3;L

A CRITICAL ANALYSIS OF THE WORKS OF LEO SOWERBY

THESIS

Presented to the Graduate Council of the ]orth

Texas State Teachers College in Partial

Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

By

0. G. Parks, B. M.

Beaumont, Texas

August, 1941

9(P42 91742

TABLE OF CONTENTS

Page LIST OF ILLUSTRATIONS ...... iv Chapter I. INTRODUCTION TO TMSTUvDy.. 1 The Problem teed for the Study Reliability of the Data Sources of Information Organization of the Study

II. BIOGRAPHICAL SKETCH OF LEO SOWERBY 5

SIGNIFICAITT ASPECTS OF THE SOERBY STYLE. 12 IV. A STUDY OF REPIESETATIVE SOWiYREBY CO10OSITIO.TS 25

V. LEO S(WERBY'S PLACE IN UMRICAK ISIC...... 56

VI, SUMAR AND COCLUSIONS...... 63

APPIE TDIX ...... 66

B IBLIOGRAPHY .. , ...... ** 72

iii LIST OF ILLUSTRATIONS

Figure Page

1. ain Theme of "eediaeval Poem" in Complete and Fragmentary Forms as Used in Development of the Composition ...... 29

2. Opening Neasures of Introduction Showing Long Pedal Point in Organ Part Supported by Kettle- drums, and Instrumentation of Other Parts .... 29

3. Free Inversion of the Lain Theme ...... 32

4. Horn Votive Adapted from Fragment (1) *...... 32 5. Tru et Motive, Combining Fragments (1) and (4...32

6. Opening Subject of "Carillon" ...... 38 7. Carillon Votive Supported by Chromatic Har- monies and Pedal Point...... 38

8. First and Second Themes of "Requiescat in Pace" .. ,-*--*.----...... 42

iv CHAPTER I

INTRODUCTION TO THE STUDY

The Problem

Leo Sowerby is an American composer who has, in the

writer's opinion, made a fine contribution to the field of

modern music. This fact will be substantiated in the fol-

lowing study, the purpose of which will be to examine and

to analyze to some extent the works of this eminent Chicago

composer, teacher, organist, and choir-master.

The term "critical analysis" as used in the title is

rather a loose one; it is impossible to say definitely what

place Sowerby will occupy when the history of our present-

day musical activity is written. It is possible, however,

to apply some sort of critical yardstick to his works and measure their value according to such a standard.

Need for the Study

There is a marked scarcity of material published about

Sowerby and his compositions; this is the case with refer- ence to most contemporary composers. Often students of music find it difficult to obtain organized, compact in-

formation in regard to our illustrious moderns, and a study

of this nature would be of interest to them. This study

1 2

will-be of particular interest to students of the organ, for it concerns itself chiefly with the organ works of Sowerby, and to students of composition and modern harmonic trends,

for the study high lights the composer's characteristic pro- cedures in these two directions.

Reliability of the Data

Before this study was started, an outline of procedure was worked out with Wilfred C. Bain, Director of the Depart- ment of Music, North Texas State Teachers College, Denton,

Texas, and John McIntire, organ instructor in that school.

It was agreed that, in addition to the usual biographical notes, there should be a thorough examination of Sowerby's style of composition and an objective analysis of several representative compositions, including the "Mediaeval Poem," which is the piece selected for the writer's graduate re- cital. The selection of these representative compositions was made by a process of examining recital and concert programs of the outstanding organists of our country, choos- ing the two works most frequently played.

In making this study of Sowerby's compositions, the writer made no attempt to sit in judgment on them. On the contrary, the analysis was made on the basis of materials used and characteristic methods and means pursued by the composer. Naturally, the standards of musical values have colored his examination of these works, for there had to be 3

a starting point for a study of this nature; however, a sincere attempt at objectivity has been made.

To substantiate further any conclusions drawn from this study, letters were written to various eminent organ- ists, composers, and conductors asking for their evaluation of Sowerby's work. These letters are quoted in Chapter V.

Sources of Information

Because Leo Sowerby is still living, most of the in- formation about him had to be gleaned from articles in magazines and newspapers. These were comparatively scarce, however. The Diapason, The American Organist, and The

Musical Quarterly each furnished valuable information.

The New York Times also carried articles which were very helpful in contributing factual information which made possible a more complete biographical sketch of the com- poser. Other musical publications studied were chiefly concerned with the life and activity of Sowerby up to the present time.

The letters from some of Sowerby's most important col- leagues mentioned in a paragraph above were sources of in- formation which the writer considers of unusual import in the evaluation of the composer's work.

It might be appropriate to say here that the writer was introduced by correspondence to Leo Sowerby by Edward 4

Collins, who is an outstanding composer in his own right and who is on the staff of the American Conservatory of Music in Chicago, where Sowerby is also engaged as a teacher.

Collins assured the writer that Sowerby is "very affable and also flattered that you are to make him the subject of your thesis." 1 Leo Sowerby himself wrote referring to several articles which had been published about his works and which he thought might help in this study.

Organization of the Study

Chapter I states the problem and describes the pro- cedures used. Chapter II is devoted to a biographical sketch of the composer. Chapter III concerns itself with pointing out the significant characteristics of Sowerby's musical style--a discussion of the Sowerby idiom. This is followed in Chapter IV by a detailed analysis of three

Sowerby works and a rather general analysis of his other compositions. Chapter V is given over to expressions from

Sowerby's colleagues in regard to his place in our American music. Chapter VI summarizes what has gone before and draws conclusions relative to Leo Sowerby's position in present-day and future musical activity.

1 Quoted- from a letter to the writer from Edward Collins, October 16, 1940. CHAPTER II

BIOGRAPHICAL SKETCH OFLEO SOWERBY

Leo Sowerby was born on May 1, 1895, in Grand Rapids,

Michigan. His father was English and his mother, who died when Sowerby was four years of age, was of Canadian birth.

When the boy was eleven his father remarried and it is to the step-mother that we owe a debt of gratitude for pre- serving in the boy a real musical talent. She immediately placed the child with Mrs. Frederick Burton, a teacher of piano, who was Sowerby's teacher until he entered high school. We are told by Burnet C. Tuthill that when the boy was eleven years old his interest in music had advanced to such a point that he secured a text book on harmony from a library and, without the aid of a teacher, he mastered the subject and began to compose.

In 1909 the family moved to Chicago where Sowerby en- rolled as a student in Englewood High School, and also as a piano pupil of Calvin Lampert. Perceiving the lad's inter- est in composition, Lampert began to give him instruction in that field, later turning him over to Arthur Olaf

1 Burnet C. Tuthill, "Leo Sowerby," The Vu Ater XXIV (uly, 1938), 250.

5 6

Anderson, a pupil of Vincent d'Indy. At the age of fifteen

years, Sowerby again showed his seriousness in regard to the

study of music. When, as an organ student of Lampert, he

could not afford to pay for organ practice he made an ac-

curate drawing of the organ pedal board on heavy brown

wrapping paper and placed it beneath his piano. Here he

practiced pedal exercises daily to acquire foot technique

on his chosen instrument. (Here we see the beginnings of

a thorough mastery of the pedals which enables the composer

to write the tremendous pedal passages in his "Pageant" and other organ compositions.)

The performance in 1913 of his Concerto for violin in

a program of American compositions directed by Glenn Dillard

Gunn in Chicago marked Sowerby's first public appearance as

a composer. The Concerto was received successfully by the public, but the critics agreed that the composer evidenced no musical ability. Later, in 1917, Eric IleLamarter,

another Chicago conductor, organist, and teacher, con-

ducted an entire program of Sowerby's works in Orchestra

Hall. Again the critics spoke disparagingly of the com- poser and his efforts. However, Frederick Stock, the venerable conductor of the Chicago Symphony, heard the concert and was sufficiently impressed to invite Sowerby to write a composition for that orchestra. The result was the "Set of Four" which, it is said, is an orchestration 7

of a group of pieces originally written to be played by the composer himself at the piano and DeLamarter on the cello.

December, 1917, found Leo Sowerby in the United States

Army, stationed at Camp Grant in Rockford, Illinois, as a member of the Eighty-Sixth Division. He played clarinet in the band at first but was soon promoted to the post of band- master with the rank of second lieutenant. As such, he sailed for France in the summer of 1918, serving with the

332nd Field Artillery.

The year 1918 saw three major performances of Sowerby compositions, the above mentioned "Set of Four" being given its initial hearing by the Chicago Symphony; the overture,

"Comes Autumn Time" by the New York Symphony; and the

"Serenade" for string quartet, which had been written as a birthday gift for Mrs. Elizabeth Sprague Coolidge, by the Berkshire quartet,

Returning from army service in early 1919, the composer set to work anew and was rewarded by still other perform- ances of his works. His "Trio" for flute, viola, and piano was played at the Berkshire Festival of that year. In 1920 his quintet for wind instruments was introduced by Carolyn

Beebe and her Chamber Music Society.

In 1921 Sowerby was awarded the first fellowship by the American Academy in Rome, although he had not entered com- petition for the coveted honor. The prize was offered to 8

him because of the reputation he had already achieved through his compositions. Sowerby remained abroad until

1924 when he returned to the States and took up his duties as teacher of composition at the American Conservatory in

Chicago, where he is now head of the department. In 1927 he was appointed organist and choir-master of St. James'

Episcopal Church in Chicago, which post he still holds.

