Frederic Cowen

[parkermusic]

As someone whose Ph.D was on Cowen's music (University of Durham, 2007), I think I can justify a few comments on this forum...It is fair to say that during my seven years of in depth study of his music in the lead up to the submission of my thesis, I was constantly torn between doing my utmost to promote Cowen's music, to give it an airing (which would aid my own assessment of the quality of his music) and being realistic that the standing of his opera was not great even at the end of his life, partly thanks to George Bernard Shaw's vociferous condemnation of many of his works in Shaw's newspaper and journal criticism. His reputation as a ballad-monger has not helped him either.

As several observers have already remarked, Cowen was at his best when writing in the lighter forms and genres: his overtures and orchestral suites show a composer who could excel at writing graceful melody with deft and colourful orchestration. However, as soon as he turned his hand to the bigger forms: symphonies, operas etc., he was unable to conjure up the deeper emotions and control his structures in a fashion that was satisfying and invigorating.

Looking at Cowen's symphonies, one tends to find the most satisfying parts are in the middle movements, where he does not need to be complex or substantially develop his material. In the outer movements, Cowen's ability to create material suitable for development is often wanting, with him relying on repetition of material and variation, rather than engaging in combining material from different subject groups. Ultimately, a lot of Cowen's difficulties as a composer lay in his inability to write satisfying climaxes: he just seems incapable of getting himself and his audience worked up into a frenzy as most first-rate composers can.

Turning to the 'Scandinavian' Symphony (No. 3), it perplexes most commentators today as to why it could have ever been at one time the most performed British symphony both nationally and internationally (until the arrival of Elgar's First). Indeed, the outer movements are less than satisfactory, especially the finale, a movement that seems to echo the equivalent movement of Beethoven's Ninth Symphony, by recapitulating themes from earlier in the symphony. However, it is utterly unconvincing, with its episodic nature frequently disrupting the flow and progress of the movement. Moreover, the movement's main thematic material is barely developed and just repeated. The difficulties of promoting this work are further impeded by the Marco Polo recording of it. Not only is the orchestra, at best, mediocre (the strings sound scrappy and indistinct at times, and the intonation of the orchestra, especially the brass, is also suspect in places), but the sound technicians have produced a lifeless recording, lacking depth of tone, with the microphones so close that one can actually hear the woodwind players depressing the keys of their instruments. Despite its evident weaknesses, this symphony deserves a first-rate recording.

The Classico recording of Cowen's 'Idyllic' Symphony (No. 6) is a much better affair. Both orchestra and sound recording team have done the work justice. From a musical point of view, again the middle movements are probably the most convincing, and yet the melodious and elegant outer movements are worth a hearing. I would dare to say that there are some Tchaikovskyan and pseudo-Elgarian moments in this work. Indeed, Cowen executes some half-decent climaxes too. Cowen did comment that many composers had fallen under Tchaikovsky's spell and it would seem that he was no exception. He had also become acquainted with some of Elgar's music by this time as a conductor, and later correspondence suggests that they became good friends as they headed towards the ends of their respective lives.

The Indian Rhapsody is one of Cowen's most troublesome pieces, mostly on account of its complete geographical and musical disorder: it is clear that Cowen knows very little about authentic Indian music. Indeed, listening to this work, one may be forgiven for not being sure if one was in Scotland, the Middle East or the Far East, as the musical metaphors are so confused! One commentator described it as a 'Chinese market', and this was not meant as a compliment! As a piece, even the term rhapsody, implying an episodic, but integrated free-flowing style, is perhaps generous. And yet, I forgive Cowen for his lack of knowledge of the music of India and for all its weaknesses structurally and musically, as he accomplishes a romping coda, not unlike a similar moment in his choral work John Gilpin. Its orchestration has a number of fine features and there are even moments akin to Rimsky-Korsakov's Scheherazade. However, like with the other pieces on the Marco Polo CD, the production team has not conveyed the merits of the work to best advantage.

The Butterfly's Ball Overture suffers from the same recording issues cited above, but the sheer melody and grace of this trifle does shine through. This is Cowen in safe territory, dealing with child-like subject matter, whether it is dancing insects or flittering fairies, where his muse for writing is most at home.

