The League of Composers: The Initial Years

Abstract

Modernism often appears as a movement of individual iconoclasts: the visionary Pablo Picasso, the aloof Gertrude Stein, the isolated Charles Ives, among others. Often overlooked are the various groups that supported modernist styles during the early decades of the century. Collective organization especially shaped the production of new music, as many composers realized the necessity of solidarity in confronting the increased marginalization of their works. This awareness led to the formation of such composers' groups as the Verein ffir musikalische Privatauffiihrungen and Les Six. Although the two differ in many respects, they, along with most other groups, shared a commitment to providing members with much needed creative support and performances.' Responding to the same needs, several modern music societies arose in the United States, notably the International Composers' Guild (1921-27), Pro-Musica (1920-44), Henry Cowell's New Music Society (1925-36), the Pan American Association of Composers (1928-34), and the League of Composers (1923-54).2 This article discusses the formation of the League and traces its activities in New York City through the 1920s. During that decade modernist styles, which had previously made only sporadic appearances in the New York concert scene, bounded into the city's music world. The League was a major force in the promotion of modern music. The organization's role in that effort can be best appreciated by describing its ventures inside and outside of the concert hall and by comparing it to its chief rival, the In-

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