In regard to his work at St. James' Lester W. Groom in

The American Organist has this to say:

Mr. Sowerby's training (of the choir) in- dicates strength and vitality, the depths of which have not been sounded, and which differs so enjoyably from those conductors whose main- stay is sobbing sentimentality. That Sowerby is sincere, earnest, and dignified in his

church performances is evidenced in a paragraph entitled "A Good Creed" quoted from The American Organist as follows:

I try to do the good things of all schools, avoiding all sentimental slush in the form of anthems, and keeping away as far as possible from the threadbare Victorian stuff used in so many churches, though the best of it--Wesley, for example--is not beneath anyone's notice. Per- haps I lay a little more insistence than do some choir-masters on doing things written in our own day, but that would be natural for me to do. I know there are some who think I do some things in an unusual way (in the matter of tempi, etc.), but this, of course, is a matter of personal opinion to which everyone has his right. I loathe

2Lester W. Groom, "Chicago,t " The American Organist, XI (July, 1928), 260. 9

the old-fashioned way of doing so much of the in- cidental service music very slowly. 3

Groom again bears out this expression of Sowerby's high

musical standards in reporting that Sowerby's programs are

"unyielding and severe" and calls his playing "scholarly."4

In the years following his return to America, Sowerby

has been signally recognized many times. Besides numerous

commissions to write compositions, including, among others,

two for Paul Whiteman-."Vonotony" and "Synconata"--and one

for the Columbia Broadcasting System especially for radio

performance, Sowerby has been elected to membership in the

American Institute of Arts and Letters and honorary member-

ship in the American Bandmasters' Association, and has re-

ceived various awards, including one offered by the Society

for the Publication of American Music. In 1934 he was given

the honorary degree of Doctor of Music by the University of Rochester.

One of Sowerby's most recent commissions was again from

Frederick Stock and the Chicago Symphony Orchestra. Sym- phony No. 3 was written for the Golden Jubilee Celebration of the Chicago organization and had its premiere on March 6, 1941.

3 Leo Sowerby, "A Good Creed," The American rganist, XII (April, 1929), 223.

4 Lester W. Groom, "Chicago," The American rg2nist, XI (June, 1928), 217. 10

Sowerby is by nature shy to an extreme and infinitely modest, as is shown in the extract from a letter which the writer received from him in answer to a request for per- mission to write this document.

If there is any other help or factual informa- tion I can supply, I will be glad to attempt to be of service to you. Please don't ask me for any critical evaluation of my own work, as some people do. That sort of thing a composer just cannot, and should not, do. One person wrote to me and asked which of ny works I liked best, and just how sev- eral of them came t be written! I could only reply that I didn't know.

His shyness shows itself frequently in his studied avoiding of large gatherings "even when the meeting of many persons similarly interested in music would promote a greater inter- est in his works."6 To his close friends, however, Sowerby is cordial and congenial, but even with them he is loathe to "show off" his compositions. Undoubtedly his natural reticence has contributed to the delay in the general ac- ceptance of his compositions; however, his gifts and tech- nique as a composer are beginning to be more definitely recognized.

Tuthill? says that, before the proper appreciation and recognition due Leo Sowerby are brought about, three things

'Excerpt from a letter to the writer from Leo Sowerby, October 12, 1940.

6Burnet C. Tuthill, "Leo Sowerby," The usical Quarter- XIV (July, 1938), 251.

71bid., 252. 11

are necessary: (1) more frequent performance of the more difficult compositions; (2) other champions than the "faith- ful Frederick Stock and the discerning Koussevitzky" who will give careful and painstaking consideration to the - preparation and performance of the works; and (3) most important, recordings of the major Sowerby vorks so that the performer and the listener both might become acquainted with the style of this native composer who has been desig- nated by Tuthill and others as one of the outstanding talents in America today.

There are no recordings of the Sowerby compositions, and few articles and criticisms of Sowerby's works have been published. Consequently, only the initiated few are famil- iar enough with the composer's idiom to recognize the iden- tifying characteristics of his style. CHAPTER III

SIGNIFICANT ASPECTS OF THE SOVERBY STYIE

The story is told by Burnet Tuthilli of how the late

Oscar Sonneck, whose sense of humor was an outstanding

characteristic, paraphrased the usual answer to the ques-

tion, "Who are the three B's?" by saying, "Bach, Beethoven,

and SowerB." Some of Sowerby's characteristically dissonant

music had just been played, and it was quite obvious that

Sonneck's play upon the word "sour" was distinctly apropos.

This attitude toward Sowerby's compositions is under-

standable when it is realized that certain characteristics

of the Sowerby style, of which the writer will speak more

fully later, combine to prevent its immediate comprehension.

All too often this measure of immediate comprehension is

applied as a criterion to new productions in music. For-

tunately, however, there have always been a few who have been able to penetrate the veil which has from the very

nature of the thing appeared before the work of the truly

great in music. A look into the pages of history of music

reveals the constant recurrence of this phenomenon. It

1 Burnet C. Tuthill, "Leo Sowerby," The Musical Quarterly, XXIV (July, 1938), 249.

12 13

remained for Felix Mendelssohn to rediscover and reintroduce the magnificent works of J. S. Bach a hundred years after the death of the Leipsig Cantor; from that time to the present

Bach has been regarded as occupying the pinnacle of musical perfection, and will probably continue in that exalted posi- tion. Likewise Mozart, Beethoven, Schubert, Wagner, Brahms, and countless others had to go through a period of great suffering in order to become clarified to the masses. These composers are a part of the heritage of the race, whereas those composers whose works yielded themselves immediately in those days are for the most part no longer with us. To quote Albert Riemenschneider, "It is those whose work has remained who, through their genius and foresightedness, have pushed out the boundaries of music by creating new possi- bilities in musical language, whether it be those of tech- nical resources or spiritual content."2 Riemenschneider goes on to say, however, that these technical resources without the spiritual content are not abiding.

The creative artist may proceed with his work in one of two paths. He may work along the line of least resist- ance or he may recognize an inner artistic conscience and truthfully adhere to it. The former path leads into a con- dition of facile ease in which it is possible to produce

"Albert Riemenschneider, "Leo Sowerby's Works for Organ," The Diapason, February 1, 1933, p. 29. 14

work after work whi ch immediately yield themselves to, and are accepted and approved by, the large and thoughtless majority. The latter involves the sufferings and mis- understandings experienced by those who combine courage of convictions and artistic sincerity of purpose. Many artists of real ability have been lost to the world by accepting the former path, for after a comparatively short period of popu- larity and success this type of artist disappears from sight.

On the other hand, those who chose the latter path have eventually been granted their proper share of recognition if they were at the outset possessed of the native ability and the determination to cultivate their talent and develop it to the fullest. Their work, then, was not for the pres- ent but for the future.

Leo Sowerby, in the writer's opinion, is one of these composers who has chosen the latter path and whose works will have to be considered more in the future than at the present. On first examination of Sowerby's larger works,

"one is at first repelled, then set in wonderment, then interested," as Riemenschneider3 aptly expresses it. Fi- nally, one stays to admire and perhaps to worship at the shrine. Mention was made earlier of the characteristics of

Sowerby's musical expression which made immediate

Ibid. 15

comprehension difficult. One of these is the fact that, like all extremely gifted artists, Sowerby's conception is broader and larger than the comprehension of the average.

His is not the idiom of ordinary, everyday life with its textbook limitations; on the contrary, he writes to express an exalted spirituality tempered by a strongly mystic nature. It is natural, then, that to express himself thus he must have at his command resources beyond the ordinary.

It is the use of such resources which at first stands in the way of appreciation, but when they are understood and when the logic of their connection with the spiritual message of the composer is grasped, a new world opens itself in the outstanding worth and value of the work of this American composer whom many regard as our most rep- resentative composer of today. The cool reception of most of his works is directly traceable to the failure of musi-

cians and the public alike to grasp his idiom without more

study and familiarity than they will take the trouble to give them.

As a representative American composer, Sowerby's niche

in the Hall of Fame is already attained. His name is grad- ually becoming more familiar with American concert goers through its more frequent appearance on symphony and organ programs as well as in the church services throughout the land. The composer of the orchestral suite, "A Set of

Four," with its abounding vigor and good humor and its snappy, jazz-like rhythms, is the same composer who wrote

"Mediaeval Poem" for organ and orchestra, which is satu- rated with ecclesiastical atmosphere and mysticism. This versatile artist, who is a musical Dr. Jekyll and Xr. Hyde, can write with equal facility in the fox-trot idiom or in the intricate contrapuntal style of Bach, and in such things as thematic development and combining of themes he can rival even Franck and Vierne.

This duality of Sowerby's musical expression shows it- self in his melodies, which Tuthill says may be divided into two classes:

1. Those best characterized as tunes and are closely knit in form and have a rhythmic verve or snap. 2. Those free in both these aspects and, in a sense, are wandering, perhaps even meandering.4 In the first class may be found such works as the above mentioned "A Set of Four," "Synconata," and "Monotony" for orchestra, and the witty folk song transcriptions for piano.

They are closely akin to popular music because their lilt and syncopation has a definitely American quality which arises not from the copying of the negro or any other type of American folk material, but from the absorption of the

4hurnet C. Tuthill, "Leo Sowerby," TheI.fusical .Quarterly ,XXIV (yuly , 1938), 252. 17

composer's imagination in his own individually character-

istic manner. This makes them truly national in spirit.

The simplicity of tonality, the crispness of rhythm, and

the frank and direct nature of these tunes mark them as belonging to our native soil. Sowerby's own directions for

their performance which are characteristic of the style are

"ginger," "brisk and pert," "at a steady trot," etc.

The latter class of melodies have a flow which runs

along, not following the usual principles of melodic con-

struction at all, but having, nevertheless, a unity and an artistic balance that are completely satisfying after the

entire melody has been grasped by the listener. There is no trace of sentimentality or banality in these melodies; however, there is sentiment in abundance--sentiment which

contains a very high degree of spirituality. Although they might be considered more than a little introspective and rather sombre, these melodies may be characterized as poetically imaginative, truly fresh and richly inspired.

Some of the themes, because of their freedom from rhythmic conventions or formal considerations, seem at first to wander. There is, however, a definite sense of tonality and very little distant modulation from the key. Other characteristics of these melodies are the frequent entry after the strong beat of the measure and the tying of notes over the bar line, thereby omitting the heavy accent. 18

The extended nature of Sowerby's phrases makes it nec-

essary to exercise all the powers of concentration and memory

in order to follow their formal construction. This is not

necessarily due to any unusually complex form; the melodies

are difficult to memorize on first hearing and consequently

are difficult to follow in the course of their development.

