The archive of the American composer Earle Brown (1926–2002) has been transferred from the Earle Brown Music Foundation Charitable Trust to the Paul Sacher Foundation. The collection will be available for research immediately. It contains musical autographs (sketches and drafts, as well as fair copies), text manuscripts, correspondence, sound recordings and photographs, and program brochures, reviews, and other documentary material. Read more here.

The TIME SPANS contemporary music festival (season # 4) took place from August 14 to 18, 2018 at the DiMenna Center for Classical Music, New York, Mary Flagler Cary Hall. The next festival will be held from August 10 to August 28, 2019. The program will be made public on April 15, 2019. more info at: www.timespans.org.

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A Life in Music

Earle Brown, a major force in contemporary music and a leading composer of the American avant-garde since the 1950s, died on July 2, 2002 at his home in Rye, New York. He was associated with the experimental composers John Cage, Morton Feldman, and Christian Wolff who, with Brown, came to be known as the New York School.

Earle Brown was born in 1926 in Lunenburg, Massachusetts and, in spirit, remained a New Englander throughout his life. Like other artists from that region – Ives, Ruggles, Dickinson – he spoke with his own voice and found his own path. To America, these artists were iconoclasts, but to Europe they embodied America – and Brown was no exception: his music has been most frequently performed, studied, lauded, and revered by Europeans. Brown’s interest in a broad range of aesthetic expressions, ranging from the writings of James Joyce and the poetry of Gertrude Stein, Kenneth Patchen, and others to the work of the Abstract Expressionist painters – and particularly Jackson Pollock and Alexander Calder – informed his own work. He said, as recently as in 2000, that “the earliest and still predominant influences on my conceptual attitude toward art were the works of Alexander Calder and Jackson Pollock...the integral but unpredictable ‘floating’ variations of a mobile, and the contextual ‘rightness’ of the results of Pollock’s directness and spontaneity in relation to the materials and his particular image of the work…as a total space (of time).”

Earle Brown’s influence on the avant-garde community has been philosophical as well as tangible and practical. His conducting techniques and experiments with “time notation,” improvisation, and open-form compositional structure have become part of contemporary compositional usage. Among Brown’s most frequently performed and reinterpreted works is DECEMBER 1952, the score of which is a stark, abstract series of floating rectangles – a musical equivalent to a Calder mobile. His early influential orchestral scores include Available Forms 1 and Available Forms 2, and his musical friendships were legendary, from Bruno Maderna who conducted first performances of many of Brown’s works to jazz musicians such as Zoot Sims and Gerry Mulligan.

Brown received many commissions, residencies, and awards, including a Guggenheim award; an honorary doctorate from the Peabody Conservatory of Music (1970) where he held the W. Alton Jones Chair of Music; and the John Cage Award from the Foundation for Contemporary Performance Arts, among others. Among his many residencies were those at the California Institute of the Arts, Yale University, the Tanglewood and Aspen Music Festivals, the American Academy in Rome, and the Basel Conservatory of Music.

On November 20, 2002, The Museum of Modern Art hosted an homage to one of the great American composers of the twentieth century : In Memoriam: A Concert of Selected Works by Earle Brown. The program included works, selected by Brown in conversation with his wife Susan shortly before his death, that span his career: Music for Violin, Cello and Piano (1952); Corroboree (1964); New Piece (1971); Centering (1973); Tracking Pierrot (1992); and Special Events (1998).


