John Davies Cale, OBE is a Welsh musician, singer and record producer, a founding member of the American rock band the Velvet Underground. Over his five-decade career, Cale has worked in various styles across rock, classical, avant-garde and electronic music, he studied music at Goldsmiths College, University of London, before relocating in 1963 to New York City's downtown music scene, where he performed as part of the Theatre of Eternal Music and formed the Velvet Underground. Since leaving the band in 1968, Cale has released 16 solo studio albums, including the acclaimed Music for a New Society. Cale has acquired a reputation as an adventurous producer, working on the debut albums of several innovative artists, including the Stooges and Patti Smith. John Davies Cale was born on 9 March 1942 in Garnant in the industrial Amman Valley of Wales to Will Cale, a coal miner, Margaret Davies, a primary school teacher. Although his father spoke only English, his mother spoke and taught Welsh to Cale, which hindered his relationship with his father, although he began learning English at primary school, at around the age of seven.
Cale was molested by two different men during his youth, an Anglican priest who molested him in a church and a music teacher. Having discovered a talent for viola, Cale studied music at Goldsmiths College, University of London. While he was there he organised an early Fluxus concert, A Little Festival of New Music, on 6 July 1964, he contributed to the short film Police Car and had two scores published in Fluxus Preview Review for the nascent avant-garde collective. He conducted the first performance in the UK of Cage's Concert for Piano and Orchestra, with the composer and pianist Michael Garrett as soloist. In 1963, he travelled to the United States to continue his musical training with the assistance and influence of Aaron Copland. Upon arriving in New York City, Cale met a number of influential composers. On 9 September 1963 he participated, along with John Cage and several others, in an 18-hour piano-playing marathon, the first full-length performance of Erik Satie's "Vexations". After the performance Cale appeared on the television panel show I've Got a Secret.
Cale's secret was that he had performed in an 18-hour concert, he was accompanied by a man whose secret was that he was the only member of the audience who had stayed for the duration. Cale would attribute Cage's writings with his own "relaxed" artistic outlook, having hitherto been raised to believe that European composers were obliged to justify their work. Cale played in La Monte Young's ensemble the Theatre of Eternal Music known as the Dream Syndicate; the drone-laden music he played there proved to be a big influence in his work with his next band, the Velvet Underground. One of his collaborators on these recordings was the Velvet Underground guitarist Sterling Morrison. Three albums of his early experimental work from this period were released in 2001. Belying his background in art music and the avant-garde, Cale had enjoyed and followed rock music from a young age. Early that year, he co-founded the Velvet Underground with Lou Reed, recruiting his flatmate Angus MacLise and Reed's college friend Sterling Morrison to complete the initial line-up.
Cale left the band in September 1968, owing in part to creative disagreements with Reed. Just before the band's first paying gig for $75 USD at Summit High School in New Jersey, MacLise abruptly quit the band because he viewed accepting money for art as selling out. Hired to play that one show, she soon became a permanent member and her tribal pounding style became an integral part of the band's music, despite the initial objections of Cale to the band having a female drummer. On his aforementioned visit to Britain in the summer of 1965, Cale shopped a crudely-recorded, acoustic-based Velvet Underground demo reel to several luminaries in the British rock scene with the intention of securing a record deal. Although this failed to manifest, the tape was disseminated throughout the UK underground over the following eighteen months by such figures as producer Joe Boyd and Mick Farren of the Deviants; as a result, the Deviants, the Yardbirds and David Bowie had all covered Velvet Underground songs prior to the release of their debut album in 1967.
The first commercially available recording of the Velvet Underground, an instrumental track called "Loop" given away with Aspen Magazine, was a feedback experiment written and conducted by Cale. His creative relationship with Reed was integral to the sound of the Velvet Underground's first two albums, The Velvet Underground & Nico and White Light/White Heat. On these albums he plays viola, bass guitar and piano, sings occasional backing vocals. White Light/White Heat features Cale on organ as well as two vocal turns: "Lady Godiva's Operation", an experimental song where he shares lead vocal duties with Reed, "The Gift", a long spoken word piece written by Reed. Though Cale co-wrote the music to several songs, his most distinctive contribution is the electrically-amplified viola, he played celesta on "Sunday Morning". Cale played on Nico's 1967 debut album, Chelsea Girl, which includes songs co-written by Velvet Underground members Cale and Morrison, who appear as musicians. Cale makes his debut as lyricist on "Winter Song" and "Little Sister".
