JAVS Spring 2022

of modernist techniques. Marion Bauer was forced to assume the role of pioneer. She avoided using modernist techniques in her own compositions until late in her life for fear of public criticism and rejection. Miriam Gideon utilized an atonal style for most of her life and freely used modernist techniques; however, she was constantly aware of whether she was being received as a “woman composer” or as a “composer.” Vivian Fine composed naturally, using an atonal, contemporary aesthetic at a young age and softened her style later in life. She was more public in her rejection of discrimination than Bauer or Gideon. Overall, these three works for viola and piano deserve to be a standard part of the viola repertoire and these composers merit acknowledgement and appreciation as an important part of American history. Notes 1 Catherine Parsons Smith, “‘A Distinguishing Virility’: Feminism and Modernism in American Art Music,” in Cecilia Reclaimed: Feminist Perspectives on Gender and Music , eds. Susan McClary and Judy S. Tsou (Chicago, IL: University of California Press, 1994), 90–106; Marianne Dekoven, “Modernism and Gender,” in The Cambridge Companion to Modernism , edited by Michael Levenson (Cambridge: Cambridge University Press, 1999), 174–93. 2 Milton Babbitt, “Introduction,” in Twentieth Century Music: How It Developed, How to Listen to It , by Marion Bauer (New York: Da Capo Press, 1978), unpaginated. 3 Sarah Grace Shewbert, “Marion Bauers ‘Completely Musical Life’ (1882-1955): An American Composer’s Essential Creative Works and Contributions to Twentieth-Century Music,” (PhD diss., University of Washington, 2014), 38. 4 Shewbert, “Marion Bauers ‘Completely Musical Life’,” 45. 5 Ibid., 45-48. 6 Milton Babbitt, “Celebrative Speech for the Schoenberg Centennial (1976),” in The Collective Essays of Milton Babbitt , ed. Stephen Peles (Princeton, NJ: Princeton University Press, 2003), 335-340. 7 Shewbert, “Marion Bauers ‘Completely Musical Life’.” 8 Ellie M Hisama, Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon (New York: Cambridge University Press, 2001), 6. 9 Shewbert, “Marion Bauer’s ‘Completely Musical Life’,” 45-46. 10 Shewbert, “The Versatile Marion Bauer,” 58. 11 Shewbert, “Marion Bauer’s ‘Completely Musical Life’,” 13. 12 Ibid., 278. 13 Lesley Valdes, “Miriam Gideon among the Most Honored,” Baltimore Sun , September 27, 1981, 105. 14 Robb, Mary, “The Music of Miriam Gideon during the McCarthy Era, Including a Complete Catalogue of Her Works,” (PhD diss., The University of Edinburgh, 2012), 7. 15 Ibid., 3. 16 Ibid., 74. 17 Ibid., 264. 18 Bruce Duffie, “Composer Miriam Gideon: A Conversation with Bruce Duffie,” June 18, 1986, telephone interview, http://www. kcstudio.com/gideon.html; Minuetta Kessler, “Miriam Gideon: Doctor of Sacred Music in Composition,” The Pen Woman , June

1985, box 17, folder 24, Miriam Gideon Papers, JPB 04\13, Music Division, The New York Public Library for the Performing Arts. 19 Carole Nelson, “Composer ‘Still Obsessed’ of Making Music,” St. Paul Pioneer Press , February 21, 1976, Miriam Gideon Papers, JPB 04-13, Music Division, The New York Public Library for the Performing Arts. 20 “Sonata for Viola and Pf ” (unpublished memo, October 1, 1948), box 8, folder 25, Official Records of the American Composers Alliance (ACA), Special Collections, University of Maryland Libraries. 21 P G-H, “Sonata Recital Is Given by Violist and Pianist,” in The Music Reporter (New York: Music Reporter Inc., November 22, 1948), 100. 22 “Report of Broadcast Performances” (unpublished document, March 30, 1950), box 8, folder 23, Official Records of the American Composers Alliance (ACA), Special Collections, University of Maryland Libraries. 23 Lázaro Sternic to Miriam Gideon, Buenos Aires, Argentina, March 3, 1956, box 21, folder 2, Miriam Gideon Papers, JPB 04-13. Music Division, The New York Public Library for the Performing Arts. 24 “Principal Works: Miriam Gideon” (unpublished document, April 1, 1958), box 8, folder 22, Official Records of the American Composers Alliance (ACA), Special Collections, University of Maryland Libraries. 25 Tim Brookes, “Conversations with Vivian Fine: A Maverick Tradition,” Quadrille 19, no. 3 (Spring 1986): 16, reprinted at http://www.vivianfine.org/main/writings/interviews/I1maverick. htm. 26 Judith Cody, Vivian Fine: A Bio-Bibliography (Westport, CT: Greenwood Press, 2002), 1. 27 Elizabeth Vercoe, “Interview with Composer Vivian Fine,” International League of Women Composers Journal (June 1992): 18-23, http://www.vivianfine.org/main/writings/interviews/ I1interviewvf.htm. 28 Judith Cody, Vivian Fine: A Bio-Bibliography (Westport, CT: Greenwood Press, 2002), 12. 29 Christopher Sawyer-Lauçanno, An Invisible Spectator: A Biography 31 “Lieder for Viola and Piano,” International Music Score Library Project, Accessed October 26, 2018, https://imslp.org/wiki/Lieder_ for_Viola_and_Piano_(Fine,_Vivian)/. 32 A Concert of Twentieth Century Music for Viola and Piano (Bennington, VT: Bennington College Music Division, May 7, 1980), https://crossettlibrary.dspacedirect.org/bitstream/ handle/11209/7354/20th.pdf?sequence=1&isAllowed=y; An Alumni Weekend Concert, (Bennington, VT: Bennington College Music Division, May 15, 1982), https://crossettlibrary. dspacedirect.org/bitstream/handle/11209/4765/Alumni. pdf?sequence=8&isAllowed=y; A Concert of Faculty Compositions, (Bennington, VT: Bennington College Music Division, March 27, 1985), https://crossettlibrary.dspacedirect.org/bitstream/ handle/11209/4117/Fac%202.pdf?sequence=1&isAllowed=y. 33 Vivian Fine, Lieder for Viola and Piano (Washington D.C.: Arsis Press, 1987). 34 Miriam Gideon Sonata for Viola and Piano excerpts courtesy of the American Composers Edition (BMI) New York, NY. of Paul Bowles (New York: Grove Press, 1989), 151. 30 Vercoe, “Interview with Composer Vivian Fine.”

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

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