1926 Born Earle Appleton Brown Jr., December 26 in Lunenberg, MA
1940s Private studies in trumpet and big band performances in Massachusetts
1944-45 Attends Northeastern University in Boston and studies engineering and mathematics
1945-46 Enters Air Force at the end of World War II.  Plays trumpet in Army Air Force Band in Randolph Field, Texas (now Randolph Air Force Base).  Begins to study arranging with Paul Hindemith's books on composition.
1946-50 Studies at Schillinger House School of Music in Boston (now Berklee College of Music).  Private study of Schillinger techniques during 1947-50 with Kenneth MacKillop; arranging and orchestration with Jesse Smith; counterpoint, form, and orchestration with Roslyn Brogue Henning.
Studies trumpet in Boston with Fred Berman
1949 Home Burial, for piano
1950 Receives certification as authorized instructor of Schillinger system
Moves to Denver with Carolyn Brown and teaches Schillinger techniques for two years
1951 Three Pieces for Piano
Enrolls at Colorado College Summer School to study with Arnold Schoenberg, who later cancels the session because of health problems.  Brown arranges to study with Schoenberg in Los Angeles that summer but Schoenberg dies before they meet.
Meets John Cage and Merce Cunningham in Denver
Meets David Tudor in Boulder
Visits New York City and meets Morton Feldman, Richard Lippold, Ray Johnson, Danny Stern, Herbert Matter and others through Cage and Tudor
1952 Music for Violin, Cello & Piano
Perspectives, for piano
David Tudor premieres Three Pieces for Piano (1951) on February 2 at the Cherry Lane Theatre, marking the New York premiere of Brown's music
Moves to New York City in August
Joins the Project for Music for Magnetic Tape (summer 1951 to spring 1953) organized by Cage and Tudor with sound engineers Louis and Bebe Barron
1952-54 Folio and 4 Systems, for variable instrumentation
1953 Twenty-Five Pages, for 1-25 pianos
Octet I, for eight loudspeakers
Octet I premieres at Festival of Contemporary Arts, University of Illinois, Urbana-Champaign, March 22 along with magnetic tape works by Cage and Wolff
Tudor performs Perspectives and Three Pieces for Piano at Black Mountain College, July 1953
1954 Indices, for chamber orchestra, commissioned by the Merce Cunningham Dance Company (Springweather and People)
Forgotten Piece, for solo or multiple pianos
Indices [Piano Reduction]
Octet II, for eight loudspeakers
Cage and Tudor perform works by Brown during their European concert tour, including Octet, 4 Systems, and Perspectives, October-November
1955 Music for Cello and Piano
1955-60 Recording engineer at Capitol Records
Occasionally attends Henry Cowell's 'Music of the Worlds Peoples' class at the New School for Social Research
1956 Four More, for solo or multiple pianos
First trip to Europe, December 1956 to February 1957, with travels to Paris, Baden-Baden, Milan, Vienna, Munich, Darmstadt, Cologne, Hamburg, and London; meets with Pierre Boulez, Heinrich Strobel, Hans Rosbaud, Bruno Maderna, Wolfgang Steinecke, Karlheinz Stockhausen, Otto Tomek, and William Glock.
1957 The Kind of Bird I Am, for orchestra (homage to Max Ernst, duration 20 seconds)
Organizes Varese Jazz Sessions
1958 Pentathis, for chamber ensemble, commissioned by Pierre Boulez and Domaine Musical
Second trip to Europe, which includes the premiere of Pentathis at Darmstadt conducted by Maderna, September 11
1959 Hodograph I, for chamber ensemble
1961-73 Producer of Contemporary Sound Series for Time / Mainstream Records in New York
1961 Available Forms I, for chamber orchestra, commissioned by the City of Darmstadt
1962 Available Forms II, for two orchestras, commissioned by Radio Orchestra of Rome; premiered in April at the Venice Biennale, conducted by Earle Brown and Bruno Maderna.
Novara, for chamber ensemble
1963 Times Five, for chamber ensemble, commissioned by Service de la Recherche, L'Office de Radiodiffusion-Television Française (ORTF), Paris
From Here,
for chamber orchestra and optional chorus, commissioned by the Foundation for Contemporary Performing Arts
Sound of Void, sound sculpture collaboration with artist Vassilakis Takis in New York
Concert of works by Brown and Feldman at Town Hall, New York City, October 11, sponsored by the Foundation for Contemporary Arts established by Cage and Jasper Johns
1964 Corroboree, for three or two pianos, commissioned by Radio Bremen for Bremen Festival
Music for Galerie Stadler, installation for four tape loops, Paris
Leonard Bernstein and the New York Philharmonic give the U.S. premiere of Available Forms II, February 6 (Bernstein and Brown, conductors)
1964-65 Guest Composer/Lecturer, Darmstadt Summer Courses
1965-66 Guggenheim Fellowship
1965 Nine Rarebits, for one or two harpsichords, commissioned by Antoinette Vischer
String Quartet, commissioned by Südwestfunk Baden-Baden for Donaueschinger Musiktage
Lectures throughout the U.K. including York University, Royal College of Art, Goldsmith's, Chelsea School of Art, St. Martins, and the Cardiff School of Art.
1966 Lecturer, Musikhochschule Köln, (Conservatory of Music, Cologne) filling in for Stockhausen
Module I, for orchestra, commissioned by L' Orchestre National de l'ORTF, Paris
Module II, for orchestra
Calder Piece, for four percussionists and mobile, commissioned by the Percussion Quartet of Paris
Guest composer-conductor at Primeras Jornados Americanas de Musica Experimental in Cordoba, Argentina
1967 Event: Synergy II, for chamber ensemble, commissioned by French Radio for Festival de Royan
Conducted De Kooning by Morton Feldman, 1.65 AL by Anestis Logothetis along with Novara, December 1952, and From Here at the Second Hellenic Week of Contemporary Music in Athens, Greece.
Lectured at Darmstadt Festival of New Music
1968 Guest Composer/Lecturer in composition, Tanglewood
1968-73 Composer-in-Residence, Peabody Institute Conservatory of Music
1969 Module III, for orchestra, commissioned by Festival de Zagreb
Small Pieces for Large Chorus
1970 Syntagm, III for chamber ensemble, commissioned by Fondation Maeght, Saint-Paul-de-Vence, France
Honorary Doctorate of Music, Peabody Conservatory
Featured Guest Composer/Conductor Contemporary Music Festival, St. Lawrence University
1970-71 Deutscher Akademischer Austauschdienst (Künstlerprogramm)
Exterior Examiner, Doctorate Program, York University, England
1971 New Piece, for variable instrumentation
Featured Guest Composer/Conductor, Oberlin Conservatory Summer Festival and Institute
Composer-in-Residence/Conductor Aspen Music Festival
1972 Time Spans, for orchestra, commissioned by Hans Zender and the City of Kiel and premiered during the 1972 Munich Olympics
New Piece Loops, 
for orchestra and chorus, commissioned by Venice Biennale de Musica Internazionale Festival
Sign Sounds, for chamber orchestra, commissioned by SUNY Albany  
Featured Guest Composer/Lecturer/Conductor, Contemporary Music Festival, Capital University Conservatory of Music
Featured Guest Composer/Lecturer, State University of New York
Koussevitzky Music Foundation Award and Commission
American Academy & National Institute of Arts and Letters Award
1973 Centering, for solo violin and chamber ensemble, commissioned by London Sinfonietta for Paul Zukofsky
1974 Composer-in-Residence, Rotterdam Philharmonic and Conservatory
New York State Council on the Arts
National Endowment for the Arts
1974-83 Composer-in-Residence, California Institute of the Arts
1975 Cross Sections and Color Fields, for orchestra, commissioned by the Denver Symphony and the Koussevitzky Foundation
Guest Professor, Basel Conservatory, Switzerland
Visiting Professor, SUNY Buffalo
Composer-in-Residence, Aspen Music Festival
Composer-in-Residence, Tanglewood
1976 Visiting Professor, University of California at Berkeley
1977 Visiting Professor, California Institute of the Arts
Brandeis University Creative Arts Award
1978 Visiting Professor, University of Southern California
1979 Wikiup, sound installation for six independent playing devices, commissioned by Independent Curators Incorporated.  Installed as a traveling exhibition " Supershow" in Berlin, Mesa, Cleveland, and St. Paul, 1979-80.
1980 Windsor Jambs, for chamber ensemble, commissioned by the Fromm Music Foundation
1980-81 Visiting Professor, Yale University
1981 Composer-in-Residence/Conductor, Aspen Music Festival
Composer-in-Residence, American Dance Festival, North Carolina
Featured Guest Composer/Conductor, Saarländischer Rundfunk Saarbrücken
1982 Folio II, for variable instrumentation
Visiting Professor, University of Indiana
1983 Sounder Rounds, for orchestra, commissioned by Saarländischer Rundfunk
1984-89 Director, Fromm Music Foundation, curated Fromm Weeks of Music, Aspen Music Festival
1985 Tracer, for chamber ensemble
Visiting Professor, Hochschule fur Musik
Guest Composer, DAAD Kunstler Program
1986 Visiting Professor, University of Cincinnati, Conservatory of Music
1986-87 Visiting Professor, Yale School of Music, Yale University
1986-89 President, American Music Center
1992 Oh, K, for chamber ensemble
Tracking Pierrot, for chamber ensemble
1995 Summer Suite '95, for piano
1998 John Cage Award, Foundation for Contemporary Arts
1999 Special Events, for violoncello and piano
2002 Earle Brown died on July, 2 at his home in Rye, New York.

