F. H. Cowen.
Mr. Cowen says, with reference to his mode of composing: "I usually work by fits and starts, or rather, I should say, that I work sometimes for months continuously, almost all day and evening with little rest, especially when I am engaged upon a large work, for then I can think of nothing else: it weighs upon my mind until completed. At other times, perhaps, I do little or nothing (except a few songs, etc.) for a month or two, lying quite fallow. This may be a greater strain than working systematically all the year round, but I cannot bear when engaged on anything important to lose the thread of it for a single moment."
As to composing to a piano, Mr. Cowen believes in it when writing for voices and singing every note and word oneself, but otherwise his opinion is that the music is very apt to be unvocal. In the case of choral works, he often makes the vocal score first, having made up his mind thoroughly beforehand what the orchestration is to be.
"I never work now very late into the night," continues the composer, "though I used to; usually beginning about 10 or 10.30 a.m., and leaving off about 11 or 12 p.m., with intervals for meals and a constitutional (this is, of course, when working hard). Every composer should have a notebook of some sort to jot down ideas in when necessary. I may say, however, that I have carried about with me (mentally only) whole songs or movements perfected, sometimes for three or four years without writing down a note, and have afterwards used them in almost the exact state in which they were photographed in my brain! I do not think it possible for composition to be taught or acquired, that is, real composition. I daresay that anyone with a certain musical taste can be taught to string a melody and accompaniment together; but the genuine thing must be born in one, though, of course, the gift is useless, or at least crude, without serious cultivation."
Mr. Cowen considers his best work up to the present the "Symphony in F, No. 8," and his new opera "Sigrid" (not yet performed).
In conclusion he says: "I do not believe in composers writing 'to order,' as a general rule, but I think they may often do their best work under pressure, and when they know it must be completed by a certain time. Of course, this means that the time allowed them is sufficiently long to prevent their unduly hurrying or 'scamping' their work."
The few bars of music are the beginning of a song published in an album of twelve by various composers, the words of which are by H. Boulton.