The composer's phrase structure is characterized by a par-

ticularly individual manner of "keeping up a state of sus- pense, which, vihen followed through, makes one of the chief

charms of his work, but which, when considered piecemeal, is

one of the main reasons for the difficulties in the way of a quick understanding of his aims."5

Although from the beginning of his composing Sowerby has possessed an individual sort of harmonic language, there has been a great development in the passing years. He has

copied no European school or group (although he himself

claims affinity with the Franck-d'Indy school), and while he has followed modern tendencies, his harmonic style is not at all like that of the twentieth century composers who are searching for a new idiom through experiments in poly- tonality and atonality. In fact, he is considered by those ultra-modernists as almost conservative in his harmonic treatment. Whatever he does, however, is unmistakably

5 Albert Riemenschneider, "Leo Sowerby's Works for the Organ," The fiapason, February 1, 1933, p. 29. 19

Sowerby. He is so subtle in his harmonic relationships and has such a keen sense of harmonic color that the listener is convinced that our present scale system is far from having been exhausted by the composers of previous years. His harmonic structure is enriched by the use of colorful ninth and eleventh chords, chromatic and enharmonic modulations made in the unmistakable, individual style of the composer.

He writes with equal facility rich harmonic settings for a melody which stands out in bold relief or a dissonant, clashing under-structure as the occasion demands. When the melody is less obvious the texture of tone combinations can be, and often is, at first baffling to the listener. Only after a sort of digestive process, which is consummated when the listener has had opportunity to hear these dissonant clashes repeatedly, does the music resolve itself into the richness of thought that is really contained therein. Tut- hill expresses the opinion that Sowerby obtains these tonal combinations not from theorizing on the principles of har- mony and the underlying physical basis of music, but that they are the result of the sounds heard in the tonal imag- ination of the composer. This certainly must be the case, for such passages positively defy any sort of harmonic analysis in the strict sense.

In trying to arrive at some characteristic type of chord progression habitually or consistently employed by 20

the composer, the analysis of chord as it follows chord fails to give any definite clues, As a matter of fact,

Sowerby's chord forms and resolutions are far afield from

the conventional. His harmonic scheme is modern and is in

part the result of the linear conception of his music. He

does not set down a series of chords under his melodies ac-

cording to the usual methods of harmonizing a melody;

rather, he is writing a new type of contrapuntal harmonic

music of his own conception, He is distinctly polyphonic

rather than homophonic, using all the devices of the contra-

puntal style with great expertness and bringing them to

twentieth century expression by subjecting them to his own

particular harmonic conceptions. This contrapuntal facility

has led him to write many compositions in the strict poly- phonic forms of fugue, passacaglia, and chaconne in which his contrapuntal subjects are more or less diatonic in

nature and stay close to the key. Rhythmically, however,

they are typically Sowerby--not the Sowerby of the vigorous,

snappy, folk-like tune, but of the extended melody which

seems in a sense to return to the sixteenth century for its liberty to free itself from the tyranny of the bar line,

Here, again, the forms themselves are true to type without having been actually copied from the material used in the polyphonic period; all the contrapuntal devices of 21

augmentation, diminution, inversion, and pedal point are there, but are adapted to and treated in the characteristic

Sowerby style.

It is this polyphonic element which often makes it

impossible to analyze Sowerby's works from a harmonic stand-

point. He does not hesitate, for instance, to combine a

melody xith its inversion, no matter what the result, allow-

ing, of course, the force of the voices to carry the situa-

tion through to a logical conclusion. He knows at the

outset the effect he wishes to attain and has the ability

to accomplish his ends by the use of every effect of har-

monic and polyphonic color which is evidently an open book

to him. Riemenschneider calls him "one of the most logical

musical thinkers of today." 6 He goes on to say that Sower- by's combination of the elements of his music attest to this

logical thinking. The melody, harmony, rhythm, and tone

color of the composer's works are all bound together into

a pattern which cannot be separated from the musical thought.

It all seems to be conceived together as a whole and shows no evidence of being built up in separate stages.

This very facility of compositional technique led

Sowerby into some lengthy musical detours in his earlier

compositions, but he has been known to make generous ex- cisions after performance made him realize his excesses.

6 Ibid. 22

In his more mature compositions, however, he has bridled his propensities for development of his musical ideas and has limited himself to just enough development to suit the re- quirements of his forms. He has an uncanny sense of cli- maxes which appear purposefully stupendous when properly approached and prepared by the performer. However, there is no overdoing of the fortissimi; they are reserved for

the places where they are appropriate and are built up by

tasteful combination of dynamic harmonic and polyphonic

color with the unerring skill of the composer who knows when and where climaxes should occur.

Thile it is next to impossible to analyze the intricate harmonic structure of Sowerby's organ works, it is possible

to point out some characteristic tendencies. Among these is

his frequent use of the major seventh, which dissonance he

even goes out of the way to introduce. He also frequently

employs melodies of a modal character is his works; this is

without a doubt one of his dominant characteristics. His

fondness for the ostinato figure is noticeable throughout

his works. Often he indulges his hobby of using a fragment

of his thematic material as a basis for his ostinato.

Changing the intervals in his theme in order to achieve

certain effects is another of the marked Sowerby tendencies,

as are the often-used pedal passages which make tremendous

demands on the player. His frequent use of the bell-figure 23

is another of his distinguishing "trademarks." In the next chapter an attempt will be made to point out some of the uses of these favorite figures.

In the orchestral field, Sowerby's experience with instruments during his service in the army seems to stand him in good stead, for the composer shows a mastery that is born of a thorough knowledge of the instruments and their particular tone-color and technical possibilities. This mastery is one with a modern conception in which he uses all the modern additions to the orchestra (except the saxophone) and includes bells, celesta, piano, and harps, but does not use pure noise effects as do many of the modern composers for orchestra. Sowerby makes much of combining tone colors and often uses unconventional effects to good advantage. For example, his trumpets are not re- served for fortissimo blaring but are frequently allowed to play very quiet melodic passages. Much of his orchestra- tion seems to arise from an organ conception of tone with its flowing quality and its solid bass. The composer places ensemble effects above tremendous technical demands on the performers. Brilliance of effect is used only to heighten what the music itself demands--never for the sake of bril- liance alone. The scoring always grows out of the music itself and never seems forced or artificial. The choral works of Sowerby reflect the convictions expressed by the 24

composer in the creed quoted in Chapter II, Never is it ear-tickling or cheap. Always it is conceived on the basis of the composer's firm belief that the choir does not sing

to the people and is not intended to entertain, but it acts as a deputy of the congregation in worship. The service music of the composer is rich in the elements of worship, praise, prayer, and thanksgiving. Frequently the singers

are called on for a considerable degree of musical as well

as technical ability, but the utter sincerity of the com- poser's work is always in evidence. Nothing is done for

show. Dissonance is often the instrument of interpretation

of the text, but never is it dragged in just to introduce

"modernism"; it is always the result of the movement of the

voices and works itself out to a logical conclusion.

Such, then, is the style of Leo Sowerby. His idiom is

distinctly modern without going to extremes; he uses reason

and logic in his music; and he maintains throughout his

compositions an unyielding standard of artistic sincerity

and honesty that cannot be questioned. CHAPTER IV

A STUDY OF REPRESENTATIVE SOWERBY COIOSITIONS

In a study of this nature it would obviously be imprac- tical, not to say tedious for both the author and the reader, to set down a detailed analysis of every composition listed in the Appendix. Such a task would be monumental. It is evident that if only a few of the representative works were considered, it would still be possible to point out objec- tively actual employment of the various significant aspects of the composer's style. But which compositions shall we consider "representative"? Here is the problem which caused the writer a great deal of difficulty, for each composition seemed worthy of consideration on one score or another.

Finally, after much thought in the matter it was decided to select, besides the long work to be played in the author's graduate recital, two of the shorter compositions most fre- quently included in the concert organist's repertoire. Upon examination of a great many recital programs as printed in the various organ magazines and musical periodicals, the compositions decided upon were the "Carillon" and "Requiescat in Pace." These, together with the "Mediaeval Poem" for organ and orchestra, will be subjected to a detailed critical analysis

25 26

while the remainder of the organ compositions will be re- ferred to only in a general. way. The orchestral works, the chamber music, the piano and choral works will figure in the discussion in passing because the main topic of con- sideration in this instance is Sowerby's work in the field of organ literature to which he has contributed probably more than he or we realize. The composition in which the writer is most interested and out of which this research project grew is the "Mediaeval

Poem," originally written for the organ and orchestra and later revised for the organ and the piano (which plays a reduction of the orchestra score). This is without a doubt one of the most important of Sowerby's works and a detailed examination of it will serve to point out many of the sig- nificant characteristics of the composer's style which were discussed in Chapter III. The work, which is dedicated to Howard Hanson, who was the composer's fellow pupil in Rome and who is now director of the Eastman School of Music, Rochester, New York, is based upon the following poem from the Liturgy of St. James, translated by Gerard Moultrie in 1864, which translation is printed on the page preceding the music:

Let all mortal flesh keep silence, and with fear and trembling stand; Ponder nothing earthly minded, for with blessing in His hand 27

Christ, our God, to earth descendeth, our full homage to demand.

0 I 0 S 0 * 0 0 0 0 0 * 0 * 0 S 0 0 * * * 0004

Rank on rank the host of Heaven spreads its vanguard on the way, As the Light of Light descendeth from the realms of endless day, That the powers of hell may vanish as the darkness clears away.

At His feet the six-winged seraph; cherubim with sleepless eye Veil their faces to the Presence, as with ceaseless voice they cry, Alleluia, alleluia, alleluia, Lord most High. After the poem appears the following note:

The composer has endeavored to interpret the atmosphere of mysticism which pervades the poem by translating into tone something of the vision of the Heavenly pageant which St. James or any devout soul might have imagined. As to the actual musical structure, the work is a rhapsody based on the choral which appears in its unadorned form on the organ alone towards the close of the piece. No Gregorian or other borrowed themes are, however, consciously employed.