This chronology was compiled by Rebecca Y. Kim and Jason Cady. Last update: December 04, 2014


Abbinanti, Frank.  “‘What needs to be done.’”  Contemporary Music Review 26, nos. 3-4 [special double issue, “Earle Brown: From Motets to Mathematics”] (2007): 357-62.

Alburger, Mark.  “Earle Brown’s 70th Birthday.”  20th-Century Music 3, no. 3 (March 1996): 17.

__________.  “Available Brown: A Chance Interview with Earle.”  20th-Century Music 3, no. 5 (May 1996): 1-7.

Alden, Jane.  “From Neume to Folio: Medieval Influences on Earle Brown’s Graphic Notation.”  Contemporary Music Review 26, nos. 3-4 [special double issue, “Earle Brown: From Motets to Mathematics”] (2007): 315-32.

Ashton, Dore.  “Earle Brown’s Continuum.”  Arts Magazine (January 1982): 68-69.

Asia, Daniel.  “Reflections on Earle Brown and His Music.”  Contemporary Music Review 26, nos. 3-4 [special double issue, “Earle Brown: From Motets to Mathematics”] (2007): 311-13.

Austin, Larry.  “John Cage’s Williams Mix (1951-3): The Restoration and New Realizations of and Variations on the First Octophonic, Surround-Sound Tape Composition” in A Handbook to Twentieth-Century Musical Sketches.  Eds. Patricia Hall and Friedemann Sallis.  New York: Cambridge University, 2004.  189-213.

Bailey, Derek.  Improvisation: Its Nature and Practice in Music.  New York: Da Capo 1980.  76-88.
Bates, Eric, ed. Artists For Artists: Fifty Years of the Foundation for Contemporary Arts. New York: Foundation for Contemporary Arts, 2013.

Beal, Amy C.  “Negotiating Cultural Allies: American Music in Darmstadt, 1946-1956.”  Journal of the American Musicological Society 53, no. 1 (spring 2000): 105-39.

__________.  “The Army, the Airwaves, and the Avant-Garde: American Classical Music in Postwar West Germany.”  American Music 21, no. 4 (winter 2003): 477-513.

__________.  New Music, New Allies: American Experimental Music in West Germany from the Zero Hour to Reunification.  Berkeley: University of California, 2006.

__________.  “An Interview with Earle Brown.”  Contemporary Music Review 26, nos. 3-4 [special double issue, “Earle Brown: From Motets to Mathematics”] (2007): 341-56.

Bledsoe, Helen.  “Tracking Pierrot in Heek: An Anecdotal and Practical Performance Guide.”  Contemporary Music Review 26, nos. 3-4 [special double issue, “Earle Brown: From Motets to Mathematics”] (2007): 363-66.

Blum, Eberhard.  “Remarks re: Four Systems.”  Contemporary Music Review 26, nos. 3-4 [special double issue, “Earle Brown: From Motets to Mathematics”] (2007): 367-69.

