink: "Dear Mrs. Heath: A Merry Xmas to you and the family. Have been hoping to see you, but nary seem to be able to - Henry."
Broadside poster "What Critics Say of Henry Cowell," 12 x 18.5 inches, featuring an inset portrait of the composer, inscribed in red ink "Palo Alto Recital: At Castilleja School / Sunday aft. May 10th at 3:30 / $1.00," and inscribed on the verso "Please help by informing your friends of this recital - Henry / Hope to see you soon." Contained in an envelope addressed to Mrs. Royal Heath, postmarked December 10, 1922.
Original outdoor snapshot photograph of Henry Cowell wearing overalls, a basket hanging from one arm while the other clutches a bunch of tree clippings. The verso inscribed "Henry / 1911."
Five original concert programs, 1920 - 1922, together with a clipped halftone photograph and an amusing newspaper clipping [Collier's, 2 May 1925], "He Thumps his Way to Fame."
In overall fine condition.
Born in Menlo Park, California in 1897 to a family of philosophical anarchists, Henry Cowell was recognized early as an uncommonly gifted child. From an early age, he studied the violin, mastered the piano, and read extensively in many fields. Home-schooled by his mother Clarissa, he received little formal education until, at the age of seventeen, he had the good fortune to be sent to study with Charles Seeger, who had been recently appointed Chairman of the Music Department at UC Berkeley. In "Henry Cowell, Bohemian" (p. 35), Michael Hicks notes that "a few days before Henry's fifteenth birthday he began taking lessons with a neighbor in exchange for his gardening services (an hour for an hour)" but that "within five weeks the neighbor left town." It seems likely, given the mention of "the garden" in the letter here, that this neighbor was, in fact, Mrs. Royal Heath. Indeed, Heath appears from 1912 onwards in references in the "Palo Alto Society" section of the San Francisco Call newspaper, and was evidently involved in various social and church committees. An early supporter and encourager of Cowell, they clearly remained in touch through at least 1922, during which time he sent her the present letters and programs and to whom he gifted the present manuscript of the Encores.
In a 12 January, 1913 letter to his father, Henry Cowell proudly writes that "I have finished Opus I by Henry Cowell, and bound it, as a Christmas present to myself." The collection of short pieces includes generic titles such as "Etude" or "Scherzo," as well as more evocative ones such as "The Cloudlet" or "The Lotus," and nine of the works bear dedications, including one to his father and the rest to female neighbors. Until the discovery of the present manuscript, only two of the twelve works were known to survive. Writing of the 46-measure "Flashes of Hell," Michael Hicks writes that it "foreshadows much of Cowell's writing over a lifetime" and that "although many of its predilections would be trained out of him, this early piece harbors traits that would characterize much of his later and more celebrated music: the musical restlessness of youth in the form of velocity without direction and activity without structure." (Hicks, p. 36)