Thus the composer sets forth, by the use of the poem and by his own explanation, the spirit and general scope of the work in a clear, concise way. In the analysis which follows the writer will try to point out some of the means by which the composer develops his original idea in this rhapsody, or symphonic poem, expressive of the mysticism and depth of thought contained in the above-quoted litur- gical poem. As has already been suggested and as is easily seen from the opening chords of the introduction, the composer is 28

here indulging in one of his favorite elements--that of ecclesiastical atmosphere and mysticism. In the following quotation from an article by Albert Riemenschneider, a sort of preview of Sowerby's mode of development of the thematic material is given:

One is reminded of Cesar Franck's cryptic words concerning his Chorale in E major and re- corded by his pupil, Vincent d'Indy: "You will see the real chorale; it is not the chorale; it is something that grows out of the work."

Like the Franck composition and like the "Istar Variations" by d'Indy, the "Mediaeval Poem" is characterized by the use of sections and parts of the theme here and there, gradually leading up to a presentation of the principal theme in its entirety toward the end of the composition. (This method of composition is also pursued by the contemporary Finnish symphonist, Jan Sibelius.) After rhapsodizing and improvis- ing on fragments of his principal subject, always with- holding its complete appearance until page twenty-nine of the score.2

For purposes of analysis the main theme may be sub- divided into four parts (Figure 1) as follows:

1. The first eight notes of the theme.

1 Albert Riemenschneider, "Works of Sowerby," The Diapason, July 1, 1933, p. 27.

2Page numbers referred to are taken from the H. W. Gray Company edition of this work for organ and piano. 29

Complete theme

ld Ms...

First eight notes (2) Fifth - ninth n tes

I v I - IF---AF--I l. O I W~l I I

1 Ii 1

( Eighth - tenth notes (4) Last four notes

V TI7AL-AL- V 1% 1 a

BrAprqL

-7 - --TT- 3L

Fig. 1.-- kain theme of "Mediaeval Poem" in complete and fragmentary forms as used in development of the come* position. (Taken from "kediaeval Poem" by Leo Sowerby, H.i W. Gray edition, page "9.)

OMAsn4 2 ft'

A-.- bar- -. ------

ow"Aw K-t~w* ro I

ri. 2.- Opening measures of introduction showing Iong pedal point in organ part supported by kettledrums, tnd instrumentation of other parts. (Taken from "Vediaeval Poem" by Leo Sowerby, H. W. Gray edition, p. 1.) 30

2. The group of notes beginning with the fifth and

ending with the ninth note of the theme.

3. The eighth, ninth, and tenth notes of the theme.

4. The last four notes of the theme.

The composer uses these four elements of the principal theme

in his development of this mystic musical vision in such a way as to invite awe and amazement at his technical facility.

At the opening of the introduction, which continues to

the letter D on page four, there occurs a long pedal point

in the organ, supported by the kettledrums, over which the brasses play sombre chords setting the atmosphere of eerie mysticism (Figure 2). The introduction concerns itself

largely with a free adaptation of the principal theme, the

first suggestion which is given out by the bassoon beginning

in measure three. This motive, which is an alteration of

the fragment (Figure 1, l)3 described above and which is of

decidedly wierd and Oriental flavor, is immediately repeated by the bass clarinet. During this time the horns have

tentatively announced that subdivision of the marked

(Figure 1, 2) followed by more sombre chords and another

appearance of (Figure,1, 2. Vague mysterious chords on

the organ strings next appear only to be interrupted again by the flute reiterating the motive (Figure 1, 1) previously heard in the low woodwinds. There follow several appearances

3 In this study wherever a second number occurs in a reference to Figure 1, the second number refers to the frag- ment number within the figure. 31

of the (2) fragment (Figure 1, 2) sounded alternately by the chimes and the pedal combined with the low strings of the orchestra. The trumpet then sounds a forte statement of the original woodwind theme in a somewhat altered form and is later joined by the strings, horns, and woodwinds as the organ plays the (2) fragment (Figure 1, 2) an octave higher than it was first heard in the early measures of the com- position. More eerie chords by the organ strings answered in kind by the orchestra woodwinds lead us through a three- measure interlude preceding section I, which begins at D on page four of the score.

Section I is made up for the most part of a free in- version of the theme (Figure 3) in the left hand part ac- companied by a delicate weaving of flute tones. At E on page six the orchestra takes over the free inversion of the theme which is given out first by the clarinet followed by the cellos and finally joined by the horns. Against these statements of the inverted theme the organ continues its weaving accompaniment. Section I closes at G on page nine.

At G there is a short introduction to section II which begins at H. The chief thematic material of this short passage is that part of the principal theme designated above as (4) (Figure 4). Here the composer's characteristic beginning of the theme after the first beat is again used. 32

mi

It I III ! * ~ I II I I Solt I I - I I # I

Fig. 3.--Free inversion of the main theme. (Taken from "Mediaeval Poem" by Leo Sowerby, H. W. Gray edition, pp. 4-5,)

t >P 1- 7 1,1 A -hm a 9 AF- I i a AI As-- 1' :I I ~IAll

1ig. 4.--Horn motive adapted from fragment (1). (Taen from "Mediaerval Poem' by Leo Sowerby, H. W. Gray edition, p. 9.)

1ig. 5.--Trumpet motive, combining fragments (1) and (4). (Taken from "Lediaeval Poem" by Leo Sowerby, H. W. Gray edition, p. 22.) - 33

The horns first sound the fragment (4) (Figure 1, 4), fol- lowed by a statement of the same motive by the trumpets.

This motive is then developed and extended, leading up to section II at letter H.

While the orchestra plays in octaves a free adaptation of the first part of the principal theme, the organ is en- gaged in playing a chromatic progression of typical Sowerby flavor alternating legato and staccato passages. There follows a long pedal point in the organ combining with a staccato manual accompaniment during which suspense is gradually built up to a climax which comes at K on page fifteen where the music begins to describe that part of the poem which says, "Rank on rank the host of heaven spreads its vanguard on the way." The (2) motive sounds in the orchestra part followed by an answer and extension

in the pedal part (Figure 1, 2). Again the (2) motive

(Figure 1, 2) is stated by the orchestra and again the pedal answers, repeats, and extends this fragment and leads up to a full organ passage in which the pedal rhapsodizes

on the theme and is accompanied by a manual broken chord passage of great brilliance. The section closes with a passage reminiscent of the quiet ethereal chords of the

organ in the introduction. An interlude beginning at V on page nineteen suggests

the theme in an oboe section followed by a flute passage accompanied by the woodwinds and strings in another of those

deft chromatic webs of accompanying chords at which Sowerby

is so adept. This interlude leads back to the re-appearance

of the material used in the original introduction. This

time, however, the harmonic treatment is different and more

dissonant. There is a passage in which the composer in-

dulges his fondness for major sevenths which clash with the

orchestral development of the principal theme, and which

finally leads dramatically up to the letter Q on page

twenty-two, which marks the beginning of section III.

With a stentorian announcement of the "Light of Light,"

the trumpet begins section III. The thematic material here

is a combination of fragments (1) and (4)--(Figure 5)--which approximates the whole theme, From time to time the organ plays fragment (4) (Figure 1, 4) with inversions of that part of the theme, and fragment (3) (Figure 1, 3) is oc- casionally introduced. There is also another long pedal point in this section. Another climax is reached after the orchestra has played repeated statements of fragment (2)

(Figure 1, 2) against a constantly building accompaniment by the organ, culminating in a pedal cadenza which leads into a quiet section made up of a free inversion of the first part of the principal theme accompanied by serenely beautiful arpeggios on the manuals. 35

On page twenty-eight after the chimes play fragment (2)

(Figure 1, 2), the English horn gives out an approximation

of the main theme and is answered by the chimes again. Then

for the first time the complete choral theme is presented

in unadorned form in the organ beginning at V on page

twenty-nine. Thus the theme, which is Gregorian in char-

acter--albeit the harmonization is distinctly modern--seems

to grow out of the work itself, thereby emphasizing tbe

statement of the composer himself, that he has affinity

with the great French composers, Franck and d'Indy,

The composer here introduces a decidedly novel effect

by using an off-stage voice to sing the melody of the choral

on a neutral syllable to the accompaniment of the luscious

organ chords which are a Sowerby "trademark." There follows

a coda in which another Sowerby characteristic is evidenced:

the pedal ostinato against pizzicato strings and horn and

violin solo passages. There is a re-appearance of the mate-

rials used in section I, the chimes motive and finally the

off-stage voice again. Then a gradual fading away indicates

the cherubim crying "Alleluia, alleluia" in the distance as

the heavenly pageant passes.

Sowerby has dealt very successfully with a noble sub. ject, and the success which has crowned this masterly treat- ment of the subject is but another tribute to the universal- ity of the appeal of music. Undoubtedly, as the work becomes 36

better known, the composer's already recognized spiritual inspiration and technical equipment will become more widely appreciated.

One of the shorter compositions and one which is more frequently found on recital programs is the pictorial and descriptive "Carillon," which bears the date July 28, 1917.

This piece, while not making use of the composer's more modern idiom, nevertheless bears the stamp of his individ- uality in many respects. The composition is comparatively simple as regards subject matter, there being only two sub- jects: the flowing main theme of characteristic Bowerby nature and the secondary theme built upon a bell motive from vhich the composition derives its name. The two sub- jects are interestingly selected for contrast, the second being an excellent foil for the first and the two forming a delightful union. The popularity of this number with recital organists and concert-goers alike is probably due to the composer's happy choice of thematic material which yields itself to his particular style of writing and which, with an adequate performance on an adequate organ, never fails to project itself to the audience. While the com- position is contemplative and in the mood of a vesper meditation, there is never a sentimentality or an ordinary manner to cheapen the beauty and the serenity of this well written and exquisitely conceived bit of organ literature. 37

The opening subject flows along, after entering on the second beat of the measure, in a supple manner and is char- acterized by a passage of a type of which the composer is very fond, judging from his frequent employment of similar passages in his other pieces: a series of shifting progres- sions of dreamy, luscious harmonies (Figure 6). The main subject continues for twenty measures with a re-entrance of the first part of the main subject at the twelfth measure as if to more definitely impress the thought expressed in that theme. Throughout this section one notices the marked

Sowerby tendency to tie notes occurring on the weak beat over to the strong beat. A certain degree of chromaticism is also present, but not to the extent which the composer practices later; this characteristic may be taken as another evidence of the Franck-d'Indy influence. The harmonic struc- ture of this first subject, while employing chromaticism, does not become complicated or dissonant, and throughout there is an almost contrapuntal treatment of a subject which at first seems to be homophonic. This is the Sowerby of the long, freely conceived phrase line and not the folk-like, rhythmically precise composer.