__________.  Choice and Chance.  Berlin: Berlinische Galerie, 2008.  123-36.

__________.  ”Notation und Ausführung Zwei persönliche Anmerkungen” in Notation Kalkül und Form in den Künsten.  Berlin: Akademie der Künste, 2008.  190-97.

Borio, Gianmario and Hermann Danuser, eds.  Im Zenit der Moderne: Die Internationalen Ferienkurse für Neue Musik Darmstadt 1946-1966: Geschichte und Dokumentation in vier Bänden.  Freiburg: Rombach, 1997.

Boulez, Pierre.  “… ‘ouvert’, encore …”  Contemporary Music Review 26, nos. 3-4 [special double issue, “Earle Brown: From Motets to Mathematics”] (2007): 339-40.

Brodsky, Warren.  “Joseph Schillinger (1895-1943): Music Science Promethean.”  American Music 21, no. 1 (spring 2003): 45-73.

Brown, Carolyn.  ”On Chance.”  Ballet Review 2, no. 2 (1968): 7-25.

__________.  Chance and Circumstance: Twenty Years with Cage and Cunningham.  New York: Knopf, 2007.

Burbank, Richard.  Twentieth Century Music.  New York: Facts on File, 1984.

Campos, Remy. “Le son de L’imprecision.” Hemispheres, Volume 3 (June 2012)

Cage, John.  Silence: Lecture and Writings.  Middletown, CT: Wesleyan University, 1961.  37-8, 85.

Cage, John and Alison Knowles, eds.  Notations.  New York: Something Else Press, 1969.

Camilleri, Lelio.  Il Peso Del Suono.  Milan: Italy, Apogeo, 2005.

Castanet, Pierre-Albert.  Musique et aleatoire(s).  Rouen: CIREM, 1991.

Chadabe, Joel.  Electric Sound: The Past and Promise of Electric Sound.  Upper Saddle River, NJ: Prentice Hall, 1997.

Cline, David.  The Graph Music of Morton Feldman.  Cambridge, UK: Cambridge University Press, 2016.

Cope, David.  New Directions in Music.  Dubuque: W. C. Brown, 1971.  52-53, 91-99, 128.

Cornelison, Randall.  “Pitch-Specific Events of Novara.”  Contemporary Music Review 26, nos. 3-4 [special double issue, “Earle Brown: From Motets to Mathematics”] (2007): 395-401.

Corner, Philip.  “Reminiscence I.”  Contemporary Music Review 26, nos. 3-4 [special double issue, “Earle Brown: From Motets to Mathematics”] (2007): 403-5.

Cross, Lowell.  “Electronic Music, 1948-1953.”  Perspectives of New Music 7, no. 1 (autumn-winter 1968): 32-65.

Davies, Hugh.  “Gentle Fire: An Early Approach to Live Electronic Music.”  Leonardo Music Journal 11 (2001): 53-60.

De Beivre, Guy.  Open, Mobile and Indeterminate Forms. Ph.D., diss., Brunel University, 2011.

Delaigue, Olivier.  “Earle Brown et la France” in Sillages Musicologiques: Hommages a’ Yves Gerard.  Ed. P. Blay and R. Legrand.  Paris: 1997.  289-308.

Denton, David Bryan.  The Composition as Aesthetic Polemic: December 1952 by Earle Brown.  Ph.D. diss., University of Iowa, 1992.

Dickinson, Peter, ed.  “Earle Brown” [1 July 1987 interview] in CageTalk: Dialogues with and about John Cage.  Rochester, NY: University of Rochester, 2006.  136-45.

Dowling, Lyle and Arnold Shaw, eds.  The Schillinger System of Musical Composition.  2 vols.  New York: Carl Fischer, 1946.

Dubinets, Elena.  “Between Mobility and Stability: Earle Brown’s Compositional Process.”  Contemporary Music Review 26, nos. 3-4 [special double issue, “Earle Brown: From Motets to Mathematics”] (2007): 409-26.

Duckworth, William.  Talking Music: Conversations with John Cage, Philip Glass, Laurie Anderson, and Five Generations of American Experimental Composers.  New York: Schirmer, 1995.  142-43, 179-90, 463-65.

Dufallo, Cornelius.  The Indeterminate Violin: A Pedagogical Approach to Indeterminacy in the Violin Repertoire.  Ph.D. diss., The Juilliard School, 2002.

__________.  “The Aesthetic of Impermanence: A Performer’s Perspective of Four Systems and Tracer.”  Contemporary Music Review 26, nos. 3-4 (2007): 429-36.

Dufallo, Richard.  Trackings: Composers Speak with Richard Dufallo.  New York: Oxford University, 1989.  103-18.

Evarts, John.  “The New Musical Notation: A Graphic Art?”  Leonardo 1, no. 4 (October 1968): 405-12.

Ewen, David.  American Composers: A Biographical Dictionary.  New York: G. P. Putnam’s Sons, 1982.  95-98.

Feldman, Morton.  “Earle Brown.”  Universal Edition brochure, 1966.  Rpt. in Give My Regards to Eighth Street: Collected Writings of Morton Feldman.  Ed. B. H. Friedman.  Cambridge, MA: Exact Change, 2000.  42-44.

__________.  Morton Feldman Says: Selected Interviews and Lectures 1964-1987.  Ed. Chris Villars. London: Hyphen, 2006.

Feisst, Sabine. Der Begriff “Improvisation” in der neuen Musik. Berlin, Freie Universität, Diss. 1995.

