Edward T. Cone

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Edward Toner Cone (May 4, 1917 – October 23, 2004) was an American composer, music theorist, pianist, and philanthropist.

Cone was born in Greensboro, North Carolina. He studied composition under Roger Sessions at Princeton University, receiving his bachelor's in 1939 (Latin salutatorian and the first Princeton student to submit a musical composition as his senior thesis). Cone was in the first group (with Milton Babbitt and Carter Harmon) to earn graduate degrees in music from Princeton (MFA, 1942). He studied piano with Karl Ulrich Schnabel and Edward Steuermann. During the Second World War Cone served first in the army (as a pianist) and later in the Office of Strategic Services. Beginning in 1946 he taught at Princeton. He was the co-editor of the journal Perspectives of New Music between 1965 and 1969.

Cone, known for his contributions to music criticism and analysis, also composed a significant body of music. His scholarly work addressed musical form and aesthetics, particularly questions of rhythm and musical phrasing. He died in Princeton, New Jersey, aged 87.

Cone's students include Michael Dellaira, Hobart Earle, Alan Fletcher, Robert Greenberg, John Heiss, David Lewin, Gilbert Levine, Robert P. Morgan, Mario Pelusi, Malcolm Peyton, Harold Powers, Victor Rosenbaum, John Solum, Beth Wiemann, and Edgar Warren Williams.

Instrumental Works[edit]

ORCHESTRA
  • Elegy (1953).
  • Music for Strings (1964).
  • An Overture for the War (Prelude to Victory) (1942).
  • Symphony (1953).
  • Variations for Orchestra (1968).
SOLO INSTRUMENT & ORCHESTRA
  • Cadenzas (1979) violin/oboe/string orchestra.
  • Concerto for Violin and Small Orchestra (1959) violin/orchestra.
  • Nocturne and Rondo for Orchestra and Piano (1957) piano/orchestra.
SMALL ENSEMBLE (3 to 14 players)
  • Capriccio for String Quartet (1981) 2 violins/viola/cello.
  • Clarinet Quintet (1941) clarinet/2 violins/viola/cello.
  • Divertimento for Woodwinds (1940–46) flute/oboe/English horn/2 clarinets/ bassoon.
  • Fanfare (1948) 6 trumpets/3 horns/3 trombones/2 tubas.
  • Funeral Stanzas (1965) flute/oboe/clarinet/horn/bassoon.
  • Music for a Film (1951) clarinet/2 violins/viola/cello.
  • Ostinato, Cadenza and Finale (1990) viola/cello/piano.
  • Quartet for Strings and Piano (1983) violin/viola/cello/piano.
  • Quintet for Piano and Strings (1960) 2 violins/viola/cello/piano.
  • Serenade (1975) flute/violin/viola/cello.
  • String Quartet (#1) (1939) 2 violins/viola/cello.
  • String Quartet (#2) (1949) 2 violins/viola/cello.
  • String Sextet (1966) 2 violins/2 violas/2 cellos.
  • String Trio (1973) violin/viola/cello. Trio (1951) violin/cello/piano.
  • Variations on a Fan-Fair (1965) 2 trumpets/horn/trombone.
DUOS
  • Cavatina (1976) treble viol/harpsichord.
  • Duo for Violin & Clarinet (1969) clarinet/violin.
  • Duo for Violin & Harp (1959) violin/harp.
  • Duo for Violin and 'Cello (1963) violin/cello.
  • Elegy (1946) violin/piano.
  • Fantasy for Two Pianos (1965) 2 pianos.
  • Nocturne for 'Cello and Piano (1946) cello/piano.
  • Pastoral Variations for Flute and Harp (1996) flute/harp.
  • Prelude and Variations for Piano Four-Hands (1946) piano four-hands.
  • Rhapsody (1947) viola/piano.
  • Sonata for Violin and Piano (#1) (1940) violin/piano.
  • Sonata for Violin and Piano (#2) (1948) violin/piano.
  • Wedding Music (1977) 2 trumpets.
SOLO STRINGS
  • Sonata for Unaccompanied Violin (1961) violin solo.
  • Sonata for Violoncello Solo (1955) cello solo.
  • Variations for Solo Viola (after 1996) viola solo.
SOLO KEYBOARD
  • Another Page from a Diary (1985) piano.
  • Etude for Either Hand, or Both (1963) piano.
  • Fantasy (1950) piano.
  • Fantasy on a Hebrew Theme (1947) organ.
  • Fantasy on an Advent Hymn (1948) organ/optional TBB chorus.
  • In Memoriam - R. D. W. (1951) piano.
  • Page from a Diary (1977) piano.
  • Piano Sonata (1947) piano.
  • Prelude, Passacaglia and Fugue (1957) piano.
  • Sphinxes (1974) piano.
  • Twelve Bagatelles on the Triads (1959) piano.
  • Twelve Tonal Studies (1962) piano.
  • Twenty-One Little Preludes (1940) piano.
  • Two Fugues for J. Merrill Knapp (1940) organ.
CADENZAS
  • Cadenza for Bach’s Concerto for Four Harpsichords, Strings & Continuo in A Minor (after Vivaldi, RV 580), BWV 1065 (1989) 4 pianos.
  • Cadenzas for Mozart Concerto for 2 Pianos & Orchestra, E-flat Major, K. 365 (1997) 2 pianos.
  • Cadenzas for Mozart Piano Concerto No. 21 in C major, K. 466 (1981) piano.
COMPLETIONS
  • Completion of a Cadenza for Beethoven’s Piano Concerto in C Major, Opus 15 (1984) piano.
  • Completion of Bach’s Unfinished Fugue in C Minor (1974) keyboard.