Following the twenty measure statement of the initial theme there is a nine measure episodic section which is designed to lead into the second subject in the key of the

tonic. The subject matter of this episode is a free 38

4 I I 1 Ib I I A -L

Fig. 6.-4-Opening subject of "Carillon." (Taken from A C lie ti n 9 Cim Preludes, compiled by John Holler, ..Gray edition, CiTlon* by Leo Sowerby, p. 1.)

5NOW

stti.

I I I

Fig. 7.--Carillon motive supported by chromatic har- monies and pedal point. (Taken from A Collton of Chime Preludes, compiled by John Holler, H. T. Gray edition, "Carillon" by Leo Sowerby, pp. 2-3.) 39

adaptation of material used in the main subject and a sug- gestion of the material which is to be used in the second theme. This is a particularly happy choice designed to give unity to the whole.

The second subject (Figure 7), the bell motive, or the carillon theme, appears (in measure thirteen on page two)4 first on the celeste or harp accompanied by chromatic, shifting harmonies which further serve to unify the second and first subjects. There is also the characteristic ap- pearance of a pedal point in connection with the second theme. This carillon motive, which also enters after the accented beat--this time on the last half of the first count--continues for twenty-three measures and leads im- mediately into a literal re-appearance of the first subject, after which we have the return of the bell motive, this time in the key of the dominant. This is a considerably shortened version of the second theme which is pursued relentlessly in canonic form in the manuals and later, using the chimes, the pedal enters with the bell motive in augmentation. The constant build up of the carillon theme points to the climax which follows and in which the bell motive is heard in a brief passage for full organ, after which the chimes echo the same figure,

4Page numbers refer to the volume, "Chime Preludes," compiled by John Holler and published by H. W. Gray Company. 40

At measure ten on page five an abbreviated version of the first subject appears accompanied by the bell motive, first in quarters and then in half notes, in the pedals. A brief suggestion of the second subject in the key of the tonic leads to the close of the piece which ends in the same meditative mood that began the composition.

Still another of the organ compositions which attest to

Soverby's bigness of conception, marvelous workmanship and striking individuality is the magnificent "Requiescat in

Pace" which was composed at the close of the first world war and was first performed at Fourth Presbyterian Church in Chicago at a service commemorative of Armistice Day. It was written as a memorial to those of the composer's com- rades and friends who were lost in the conflict and contains a depth of feeling ,seldom reached in modern organ literature.

Here again one witnesses the mystical Sowerby dealing with a theme so full of spiritual expression that one is con- vinced that only Sowerby could achieve such lofty heights of emotion without being "bogged down" in sentimentality.

In form the work is a type of symphonic poem which falls into three divisions. There are two main themes which, as is not the case in the "Yediaeval Poem," are presented in order at the opening of the piece. These

themes are both distinctly modal in character and it may be assumed that both are original since the composer makes 41

no statement as to their derivation. The first, a stalking, significant figure which could well have been written by

Palestrina, is announced solemnly by the pedals during the first three measures and is followed immediately by the second theme on the manuals (Figure 8). The second theme is built above weird, mysterious harmonies of typical

Sowerby style and a pedal point in the pedals which further bears the stamp of the composer. Both the first and second themes enter on the unaccented second beat of the measure and are characterized by a free rhythm which, despite the alternating 6 and 5 measure signatures, or, perhaps, 4 4 because of them, seems to be unhampered by the use of the bar line.

The mood of reflection and sadness over the transitory nature of our existence is more firmly established by a re-statement of the two themes in the same order (although the second appears a fifth higher in the re-statement).

The rest of the first part, in which the two subjects are played off against each other, continues the sombre, mourn- ful character but is relieved shortly by the entrance of a brighter figure in the major mode. This second part is immediately preceded by two appearances (on the chimes) of the first three notes of the "Palestrina"l theme separated by a mere suggestion of the second subject.

The second division is characterized by a new feeling of movement achieved through the use of a sixteenth note 42

isit I ___Wit

31|'I W -r t m--..e-- - ...... I lUjnmg~ m~il 11ml ]Img_II

______I I I

IM 1000F II 0-4-al

I

Fig. 8.--First and second themes of "Requiescat in Pace." (Taken from "Requiescat in Pace" by Leo Sowerby, H. W. Gray edition, p. l.) accompanimental figure in the right hand above a broad melodic expansion of the "Palestrina" theme in the left hand and pedals. There is a gradual development of this idea until, after the sixteenth note figure is taken by both hands and the "Palestrina" figure comes thundering in on the pedals in triumphant major tonality, a stupendous climax is reached.

In the third division the triumph of the spiritual over the material becomes a tremendous exultation expressed in terms of the second subject alternating with effective use of the first theme in the pedals. As the mood of exultation begins to recede, the material used in both themes echoes back and forth, and the chimes motive on the first theme introduces that favorite Sowerby device, the ostinato figure, in the pedals. This ostinato, like the chime motive, is based upon the first three notes of the "Palestrina" theme which after a bit is altered slightly as is the composer's wont. Above this otiinato there is a peaceful section por- traying the calm, serene approach of the soul to its final reward. The last ethereal chords reach a transcendent beauty as uplifting as anything the writer has heard in organ literature.

This composition illustrates many of the characteristics which can be designated as "typically Sowerby." Besides those already mentioned in the detailed analysis above, the 44

usual changing of melodic intervals (for example, the en-

trance of the second theme in measures one and two on page

nine5 ) occurs again in this work. Major sevenths are

sprinkled through the composition also, and the composer's

tendency toward chromaticism is marked in his subtle har-

monizations of the second theme. The effectiveness of the

entire composition is dependent upon a powerful pedal both

from the standpoint of the tonal resources of the instrument

and the technical equipment of the performer.

The other organ compositions are surely equally as

worthwhile as the ones previously analyzed, but, as stated

above, the detailed examination of each of them would be

impractical as well as tedious. However, their very sig-

nificance requires that some attention be given them, if

only to list the titles and some characteristics of each.

According to the chronological list of organ composi-

tions in the Appendix, the earliest is the "Chorale-Prelude

on Ae d iceYe Pure in Heart," which was written when the

composer was but eighteen years of age. In speaking of this

composition Sowerby says that it was written When he was

still a "mere babe in arms."6 The piece is only modestly

5 Page numbers refer to the H. W. Gray Company edition in the St. Cecilia series, no. 386. 6 Allen Bacon, "Mr. Sowerby and His Works," The American Organist, XI (DecemRber, 1928), 554. 45

modern in idiom and is written in the form of an introduc-

tion and variations; each variation seems to follow the

various stanzas of the famous old Messiter hymn on which

the composition is based. The york is one of high spiritual

value, ranging in variety of expression from the mystical to the exalted. The excellence of this composition written by an eighteen year old youth invites the comparison to the young Nendelssohn's early success in his Overtuire to "rid- summer ight's Dream.'"

The "Chorale-Prelude on a theme by Palestrina," written a year later, is the next work to be considered. It has been suggested that the title might be aptly changed to that of Contrapuntal Fantasy, this title being more in keeping with enormous complexity of the composition. The work abounds in vivid contrasts. Passages showing a consummate contra- puntal technic alternate with passages which give us the mystical side of the composer's nature. The same flair and feeling for climaxes and a fondness for the bell-like motives that characterize other Sowerby pieces are found again in this composition in which he uses an adaptation of the sonata form.

In the composition which is called "Madrigal," the com- poser has sought to retain the spirit of the vocal form of the same name. The madrigal was originally a polyphonic vocal composition of secular nature, usually a love song, in 46

which the melody was shifted from voice to voice; Sowerby has successfully transferred the form to the medium of the organ and has produced a work of rare and tender poetic appeal. The chord progressions in the opening measures are of the type that defy analysis either from the point of view of polytonality, atonality or otherwise; suffice it to say that they glow in lovely color and charm. The har- monic conception is modern and is here, again, influenced by a linear rather than a vertical conception. This poly- phonic aspect is one of the strong characteristics of the composer's works.

In direct contrast to the "Madrigal" is the "Chorale.

Prelude on a Calvinist Hymn-Tune" which was a product of the year 1915, as was the former work. The piece is based upon a Good Friday hymn and deals with the sufferings and death of the Saviour. Consequently, Sowerby, the cystic, manifests himself again. In this work form is forgotten in favor of free play of the composer's imagination. The result is a free fantasy on the hymn-tune proceeding as his imagination dictates with fragments of the theme appearing in first one and then the other voice very much as in the "Madrigal," but instead of an effect of sensuous beauty and delicate charm, the contrapuntal weavings never deviate from the ecclesiastical, slightly modal style. Free rhythm, ostinato 47

passages, climaxes followed by reflective passages--in short,

all the Sowerby trademarks seem to evidence themselves in

this rather free adaptation of the variation form.

"Comes Autumn Time" presents an entirely different pic-

ture. Here is no mysticism, no vague musings in the Grego-

rian style, no polyphonic complexities. Here is a tone poem

expressive of the capricious autumn season with its bois-

terous winds, gorgeous, flaming colors and pastoral sunshine.

There are two main themes which contrast to give the im- pressions of the impetuous winds of autumn and the lovely

sunny side of that season. Intricate pedal work is a feature

of this dynamic composition. The old favorite ostinato

figure is again present as an accompaniment to the pastoral

second subject. The composer's means of expressing subtle

differences in the aspects of the capricious fall season is marked by changing the melodic intervals, while his love of a tremendous climax is satisfied by the brilliant and dissonant close Which takes the form of an ascending pas- sage suggestive of a burst of autumnal glory. The work was inspired by the Bliss Carmen poem, "Autumn."