Fichter, Thomas “Calder Piece and Alexander Calder's Chef d'orchestre” in Alexander Calder—Performing Sculpture. Ed. Achim Borchardt-Hume. London: Tate Publishing, 2015. 66-75.

Freeman, Jason.  “Extreme Sight-Reading, Mediated Expression, and Audience Participation: Real-Time Music Notation in Live Performance.”  Computer Music Journal 32, no 3 (fall 2008): 25-41.

Gann, Kyle.  ”Square Rhythms.” The Village Voice 37, no. 17 (April 28, 1992): 94.

__________.  American Music in the Twentieth Century.  New York: Schirmer, 1997.  136-52.

__________.  ”Composing in the Air.” The Village Voice 47, no. 31 (August 6, 2002).

Gena, Peter.  “Freedom In Experimental Music: The New York Revolution.”  TriQuarterly 52 (fall 1981): 223-43.

Grella-MoA¼ejko, Piotr.  “Earle Brown—Form, Notation, Text.”  Contemporary Music Review 26, nos. 3-4 [special double issue, “Earle Brown: From Motets to Mathematics”] (2007): 437-69.

Gresser, Clemens.  (Re-)Defining the Relationship between Composer, Performer and Listener: Earle Brown, John Cage, Morton Feldman and Christian Wolff.  Ph.D. diss., University of Southampton, 2004.

__________.  “Earle Brown’s ‘Creative Ambiguity’ and Ideas of Co-creatorship in Selected Works.”  Contemporary Music Review 26, nos. 3-4 [special double issue, “Earle Brown: From Motets to Mathematics”] (2007): 377-94.

Griffiths, Paul.  A Concise History Of Avant-Garde Music: From Debussy to Boulez.  New York: Oxford University, 1978.  172-73, 179.

__________.  Modern Music.  New York: Thames and Hudson, 1985.  70-74, 114-125.

Grimmel, Werner M.  “Freies Spiel der Kräfte: Werner M. Grimmel im Gespräch mit Earle Brown.”  Neue Zeitschrift für Musik 157 (1996): 46-51.

Henahan, Donal.  “Earle Brown: They Love Him in Baden-Baden.”  The New York Times (June 21, 1970).

Herbort, H.-J.  “New Discoveries of ‘Open Form.’”  Die Zeit (June 5, 1981).

Hitchcock, H. Wiley.  Music in the United States: A Historical Introduction.  Englewood Cliffs, NJ: Prentice Hall, 1974.  244-48.

Hoek, D. J.  “Documenting the International Avant Garde: Earle Brown and the Time-Mainstream Contemporary Sound Series.”  Notes (December 2004): 350-60.

Holzaepfel, John.  David Tudor and the Performance of American Experimental Music, 1950-1959.  Ph.D. diss., City University of New York, 1994.

Hoover, Elizabeth.  “I Have Nothing to Say and I am Saying It”: Potentiality and Movement in Multimedia Performances by the American Avant-Garde of the 1960s. Ph.D. diss., University of Pittsburgh, 2012.

Josek, Suzanne.  The New York School: Earle Brown, John Cage, Morton Feldman, Christian Wolff.  Saarbrucken: PFAU, 1998.

Kendall, Maurice G. and Bernard Babington Smith.  Tables of Random Sampling Numbers.  Cambridge: Cambridge University Press, 1939.

Key, Susan and Larry Rothe.  American Mavericks: Musical Visionaries, Pioneers, and Iconoclasts.  Berkeley: University of California, 2001.  79-82.

Kim, Rebecca Y.  In No Uncertain Musical Terms: The Cultural Politics of John Cage’s Indeterminacy.  Ph.D. diss., Columbia University, 2008.

Klosty, James, ed.  Merce Cunningham.  New York: Saturday Review Press, 1975.  74-77, 215.

Kostelanetz, Richard.  The New American Arts.  New York: Horizon, 1968.  248-50.

__________.  Merce Cunningham: Dancing in Space and Time.  Chicago: Chicago Review, 1992.

Kostelanetz, Richard, ed.  John Cage: An Anthology.  New York: Praeger, 1970.

Kramer, Jonathan, D.  The Time of Music: New Meanings, New Temporalities, New Listening Strategies.  New York: Schirmer, 1988.

La Barbara, Joan.  “Earle Brown’s Homage to Alexander Calder.”  HiFi/Musical America 30, no. 7 (July 1980): 12-13.

__________.  “Reflections on the Voice of Brown.”  Contemporary Music Review 26, nos. 3-4 [special double issue, “Earle Brown: From Motets to Mathematics”] (2007): 407-8.

Lange, Art.  “Accuracy and Ambiguity.”  Earle Brown: Synergy.  Hat Hut Records, hat ART 164, 1995.  CD.

Lanza, Alcides and Meg Sheppard.  “Memories of Earle Brown.”  Contemporary Music Review 26, nos. 3-4 [special double issue, “Earle Brown: From Motets to Mathematics”] (2007): 335-38.

Lesser, David.  “Score, Identity and Experience in Earle Brown’s Twentyfive Pages.”  Contemporary Music Review 26, nos. 3-4 [special double issue, “Earle Brown: From Motets to Mathematics”] (2007): 475-85.

Lewis, George E.  “Improvised Music after 1950: Afrological and Eurological Perspectives.”  Black Music Research Journal 16, no. 1 (spring 1996): 91–122.