Apart from appearing on the Ve
Works for prepared piano by John Cage
American avant-garde composer John Cage started composing pieces for solo prepared piano around 1938–40. The majority of early works for this instrument were created to accompany dances by Cage's various collaborators, most Merce Cunningham. In response to frequent criticisms of prepared piano, Cage cited numerous predecessors. In the liner notes for the first recording of his most acclaimed work for prepared piano and Interludes, Cage wrote: "Composing for the prepared piano is not a criticism of the instrument. I'm only being practical." This article presents a complete list of Cage's works for prepared piano, with comments on each composition. All of Cage's indeterminate works for unspecified forces can be performed on or with Prepared Piano. In interviews conducted in 1974 and 1982, Cage specified that this piece was composed in 1938. However, the manuscript used for Edition Peters' edition of Bacchanale specified 1940 as the date, this has been used by numerous scholars since; the circumstances of the piece's composition are much more clear: it was created for a choreography by the American dancer Syvilla Fort.
Cage and Fort were both working at the Cornish School in Washington at the time. The room where the dance was to be performed was not large enough to allow for a percussion ensemble, but had enough space for a grand piano. Cage decided to try placing various objects on the strings of the instrument in order to produce percussive sounds, inspired by Henry Cowell's experiments with extended piano techniques. In 1982 Cage mentioned. Twelve notes are prepared using weather strippings. In the score, in 11 cases out of 12, the performer is instructed to "determine position and size of mutes by experiment." Composed in 1942 for a dance by Merce Cunningham. Eleven notes are prepared; this is the only Cage-Cunningham collaboration from the 1940s for which original choreography has survived. Composed in 1942 for a dance by Valerie Bettis. Ten individual notes are prepared with small screws, a whole range from G1 to C3 is prepared using "two thicknesses of woolen material"; this material is placed between the strings in the following manner: over the first string, under the second, over the third, under the fourth, etc.
Composed in 1942 for a dance by Wilson Williams. Thirteen notes are prepared, all using bolts. Composed in late 1942 for a dance by Merce Cunningham; the title references World War II. Piano preparation involves only bolts. Various extended techniques are used, such as producing sound by plucking strings; the piece starts with quiet, muted tones and becomes louder, climaxing in several successions of large tone clusters, executed using the entire length of the forearm. Composed in 1943 for a dance by Pearl Primus. Piano preparation involves bamboo strips, as well as nuts; the music and the dance were to be accompanied by a speaker reading a poem by Langston Hughes about the condition of Black people in the United States. Composed in 1943 conceived as the third part of She Is Asleep. May be performed without preparations, which involve 11 notes. Most are to be prepared using bolts, one new material is a penny; the music is written down on a single staff and follows the structure 4, 7, 2, 5, 4, 7, 2, 3, 5, repeated twice.
Composed in 1944 for a dance by Merce Cunningham, dedicated to Valerie Bettis. Titled Meditation. Only eight notes are prepared with weather strippings. Two thirds of the piece are written down on a single staff; the two prepared notes are only used for a trill at the end of the work. A suite of three pieces, composed in 1944. Choreographed by Merce Cunningham as Effusions avant l'heure / Games / Trio; the title references Cage's separation from his wife Xenia, which happened in 1945. Composed in 1944. A short work that only uses four tones. Composed in 1944 for a dance by Merce Cunningham. A work in three sections: Section 1 contains seven bars each. According to Cunningham, the subject of the work is fear: it describes "awareness of the unknown and the final defeat". Composed in 1944 for a dance by Merce Cunningham. Composed in 1944 for a dance by Merce Cunningham. Written on a single staff scored as a single melodic line; this work, composed in 1944, is a revision of a 1943 piano piece titled Triple-Paced.