A contrapuntal composition of great complexity even for

Sowerby is the next composition to engage our attention, if only briefly. This is the "Prelude on the Benediction, Ite

Missa Est." On the title page the composer has character- istically had printed the Gregorian form of the Ite lissa 48

Est in order that the performer might get a sort of over- view of the materials to be used in the composition. Then, it seems, he proceeds to carry on quite without reference to the theme. However, this is not the case; actually, what happens is that the composer uses nearly every device in the contrapuntal bag of tricks to produce this rather monumental display of polyphony. The first five notes of the theme are, for instance, used in contrary motion as the soprano part; this is followed immediately by the same five notes--but this time in contrary motion and inverted-- used as an accompanimental figure in the ostinato style.

Diminution, augmentation, rhythmic and melodic change, and other contrapuntal means of variety are freely used. The work finds its climax in a fugue which is rich in thematic development, building steadily to the coda which forms a brilliant and festal close for this splendid work. Certain- ly, this is not a composition for immediate enjoyment; repeated hearings are required before one can do more than stand amazed in the presence of such technical mastery of materials.

Although "A Joyous Iarch" is evidently an early work, it is a pleasant composition to examine after the "Ite

Iissa Est" for here is a piece fairly overflowing with youthful vitality and good humor. This is one of the

Soverby works belonging to the rhythmic, folk-like type 49

of composition. From the standpoint of general tunefulness

this piece probably will more nearly meet the approval of

the average listener than any of the numbers discussed.

Sowerby has handled the march form without once sinking to

the obvious and banal. The rhythmic energy, harmonic mate.

rials (which are modern without being extreme) and the

general effectiveness of this piece make it the popular

favorite in the long catalogue of compositions from Sow- erby 's pen.

The "Symphony in G" is one of Sowerby's biggest works,

and since it was not chosen as one to be given a detailed

analysis, it is extremely difficult to deal with briefly.

It is a large composition in three movements which take the

form of sonata allegro, rondo and passacaglia. Again, the

composer shows himself a master of form and materials.

Throughout this long and difficult work the composer never loses the sense of the whole while working out the smaller details. In the second movement there is a tremendously effective passage which seems to sum up Sowerby's whole creed in regard to ostinato and pedal-note treatment; this passage extends over forty-six measures. The passacgalia movement seems destined to rank with the best in organ literature, so masterly is its construction. The typically dissonant passages in this composition resolve themselves 50

with study, and the composition as a whole is accepted as

one of the miracles of modern organ writing.

Characterized by all reviewers as the most stupendous

piece of pedal writing in modern organ literature, "Pageant"

is dedicated to Fernando Germandi, the Italian organist

whose pedal virtuosity is so well known. This is another

introduction and variations which opens with a pedal passage

in the modern manner and continuing throughout in the con-

cert style. The usual melodic alterations, rhythm dif-

ferences, and, as previously stated, extremely difficult pedal work characterize this masterful treatment of the variation form.

Finally, we shall mention Sowerby's most recently published organ composition, the "Toccata." i ot having been able to secure a copy of the work for examination, the

-writer will quote, in part, a review which appeared in the

April, 1941, issue of The American Organist:

Dr. Leo Sowerby: TOCCATA, shall we say in C? Let us hear it several times by a competent and sympathetic organist. . . . Player needs a fine technic and a sense of showmanship, for the music must dash along after its business or all is lost, It opens rationally but in a style we must associate with nothing earlier than the present century. The composer does have themes to begin with, musical themes, and he does musical things to them. If dissonances occur, there is reason for them. .. , Nobody objects to ugliness that falls in naturally through dissonances that result from movement of themes, but when dissonances seem to be purposely or carelessly injected merely to create ugliness 51

when the themes are not running that direction themselves, we have a right to be suspicious and ask why. . . . He is trying to make music; sin- cerely, I think he has done it.7

An expert master of technic and materials of organ com-

position, Sowerby is equally at home in the field of orches-

tral writing. Having complete understanding of the instru-

mentE and their use, the composer's scoring seems to grow

out of the music itself, even when it was first conceived

for another medium. This is frequently the case. "A Set

of Four," Which was the result of Frederick Stock's invita-

tion to the composer to write something for the Chicago

Symphony Orchestra, is supposed to be orchestrated from a

suite originally written for the piano and cello. "From

the Northland," which Rudolph Ganz has praised for its

poetic tenderness and appeal to the heart, was first con-

ceived for the piano, while the organ overture, "Comes

Autumni Time," is also played with infinite success in its

orchestral form. The orchestral and piano versions of

"oney usk" and "The Irish Washerwoman" appeared in the

same year, and while there is no indication as to which

version came first from the composer's pen, it would seem

that the latter form came first, for the piano scores look far too simple to be reductions of such brilliant and effec- tive orchestral writing.

7 .. Scott BuhrMann, "Repertoire and Reviews," The American Organist, OCIV (April, 1941), 102. 52

It was stated in the chapter on Sowerby's style that

much of his orchestration evolves from his feeling for the

organ, As an example of this the fugue in the second Sym-

phony may be pointed out. Tuthill8 has likened the inter-

weaving of the themes of this Lovement to a great tapestry

of many colors woven on a wide woof; the design cannot be

taken in at a glance, but must be lived with until its sig-

nificance has time to reveal itself. This characteristic

was pointed out several times in connection with the organ

works and seems to be typical of Sowerby's composing tech- nique.

Only seven of the orchestral works have been published;

the rest--and, it would seem, the most important--remain in manuscript form. Perhaps, in time, there will be more fre- quent opportunities to hear these works performed.

The chamber music has been compared favorably to the best in American chamber music. Some of the pieces are readily understood on first hearing; among these are the early Suite for violin and piano, the "Serenade" for string

t quar et (which has been played more often than most of

Soverby's works), and the witty and charming variations on

"Pop Goes the Weasel" scores for woodwind quintet. The later works are in an entirely different vein; they are

8 Burnet C. Tuthill, "Leo Sowerby," The Musical Quarterly, XXIV (July, 1938), 259. 53

much more serious and require more study than the early com-

positions. Perhaps the difference lies in the two types of

melodies--the short, snappy, rhythmic type and the flowing,

supple, wandering type--described in Chapter II.

The piano pieces vary from the folk-song transcriptions

to the bigger works such as "Cantus Heroicus" and "From the

Northland." While the latter necessitate study and repeated

hearings to properly appreciate them, the former provide

excellent program material of only moderate difficulty which

yield themselves immediately to the audience when played by

a performer with a ready sense of humor and showmanship.

Now we come to the field of choral orks, which is a

large and varied one. Yost of the Sowerby choral works have

been written for the Episcopal service, but are equally

adaptable to the Protestant service. Their superior quality,

both musically and in religious content, recommend them for

use by every choir 7hich prides itself on the quality of its

musical program. Sowerby does not write his sacred choral

music for the entertainment of the congregation; rather, it

is directed Godward as a sincere and integral part of the

worship. As in his instrumental music, the harmonic treat-

ment is always modern and often dissonant. For this reason, many choirmasters have rejected it on first hearing on the

score that it does not appeal to the average man-in-the-pew . 54

The fact is, however, that Sowerby's dissonant passages have a definite place in the interpretation of the text in almost every case.

The new Good Friday cantata, "Forsaken of Van," which had its premiere on Iarch 22, 1940, is an example of this deliberate ugliness in choral writing. The ugly sections of this work are put there purposely to create the atmos- phere of ugliness surrounding the betrayal and death of

Christ. These dissonant passages are balanced by other passages of beautifully expressive music which make the harsh dissonances all the more effective. Such a work must be performed by singers who are secure in their parts; particularly difficult to project so that they will not sound off-pitch to the congregation are the solo parts in this cantata which calls for a tenor, two basses, and three baritones in solo passages.

Sowerby frequently combines exceptional choral writing with genuine organ accompaniment. By genuine organ accom- paniment is not meant the duplication of the voice parts

or a simple homophonic accompaniment; his organ parts are

such that the chorus must know its business and not depend upon the organ to hold them up like an old gentleman on

crutches. The organ provides a full and rich accompaniment which intensifies the message of the text and gives the

organist an opportunity for full imaginative expression. 55

The cantata (or long anthem, if you will), "Great Is the

Lord," suitable for festivals, is one such work. The modern

tone prevails throughout its twenty-seven pages of choral

music and organ accompaniment, ihich must be thoroughly

mastered in order to blend both parts into an impressive

and expressive whole.

Other compositions could be cited as examples of Sow-

erby's skill in writing for voices, but the list is long, and the comments would only be repetitious. His choral works all demand sureness of intonation in order to deliver with authority the innumerable dissonances and strange har- monic wanderings, but all of them vill pay dividends to the

choirmaster and choir members who spend the necessary time required to prepare and present these works properly.

Only a few of the composer's songs have been published, and all of these are of a high standard, musically speaking, although characteristically simple and straightforward. The set of three songs for bass voice (including "Hear 1v4y Cry, o God, " "The Lord Is 7y Shepherdt" and "How Long Wilt Thou

?orget ie?"t) are flawless from the standpoint of sincerity and reverence and are the antithesis of the sentimental and musically inferior material so frequently heard in the church service.

A complete list of Soverby works will be found in the Appendix, together with the date of publication and the publisher of each. OHA\PTER V

LEO SOVIBY'S PLACE IN AMRICAT MUSIC

In order that this document might carry more authority tan could be attached to simply the writer's opinion, let- ters were sent to various outstanding organists, composers, and teachers, asking for an expression of their opinion in regard to Sowerby's work and his place in the total scheme of contemporary American music. The response to these let- ters was most heartening to the writer. Not only vere these important gentlemen extremely generous in their replies, but they bore out the writer's idea that Sowerby is a composer whose work could well be for the future--of whose creative ability America can well be proutd.

