Edward T. Cone

Composition

Instrumental works

Orchestra

• Elegy
• Music for Strings
• An Overture for the War
• Symphony
• Variations for Orchestra

  Solo instrument and orchestra

• Cadenzas for violin, oboe, and string orchestra
• Concerto for Violin and Small Orchestra for violin and orchestra
• Nocturne and Rondo for Orchestra and Piano for piano and orchestra

  Small ensemble (3–14 players)

• Capriccio for String Quartet for 2 violins, viola, and cello
• Clarinet Quintet for clarinet, 2 violins, viola, and cello
• Divertimento for Woodwinds for flute, oboe, English horn, 2 clarinets, and bassoon
• Fanfare for 6 trumpets, 3 horns, 3 trombones, and 2 tubas
• Funeral Stanzas for flute, oboe, clarinet, horn, and bassoon
• Music for a Film for clarinet, 2 violins, viola, and cello
• Ostinato, Cadenza and Finale for viola, cello, and piano
• Quartet for Strings and Piano for violin, viola, cello, and piano
• Quintet for Piano and Strings for 2 violins, viola, cello, and piano
• Serenade for flute, violin, viola, and cello
• String Quartet for 2 violins, viola, and cello
• String Quartet for 2 violins, viola, and cello
• String Sextet for 2 violins, 2 violas, and 2 cellos
• String Trio for violin, viola, and cello
• Trio for violin, cello, and piano
• Variations on a Fan-Fair for 2 trumpets, horn, and trombone

  Duos

• Cavatina for treble viol and harpsichord
• Duo for Violin & Clarinet for clarinet and violin
• Duo for Violin & Harp for violin and harp
• Duo for Violin and 'Cello for violin and cello
• Elegy for violin and piano
• Fantasy for Two Pianos for 2 pianos
• Nocturne for 'Cello and Piano for cello and piano
• Pastoral Variations for Flute and Harp for flute and harp
• Prelude and Variations for Piano Four-Hands for piano four-hands
• Rhapsody for viola and piano
• Sonata for Violin and Piano for violin and piano
• Sonata for Violin and Piano for violin and piano
• Wedding Music for 2 trumpets

  Solo strings

• Sonata for Unaccompanied Violin for violin solo
• Sonata for Violoncello Solo for cello solo
• Variations for Solo Viola for viola solo

  Solo keyboard

• Another Page from a Diary for piano
• Etude for Either Hand, or Both for piano
• Fantasy for piano
• Fantasy on a Hebrew Theme for organ
• Fantasy on an Advent Hymn for organ with optional TBB chorus
• In Memoriam – R. D. W. for piano
• Page from a Diary for piano
• Piano Sonata for piano
• Prelude, Passacaglia and Fugue for piano
• Sphinxes for piano
• Twelve Bagatelles on the Triads for piano
• Twelve Tonal Studies for piano
• Twenty-One Little Preludes for piano
• Two Fugues for J. Merrill Knapp for organ

  Cadenzas

• Cadenza for Bach's Concerto for Four Harpsichords, Strings & Continuo in A Minor, BWV 1065 for 4 pianos
• Cadenzas for Mozart Concerto for 2 Pianos & Orchestra, E-flat Major, K. 365 for 2 pianos
• Cadenzas for Mozart Piano Concerto No. 21 in C major, K. 466 for piano

  Completions

• Completion of a Cadenza for Beethoven's Piano Concerto in C Major, Opus 15 for piano
• Completion of Bach's Unfinished Fugue in C Minor for keyboard

  Choral and solo vocal works

Chorus and orchestra

• Two Psalms for Chorus and Orchestra for SSATBB and orchestra

  Chorus, solo voice, and orchestra

• The Hollow Men for TTBB, tenor & baritone soloists, winds, and percussion
• The Lotos-Eaters for TTBB, tenor & bass soloists, and orchestra

  Chorus and small ensemble

• Around the Year for SATB, 2 violins, viola, and cello. Text by Walter de la Mare

  Chorus and keyboard

• Fantasy on an Advent Hymn for organ with optional TBB
• In the Last Days for SATB and piano
• Let Us Now Praise Famous Men for TTBB, tenor solo, and organ
• A Memory for TTBB and piano
• Veni Creator Spiritus for TBB and organ