The 1944 version was choreographed by Merce Cunningham. Composed in 1944; this is Cage's first large-scale work for prepared piano. Twenty-six notes are prepared with various materials; the piece contains six separate sections with different rhythmic structures. According to Cage, The Perilous Night expresses "the loneliness and terror that comes to one when love becomes unhappy". All of the six movements of this work are untitled. 38 years after its composition, his longtime friend artist Jasper Johns included a silkscreen of the score in a large mixed-media diptych which itself is titled “Perilous Night.” Composed in 1945 for a dance by Merce Cunningham. This is another large-scale work with moderately complex piano preparation, it contains five sections. Composed in 1945 for a dance by Jean Erdman. Contains nineteen sections. Thirty-nine notes
A fortepiano is an early piano. In principle, the word "fortepiano" can designate any piano dating from the invention of the instrument by Bartolomeo Cristofori around 1700 up to the early 19th century. Most however, it is used to refer to the late-18th to early-19th century instruments for which Haydn and the younger Beethoven wrote their piano music. Starting in Beethoven's time, the fortepiano began a period of steady evolution, culminating in the late 19th century with the modern grand; the earlier fortepiano was absent from the musical scene for many decades. In the 20th century the fortepiano was revived, following the rise of interest in informed performance. Fortepianos are built for this purpose today in specialist workshops; the fortepiano has thin, harpsichord-like strings. It has a much lighter case construction than the modern piano and, except for examples of the early nineteenth century, it has no metal frame or bracing; the action and hammers are lighter, giving rise to a much lighter touch, which in well-constructed fortepianos is very responsive.
The range of the fortepiano was about four octaves at the time of its invention and increased. Mozart wrote his piano music for instruments of about five octaves; the piano works of Beethoven reflect a expanding range. Fortepianos from the start had devices similar to the pedals of modern pianos, but these were not always pedals. Like the modern piano, the fortepiano can vary the sound volume of each note, depending on the player's touch; the tone of the fortepiano is quite different from that of the modern piano, being softer with less sustain. Sforzando accents tend to stand out more than on the modern piano, as they differ from softer notes in timbre as well as volume, decay rapidly. Fortepianos tend to have quite different tone quality in their different registers – buzzing in the bass, "tinkling" in the high treble, more rounded in the mid range. In comparison, modern pianos are rather more uniform in sound through their range; the piano was invented by harpsichord maker Bartolomeo Cristofori in Florence around the turn of the 18th century.
The first reliable record of a piano appears in the inventory of the Medici family, dated 1700. Cristofori continued to develop the instrument until the 1720s, the time from which the surviving three Cristofori instruments date. Cristofori is best admired today for his ingenious piano action, which in some ways was more subtle and effective than that of many instruments. However, other innovations were needed to make the piano possible. Attaching the Cristofori action to a harpsichord would have produced a weak tone. Cristofori's instruments instead used thicker, tenser strings, mounted on a frame more robust than that of contemporary harpsichords; as with all pianos, in Cristofori's instruments the hammers struck more than one string at a time. Cristofori was the first to incorporate a form of soft pedal into a piano, it is not clear whether the modern soft pedal descends directly from Cristofori's work or arose independently. Cristofori's invention soon attracted public attention as the result of a journal article written by Scipione Maffei and published 1711 in Giornale de'letterati d'Italia of Venice.
The article included a diagram of the core of Cristofori's invention. This article was republished 1719 in a volume of Maffei's work, in a German translation in Johann Mattheson's Critica Musica; the latter publication was the triggering event in the spread of the fortepiano to German-speaking countries. Cristofori's instrument spread at first quite probably because, being more elaborate and harder to build than a harpsichord, it was expensive. For a time, the piano was the instrument of royalty, with Cristofori-built or -styled instruments played in the courts of Portugal and Spain. Several were owned by Queen Maria Barbara of Spain, the pupil of the composer Domenico Scarlatti. One of the first private individuals to own a piano was the castrato Farinelli, who inherited one from Maria Barbara on her death; the first music written for piano dates from this period, the Sonate da cimbalo di piano by Lodovico Giustini. This publication was an isolated phenomenon. There could have been no commercial market for fortepiano music while the instrument continued to be an exotic specimen.