As many commentators have already observed, Cowen may not have had the intellectual and dramatic skills of his contemporaries such as Parry, Stanford and Elgar, but much of his music is craftsman-like, and should not be dismissed out of hand. He was one of the most important home-grown (even if he was born in Jamaica) composer, conductors of the Victorian and Edwardian era; he did much to promote the music of his colleagues, including Elgar, and deserves more recognition for his role in the British renaissance at the end of the nineteenth century than his current critique suggests.

Christopher J. Parker (Dr)       

[edurban]

Wonderful post.  Informed, interesting, instructive...thanks.

David

[albion]

As many commentators have already observed, Cowen may not have had the intellectual and dramatic skills of his contemporaries such as Parry, Stanford and Elgar, but much of his music is craftsman-like, and should not be dismissed out of hand. He was one of the most important home-grown (even if he was born in Jamaica) composer, conductors of the Victorian and Edwardian era; he did much to promote the music of his colleagues, including Elgar, and deserves more recognition for his role in the British renaissance at the end of the nineteenth century than his current critique suggests.

What an excellent post - I can strongly recommend Christopher Parker's thesis (available through the very efficient Ethos service at the British Library) to anybody with an interest in British music of the period. Cowen's music was primarily written to entertain, not to challenge. If taken on these terms his achievement becomes quite considerable - certainly fully worthy of further informed exploration.

[chill319]

I wonder if many of the same criticisms could be leveled against the extended works of Gershwin.

[Amphissa]

 
The analysis of Dr Parker is right on target, so far as I'm concerned. However, just based on my own occasional listening to Cowen (and total ignorance of his other works), I'll offer a comment.

I can fully understand why Cowen's 3rd symphony would be popular. Despite the lack of gravitas, the orchestral figures and effects are quite engaging. Little playful themes keep popping up, and other passages are totally charming. Yes, this is light music, but it is entertaining light music. And that is the novelty actor that I think was attractive to many listeners. When one is exposed endlessly to the heavyweights (sorry about the pun) of classical music, a bit of lighter fare is a nice respite. Which usually means, for variety, Mozart with all his major key ditties and fluff. But Mozart is so overplayed and predictable, Cowen is a less familiar alternative, more modern and just fun listening.

The Butterfly Ball is not as inventive, perhaps, as the S3, but engaging nonetheless. And I totally agree on the embarrassingly bad Indian Rhapsody. Any composer who writes something like that deserves to be ostracized and ridiculed.

I've heard nothing else by Cowen, and do not think I would pay actual money to hear anything else. But for those who like British light music, I'd think Cowen would be worthy of a place in their collection. His 3rd symphony and Butterfly Ball are, as Albion notes, quite entertaining.

That said, I hope we can leave Gershwin out of this conversation. Whatever the criticisms of Gershwin as a composer, the influence of his music and his stature as a composer in the overall pantheon are undeniable and enduring. Cowen will ever remain nearly invisible, pretty much unsung even among the unsungs.

[chill319]

Amphissa, your comments on Cowen strike me as making a strong case for the composer's talents. I was not trying to steer the thread towards Gershwin at all (which is why my response was short -- too short, perhaps).  Rather, I was hoping someone like yourself (perhaps also Mr. Parker) would address the question of why Cowen's music must rise or fall on his mastery of developmental techniques. Gershwin's doesn't. Your own response goes very much in the direction I was thinking of.

There is an extensive list, which once included Mahler, of unsung composers dismissed out of hand because either their developmental techniques or their contrapuntal techniques or both were found lacking. I'm a big fan of developmental and contrapuntal techniques myself, but I do feel that too many unsung composers have gotten short shrift simply because they didn't fit into some academic's or critic's received opinion of precisely how musical argument is supposed to work.

[Amphissa]

 
True, I am not a stickler for structure and development, which can often be intellectually interesting in a academic way, but ineffectual and uninteresting to me (Draeseke being a case in point).

Maybe a more fertile comparison for Cowen would be Bantock, who threw together amazingly beautiful passages of orchestral music into patchwork compositions that are wonderful to listen to, despite the fact that they go nowhere. They have more drama and weight than Cowen, but rarely rise above the level of entertainment. I enjoy entertaining music at times, but I don't confuse it with "great art" music.

[parkermusic]

With regards to Cowen S3, I realise I got a little caught up in the structural arguments about the music of the symphony, without explaining why it may have had such popularity. Amphissa is absolutely right, despite its weaknesses developmentally and structurally, there are several attractive ideas and effects that keep one interested; the music is still good entertainment and I enjoy the work too.

