Henry Brant

with Vincent Plush

Santa Barbara, California

May 11, 1983



Side ee                                                                                                                             pp. 1-19


Childhood in Montreal--music in the home--father a professional violinist--early attempts at composing--Copland's comment--Hardhouse Quartet--Bartok, Bloch--orchestra of neighborhood children--Salvation Army bands, hand organ players, military buglers--interest in pitch--composing techniques--"hearing" or "imagining" music vs. using instrument--training by "solid" Englishmen--disdain for conventional pedagogy--Bloch's comments--jazz-studying various styles by imitation--move to New York--Henry Cowell--“oblique harmony"--Juilliard--Rubin Goldmark--Angels and Devils--Leopold Mannes--Cowell-- Wallingford Riegger--prizes at Juilliard.


Side ff                                                                                                                              pp. 19-38


Oblique harmony in New Music Quarterly--introduction to Copland--initial prejudice against jazz--Gershwin--Music for a Five and Ten Cent Store--Benny Goodman--notation for jazz vs. legitimate musicians--American subject matter--first Yaddo Festival, 1932--study with George Antheil--WPA concert-Five and Ten Cent Store--study with Copland, F. Mahler, Reiner--"neutral survival style" in 1930s--group of young composers meets at Copland's--evenings at Yaddo--Bernard Herrmann--Milhaud--Paul Bowles--American Composers' Alliance--Ives.


Side gg:                                                                                                                           pp. 38-56


Concert by Young Composers Group--Elie Siegmeister--Copland’s comments on Mahler, "oblique harmony”--his straightforward attitude--his ability to play his own music--Ives accompaniments--score reading--The Second Hurricane--cultural life in Greenwich Village--Brecht and Weill, Threepenny Opera--Blitzstein, The Cradle Will Rock--Hommage aux Freres Marx--Thomson, Four Saints in Three Acts--The Great American Goof ballet--concert with Harry Partch--Cowell--Percy Grainger--Carl Ruggles at Bennington--Sun-Treader--paintings by Ruggles--his idea of melody.


Side hh:                                                                                                                           pp. 56-74


Copland ["Off the record"]--work in radio--problems of live broadcast--film, "My Father's House"--Jewish music--The Promised Land performed in Cincinnati--film scores for Office of War Information--Alex North--move to California-- jazz influence--Symphony in B Flat--teaching at Columbia--lack of academic credentials--Ives influence--Slonimsky concert--failure to meet Ives--Homage to Ives--orchestration of Concord Sonata--textbook on orchestration.


Side ii:                                                                                                                             pp. 74-92


Spatial music--disdain for electronic music--Antiphony I--"very oboe sound"--technical problems--genesis of spatial music idea--variety of simultaneous styles--Grainger, "Warriors"--Stockhausen, Xenakis, Britten--difficulties of electronic spatial music--David Jaffe--Solar Moth--Fire Underwater--recording problems--John Cage--Kingdom Come--Orbits--Meteor Farm--mixing of cultures--Prix Italia for December--design for new concert hall--mobile spatial music--moving musicians on hydraulic lifts.


Side jj:                                                                                                                             pp. 92-108


Moving musicians--metric calendar--teaching at Bennington--list of awards--Brant's insufficient promotion--move to California--70th birthday--projected joint symphonic work with Eric Stokes--"instant music"--non-coordinated rhythm--association with Holland Festival--problems with musicians in 1950s-- New York composers: Uptown vs. Downtown--Stokes and Jaffe--critics of Brant--self-classification--virtuoso recital on tin whistle.


AMERICAN MUSIC SERIES                                                                                            74 kk-nn


Henry Brant

with Eva Soltes

Santa Barbara, California

December 18, 1997




[DAT 1 begins]


Cassette Side kk                                                                                                                        pp. 1-15


Composing for musicians moving around in the audience--Bran(d)t aan de Amstel: boats, street organs, bands, carillons, musicians, choruses, rehearsals--Meteor Farm--Prisons of the Mind--Henry Cowell--Antiphony I--Conlon Nancarrow--Mass for June 16--Harry Partch.


Cassette Side ll                                                                                                                          pp. 15-29


More on spatial music--immortality--Autumn Hurricanes--Northern Lights over the Twin Cities--Fischer [publisher]--radio shows--Concord Sonata orchestration--Dennis Russell Davies--Spatial operas--film--Aaron Copland--book on orchestration: chapter titles.


[DAT 1 ends]


[DAT 2 begins]


Cassette Side mm                                                                                                                      pp. 29-45


Four Mountains in the Amstel--An Era Any Time of Year--Invisible Rivers--Original Sacred Harp--Henry Cowell--Sonata by Sándor Veress--Brant’s father--Aaron Copland--Grand Universal Circus--Ghost Nets--Bert Turetzky--Flight Over a Global Map--Millennium II--Orbits--Rosewood--Prisons of the Mind--film--Harry Partch--spatial effects--Homeless People--Concord Sonata Orchestration--Synthetic Immortality--Festive 80--beauty in modern music--Pathways to Security.


Cassette Side nn                                                                                                                        pp. 45-59


Composers and isolation--William Kraft--500: Hidden Hemisphere--Angels and Devils--family--cooking--system of cards to specify characteristics of a piece.


[DAT 2 ends]