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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
91742TABLE OF CONTENTS
LIST OF ILLUSTRATIONS ...............................
ChapterI.
II.
IV.
V.
VI,
Pageiv
INTRODUCTION TO TMSTUvDy..
The Problemteed for the Study
Reliability of the DataSources of InformationOrganization of the Study
BIOGRAPHICAL SKETCH OF LEO SOWERBY
SIGNIFICAITT ASPECTS OF THE SOERBY STYLE.
A STUDY OF REPIESETATIVE SOWiYREBYCO10OSITIO.TS
LEO S(WERBY'S PLACE IN UMRICAK ISIC........
SUMAR AND COCLUSIONS......................
APPIE TDIX .............................................
B IBLIOGRAPHY .. , ...... . . . . . . .. **
1
5
12
25
56
63
66
72
iii
LIST OF ILLUSTRATIONS
Figure Page
1. ain Theme of "eediaeval Poem" in Complete andFragmentary Forms as Used in Development ofthe Composition .............................. 29
2. Opening Neasures of Introduction Showing LongPedal 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 inPace" .. ,-*--*.----...... ..... ...... ..... 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.
1Quoted- 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
1Burnet C. Tuthill, "Leo Sowerby," The VuAter 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 ofwhich have not been sounded, and which differsso 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 ofanthems, and keeping away as far as possible fromthe threadbare Victorian stuff used in so manychurches, though the best of it--Wesley, forexample--is not beneath anyone's notice. Per-haps I lay a little more insistence than do somechoir-masters on doing things written in our ownday, but that would be natural for me to do. Iknow there are some who think I do some thingsin an unusual way (in the matter of tempi, etc.),but this, of course, is a matter of personalopinion 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.
3Leo Sowerby, "A Good Creed," The American rganist,XII (April, 1929), 223.
4Lester 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 beof service to you. Please don't ask me for anycritical evaluation of my own work, as some peopledo. That sort of thing a composer just cannot, andshould not, do. One person wrote to me and askedwhich of ny works I liked best, and just how sev-eral of them came t be written! I could only replythat 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
1Burnet C. Tuthill, "Leo Sowerby," The MusicalQuarterly, 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 forOrgan," 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 closelyknit 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
5Albert Riemenschneider, "Leo Sowerby's Works for theOrgan," 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 andtrembling stand;
Ponder nothing earthly minded, for with blessing inHis hand
27
Christ, our God, to earth descendeth, our full homageto 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 vanguardon the way,
As the Light of Light descendeth from the realms ofendless day,
That the powers of hell may vanish as the darknessclears away.
At His feet the six-winged seraph; cherubim withsleepless eye
Veil their faces to the Presence, as with ceaselessvoice they cry,
Alleluia, alleluia, alleluia, Lord most High.
After the poem appears the following note:
The composer has endeavored to interpret theatmosphere of mysticism which pervades the poem bytranslating into tone something of the vision ofthe Heavenly pageant which St. James or any devoutsoul might have imagined.
As to the actual musical structure, the workis a rhapsody based on the choral which appears inits unadorned form on the organ alone towards theclose of the piece. No Gregorian or other borrowedthemes 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 crypticwords concerning his Chorale in E major and re-corded by his pupil, Vincent d'Indy: "You willsee the real chorale; it is not the chorale; itis 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.
1Albert Riemenschneider, "Works of Sowerby," TheDiapason, July 1, 1933, p. 27.
2Page numbers referred to are taken from the H. W. GrayCompany edition of this work for organ and piano.
29
Complete theme
First eight notes
( Eighth - tenth notes
TI7
I l. O
(2) Fifth
I W~l
- ninth n tes
I I
Ii
(4) Last four notes
1% 1V V
Fig. 1.-- kain theme of "Mediaeval Poem" in completeand 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-.- b a r- -. -- -- --- - ---
K-t~w*
ri. 2.- Opening measures of introduction showingIong pedal point in organ part supported by kettledrums,tnd instrumentation of other parts. (Taken from "VediaevalPoem" by Leo Sowerby, H. W. Gray edition, p. 1.)
ld Ms...