It appears that the fortepiano did not achieve full popularity until the 1760s, from which time the first records of public performances on the instrument are dated, when music described as being for the fortepiano was first published. It was Gottfried Silbermann who brought the construction of fortepianos to the German-speaking nations. Silbermann, who worked in Freiberg in Germany, began to make pianos based on Cristofori's design around 1730. Like Cristofori, Silbermann had royal support, in his case from Frederick the Great of
Dance is a performing art form consisting of purposefully selected sequences of human movement. This movement has aesthetic and symbolic value, is acknowledged as dance by performers and observers within a particular culture. Dance can be categorized and described by its choreography, by its repertoire of movements, or by its historical period or place of origin. An important distinction is to be drawn between the contexts of theatrical and participatory dance, although these two categories are not always separate. Other forms of human movement are sometimes said to have a dance-like quality, including martial arts, cheerleading, figure skating, synchronized swimming, marching bands, many other forms of athletics. Theatrical dance called performance or concert dance, is intended as a spectacle a performance upon a stage by virtuoso dancers, it tells a story using mime and scenery, or else it may interpret the musical accompaniment, specially composed. Examples are western ballet and modern dance, Classical Indian dance and Chinese and Japanese song and dance dramas.
Most classical forms are centred upon dance alone, but performance dance may appear in opera and other forms of musical theatre. Participatory dance, on the other hand, whether it be a folk dance, a social dance, a group dance such as a line, chain or square dance, or a partner dance such as is common in western Western ballroom dancing, is undertaken for a common purpose, such as social interaction or exercise, of participants rather than onlookers; such dance has any narrative. A group dance and a corps de ballet, a social partner dance and a pas de deux, differ profoundly. A solo dance may be undertaken for the satisfaction of the dancer. Participatory dancers all employ the same movements and steps but, for example, in the rave culture of electronic dance music, vast crowds may engage in free dance, uncoordinated with those around them. On the other hand, some cultures lay down strict rules as to the particular dances in which, for example, men and children may or must participate. Archeological evidence for early dance includes 9,000-year-old paintings in India at the Rock Shelters of Bhimbetka, Egyptian tomb paintings depicting dancing figures, dated c. 3300 BC.
It has been proposed that before the invention of written languages, dance was an important part of the oral and performance methods of passing stories down from one generation to the next. The use of dance in ecstatic trance states and healing rituals is thought to have been another early factor in the social development of dance. References to dance can be found in early recorded history; the Bible and Talmud refer to many events related to dance, contain over 30 different dance terms. In Chinese pottery as early as the Neolithic period, groups of people are depicted dancing in a line holding hands, the earliest Chinese word for "dance" is found written in the oracle bones. Dance is further described in the Lüshi Chunqiu. Primitive dance in ancient China was associated with shamanic rituals. During the first millennium BCE in India, many texts were composed which attempted to codify aspects of daily life. Bharata Muni's Natyashastra is one of the earlier texts, it deals with drama, in which dance plays an important part in Indian culture.
It categorizes dance into four types – secular, abstract, interpretive – and into four regional varieties. The text elaborates various hand-gestures and classifies movements of the various limbs, steps and so on. A strong continuous tradition of dance has since continued in India, through to modern times, where it continues to play a role in culture, and, the Bollywood entertainment industry. Many other contemporary dance forms can be traced back to historical, traditional and ethnic dance. Dance is though not performed with the accompaniment of music and may or may not be performed in time to such music; some dance may provide its own audible accompaniment in place of music. Many early forms of music and dance were created for each other and are performed together. Notable examples of traditional dance/music couplings include the jig, tango and salsa; some musical genres have a parallel dance form such as baroque dance. Rhythm and dance are linked in history and practice; the American dancer Ted Shawn wrote.