Choral & Solo Vocal Works[edit]

CHORUS & ORCHESTRA
  • Two Psalms for Chorus and Orchestra (1948) SSATBB/orchestra.
CHORUS, SOLO VOICE, & ORCHESTRA
  • The Hollow Men (1950) TTBB/tenor & baritone soloists/winds/percussion.
  • The Lotos-Eaters (1946) TTBB/tenor & bass soloists/orchestra.
CHORUS & SMALL ENSEMBLE
CHORUS & KEYBOARD
  • Fantasy on an Advent Hymn (1948) organ/ (optional TBB).
  • In the Last Days (1957) SATB/piano.
  • Let Us Now Praise Famous Men (1946) TTBB/tenor solo/organ.
  • A Memory (1947) TTBB/piano.
  • Veni Creator Spiritus (1950) TBB/organ.
A CAPELLA CHORUS
SOLO VOICE & ORCHESTRA
  • Dover Beach (1941) baritone/orchestra.
  • The Duchess of Malfi (1954) contralto, tenor, bass/orchestra.
  • La Figlia che Piange (1962) tenor/chamber orchestra.
SOLO VOICE & SMALL ENSEMBLE
  • Four Lyrics from Yeats (after 1996) medium voice/2 violins/viola/cello. Text: W. B. Yeats.
  • Ozymandias (1989) soprano/oboe/clarinet/bassoon/piano.
  • Philomela (1970) soprano/flute/viola/piano.
  • Scarabs (1948) soprano/2 violins/viola/cello. Text: R. P. Blackmur.
  • Two Gardens (1986) soprano/2 violins/viola/cello/piano. Text: Joyce Carol Oates.
SOLO VOICE & SINGLE INSTRUMENT
  • Bells in Tower at Evening Toll (1940) voice/piano.
  • Cover Me Over, Clover (n.d.) voice/piano. Text: Richard Eberhart.
  • Dover Beach (1941) baritone/piano.
  • An Epitaph (1940) voice/piano.
  • Four Songs from Mythical Story (1961) soprano/piano.
  • If It Chance Your Eye Offend You (1940) voice/piano.
  • In the Morning (1940) voice/piano.
  • Into My Heart (1940) voice/piano.
  • Loveliest of Trees (1940) voice/piano.
  • Mona Lisa (1940) voice/piano.
  • New Weather (1993) tenor or soprano/piano. Text: Paul Muldoon.
  • Nine Lyrics from Tennyson's “In Memoriam” (1978) baritone/piano. Text: Alfred Tennyson
  • Parta Quies (1940) voice/piano.
  • Psalm CXXI (1973) soprano/organ.
  • The Shell (1948) contralto/piano.
  • Silent Noon (1959) soprano/piano.
  • Sir Thomas' House (1948) soprano/flute. Text: John Berryman.
  • Solace (1990) soprano/piano. Text: Richard Eberhart.
  • The Street Sounds to the Soldier’s Tread (1940) voice/piano.
  • Three Songs from Pippa Passes (after 1996) mezzo-soprano/piano. Text: Robert Browning.
  • Triptych (1950) tenor or soprano/piano. Text; John Berryman.
  • Two Women (1987) soprano/piano.
  • With Rue My Heart is Laden (1940) voice/piano.