  A capella chorus

• Excursions for SSATBB
• Petit Chant de Noel for SATBB. Text by Gabriel Vahanian.
• Songs of Innocence and Experience for SATB. Text by William Blake
• Three Miniatures for TTBB. Text by James Stephens
• Two Limericks for SATB
• Two Songs from Shakespeare for SATB

  Solo voice and orchestra

• Dover Beach for baritone and orchestra
• The Duchess of Malfi for contralto, tenor, bass, and orchestra
• La Figlia che Piange for tenor and chamber orchestra

  Solo voice and small ensemble

• Four Lyrics from Yeats for medium voice, 2 violins, viola, and cello. Text by W. B. Yeats.
• Ozymandias for soprano, oboe, clarinet, bassoon, and piano
• Philomela for soprano, flute, viola, and piano
• Scarabs for soprano, 2 violins, viola, and cello. Text by R. P. Blackmur.
• Two Gardens for soprano, 2 violins, viola, cello, and piano. Text by Joyce Carol Oates.

  Solo voice and single instrument

• Bells in Tower at Evening Toll for voice and piano
• Cover Me Over, Clover for voice and piano. Text by Richard Eberhart
• Dover Beach for baritone and piano
• An Epitaph for voice and piano
• Four Songs from Mythical Story for soprano and piano
• If It Chance Your Eye Offend You for voice and piano
• In the Morning for voice and piano
• Into My Heart for voice and piano
• Loveliest of Trees for voice and piano
• Mona Lisa for voice and piano
• New Weather for tenor or soprano and piano. Text by Paul Muldoon.
• Nine Lyrics from Tennyson's "In Memoriam" for baritone and piano. Text by Alfred Tennyson
• Parta Quies for voice and piano
• Psalm CXXI for soprano and organ
• The Shell for contralto and piano
• Silent Noon for soprano and piano
• Sir Thomas' House for soprano and flute. Text by John Berryman.
• Solace for soprano and piano. Text by Richard Eberhart.
• The Street Sounds to the Soldier's Tread for voice and piano
• Three Songs from Pippa Passes for mezzo-soprano and piano. Text by Robert Browning.
• Triptych for tenor or soprano and piano. Text by John Berryman.
• Two Women for soprano and piano
• With Rue My Heart is Laden for voice and piano

  Books

• Musical Form and Musical Performance
• The Composer's Voice
• Music: a View from Delft
• Hearing and Knowing Music: The Unpublished Essays of Edward T. Cone

  Edited volumes

• Perspectives on Schoenberg and Stravinsky
• Hector Berlioz: Fantastic Symphony
• Perspectives on American Composers
• Perspectives on Contemporary Music Theory
• Perspectives on Notation and Performance
• Roger Sessions on Music
• "The Legacy of R. P. Blackmur: Essays, Memoirs, Texts"

  Articles and reviews

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

• Review of Carlos Riesco: Canzona E Rondo, for Violin and Piano. Notes. 11. 1 : 155.
• Review of Tibor Serly: Sonata in Modus Lascivus, for Solo Violin. Notes. 11. 1 : 155.
• . The Musical Quarterly. 39. 3 : 475–478.
• . The Musical Quarterly. 39. 1 : 138–141.
• "The Old Man's Toys: Verdi's Last Operas." Perspectives USA 6 : 114–33. Reprinted in Cone, Music: A View from Delft, 159–75.
• "Words into Music: The Composer's Approach to the Text." In Sound and Poetry, edited by Northrop Frye, 3–15. English Institute Essays, 1956; New York, 1957. Reprinted in Cone, Music: A View from Delft, 115–23.
• . The Musical Quarterly. 42. 3 : 423–425.
• . The Musical Quarterly. 43. 1 : 140–142.
• . The Musical Quarterly. 44. 2 : 259–261.
• "Musical Theory as a Humanistic Discipline." Juilliard Review 5, no. 2 : 3–12. Reprinted in Cone, Music: A View from Delft, 29–37.