A musical rhythm requires two main elements. The basic pulse is equal in duration to a simple step or gesture. Dances have a characteristic tempo and rhythmic pattern; the tango, for example, is danced in 24 time at 66 beats per minute. The basic slow step, called a "slow", lasts for one beat, so that a full "right–left" step is equal to one 24 measure; the basic forward and backward walk of the dance is so coun
Ferrante & Teicher
Ferrante & Teicher were a duo of American piano players, known for their light arrangements of familiar classical pieces, movie soundtracks, show tunes, as well as their signature style of florid and fast paced piano playing performances. Arthur Ferrante, Louis Teicher met while studying at the Juilliard School of Music in New York in 1930. Musical prodigies, they began performing as a piano duo while still in school. After graduating, they both joined the Juilliard faculty. In 1947, they launched a full-time concert career, at first playing nightclubs quickly moving up to playing classical music with orchestral backing. Steven Tyler of Aerosmith relates the story that in the 1950s the two students practiced in the home of his grandmother Constance Neidhart Tallarico. Between 1950 and 1980, they were a major American "easy listening" act, scored four big U. S. hits: "Theme from The Apartment", "Theme From Exodus", "Tonight", "Midnight Cowboy". They performed and recorded with pops orchestras popular standards by George Gershwin, Jerome Kern, Cole Porter, Richard Rodgers and others.
In 1973, they did the Hollywood Radio Theater theme for the Rod Serling radio drama series, The Zero Hour. The duo experimented with prepared pianos, adding paper, rubber, wood blocks, metal bars, glass and other found objects to piano string beds. In this way they were able to produce a variety of bizarre sounds that sometimes resembled percussion instruments, at other times resulted in special effects that sounded as if they were electronically synthesized. Both men were initiated as honorary members of Tau Kappa Epsilon at Central State University while on tour. Ferrante and Teicher ceased performing in 1989 and retired to Longboat Key and Siesta Key close to each other on the west coast of Florida, they continued to play together at a local piano store. CDs of their music, some of it not released, have continued to appear. Louis Teicher died of a heart attack in August three weeks before his 84th birthday. Arthur Ferrante died of natural causes on September 2009, twelve days after his 88th birthday.
Arthur is survived by Jena. Mississippi Boogie/African Echoes Joe Davis Records Piano Playhouse MGM E209 Hi-Fireworks Columbia CL-573 Can-Can & Me & Juliet Columbia CL-6264 Continental Holiday Columbia CL-6291 Xmas Hi-Fivories Westminster WL-3044 Rhapsody Urania URA-78011 Rachmaninoff Two-Piano Suites Westminster XWN-18059 Original Variations for Two Pianos Westminster XWN-18169 Ravel/Debussy Westminster XWN-18219 Encores! Westminster XWN-18786 Postcards From Paris Westminster WP-6001 Adventure In Carols Westminster WP-6021 Soundblast Westminster WP-6041 Heavenly Sounds In Hi-Fi ABC ABCS-221 Soundproof Westminster WP-6014 Ferrante & Teicher With Percussion ABCS-248 Blast Off ABCS-285 Play Light Classics ABCS-313 Themes From Broadway Shows ABCS-336 Dream Concerto UAS-6103 Dynamic Twin Pianos WWS-8504 The World's Greatest Themes UAS-6121 Latin Pianos UAS-6135 Golden Piano Hits WWS-8505 Broadway To Hollywood Columbia CS 8407 Goodbye Again OST UAS-5091 Love Themes WWS-8514 West Side Story UAS-6166 Tonight!