In response to chill319, I would say that, like Amphissa, I am not a stickler for structure, development and contrapuntal inventiveness either, from a listening and enjoyment point of view, but when one is analysing such a work as a symphony, one can't ignore these issues, as comments on how the work compares to the 'conventions' of what is expected in a symphony have to be made. Symphonies are normally, rightly or wrongly, judged by these standards. It is just Cowen's symphonies do lack this convincing developmental element. Your point about Gershwin is a very valid one. I am also a Mahler fan too, and would never say that a work should rise or fall purely on its structure or development.  I apologise if I implied this.

Returning to Cowen, as Albion so succinctly puts it, his music was 'written to entertain, not to challenge'. I enjoy entertainment sometimes and I enjoy the challenge of 'great art music' at others!

[chill319]

I suppose anyone who chose to name their work 'symphony' around the turn of the 20th century was suggesting that the work should be listened to against one's experience of other symphonies -- which after Haydn, Beethoven, and Mendelssohn were the place to display developmental and contrapuntal techniques.

[JimL]

Anyone who considers Mahler to be inadequate in his developmental and contrapuntal skills must have rocks in his head!  Does anybody think that he spends more time in his massive movements exposing or reprising his materials?

[Syrelius]

I do agree that Parry and Stanford are more important composers than Cowen, but I still think that much of what I've heard of his music is enjoyable, especially the 6th symphony. However, I agree with John that the Coleridge Taylor on the same disc is the most interesting work on that CD.

[giles.enders]

Slightly off the topic, If any one is interested in Cowen's grave it is in the Jewish Cemetary in Golders Green< London.  This was not his 'birth'  name and strangely he was born in Jamaica and brought to London as a child.
Giles Enders

[giles.enders]

I forgot to mention that Cowen's real name was Hyman Cohen in case anybody is interested.
Giles Enders

[pcc]

It might be worthwhile to give a few definitions from Cowen's 1915 satirical volume "Music As She Is Wrote/Being A Glossary of Musical Terms _Very Much_ Up To Date", especially

ACADEMY - A place of illusion for young musical students who wish to earn their own livelihood when they come out of it.

ACCENT - Used mostly by foreign Conductors when trying to speak English to the orchestra. [Cowen was probably thinking specifically of Hans Richter, whose English was spectacularly garbled at times.]

AD LIB (or ad libitum) - Latin for "Take what liberties you please' with any phrase or passage. This indication is usually quite superfluous.

ATTACCA - When this word occurs it means that the artist should go on to the next movement without giving the audience time to applaud.  Should it (the audience) have had no intention of doing so this saves any misunderstanding or unpleasant feeling on either side.

ATTACK - The commonest forms of this are- nervousness, jealousy and in the newspapers.  [Amphissa's _Indian Rhapsody_ assessment "Any composer who writes something like that deserves to be ostracized and ridiculed" brought this to mind.  Sorry.]

CHORD - Any number of notes - the more the better - played or struck simultaneously.  This can be done in many different and surprising ways.

COMPASS - The range of any instrument.  The term, however, cannot be applied to a kitchen range, even though it may possess a "grate" compass.  N.B.- A mariner's compass usually goes from C to C.  [Cowen loves puns, and this is a portmanteau groaner.]

COMPOSER - Anyone of any nationality (except British) who composes. (See Artist.) [Remember, Cowen's fighting the good fight in 1915.]

and two last, otherwise I'll type the whole book (which is wonderful):

COMPOSITION - The art of absorbing the musical ideas of others and reproducing them in such a way that they shall be sufficiently unrecognizable to the composer and scarcely less so to the listener.

OPERA - A stage play, with a more or less unintelligible plot, set to music for a very large orchestra.  There are also a certain number of singers who impersonate the characters in the piece as ably as their age and size will permit.  These are, however, somewhat superfluous, as their words are always inaudible and their music usually unsingable.  The 1st Act of an Opera is often omitted - by the audience.

Whatever you think of Cowen's music, he certainly had wit.



 

[JimL]

I forgot to mention that Cowen's real name was Hyman Cohen in case anybody is interested.
Giles Enders

Well whaddya know!  My Granddad's name was Hyman!  However, I'm a Levite.