JAVS Spring 2022

scholars and composers. Marion’s former student Milton Babbitt stated, “I had decided to enroll at Washington Square College primarily because of the presence there of Marion Bauer, who had just published a book … which committed the unheard-of professionalism of containing actual musical examples, including some from op. 11, Ertwartung, and Pierrot Lunaire .” 6 Marion Bauer built her career at a time when few women in America had entered the male-dominated composition sphere. She was often the only woman serving among a group of men in professional organizations. She served as the first woman on New York University’s music faculty and was one of the first American women to demand public recognition as a composer under her own name. Additionally, she took the time to mentor younger female colleagues in their pursuits, determined to provide a tradition of professionalism for her successors to look to. 7 Feature Article Modernism and Marion Bauer: Sonata for Viola and Piano , op. 22 During Marion Bauer’s career, it was considered suitable for women to write small-scale, tonal pieces for voice and piano. What garnered more criticism was any woman’s attempt to write large-scale works or to utilize the newly fashionable modernist and atonal compositional techniques. Although Bauer published written works and lectured extensively on twentieth century music, her own music remained relatively tonal. Her earlier works especially—including the Sonata for Viola and Piano , op. 22—are tonally conservative. 8 As Bauer was establishing her career, it is likely she felt that any experimentation would hurt her public reception, including her chances at music publication. 9 Marion Bauer wrote her Sonata for Viola and Piano in 1935, when she was in the process of transitioning from solely writing works for voice and piano to writing larger-scale chamber works. The Sonata was an important work for her career: it won first place in the Society for the Publication of American Music’s competition for chamber works in 1951. 10 The work was published and dedicated the same year to Albert Stoessel, head of the music department of New York University. 11 The premiere of the Sonata occurred at a private concert in the spring of 1935. It was given by Zoltan Kurthy— Principal Violist of the New York Philharmonic—and Frank Sheridan—Professor of Piano at Mannes School

Marion Bauer In his introduction to Marion Bauer’s book, Twentieth Century Music: How it Developed, How to Listen to It , the composer Milton Babbitt described her as “an authentic American phenomenon. Born, and initially and formatively educated far from the presumably sophisticated centers of culture, in Walla Walla, Washington. . . [Bauer] joined the NYU faculty in 1926 in a singular role: the female composer as university faculty member.” 2 Babbitt’s statement highlights Marion Bauer’s unique professional journey. In the early twentieth century, it was seemingly impossible for a rural born woman to rise to the top of the music profession. Although she was introduced to music at an early age, Marion Bauer’s music education and career didn’t truly begin until she moved to New York City to live with her sister, Emilie Frances Bauer. Emilie Frances herself had relocated to New York in 1896 to teach piano and write for the Musical Courier , later holding down multiple jobs as a music critic. 3 Many of Marion Bauer’s educational and professional opportunities arose originally from her sister, who supported Bauer financially and through professional connections throughout her career. In New York City, Marion Bauer first studied piano and harmony with Henry Holden Huss. When the French violinist Raoul Pugno toured the United States from 1905-1906, his family offered for her to stay with them and study in France. Bauer was able to take lessons there with the nineteen-year-old Nadia Boulanger, who would later teach many of the leading twentieth century composers. After two years, Bauer returned to New York to study music theory with the pianist Eugene Heffley and the conductor Walter Henry Rothwell. She was encouraged to continue further study in Germany to improve her work in counterpoint and composition, which she did, and upon her second return to the United States, she was offered a publishing contract with the company Arthur P. Schmidt. 4 At its mature period, Bauer’s career was enriched by her involvement in a broad scope of musical activities. She spent twenty-five years teaching at New York University, starting in 1926. She also published five books meant for a variety of audiences. These included high school and college textbooks, and books for amateur music enthusiasts. 5 Her book Twentieth Century Music: How it Developed, How to Listen to It was influential among

Journal of the American Viola Society / Vol. 38, No. 1, Spring 2022

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