Books[edit]

  • Musical Form and Musical Performance (New York, 1968)
  • The Composer's Voice (Berkeley, 1974)
  • Music: a View from Delft (Chicago, 1989)
  • Hearing and Knowing Music: The Unpublished Essays of Edward T. Cone (Princeton, NJ, 2009)

Edited Volumes[edit]

  • (ed., with Benjamin Boretz) Perspectives on Schoenberg and Stravinsky (Princeton, NJ, 1968, Revised 2nd ed. 1972)
  • (ed.) Hector Berlioz: Fantastic Symphony (New York, 1971) (annotated score)
  • (ed., with B. Boretz) Perspectives on American Composers (New York, 1971)
  • (ed., with B. Boretz) Perspectives on Contemporary Music Theory (New York, 1972)
  • (ed., with B. Boretz) Perspectives on Notation and Performance (New York, 1976)
  • (ed.) Roger Sessions on Music (Princeton, NJ, 1979)
  • (ed., with Edmund Keeley and Joseph Frank) "The Legacy of R. P. Blackmur: Essays, Memoirs, Texts" (New York, 1987)

Articles & Reviews[edit]

1940-49

  • "Roger Sessions' String Quartet." Modern Music 18, no. 3 (1941): 159-63.
  • "The Creative Artist in the University." American Scholar 16, no. 2 (1947): 192-200.
  • Review of Paul Bowles: Six Preludes for Piano. Notes. 4. 4 (1947).
  • Review of Paul Creston: Review of Five Two-Part Inventions for the Piano. Notes. 4. 2 (1947): 191-192.
  • Review of David Diamond: Review of Sonatina for Piano. Notes. 4. 4 (1947).

1950-59

1960-69

  • "Analysis Today." The Musical Quarterly 46, no. 2 (1960): 172-88. Reprinted in Problems of Modern Music, edited by Paul Henry Lang, 34-40. New York, 1960. Also reprinted in Cone, Music: A View from Delft, 39-54.
  • "Music: A View from Delft." The Musical Quarterly 47, no. 4 (1961): 439-53. Reprinted in Perspectives on Contemporary Music Theory, edited by Benjamin Boretz and Edward T. Cone, 57-71. New York, 1972. Also reprinted in Cone, Music: A View from Delft, 13- 27.
  • "The Not-So-Happy Medium." The American Scholar 30, no. 2 (1961): 254-67. Reprinted in Essays Today, vol. 5, edited by Richard Ludwig, 87- 96. New York, 1962.
  • "Stravinsky: The Progress of a Method." Perspectives of New Music 1, no. 1 (1962): 18-26. Reprinted in Perspectives on Schoenberg and Stravinsky, edited by Benjamin Boretz and Edward T. Cone, 155-64. New York, 1972. Also reprinted in Cone, Music: A View from Delft, 293-301.
  • "The Uses of Convention: Stravinsky and His Models." The Musical Quarterly 48, no. 3 (1962): 287-99. Reprinted in Stravinsky: A New Appraisal of His Work, edited by Paul Henry Lang, 21- 33. New York, 1963. Also reprinted in Cone, Music: A View from Delft, 281-92.
  • "From Sensuous Image to Musical Form." American Scholar 33, no. 3 (1964): 448- 62.
  • "A Budding Grove." Perspectives of New Music 3, no. 2 (1965): 38-46.
  • "On the Structure of 'Ich folge dir.'" College Music Symposium 5 (1965): 77-85.
  • "Toward the Understanding of Musical Literature." Perspectives of New Music 4, no. 1 (1965): 141-51.
  • "Conversations with Roger Sessions." Perspectives of New Music 4, no. 2 (1966): 29-46. Reprinted in Perspectives on American Composers, edited by Benjamin Boretz and Edward T. Cone, 90-107. New York, 1971.
  • "The Power of The Power of Sound." Introductory essay in Edmund Gurney, The Power of Sound, i-xvi. New York, 1966.
  • "Beyond Analysis." Perspectives of New Music 6, no. 1 (1967): 33-51. Reprinted in Perspectives on Contemporary Music Theory, edited by Benjamin Boretz and Edward T. Cone, 72-90. New York, 1972. Also reprinted in Music: A View from Delft, 55-75.
  • "Webern's Apprenticeship." The Musical Quarterly 53, no. 1 (1967): 39-52. Reprinted in Music: A View from Delft, 267-80.
  • "What is a Composition?" Current Musicology 5 (1967): 101-7.
  • Review of Eric Walter White: Stravinsky - The Composer and His Works. Perspectives of New Music. 5. 2 (1967): 155-161.
  • Review of Josef Rufer: Arnold Schönberg: Sämtliche Werke. Abteilung I, Reihe A, Band 1, Lieder Mit Klavierbegleitung. The Musical Quarterly. 53. 3 (1967): 416-420.
  • "Conversation with Aaron Copland." Perspectives of New Music 6, no. 2 (1968): 57-72. Reprinted in Perspectives on American Composers, edited by Benjamin Boretz and Edward T. Cone, 131-46. New York, 1971.
  • "Beethoven New-Born." American Scholar 38, no. 3 (1969); 389-400.
  • Review of Donald N. Ferguson: The Why of Music. Notes. 26. 2 (1969): 258-260.

