Abstract

Regarded as one of the landmark works of the early wind band repertoire, Henry Cowell’s Celtic Set both benefitted and suffered from its being created while the composer was incarcerated in San Quentin.  Cowell had been writing short, simple works for the prison band (for which he was serving as bandmaster), yet was prompted to write a more extensive work for the Interlochen Arts Academy Band in Michigan by the noted pianist and composer, Percy Grainger.   The result, Interlochen Camp Reel, was so successful that Grainger insisted that Cowell consider writing an entire “set” of pieces based on the Irish folk tradition.  The resulting six movements were all taken under consideration by the publisher G. Schirmer, with three eventually released under the title Celtic Set, one published by Peer Music as the second part of A Curse and a Blessing, one published by Theodore Presser as Shoonthree, and one (A Blarneying Lilt) which became the first movement of another “set”, Old American Country Set.  The production of these pieces, and the professional connection with Grainger, eventually became crucial elements in the release and parole of Cowell from San Quentin.

However, Cowell was forced to make significant revisions in his manuscript, which were negotiated through written correspondence with Grainger.  This process made the practical execution of the creation of the performance materials cumbersome and inefficient.  What became the printed edition was at best a compromise between composer, amanuensis (Grainger) and publisher.

My sabbatical project is to create a scholarly, critical edition of Celtic Set.  Working with the manuscript scores, and other primary sources, as well as the most current scholarly writing on the composer and his music,  my presentation will focus on a single area of the music and elucidate the type of scholarly study that is inherent in the performance of art music.