Post of these letters will be quoted in their entirety.

All are fine, unselfish tributes to a colleague from really important men in the field of contemporary musical affairs.

It might be stated here that they serve as a fine commentary on the general broadmindedness and the complete lack of petty jealousy among the truly important musicians of our time,

The first letter which I shall quote comes from T.

Tertius Toble, well-known composer and choirmaster of

56 57

St. Thomas' Church, Fifth Avenue and Fifty-third Street,

ITew York City. The letter is dated March 31, 1941.

Dear Mr. Parks:

Leo Sowerby is in my opinion one of the finest musicians in America today. His choral, organ, and orchestral works are quite outstanding.

Sincerely, T. Tertius Noble

The next communication, dated March 28, 1941, is from

Francis W. Snor of Trinity Church, Boston, Massachusetts.

Snow's comments are not confined to the musical side of

Sowerby's personality, for he goes on to give a glimpse of

Sowerby, the ran. Snow's letter is as follows:

My dear 11r. Parks:

Leo Sowerby is one of my close friends and is to my mind one of the outstanding American composers--not only for chorus and organ, but also for orchestra. He has a fine choir. . . . He is a regular fellow and can drink us all under the table most any time. Sincerely yours, Francis W. Snow

The eminent composer-organist-choirmaster, Harvey Gaul, of Calvary Church, Pittsburgh, Pennsylvania, sent the almost poetic tribute quoted below. Ty dear Mr. Parks:

I consider Leo Sowerby a strong voice singing in an arid world. He is trying to do the job in a bigger, better fashion. Good luck! H. Gaul 58

From Garth Edmundson of the First Baptist Church, New

Castle, Pennsylvania, and a composer and concert organist of great reputation, comes this expression, dated April 12,

1941:

Dear Mr. Parks:

In answer to your inquiry concerning Dr. Sow- erby, I am happy to say that Leo's "Requiescat in Pace" is never out of my fingers. Repeated asso- ciations with his later organ and orchestral works, it seems to me, place him among the chosen few con- temporaries. Sincerely, Garth Edmundson

Coming from one of Sowerby's most important colleagues, the following letter adds weight to the writer's opinion of the works of the Chicago composer. The letter is from

Clarence Dickinson, organist and choirmaster of the famous old Brick Church in New York, who is associated with the

Union Theological Seminary as well. Dickinson's anthems are widely used and are very successful; he is also a con- cert organist of note. He says:

Dear Fr. Parks:

It must be interesting to write a thesis about a man who has forged ahead to the front line as a composer, as definitely as has Leo Sowerby. His is an honored name on programs of many and varied kinds; when your note came in I had just written a program note for a recital I am to play in Bridgeport on Palm Sunday, which read:

"C0125 AUTUMN TIYE--vritten originally for the organ and then orchestrated by the composer w'ho had the satisfaction of seeing it on the programs of eight symphony orchestras in one season." 59

At the Brick Church we use a number of his anthems, many of which are very much liked. His writing is scholarly, brilliant and modern without too great harshness. Very sincerely yours, Clarence Dickinson

The name Joseph W. Clokey is an important one in the field of choral and organ composition as well as in the teaching field. He is associated with the riami University,

Oxford, Ohio, in the capacity of Dean of the School of Fine

Arts. His letter follows.

Dear Yr. Parks:

I have received your letter of larch 18th requesting a statement concerning the work of Mr. Leo Sowerby. I regard Kr. Sowerby as one of the most significant figures in contemporary American music. I should say that he is one of the very few writers who has the combined virtues of strength, technical facility, originality, in- spiration, and practical knowledge of the medium for which he writes. His music is not obvious but acquires deepening meaning with repeated hearings. I am familiar chiefly with his writ- ings for organ and for the church. I know of no contemporary writer whose works I have en- joyed playing more than his. Yours very truly, Joseph V. Clokey The expression which came from Howard Hanson, director of the Eastman School of Tusic, Rochester, New York, bore special significnace because of his comments in regard to

Sowerby's "Kediaeval Poem," which is dedicated to Hanson. Hanson's reputation as a composer is recognized throughout 60

our country, and his compositions have frequent performances by the leading orchestras in the land. His letter is quoted below.

Dear Yr. Parks:

I am glad to have the opportunity of paying ry tribute to Leo Sowerby's excellence as a com- poser. I have conducted many of his orchestral compositions and have had the privilege of giving several of them their first performances. I am particularly fond of the "Vediaeval Poet" which seems to me to be a work of unusual beauty. It would take more than a brief letter to describe adequately Sowerby's music. A few things, however, may be quickly said. In the first place, he is a composer of outstanding technical ability, and I believe that there are few contemporary com- posers, American or foreign, who can surpass him in technical equipment. In style his music covers the entire range from the charming settings of folk tunes, such as "Pop Goes the Weasel" and the "Irish Washerwoman" on the one hand to the lofty mysticism of the "Tediaeval Poem" on the other. To me the "Kediaeval Poem" represents Sowerby at his best. This, in addition to its obvious tech- nical and musical interest, possesses moving qualities of deep sensitivity. It is music which is personal and yet at the same time has a sort of a spiritual universality. Yours sincerely, Howard Hanson

The lengthy commentary quoted below is from Seth Bing-

ham of Columbia University's Department of ftsic and organ-

ist of the Madison Avenue Presbyterian Church in New York

City. In a letter to the writer, Bingham expressed regret that his duties caused him to wait for some weeks before

replying. Under separate cover he sent the following

article expressing his opinion of Sowerby's york. 61

Leo Sowerby holds a place of true eminence among serious composers in the America of 1940. A brilliant galaxy of works extending over nearly a quarter century attests the evolution of a highly personal compositional idiom, in which color and rhythmic vitality play an essential part. With the passing years he has forged a sure technique and today commands a commendably wide range of style and mood; a perusal of his Symphony for organ or his "Mediaeval Poem" for organ and orchestra will confirm this. The lilting rhythms and mounting orchestral excitement of his "Money Musk" show how admirably Sowerby has caught the spirit of the barn dance. The very tonal monotony of his Symphonic Poem, "The Prairie," perhaps unduly prolonged, evokes the image of great open spaces. His Music for String quartet exploits harmonics with amazing cleverness. The dexterously jazzy Piano Concerto and the vivacious"Comes Autumn Time" both breathe a youthful, outdoor exhuberance often associated with Grainger. His "Carillon" for organ, an early work in post-romantic vein somewhat reminiscent of Karg-Elert, is deservedly popular by reason of its fresh melodic and harmonic charm. Less convincing is his Cello Sonata, a work recalling Ravel in certain details of color. Sowerby's "Pageant" and "Fantasy for Flutes" reveal the organist-composer in a virtuosic mood; they tax the performer's digital and pedal resources. His admirable "March," also for organ, employs the basso ostinato for long stretches and is charac- terized by a powerful chromatic drive. Only in the trio is there a slight feeling of disunion or in- appropriateness between the tune and the accompani- ment; the bass loses headway and drifts a bit aim- lessly. "Toccata" would seem to be less inspired; the theme sounds manufactured; one misses the close- knit enchainement of Sowerby's other organ pieces-- it is easily cut. In the choral field the Chicago composer has given us church music of sincere feeling and great originality, such as the gorgeous setting of "Great is the Lord," the fine "Benedictus es, Domine," and other canticles, and the more recent Lenten cantata, "Forsaken of han." 62

Perhaps ve should not expect this gifted masi- cian to plumb the depths of tragedy for us, or to attain the celestial heights of a Cesar Franck. He has something more important for our day and genera- tion; he is successfully giving musical utterance to contemporary American feeling; with the skill of a born artist he interprets the American scene, using a musical language combining the honest robust vigor of the pioneer with the sane loie de vivre of a sensitive civilized human being. In his artistic progress Leo Sowerby has wisely, probably instinctively, avoided the undesirable ex. trees of pseudo-Brah sism on the one hand and hard- boiled, devitalized cerebralism on the other. His single-minded devotion to his art and the impressive results of his creative labors already exercise a beneficent influence on the musical life of this country. Seth Bingham Aril 9, 1941

Such, then, are the opinions of eight of Sowerby's con-

temporaries whose statements may be regarded as authoritative

and representative. They are in far better position to ex-

press an opinion than the layman; they are engaged in the

same field of work as Sowerby and their ,judgments arise from

sound musical background backed up by rich experience in the profession. CHAPTER VI

SUGARY kD CONCLUSIONS

What, then, can be said of this composer, this man of

the mystic temperament who writes such spiritually inspired

music? As stated in the introduction, it is impossible to

make a definite statement as to the finI position of this

or any other contemporary composer. It is known, however,

that his mastery of materials and his ability to create

real atmosphere while writing in a technically complex vein mark hi2 .as one of the most important composers of our day.

It is the writer's opinion that when the history of this period is recorded, Sowerby's music will be among that to be reckoned with.

That his music is today included in the repertoire of

our best concert organists and symphony orchestras is proof

that Sowerby is- a composer to be considered. That his

choral music for the church service is based and recommended by the foremost authorities in church music is another evidence of his artistic worth and spiritual sincerity.

It is true that in many cases the spiritual values that lie back of the composer's lavish use of technical materials has not been understood at once; it is also true that what

63 64

he has done in the way of the unusual is not the conscious

striving for an outward effect, but is the outward expres-

sion of what he feels and thinks, and his feelings and

thoughts seem to go very deep.

His organ compositions make it necessary for the organ

technique to be revised, just as the works of Bach, Chopin,

Widor, and others demanded similar revision. There seems to

be no question but that Sowerby's organ works are of the

type which will have to wait for posterity to pass its judg-

ment before receiving the stamp of approval of and general

acceptance by the public. His work is not for the uniniti-

ated or the indifferent, but for those of rare spiritual

insight and well-developed musicianship. The publishers have been very generous and far-sighted in making these

"classics of the future"1 available to those organists who are willing to spend the time required to perfect them to

the point of projecting them intelligently to the public and thereby hastening the day when that public will be con- vinced of their real merit and scholarly excellence.