UAS-6171 Golden Themes From Motion Pictures UAS-6210 Pianos In Paradise UAS-6230 Snowbound UAS-6233 The Keys To Her Apartment UAS-6247 Love Themes From Cleopatra UAS-6290 Holiday For Pianos UAS-6298 Concert For Lovers UAS-6315 Exotic Love themes UAS-6340 Fifty Fabulous Favorites UAS-6343 My Fair Lady UAS-6361 The Enchanted World of Ferrante & Teicher UAS-6375 The People's Choice UAS-6385 Springtime UAS-6406 By Popular Demand UAS-6416 Only The Best UAS-6434 A Rage To Live OST UAS-5130 The Ferrante & Teicher Concert-Part 1 UAS-6444 The Ferrante & Teicher Concert-Part 2 UAS-6475 For Lovers Of All Ages UAS-6483 You Asked For It! UAS-6526 We Wish You A Merry Christmas UAS-6536 The Twin Piano Magic Volume 2 ABC-Paramount 559 The piano artistry S 21004 - Unart Our Golden Favorites UAS-6556 A Man & A Woman UAS-6572 In the Heat Of The Night UAS-6624 Live For Life UAS-6632 The Painted Desert UAS-6636 A Bouquet Of Hits UAS-6659 Love In The Generation Gap UAS-6671 Listen To the Movies With Ferrante & Teicher UAS-6701 Midnight Cowboy UAS-6725 Getting Together UAS-5501 Love Is A Soft Touch UAS-6771 The Best Of Ferrante & Teicher UAS-73 The Music Lovers UAS-6792 It's Too Late UAS-5531 Fiddler On The Roof UAS-5552 Play The Hit Themes UAS-5588 Salute Nashville UAS-5645 Hear And Now UA-LA018F The Roaring Twenties UA-LA072F Killing Me Softly UA-LA118F Dial "M" For Music UA-LA195F The Very Best Of Ferrante & Teicher UA-LA379E Greatest Love Themes of the 20th Century UA-LA101-G2 In A Soulful Mood UA-LA227G Beautiful, Beautiful (197
Henry Dixon Cowell was an American composer, music theorist, teacher and impresario. His contribution to the world of music was summed up by Virgil Thomson, writing in the early 1950s: Henry Cowell's music covers a wider range in both expression and technique than that of any other living composer, his experiments begun three decades ago in rhythm, in harmony, in instrumental sonorities were considered by many to be wild. Today they are the Bible of the young and still, to the conservatives, "advanced."... No other composer of our time has produced a body of works so radical and so normal, so penetrating and so comprehensive. Add to this massive production his long and influential career as a pedagogue, Henry Cowell's achievement becomes impressive indeed. There is no other quite like it. To be both fecund and right is given to few. Born in rural Menlo Park, California, to two bohemian writers—his father was an Irish immigrant and his mother, a former schoolteacher, had relocated from Iowa—Cowell demonstrated precocious musical talent and began playing the violin at the age of five.
After his parents' divorce in 1903, he was raised by his mother, Clarissa Dixon, author of the early feminist novel Janet and Her Dear Phebe. His father, with whom he maintained contact, introduced him to the Irish music that would be a touchstone for Cowell throughout his career. While receiving no formal musical education, he began to compose in his mid-teens. By the summer of 1914, Cowell was writing individualistic works, including the insistently repetitive Anger Dance; that fall, the self-taught Cowell was admitted to the University of California, Berkeley, as a protégé of Charles Seeger. There he studied harmony and other subjects under Seeger and Edward Griffith Stricklen and counterpoint under Wallace Arthur Sabin. After two years at Berkeley, Cowell pursued further studies in New York where he encountered Leo Ornstein, the radically "futurist" composer-pianist. Still a teenager, Cowell wrote the piano piece Dynamic Motion, his first important work to explore the possibilities of the tone cluster.
It requires the performer to use both forearms to play massive secundal chords and calls for keys to be held down without sounding to extend and intensify its dissonant cluster overtones. Cowell soon returned to California, where he had become involved with a theosophical community, led by the Irish poet John Varian, who fueled Cowell's interest in Irish folk culture and mythology. In 1917, Cowell wrote the music for Varian's stage production The Building of Banba. In years, Cowell would claim that the piece had been composed around 1912, in an evident attempt to make his musical innovations appear more precocious than they were. Beginning in the early 1920s, Cowell toured in North America and Europe as a pianist, playing his own experimental works, seminal explorations of atonality, polytonality and non-Western modes, it was on one of these tours that in 1923, his friend Richard Buhlig introduced Cowell to young pianist Grete Sultan in Berlin. They worked together—an aspect vital to Grete Sultan's personal and artistic development.