AL-AL-
BrAprqL
-7 - -- TT- 3L
I v I -
IF---AF--
11
a
ro Iow"Aw
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 areference 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
I III ! * ~ I II I II - I I # I
Fig. 3.--Free inversion of the main theme. (Takenfrom "Mediaeval Poem" by Leo Sowerby, H. W. Gray edition,pp. 4-5,)
t1- 7 1,1 A -hmI i I -- 1'
I ~ IAll
1ig. 4.--Horn motive adapted from fragment (1).(Taen from "Mediaerval Poem' by Leo Sowerby, H. W. Grayedition, p. 9.)
1ig. 5.--Trumpet motive, combining fragments (1) and(4). (Taken from "Lediaeval Poem" by Leo Sowerby, H. W.Gray edition, p. 22.) -
SoltIt
mi
I
>Pa 9 AF-
a A As :I
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 A -L
Fig. 6.-4-Opening subject of "Carillon." (Taken fromA C lie ti n 9 Cim Preludes, compiled by John Holler,
..Gray edition, CiTlon* by Leo Sowerby, p. 1.)
Fig. 7.--Carillon motive supported by chromatic har-monies and pedal point. (Taken from A Collton of ChimePreludes, compiled by John Holler, H. T. Gray edition,"Carillon" by Leo Sowerby, pp. 2-3.)
5NOW
stti.
I
I I I
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, because4 4
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
I ___Witisit
_ _ _ _ _ _ _ _ _ _ _ _ I I I
IM
31|'I W -r t m--..e -- - .... . .. I l U jnmg~ m~ il 11 ml ]I mg _II
1000F II 0-4-al
I
Fig. 8.--First and second themes of "Requiescat inPace." (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 editionin the St. Cecilia series, no. 386.
6Allen Bacon, "Mr. Sowerby and His Works," The AmericanOrganist, 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 andsympathetic organist. . . . Player needs a finetechnic and a sense of showmanship, for the musicmust dash along after its business or all is lost,It opens rationally but in a style we must associatewith nothing earlier than the present century. Thecomposer does have themes to begin with, musicalthemes, and he does musical things to them. Ifdissonances occur, there is reason for them. .. ,Nobody objects to ugliness that falls in naturallythrough dissonances that result from movement ofthemes, but when dissonances seem to be purposelyor carelessly injected merely to create ugliness
51
when the themes are not running that directionthemselves, we have a right to be suspicious andask 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," TheAmerican 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
quar t 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 MusicalQuarterly, 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 sincerityand 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 finestmusicians in America today. His choral, organ, andorchestral 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 andis to my mind one of the outstanding Americancomposers--not only for chorus and organ, butalso for orchestra.
He has a fine choir. . . . He is a regularfellow and can drink us all under the table mostany 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 singingin an arid world. He is trying to do the job ina 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 inPace" 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 abouta man who has forged ahead to the front line as acomposer, as definitely as has Leo Sowerby. His isan honored name on programs of many and varied kinds;when your note came in I had just written a programnote for a recital I am to play in Bridgeport onPalm Sunday, which read:
"C0125 AUTUMN TIYE--vritten originally for theorgan and then orchestrated by the composerw'ho had the satisfaction of seeing it on theprograms of eight symphony orchestras in oneseason."
59
At the Brick Church we use a number of hisanthems, many of which are very much liked. Hiswriting is scholarly, brilliant and modern withouttoo 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 18threquesting a statement concerning the work ofMr. Leo Sowerby.
I regard Kr. Sowerby as one of the mostsignificant figures in contemporary Americanmusic. I should say that he is one of the veryfew writers who has the combined virtues ofstrength, technical facility, originality, in-spiration, and practical knowledge of the mediumfor which he writes. His music is not obviousbut acquires deepening meaning with repeatedhearings. I am familiar chiefly with his writ-ings for organ and for the church. I know ofno 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 payingry tribute to Leo Sowerby's excellence as a com-poser. I have conducted many of his orchestralcompositions and have had the privilege of givingseveral of them their first performances. I amparticularly fond of the "Vediaeval Poet" whichseems to me to be a work of unusual beauty.
It would take more than a brief letter todescribe 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 himin technical equipment. In style his music coversthe entire range from the charming settings offolk tunes, such as "Pop Goes the Weasel" and the"Irish Washerwoman" on the one hand to the loftymysticism of the "Tediaeval Poem" on the other.To me the "Kediaeval Poem" represents Sowerby athis best. This, in addition to its obvious tech-nical and musical interest, possesses movingqualities of deep sensitivity. It is music whichis personal and yet at the same time has a sortof 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 eminenceamong serious composers in the America of 1940.A brilliant galaxy of works extending over nearlya quarter century attests the evolution of a highlypersonal compositional idiom, in which color andrhythmic vitality play an essential part. With thepassing years he has forged a sure technique andtoday commands a commendably wide range of styleand mood; a perusal of his Symphony for organ orhis "Mediaeval Poem" for organ and orchestra willconfirm this.