Lipman, Jean.  Calder’s Universe.  New York: Viking Press, 1976.  171-73, 337. 

Marcus, Genieve. New Concepts in Music from 1950 to 1970: A Critical Investigation of Contemporary Aesthetic Philosophy and its Translation into Music Structures. Ph.D. diss. University of California, Los Angeles, 1973.

Magnus, David.  Aural Latency: The Sound Behind the Image in Earle Brown’s Folio.  Ph.D. diss., University of Basel, forthcoming.

McDonagh, Michael.  “Crossing Paths with a Colorful Earle Brown.”  21st Century Music 8, no. 4 (April 2001): 3-4.

__________.  “Remembering Earle Brown.”  21st Century Music 9, no. 9 (September 2002): 7.

Mellers, Wilfrid.  Music in a New Found Land: Themes and Developments in the History of American Music.  London: Faber 1975.  188, 190, 232.

Metzger, Heinz-Klaus.  Morton Feldman, Earle Brown, and Heinz-Klaus Metzger in discussion.  Music Before Revolution.  EMI Electrola c165-28 945/57.  CD.

Mumma, Gordon.  “Earle’s Worlds.”  Contemporary Music Review 26, nos. 3-4 [special double issue, “Earle Brown: From Motets to Mathematics”] (2007): 427-28.

Myers, Rollo H.  Twentieth Century Music.  New York: Orion, 1968.  249-50.

Nattiez, Jean-Jacques, ed.  The Boulez-Cage Correspondence.  Trans. Robert Samuels.  New York: Cambridge University, 1993.

Nicholls, David.  “Getting Rid of the Glue: The Music of the New York School” in The New York Schools of Music and Visual Arts: John Cage, Morton Feldman, Edgard Varèse, Willem de Kooning, Jasper Johns, Robert Rauschenberg.  Ed. Steven Johnson.  New York: Routledge, 2002.  17-56.

Nyman, Michael.  Experimental Music: Cage and Beyond.  2nded.  New York: Cambridge University, 1999.

Patterson, David W.  “Cage and Beyond: An Annotated Interview with Christian Wolff.”  Perspectives of New Music 32, no. 2 (summer 1994): 54-87.

Pine, Louis.  ”Conversation with Earle Brown about Constructivism and Schillinger’s System of Musical Composition.”  Contemporary Music Review 30, no. 2 (2011): 167-178.

Potter, Keith.  “Earle Brown American Musical Pioneer.”  The Musical Times (1975): 4.

__________.  “Earle Brown in Context.”  The Musical Times 127, no. 1726 (December 1986): 679-83.

__________.  “Earle Brown.”  21st Century Music 9, no. 9 (September 2002): 6.

Pritchett, James.  The Music Of John Cage.  New York: Cambridge University, 1993.  105-8, 140.

Quist, Pamela Layman.  Indeterminate Form in the Works of Earle Brown.  Ph.D. diss., Peabody Conservatory, 1984.

Rausch, Ulrike. Grenzgange: Musik und Bildende Kunst im New York der 50er Jahre. Saarbrucken: Pfau-Verlag, 1999

Revill, David.  The Roaring Silence: John Cage: A Life.  New York: Arcade, 1992.  139-49 et al.

Rich, Alan. American Pioneers: Ives to Cage. London: Phaidon, 1995

Robinson, Julia and Christian Xatrec, eds. ±1961: Founding the Expanded Arts. Madrid, Spain, Museo nacional Centro de Arte Reina Sofia, 2013.

Rosenberg, Deena and Bernard Rosenberg, eds.  “Earle Brown” in The Music Makers.  New York: Columbia University, 1979.  79-91.

Rötter, Gunther.  “Interview mit dem Komponisten Earle Brown.”  Zeitschrift für Musikpädagogik 11, no. 36 (1986): 3-10.

Rower-Upjohn, Gryphon Rue “Calder and Sound” in Alexander Calder—Avant-Garde in Motion. Ed. Susanne Meyer-Buser. Dusseldorf: Kunstsammlung Nordrhein-Westfalen, 2013. 97-112.

Russcol, Herbert.  The Liberation of Sound: An Introduction to Electronic Music.  Englewood Cliffs, NJ: Prentice Hall, 1972.  143-48.

Ryan, David.  ”Y a-t-il une ‘école new-yorkaise’”: Entretien avec Earle Brown” [in French].  Dissonanz 52 (1997): 14-19.

__________.  ”Earle Brown: Seeing is Believing.”  The Wire 223 (2003).

__________.  “Earle Brown 1926-2002″ [in German and French].  Dissonanz 76 (2003): 14-19.

__________.  ”We Have Eyes as Well as Ears: Experimental Music and the Visual Arts” in The Ashgate Research Companion to Experimental Music.  Ed. James Saunders.  Burlington, VT: Ashgate, 2009.  pp. 193-217.

__________.  Earle Brown: An Avant-Garde Odyssey.  Book forthcoming in 2015.

Sauer, Theresa.  Notations 21.  New York: Mark Batty, 2009.  40-41.

Schröder, Julia H.  ”Graphic Notation and Musical Graphics: Between Music Notation and Visual Art” in Audiovisuology Compendium: An Interdisciplinary Survey of Audiovisual Culture.  Eds. Dieter Daniels and Sandra Naumann.  Cologne: Walter König, 2010.