Cowell made such an impression with his tone cluster technique that Béla Bartók requested his permission to adopt it. Another novel method advanced by Cowell, in pieces such as Aeolian Harp, was what he dubbed "string piano"—rather than using the keys to play, the pianist reaches inside the instrument and plucks and otherwise manipulates the strings directly. Cowell's endeavors with string piano techniques were the primary inspiration for John Cage's development of the prepared piano. In early chamber music pieces, such as Quartet Romantic and Quartet Euphometric, Cowell pioneered a compositional approach he called "rhythm-harmony": "Both quartets are polyphonic, each melodic strand has its own rhythm," he explained. "Even the canon in the first movement of the Romantic has different note-lengths for each voice."In 1919, Cowell had begun writing New Musical Resources, which would be published after extensive revision in 1930. Focusing on the variety of innovative rhythmic and harmonic concepts he used in his compositions, it would have a powerful effect on the American musical avant-garde for decades after.
Conlon Nancarrow, for instance, would refer to it years as having "the most influence of anything I've read in music."Cowell's interest in harmonic rhythm, as discussed in New Musical Resources, led him in 1930 to commission Léon Theremin to invent the Rhythmicon, or Polyrhythmophone, a transposable keyboard instrument capable of playing notes in periodic rhythms proportional to the overtone series of a chosen fundamental pitch. The world's first electronic rhythm machine, with a photoreceptor-based sound production system proposed by Cowell, it could produce up to sixteen different rhythmic patterns complete with optional syncopation. Cowell wrote several original compositions for the instrument, including an orchestrated concerto, Theremin built two more models. Soon, the Rhythmicon would be forgotten, remaining so until the 1960s, when progressive pop music producer Joe Meek experimented with its rhythmic concept. Cowell pursued a radical compositional approach through the mid-1930s, with solo piano pieces remaining at the heart
Maurice Charles Delage was a French composer and pianist. Delage was died in Paris, he first worked as a clerk for a maritime agency in Paris, as a fishmonger in Boulogne. He served for a time in the French army, before embarking on a music career in his twenties. A student of Ravel, who proclaimed him one of the supreme French composers of his day, member of Les Apaches, he was influenced by travels to India and Japan in 1912, when he accompanied his father on a business trip. Ravel's "La vallée des cloches" from Miroirs was dedicated to Delage. Delage's best known piece is Quatre poèmes hindous, his Ragamalika, based on the classical music of India, is significant in that it calls for prepared piano. Poèmes symphoniquesConté par la mer Les Bâtisseurs de ponts after Rudyard Kipling Overture to Ballet de l'avenir Contrerimes, orchestration of pieces for piano Bateau ivre after the poem by Arthur Rimbaud Cinq danses symphoniques Chamber musicString quartet Suite française for string quartet Mélodies Trois mélodies Ragamalika, chant tamoul Trois poèmes Ronsard à sa muse Les Colombes La Chanson de ma mie Les Demoiselles d'Avignon Sobre las Olas on a poem by Jean Cocteau Toute allégresse on a poem by Paul-Jean TouletMélodies Quatre poèmes hindous Sept haï-kaïs for soprano and chamber orchestra Préface du Kokinshū, dedicated to Mrs. Louis Laloy.
Deux fables de La Fontaine, Le Corbeau et le Renard, La Cigale et la Fourmi Trois chants de la jungle after Kipling In morte di un samouraï on a collection of haïkaïses and tankas by Pierre Pascal Trois poèmes désenchantés Music for solo pianoSchumann... Contrerimes Pasler, Jann. "Race and Distinction in the Wake of the'Yellow Peril'." In Western Music and Its Others: Difference and Appropriation in Music, ed. Georgina Born and David Hesmondhalgh. Berkeley, Los Angeles, London: University of California Press. Maurice Delage works at Classical Archives Maurice Delage, at Maurice Ravel Frontispice, archived at the Wayback Machine on 18 September 2017 from the original. Cypres bio Free scores by Maurice Delage at the International Music Score Library Project