The lilting rhythms and mounting orchestralexcitement of his "Money Musk" show how admirablySowerby has caught the spirit of the barn dance.The very tonal monotony of his Symphonic Poem,"The Prairie," perhaps unduly prolonged, evokesthe image of great open spaces. His Music forString quartet exploits harmonics with amazingcleverness. The dexterously jazzy Piano Concertoand the vivacious"Comes Autumn Time" both breathea youthful, outdoor exhuberance often associatedwith Grainger. His "Carillon" for organ, an earlywork in post-romantic vein somewhat reminiscent ofKarg-Elert, is deservedly popular by reason of itsfresh melodic and harmonic charm. Less convincingis his Cello Sonata, a work recalling Ravel incertain 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 thebasso ostinato for long stretches and is charac-terized by a powerful chromatic drive. Only in thetrio 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 hasgiven us church music of sincere feeling and greatoriginality, such as the gorgeous setting of "Greatis the Lord," the fine "Benedictus es, Domine," andother 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 toattain the celestial heights of a Cesar Franck. Hehas something more important for our day and genera-tion; he is successfully giving musical utteranceto contemporary American feeling; with the skill ofa born artist he interprets the American scene,using a musical language combining the honest robustvigor of the pioneer with the sane loie de vivre ofa 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. Hissingle-minded devotion to his art and the impressiveresults of his creative labors already exercise abeneficent influence on the musical life of thiscountry.
Seth BinghamAril 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
1Allen 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 therestill exist composers whose ideals stand so highthat their work is of tomorrow rather than today.
4Albert RIiemenschneider, "Works of Sowerby," TheDason, April 1, 933, P. 33.
APPENDIX
LIST OF COIEOSITIONS BY LEO SOWEIBY
Orchestral Works
Composition
Concerto for violin in G minor
Transcription, "The Irish Washer-woman "
Overture, "Comes Autumn Time"
Transcription, "Money Musk"
"A Set of Four"
Concerto for piano, no. I, in F
Symphony, no. 1, in E minor
"Ballad of King Estmere" fortwo pianos and orchestra
Suite, "From the Northland"
"Synconata" (for P. lWhiteman)
"Lonotony" (for P. Whiteman)
"Mediaeval Poem" for organ andorchestra
Symphony, no. 2, in B minor
Concerto for violoncello, in E minor
Symphonic Poem, "Prairie"
Date ofComposition
1913 (revisedin 1924)
1916
1916
1917
1917
1919
1920-21
1922
1923
1924
1925
1926
1927
1929-34
1929
Publisher*
Ms
131C
BC
Birchard
Eastman
Is
Ms
As
SPAY
Ms
Is
Eastman
Ms
Eastman
66
67
CompositionDate of
Coposition Publi sher
Passacaglia, Interlude and Fugue
Concerto for piano, no. 2, in E
Rhapsody for Chamber Orchestra
Sinfonietta for String Orchestra
Concerto for organ and orchestra
Piece for orchestra after Sand-burg's "Theme in Y ellow"l
Symphony, no. 3
Band orlks
"Aier ican Rhapsody"
Overture
Choral 'orks vith Orchestra
Large 7ork in five arts, unnamedand unperforned 1923-24
"lThe Vision of Sir Launfal" 1925
"Great Is the Lord" (Psalm 48) 1933
Chamber Ifsic
Suite for violin and piano
"Serenade" for string quartet
Quintet for oodwinds
Trio for flute, viola, and piano
Sonata for violoncello and piano,in E minor
IvtE
Birchard
Gray
1916
1916
1916
1919
1920
BtC
SPAY
SPAM
he
Ms
1931-32
1932
1932
1933-34
1937
1938
1940
4s
1s
Me
1933
1934
Us
IS
68
Composition
"Two American Pieces" for violinand piano