Silverman, Kenneth.  Begin Again: A Biography of John Cage.  New York: Knopf, 2010.

Smigel, Eric B.  Alchemist of the Avant-Garde: David Tudor and the New Music of the 1950s.  Ph.D. diss., University of Southern California, 2004.

Smith Brindle, Reginald.  The New Music: The Avant-Garde Since 1945.  New York: Oxford University, 1975.  83-90, 130-33, 179.

Smith, Sylvia and Stuart Smith.  “Musical Notation as a Visual Art.”  Percussive Notes 18, no. 2 (winter 1981).

Sollins-Brown, Susan.  “Happily Ever After.”  Contemporary Music Review 26, nos. 3-4 [special double issue, “Earle Brown: From Motets to Mathematics”] (2007): 287-88.

Spooner, Cally. “Top Ten.” Art Forum Vol. 53, No. 9 (May 2015): 167-168.

Stein, Leonard.  “New Music on Mondays.”  Perspectives of New Music 2, no. 1 (autumn-winter 1963): 142-50.

Stephan, Rudolf, et al., eds.  Von Kranichstein zur Gegenwart: 50 Jahre Darmstädter Ferienkurse.  Stuttgart: DACO, 1996.  382-87.  [article by Earle Brown]

Stone, Kurt.  “Problems and Methods of Notation.”  Perspectives of New Music 1, no. 2 (spring 1963): 9-31.

Straebel, Volker.  ”Conceptions of Space, Time, and Density in the Early Tape Pieces by Earle Brown and Morton Feldman (1953).”  Unpublished paper delivered at the Electronic Music Studies Network/Electronic Music Foundation conference, New York University, 2011.

Susman, William.  “Available Recollections.”  Contemporary Music Review 26, nos. 3-4 [special double issue, “Earle Brown: From Motets to Mathematics”] (2007): 371-75.

Sutherland, Roger.  New Perspectives in Music.  London: Sun Tavern Fields, 1974.  139-56.

__________.  Music Notation in the Twentieth Century: A Practical Guidebook.  New York: W. W. Norton, 1980.

Thomson, Virgil.  American Music Since 1910.  New York: Holt, Rinehart and Winston, 1971.

Tomkins, Calvin.  The Bride and the Bachelors: Five Master of the Avant Garde.  New York: Penguin, 1965.

__________.  Off The Wall: Robert Rauschenberg and the Art World of Our Time.  New York: Penguin Books, 1981.  vii, 100-101, 107 .

Toop, Richard.  “Chance and Choice: American and European New Music.”  Circuit 2, no. 6 (June 1968): 10-17.

__________.  The Aesthetics of a tabula rasa: Western Art Music’s Avant-Garde from 1949-53.”  Sydney Journal of Literature and Aesthetics 6 (October 1996): 61-76.

Troxler, Ule and Markus Kutter.  Antoinette Vischer: Dokumente zu einem Leben für das Cembalo.  Basel: Birkhäuser, 1976.  75-78.

Uitti, Frances-Marie.  “Earle Brown—Innovator.”  Contemporary Music Review 26, nos. 3-4 [special double issue, “Earle Brown: From Motets to Mathematics”] (2007): 333-34.

Vigeland, Nils.  “November 1952 (‘Synergy’) for Piano(s) and/or Other Instruments or Sound-Producing Media.”  Contemporary Music Review 26, nos. 3-4 [special double issue, “Earle Brown: From Motets to Mathematics”] (2007): 471-73

Vinton, John, ed.  Dictionary of Contemporary Music.  New York: E. P. Dutton, 1974.  106-7.

Von Maur, Karin.  The Sound of Painting: Music in Modern Art.  New York: Prestel, 1999.  115-18.

Wagner, A.  Ausstellung Graphischer Partituren.  Saarbrücken, 1996.  1-20.

Welsh, John P.  “Open Form and Earle Brown’s Modules I and II (1967).”  Perspectives of New Music 32, no. 1 (winter 1994): 254-90.

Wolff, Christian. Christian Wolff: Cues, Writings and Conversations.  Eds. Gisela Gronemeyer and Reinhard Oehlschlägel.  Cologne: MusikTexte, 1998.

__________.  “Experimental Music around 1950 and Some Consequences and Causes (Social-Political and Musical).” [2003] American Music 27, no. 4 (winter 2009): 424-40.

Wolpe, Stefan.  “On New (and Not-So-New) Music in America.”  Trans. Austin Clarkson.  Journal of Music Theory 28, no. 1 (spring 1984): 1-45.

Wörner, Karl H.  Stockhausen: Life And Work.  Berkeley: University of California, 1973.  228, 233-35.

Yaffé, John.  “An Interview with Composer Earle Brown.”  Contemporary Music Review 26, nos. 3-4 [special double issue, “Earle Brown: From Motets to Mathematics”] (2007):289-310.

Young, La Monte, ed.  An Anthology of Chance Operations.  New York: Young and MacLow, 1963.  7-9.

Zender, Hans Der Abschied von der geschlossenen Form Earle Brown und die «New York School». Zurich: Neue Zürcher Zeitung, October 19, 2002

Zierolf, Robert.  Indeterminacy in Musical Form.  Ph.D. diss., University of Cincinnati, 1983.