1970-79

  • "Schubert's Beethoven." The Musical Quarterly 56, No.4 (1970): 779-93.
  • Review of Reinhold Brinkmann: Arnold Schönberg: Drei Klavierstücke Op. 11. Studien Zur Frühen Atonalität Bei Schönberg." Notes. 27. 2 (1970): 267-268.
  • "Radical Traditionalism." Listener 2229 (1971); 849.
  • "Inside the Saint's Head; The Music of Berlioz." Musical Newsletter 1, no. 3 (July 1971); 3-12; 1, no. 4 (October 1971); 16-20; 2, no. 1 (January 1972); 19-22. Reprinted in Music: A View from Delft, 217-48.
  • "In Honor of Roger Sessions." Perspectives of New Music 10, no. 2 (1972); 130-41.
  • "Editorial Responsibility and Schoenberg's Troublesome 'Misprints.'" Perspectives of New Music 11, no. 1 (1972); 65- 75.
  • Review of Roger Sessions: Review of Questions About Music. Perspectives of New Music. 10. 2 (1972): 164-170.
  • "The Miss Etta Cones, the Steins, and M'sieu Matisse." The American Scholar 42, no. 3 (1973); 441- 60.
  • "Bach's Unfinished Fugue in C minor." In Studies in Renaissance and Baroque Music in Honor of Arthur Mendel, edited by Robert L. Marshall, 149-55. London, 1974.
  • "Sound and Syntax: An Introduction to Schoenberg's Harmony." Perspectives of New Music 13, no. 1 (1974): 21-40. Reprinted in Music: A View from Delft, 249-66.
  • Review of Leonard B. Meyer: Explaining Music: Essays and Explorations." Journal of the American Musicological Society. 27. 2 (1974): 335-338.
  • "In Defense of Song: The Contribution of Roger Sessions." Critical Inquiry 2, No.1 (1975): 93-112. Reprinted in Music: A View from Delft, 303-22.
  • "Sessions' Concertino." Tempo 115 (1975): 2-10.
  • "Yet Once More, 0 Ye Laurels." Perspectives of New Music 14, no. 2; 15, no. 1 (1976): 294-306.
  • "Beatrice et Benedict." Boston Symphony Program (October 1977): 9-15.
  • "Beethoven's Experiments in Composition: The Late Bagatelles." In Beethoven Studies, vol. 2, edited by Alan Tyson, 84-105. London, 1977. Reprinted in Music: A View from Delft, 179-200.
  • "One Hundred Metronomes." The American Scholar 46, no. 4 (1977): 443-59.
  • "Three Ways of Reading a Detective Story-Or a Brahms Intermezzo." Georgia Review 31, no. 3 (1977): 554-74. Reprinted in Cone, Music: A View from Delft, 77- 93.
  • Review of Hector Berlioz: Review of New Edition of the Complete Works, 9: Grande Messe Des Morts. Notes. 36. 2 (1979): 464-465.