Albert Riemenschneider in his series of articles in

1 Allen Bacon, "1r. Leo Soerby and His Compositions," The American 2r anist, XI (December, 1928), 554. 65

The Di ason makes the following statement, which is a fit- ting close for this study:

It is a splendid thing for music that there still exist composers whose ideals stand so high that their work is of tomorrow rather than today.

4 Albert RIiemenschneider, "Works of Sowerby," The Dason, April 1, 933, P. 33. APPENDIX

LIST OF COIEOSITIONS BY LEO SOWEIBY

Orchestral Works

Composition Date of Publisher* Composition

Concerto for violin in G minor 1913 (revised Ms in 1924)

Transcription, "The Irish Washer- woman " 1916 131C

Overture, "Comes Autumn Time" 1916 BC

Transcription, "Money Musk" 1917 Birchard

"A Set of Four" 1917 Eastman

Concerto for piano, no. I, in F 1919 Is

Symphony, no. 1, in E minor 1920-21 Ms

"Ballad of King Estmere" for As two pianos and orchestra 1922

Suite, "From the Northland" 1923 SPAY

"Synconata" (for P. lWhiteman) 1924 Ms

"Lonotony" (for P. Whiteman) 1925 Is

"Mediaeval Poem" for organ and orchestra 1926 Eastman

Symphony, no. 2, in B minor 1927 Ms

Concerto for violoncello, in E minor 1929-34

Symphonic Poem, "Prairie" 1929 Eastman

66 67

Date of Composition Coposition Publi sher

Passacaglia, Interlude and Fugue 1931-32 4s Concerto for piano, no. 2, in E 1932 1s

Rhapsody for Chamber Orchestra 1932

Sinfonietta for String Orchestra 1933-34

Concerto for organ and orchestra 1937 Piece for orchestra after Sand- Me burg's "Theme in Yellow"l 1938 Symphony, no. 3 1940

Band orlks "Aier ican Rhapsody" 1933 Us Overture 1934 IS

Choral 'orks vith Orchestra Large 7ork in five arts, unnamed and unperforned 1923-24 IvtE "lThe Vision of Sir Launfal" 1925 Birchard "Great Is the Lord" (Psalm 48) 1933 Gray

Chamber Ifsic

Suite for violin and piano 1916 BtC "Serenade" for string quartet 1916 SPAY Quintet for oodwinds 1916 SPAM Trio for flute, viola, and piano 1919 he Sonata for violoncello and piano, in E minor 1920 Ms 68

Date of Composition Composition Publisher

"Two American Pieces" for violin and piano 1922 Universal

String Quartet, no. 1, in D minor 1923-24 Ms

Quintet for woodwinds, "Pop Goes the Weasel" 1927 Fitzsimons

String Quartet, no, 2, in G minor 1934-35 1s

Chaconne for tuba and piano 1936 C. Fischer "Cumberland Dance" for violin and piano 1937

Pianoforte Music

"In y Canoe"

Settings of Three Folk-tunes front Somerset 1915 BMC Transcription, "The Irish Washer- woman" 1916 BMC

"Cantus Heroicus" 1917 Dit son

Transcription, "Money Musk" 1917 Birchard

"Fishe rman's Tune" 1919 Ms

Suite, "From the Northland" 1923 BMC "Synconat a" 1924 NTs

Suite, "Florida" 1929 Oxford

Prelude 1934 ts

Orgn Works "Rejoice Ye Pure in Heart" 1913 Gray Date of Composition Composition Tublisher

Chorale Prelude on a melodic fragment from a motet by Palestrina 1914 Gray

"Madrigal" 1915 Gray Chorale on a Calvin st Hymn-tune 1915 BIC

Overture, "Comes Autumn Time" 1916 BVC Prelude on the Benediction, "Ite issa Est" 1916 BMC

"Carillon" 1917 Gray

"A Joyous March" Gray

"Requiescat in Pace" 1920 Gray "Lediaeval Poem" for organ and orchestra or piano 1926 Gray Symphony in G major 1930 Oxford

"Pageant" 1931 Gray Suite 1933-34 Oxford

"Pageant of Autumn" 1937 Gray

"Fanf are" 1937 Gray

Toccata 1939 Gray

Works for Choir and Orgn

Anthems

"The Lord Bless Thee and reep Thee" 1916 BIC

"The Risen Lord" 1919 BYC

"I Will Lift Up Line Eyes" 1919 BMC 70

Date of Composition Composition Publisher

"The Lord Reigneth" 1919 BEC "Song of Immortal Hope" 1920 BMC

"Psalm 134" (unaccompanied) 1923 BMC

"ake a Joyful Noise Unto the Lord" 1924 B231C

"Ynen the Lord Turned Again" (unaccompanied) 1926 Gray

Yotet, "0 Dearest Jesus" 1926 Fitzsimons

The Inviatories (unaccompanied) 1928 BILO Agnus Dei in D (unaccompanied) 1928

Sentence from the Burial Office 1928 B VC

"Like the Beams That from the Sun" 1930 Gray

"All They from Saba Shall Come" 1934 Gray

"Love Came Down at Christmas" (mixed or women's voices) Fitzsimons to Light from Age to Age" (unaccompanied) 1936 Gray

Services

Benedictus in B flat 1928 Gray Jubilate in B flat 1928 Gray Benedicite in D minor 1929 Gray

Te Deum in B flat 1930 Gray Benedictus in D minor 1930 Gray Magnificat and Nunc Dimitis in D 1930 Gray Office of the Holy Communion in C (unaccompanied) 1930 Gray 71

Date of Composition Composition Publisher

Benedictus in D minor 1933 Gray

Office of the Holy Communion in B minor 1934 Gray

Te Deum in D minor 1933 Fitzsimons

Office of the Holy Communion in E (unison) 1937 Gray

Cantatas

"A Liturgy of Hope" 1917 BMC

"Great Is the Lord" 1933 Gray

"With Strawberries" 1915 BMC Four English Songs, from the XVIth Century, Acco paniments by L. S. 1927 B1L7C

Three Psalms for bass voice and organ 1927-28 Gray

"Prayer for the Singer" 1932 Ms

"Prayer for the Seafarer" 1932 ys

Three Songs of Faith and Penitence for soprano and organ 1933-34 Gray

*KEY TO ABBIRVIATIONS BLIC -- Boston Music Co. Birchard -- C. C. Birchard Co., Boston Ditson -- The Oliver Ditson Co., Boston Eastman -- Eastman school of Yusic Publications, Birchard, agmt Fitzsimons -- H. T. Fitzsimons Co., Chicago Gray -- H. W. Gray Co., New York is -- manuscript (unpublished) Oxford -- Oxford University Press SPAY -.- The Society for the Publication of American Fusic, G. Schirmer, Inc., New York, agent Universal -- Universal Edition, Vienna BIBLIOGRAPHY

Books

Gunn, Glenn Dillard, Music, Its Histor and EnJyment, ew York, Harper and Brothers, 1938.

Howard, John Tasker, Our American iusic, New York, Thomas Crowell Company, 1931.

"Leo Sowerby," International Gycledia ofl usic and musicianss, edited by Oscar Thompson, Dodd, Mead and Company, 1939.

Slonimsky, Niicholas, Vusic Since 1900, ew York, W. t. I7orton and Corpany, 1937.

Articles

Authors Known The American Organist:

Groom, Lester t., "Chicago," LX (June, 1926), 190.

Smith, Frederick Stanley, "American Music," X (April, 1927), 110.

Groom, Lester W., "Chicago," XI (June, 1928), 217,

Groom, Lester W., "Chicago," XI (July, 1928), 260,

Bacon, Allan, "Lir. Leo Sowerby and His Compositions," XI (November, 1928), 487-489. XI (December, 1928), 549-554.

Sowerby, Leo, "A Good Creed," XII (April, 1929), 223.

Einecke, C. Harold, "Program ITotes," XIII (August, 1930), 488.

Bacon, Allan, "That the Profession Thinks," XV (April, 1932), 208.

72 Quimby, Arthur W., "American Composers, " XVI (September, 1933), 469.

Cutler, Kenneth, "World Premiere of Sowerby Cantata," XXIII (July, 1940), 212.

Buhrmann, T. Scott, "Repertoire and Reviews," XIV (April, 1941), 102.

The Diapason:

Riemenschneider, Albert, "Leo Sowerby's Works for the Organ," February through July, 1933.

Thompson, Harold W., "Easter Music in 1941," June 1, 1941, p. 20.

Tie Iui cal Qarterrly:

Tuthill, Burnet C., "Leo Sowerby," XXIV (yuly, 1938), 249-264.

Authors iot Given

The American Organist:

"Personal Notes," VIII (December, 1925), 437.

"Personal Iotes," X (July, 1927), 184-185.

"American Conservatory 1otes," XII (August, 1929), 503.

"Current Publications List," XIII (January, 1930), 10-11.

"Farnam Series," XIV (Yarch, 1931), 169.

"Church Iflusic," XIV (April, 1931), 204, 206.

"Repertoire and Reviews," XV (July, 1932), 396.

"Church Lusic," XVI (May, 1933), 240.

"American Composers: Symposium on American Works Used by American Recitalists," XVI (October, 1933), 520-521. 74

"Current Publications List," XVII (January, 1934), 8.

"American Composers: Symposium on American Works Used by American Recitalists," XVII (Ylay, 1934), 227. "Service Selections," XVII (ITovember, 1934), 522.

"Critiques," XVII (December, 1934), 563.

"Repertoire and Reviews," XXIII (February, 1940), 36.

The Dipason:

"Sowerby Lectures at Church Music Conference," June 1, 1941, p. 23.

newspapers

The \ew York Times:

"Leo Sowerby to Have 1ksic Published," parch 26, 1931.

"Second International Tusic Festival," september 4, 1932.

"Leo Sowerby Receives Honorary Degree," Tune 19, 1934.

"Cormposers Invited to Write Yew Eusic for Radio," October 24, 1937.

"American in Venice," by Raymond Hall, October 16, 1938.