Institute for Studies In American Music Conservatory of Music, Brooklyn College of the City University of New York NEWSLETTER
Volume XXXVII	No. 2 Spring 2008
Inside This Issue: Inside This Issue I.S.A.M. Beginnings by H.W.H. I.S.A.M. Matters [1992] by H.W.H. Mail from Wiley by Richard Crawford Everbest: Remembering H. Wiley Hitchcock by Susan Feder H.W.H. Reflections by Ellie Hisama and Nancy Hager Sitting for a Virgil Thomson Portrait by H.W.H.	H.W.H., Cowell, and New Music by David Nicholls Wiley Hitchcock’s championing of Charles Ives is internationally recognized. What is perhaps less well known is that Wiley was a supporter of—and in many cases friends with—innumerable other American composers, including Virgil Thomson (whose Four Saints in Three Acts, in an edition by Wiley and Charles Fussell, is planned for publication by MUSA), John Cage, and Kyle Gann. But perhaps the American composer on whose behalf Wiley expended most energy—much of it covert, and seldom recognized through public channels—was Henry Cowell (1897–1965). Whether Wiley actually knew Cowell I am not sure; but he most certainly knew, corresponded with, supported, and honored Cowell’s widow, Sidney Robertson Cowell (1903–1995), not least in the edited compilation of her reminiscences and vignettes, A Chapbook of Cheer, which he had published privately in the year of her passing. Wiley’s actual scholarly output concerning Cowell was limited to a single (but masterly) article, “Henry Cowell’s Ostinato Pianissimo,” published in Musical Quarterly in 1984. But as founding Director of I.S.A.M., he commissioned three volumes for its monograph series that are still invaluable to Cowell scholars: Bruce Saylor’s The Writings of Henry Cowell: A Descriptive Bibliography (#7, 1977); Martha L. Manion’s Writings about Henry Cowell: An Annotated Bibliography (#16, 1982); and William Lichtenwanger’s The Music of Henry Cowell: A Descriptive Catalog (#23, 1986). Wiley was also (to crib John Cage’s description of Cowell) the “open sesame” to all things Cowellian. My own first proper meeting with Wiley, on the beach during the Sonneck Society’s 1993 meeting in Pacific Grove, California, is a typical example of his helpfulness and enthusiasm. I spoke to him about the possibility of an edited collection of essays on Cowell—published in 1997 as The Whole World of Music: A Henry Cowell Symposium—and of a fresh printing of the pathbreaking New Musical Resources. Wiley became totally committed to these projects—and although he contributed physically to neither, his spirit and example hovered permanently above both. It was Wiley who scrutinized my first tentative proposal for the essay volume, offering constructive criticisms and further thoughts in equal measure; it was Wiley who encouraged me to approach Lou Harrison, whose contributions to the volume proved so memorable; and it was Wiley who put me in touch with several scholars whose work enhanced considerably the end product. As to the 1996 Cambridge edition of New Musical Resources—it was Wiley who, like some latter-day deus ex machina, obtained for me (via special permission from Sidney) access to those pertinent materials in New York Public Library, which were at that stage supposedly closed to all but Cowell’s official biographer. Also at Pacific Grove, we tossed around a few thoughts concerning an event to celebrate Cowell’s forthcoming centenary; and although it was Carol Oja and Ray Allen who did most of the legwork in arranging what became the Henry Cowell Centennial Festival and Conference, I think it is fair to say that Wiley did a great deal of behind-the-scenes work in ensuring its considerable success. The list of Wiley’s good works on behalf of Cowell could continue; but rather than turning this reminiscence into a catalog, perhaps I should end by pointing to what was probably the bravest thing Wiley ever did for HC—that being, following the Cowell Centennial Festival, letting Henry grow up, by no longer holding his musicological hand (as it were) but rather encouraging scholars to draw their own conclusions concerning Cowell’s merits (or otherwise). To champion a neglected figure is brave; to let him subsequently stand on his own two feet is braver still. Wiley was never afraid of doing the right thing, however apparently hard or harsh it might have seemed at the time. I miss him enormously. —David Nicholls University of Southampton ISAM home Who we are Contact us ISAM Conferences and Lectures Monographs ISAM Web Documents Newsletters Links Copyright © 2005 Institute for Studies in American Music, Conservatory of Music, Brooklyn College. All Rights Reserved. Site designed by J. Graeme Fullerton & maintained by Carl Clements, Managing Editor