1980-89

  • "Aunt Claribel's 'Blue Nude' Wasn't Easy to Like." Art News 79, no. 7 (1980): 162-63.
  • "Berlioz's Divine Comedy: The Grande messe des morts." 19th-Century Music 4, no. 1 (1980): 3-16. Reprinted in Cone, Music: A View from Delft, 139-57.
  • "The Authority of Music Criticism." Journal of the American Musicological Society 34, no. 1 (1981): 1-18. Reprinted in Cone, Music: A View from Delft, 95-112.
  • "On the Road to Otello: Tonality and Structure in Simon Bocanegra." Studi Verdiana 1 (1982): 72-98.
  • "Roger Sessions: Symphony No.6." San Francisco Symphony Stagebill (May 1982): v-ix.
  • "Schubert's Promissory Note: An Exercise in Musical Hermeneutics." 19thCentury Music 5, no. 3 (1982): 233- 41. Revised version reprinted in Schubert: Critical and Analytical Studies, edited by Walter Frisch, 13-30. Lincoln, 1986.
  • "The Years at Princeton." The Piano Quarterly 119 (Robert Casadesus issue, 1982): 27-29.
  • "A Cadenza for Op. 15." In Beethoven Essays: Studies in Honor of Elliot Forbes, edited by Lewis Lockwood and Phyllis Benjamin, 99-107. Cambridge, 1984.
  • "Schubert's Unfinished Business." 19th-Century Music 7, no. 3 (1984): 222- 32. Reprinted in Cone, Music: A View from Delft, 201- 16.
  • "Musical Form and Musical Performance Reconsidered." Music Theory Spectrum 7 (1985): 149-58.
  • "A Tribute to Roger Sessions." Kent Quarterly 5, no. 2 (1986): 29-31.
  • "Twelfth Night." Musiktheorie 1 (1986): 41-59. Reprinted in original English version in Journal of Musicological Research 7, nos. 2-3 (1987): 131-56.
  • "Brahms: Songs with Words and Songs without Words." Integral 1 (1987): 31-56.
  • "Dashes of Insight: Blackmur as Music Critic." In The Legacy of R. P. Blackmur, edited by Edward T. Cone, Joseph Frank, and Edmund Keeley, 10-12. New York: Ecco Press, 1987.
  • "Music and Form." In What Is Music? An Introduction to the Philosophy of Music, edited by Philip Alperson, 131-46. University Park: Pennsylvania State University Press, 1994 (1987).
  • "On Derivation: Syntax and Rhetoric." Music Analysis 6, no. 3 (1987): 237- 56.
  • "The World of Opera and Its Inhabitants." In Cone, Music: A View from Delft, 125- 38.
  • "Responses" (to "The Composer's Voice: Elaborations and Departures"). College Music Symposium 29 (1989): 75-80.

1990-99

  • "Harmonic Congruence in Brahms." In Brahms Studies, edited by George S. Bozarth, 165-88. Oxford, 1990.
  • "Poet's Love or Composer's Love?" In Music and Text, edited by S. P. Scher, 177- 92. Cambridge, 1992.
  • "Ambiguity and Reinterpretation in Chopin." In Chopin Studies 2, edited by John Rink and Jim Samson, 140- 60. Cambridge, 1994.
  • "Thinking (about) Music." Proceedings of the American Philosophical Society, 138, no. 4 (1994): 469-75.
  • "Edward T. Cone Makes a Plea for Good Citizenship." Musical Times 135, no. 12 (December 1994): 734-38.
  • Review of Nicholas Cook: Music, Imagination, and Culture." Music Theory Spectrum. 16. 1 (1994): 134-138.
  • "The Pianist as Critic." In The Practice of Performance: Studies in Musical Interpretation, edited by John Rink, 241-53. Cambridge, 1995.
  • "Attacking a Brahms Puzzle." Musical Times 136, no. 2 (February 1995): 72- 77.
  • "Adding Up Beauty and Truth" (Article Review of Edward Rothstein: Emblems of Mind: The Inner Life of Music and Mathematics). Yale Review 83, no. 4 (October 1995): 121- 34.
  • "'Am Meer' Reconsidered: Strophic, Binary, Ternary." In Schubert Studies 5, edited by Brian Newbould, 112- 26. Aldershot, 1998.

2000-09

  • "Repetition and Correspondence in Schwanengesang." In Companion to Schubert's Schwanengesang, edited by Martin Chusid, 53- 89. New Haven, 2000.

References[edit]

External links[edit]