String Quartet, no. 1, in D minor
Quintet for woodwinds, "Pop Goesthe Weasel"
String Quartet, no, 2, in G minor
Chaconne for tuba and piano
"Cumberland Dance" for violin andpiano
Pianoforte Music
"In y Canoe"
Settings of Three Folk-tunesfront Somerset
Transcription, "The Irish Washer-woman"
"Cantus Heroicus"
Transcription, "Money Musk"
"Fishe rman's Tune"
Suite, "From the Northland"
"Synconat a"
Suite, "Florida"
Prelude
Orgn Works
"Rejoice Ye Pure in Heart"
Date ofComposition
1922
1923-24
1927
1934-35
1936
Publisher
Universal
Ms
Fitzsimons
1s
C. Fischer
1937
1915
1916
1917
1917
1919
1923
1924
1929
1934
BMC
BMC
Dit son
Birchard
Ms
BMC
NTs
Oxford
ts
Gray1913
Date ofCompositionComposition
Chorale Prelude on a melodicfragment from a motet byPalestrina
"Madrigal"
Chorale on a Calvin st Hymn-tune
Overture, "Comes Autumn Time"
Prelude on the Benediction,"Ite issa Est"
"Carillon"
"A Joyous March"
"Requiescat in Pace"
"Lediaeval Poem" for organ andorchestra or piano
Symphony in G major
"Pageant"
Suite
"Pageant of Autumn"
"Fanf are"
Toccata
Tublisher
1914
1915
1915
1916
1916
1917
1920
Gray
Gray
BIC
BVC
BMC
Gray
Gray
Gray
1926
1930
1931
1933-34
1937
1937
1939
Gray
Oxford
Gray
Oxford
Gray
Gray
Gray
Works for Choir and Orgn
Anthems
"The Lord Bless Thee and reep Thee" 1916
"The Risen Lord" 1919
"I Will Lift Up Line Eyes" 1919
BIC
BYC
BMC
70
Composition
"The Lord Reigneth"
"Song of Immortal Hope"
"Psalm 134" (unaccompanied)
"ake a Joyful Noise Unto the Lord"
"Ynen the Lord Turned Again"(unaccompanied)
Yotet, "0 Dearest Jesus"
The Inviatories (unaccompanied)
Agnus Dei in D (unaccompanied)
Sentence from the Burial Office
"Like the Beams That from the Sun"
"All They from Saba Shall Come"
"Love Came Down at Christmas"(mixed or women's voices)
to Light from Age to Age"(unaccompanied)
Services
Benedictus in B flat
Jubilate in B flat
Benedicite in D minor
Te Deum in B flat
Benedictus in D minor
Magnificat and Nunc Dimitis in D
Office of the Holy Communion in C(unaccompanied)
Date ofComposition
1919
1920
1923
1924
1926
1926
1928
1928
1928
1930
1934
1936
1928
1928
1929
1930
1930
1930
1930
Publisher
BEC
BMC
BMC
B231C
Gray
Fitzsimons
BILO
B VC
Gray
Gray
Fitzsimons
Gray
Gray
Gray
Gray
Gray
Gray
Gray
Gray
71
Date ofComposition Composition Publisher
Benedictus in D minor 1933 Gray
Office of the Holy Communion inB 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 XVIthCentury, 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 Penitencefor soprano and organ 1933-34 Gray
*KEY TO ABBIRVIATIONSBLIC -- Boston Music Co.Birchard -- C. C. Birchard Co., BostonDitson -- The Oliver Ditson Co., BostonEastman -- Eastman school of Yusic Publications, Birchard, agmtFitzsimons -- H. T. Fitzsimons Co., ChicagoGray -- H. W. Gray Co., New Yorkis -- manuscript (unpublished)
Oxford -- Oxford University PressSPAY -.- The Society for the Publication of American Fusic,
G. Schirmer, Inc., New York, agentUniversal -- Universal Edition, Vienna
BIBLIOGRAPHY
Books
Gunn, Glenn Dillard, Music, Its Histor and EnJyment, ewYork, Harper and Brothers, 1938.
Howard, John Tasker, Our American iusic, New York, ThomasCrowell Company, 1931.
"Leo Sowerby," International Gycledia ofl usic andmusicianss, edited by Oscar Thompson, Dodd, Mead andCompany, 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 theOrgan," 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 Usedby American Recitalists," XVI (October, 1933),520-521.
74
"Current Publications List," XVII (January, 1934), 8.
"American Composers: Symposium on American Works Usedby 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.