• The Musical Quarterly 46, no. 2 : 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.
• The Musical Quarterly 47, no. 4 : 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 : 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 : 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 Musical Quarterly 48, no. 3 : 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 : 448- 62.
• "A Budding Grove." Perspectives of New Music 3, no. 2 : 38–46.
• "On the Structure of 'Ich folge dir.'" College Music Symposium 5 : 77–85.
• "Toward the Understanding of Musical Literature." Perspectives of New Music 4, no. 1 : 141–51.
• "Conversations with Roger Sessions." Perspectives of New Music 4, no. 2 : 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 : 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.
• The Musical Quarterly 53, no. 1 : 39–52. Reprinted in Music: A View from Delft, 267–80.
• "What is a Composition?" Current Musicology 5 : 101–7.
• Review of Eric Walter White: Stravinsky – The Composer and His Works. Perspectives of New Music. 5. 2 : 155–161.
• Abteilung I, Reihe A, Band 1, Lieder Mit Klavierbegleitung. The Musical Quarterly. 53. 3 : 416–420.
• "Conversation with Aaron Copland." Perspectives of New Music 6, no. 2 : 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 ; 389–400.
• Review of Donald N. Ferguson: The Why of Music. Notes. 26. 2 : 258–260.

• The Musical Quarterly 56, No.4 : 779–93.
• Review of Reinhold Brinkmann: Arnold Schönberg: Drei Klavierstücke Op. 11. Studien Zur Frühen Atonalität Bei Schönberg." Notes. 27. 2 : 267–268.
• "Radical Traditionalism." Listener 2229 ; 849.
• "Inside the Saint's Head; The Music of Berlioz." Musical Newsletter 1, no. 3 ; 3–12; 1, no. 4 ; 16–20; 2, no. 1 ; 19–22. Reprinted in Music: A View from Delft, 217–48.
• "In Honor of Roger Sessions." Perspectives of New Music 10, no. 2 ; 130–41.
• "Editorial Responsibility and Schoenberg's Troublesome 'Misprints.'" Perspectives of New Music 11, no. 1 ; 65- 75.
• Review of Roger Sessions: Review of Questions About Music. Perspectives of New Music. 10. 2 : 164–170.
• "The Miss Etta Cones, the Steins, and M'sieu Matisse." The American Scholar 42, no. 3 ; 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 : 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 : 335–338.
• "In Defense of Song: The Contribution of Roger Sessions." Critical Inquiry 2, No.1 : 93–112. Reprinted in Music: A View from Delft, 303–22.
• "Sessions' Concertino." Tempo 115 : 2–10.
• "Yet Once More, 0 Ye Laurels." Perspectives of New Music 14, no. 2; 15, no. 1 : 294–306.
• "Beatrice et Benedict." Boston Symphony Program : 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 : 443–59.
• "Three Ways of Reading a Detective Story-Or a Brahms Intermezzo." Georgia Review 31, no. 3 : 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 : 464–465.

• "Aunt Claribel's 'Blue Nude' Wasn't Easy to Like." Art News 79, no. 7 : 162–63.
• "Berlioz's Divine Comedy: The Grande messe des morts." 19th-Century Music 4, no. 1 : 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 : 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 : 72–98.
• "Roger Sessions: Symphony No.6." San Francisco Symphony Stagebill : v–ix.
• "Schubert's Promissory Note: An Exercise in Musical Hermeneutics." 19th Century Music 5, no. 3 : 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 : 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 : 222- 32. Reprinted in Cone, Music: A View from Delft, 201- 16.
• "Musical Form and Musical Performance Reconsidered." Music Theory Spectrum 7 : 149–58.
• "A Tribute to Roger Sessions." Kent Quarterly 5, no. 2 : 29–31.
• "Twelfth Night." Musiktheorie 1 : 41–59. Reprinted in original English version in Journal of Musicological Research 7, nos. 2–3 : 131–56.
• "Brahms: Songs with Words and Songs without Words." Integral 1 : 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.
• "On Derivation: Syntax and Rhetoric." Music Analysis 6, no. 3 : 237- 56.
• "The World of Opera and Its Inhabitants." In Cone, Music: A View from Delft, 125- 38.
• "Responses". College Music Symposium 29 : 75–80.

• "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 Music." Proceedings of the American Philosophical Society, 138, no. 4 : 469–75.
• "Edward T. Cone Makes a Plea for Good Citizenship." Musical Times 135, no. 12 : 734–38.
• Review of Nicholas Cook: Music, Imagination, and Culture." Music Theory Spectrum. 16. 1 : 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 : 72- 77.
• "Adding Up Beauty and Truth". Yale Review 83, no. 4 : 121- 34.
• "'Am Meer' Reconsidered: Strophic, Binary, Ternary." In Schubert Studies 5, edited by Brian Newbould, 112- 26. Aldershot, 1998.

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