This bibliography was compiled by Rebecca Y. Kim and Jason Cady. Last update: July 18, 2016





Full orchestra
Tape music

Please find a link to a pdf of the Peters Edition works catalog here.


CDs with works by Earle Brown only
Contemporary Sound Series

Composers Conducting Their Own Works (released 2015)
Performed by: MusikFabrik, conducted by Earle Brown
Produced by:
Compositions: Available Forms I
Buy this recording Neos

Underwater Princess Waltz (released 2012)
Performed by: Zwerm
Produced by:
Compositions: Folio and 4 Systems
Buy this recording Amazon

Tracking Pierrot (released 2012)
Performed by: Ensemble 29,46° S, 62,7° O , Manuel Nawri
Produced by:
Compositions: Tracking Pierrot
Buy this recording Testklang

Abstract Sound Objects (released 2012)
Performed by: Sabine Liebner
Produced by: WERGO
Compositions: Twenty-Five Pages, Summer Suite '95, Home Burial, Folio and 4 Systems
Buy this recording WERGO

A life in music - CONTEMPORARY SOUND SERIES Box 6 (released 2012)
Performed by: Various
Produced by: WERGO

Buy this recording WERGO, Amazon

A life in music - CONTEMPORARY SOUND SERIES Box 4 (released 2010)
Performed by: Various
Produced by: Wergo
Compositions: String Quartet
Buy this recording Wergo, Amazon

A life in music - CONTEMPORARY SOUND SERIES Box 3 (released 2010)
Performed by: Various
Produced by: Wergo
Compositions: Corroboree: for 3 or 2 Pianos
Buy this recording Wergo,

A life in music - CONTEMPORARY SOUND SERIES Box 5 (released 2009)
Performed by: Various
Produced by: Wergo

Buy this recording Wergo, Amazon

A life in music - CONTEMPORARY SOUND SERIES Box 2 (released 2009)
Performed by: Various
Produced by: Wergo
Compositions: Music for Violin, Cello & Piano, Music for Cello and Piano, Hodograph I
Buy this recording Wergo, Amazon

Charlotte Moorman - Cello Anthology (released 2007)
Performed by: Charlotte Moorman
Produced by: Label: Alga Marghen
Compositions: Folio and 4 Systems
Buy this recording Label: Alga Marghen

TRACER (CD / DVD) (released 2006)
Performed by: ne(x)tworks
Produced by: MODE records
Compositions: Tracer, Folio and 4 Systems, Music for Violin, Cello & Piano, New Piece, Octet I, Special Events, String Quartet
Buy this recording Mode Records,

Selected works 1952-1965 (released 2006)
Performed by:
Produced by: New World Records
Compositions: Folio and 4 Systems, Music for Cello and Piano, Music for Violin, Cello & Piano, Nine Rarebits, Novara, Octet I, Times Five
Buy this recording New World Records,

Piano (released 2005)
Performed by: Manon Liu Winter
Produced by: ein_klang_records 020
Compositions: Folio and 4 Systems
Buy this recording Ein Klan Records,

SCENE Piano Music of the Darmstadt School Vol 2 (released 2004)
Performed by: Steffen Schleiermacher
Produced by: MD&G
Compositions: Corroboree: for 3 or 2 Pianos
Buy this recording Discogs

Tear (released 2003)
Performed by: Del Sol String Quartet
Produced by:
Compositions: String Quartet
Buy this recording CD Baby

Chamber Music (released 2002)
Performed by: Various
Produced by: Matchless Recordings (UK)
Compositions: Tracking Pierrot, Folio and 4 Systems, Corroboree: for 3 or 2 Pianos
Buy this recording Matchless Recordings (UK)

Ensemble Neue Horizonte Bern: 1968-1998 (released 2002)
Performed by: Urs Peter Schneider, Erika Radermacher
Produced by: Musiques Suisses
Compositions: Folio and 4 Systems
Buy this recording Musiques Suisses

20/21 - Intercomunicazione (released 2002)
Performed by: Siegfried Palm, Aloys Kontarsky
Produced by: Deutsche Grammophon
Compositions: Music for Cello and Piano
Buy this recording Deutsche Grammophon

The New York School (released 2001)
Performed by: Max Neuhaus
Produced by: Alga Marghen (Italy)
Compositions: Folio and 4 Systems
Buy this recording Alga Marghen (Italy)

Electronics and Percussion -- Five Realizations (released 2001)
Performed by: Max Neuhaus
Produced by: Sony (Japan)
Compositions: Folio and 4 Systems
Buy this recording Sony (Japan)

Subtropics Vol. 1: Breath (released 2000)
Performed by: Subtropics Festival and FIU New Music Ensembles, Earle Brown (Conductor)
Produced by: Elegua Records
Compositions: Folio and 4 Systems
Buy this recording Discogs

American Masters Series: Earle Brown (released 1999)
Performed by: Various
Produced by: CRI (note: this has been reissued as "Selected Works 1952-1965" by New World Records)
Compositions: Folio and 4 Systems, Music for Cello and Piano, Music for Violin, Cello & Piano, Nine Rarebits, Novara, Octet I, Times Five
Buy this recording CRI (note: this has been reissued as "Selected Works 1952-1965" by New World Records)

Centering: The Music of Earle Brown (released 1997)
Performed by: San Francisco Contemporary Music Players
Produced by: Newport Classic
Compositions: Centering, Event: Synergy II, Tracking Pierrot, Windsor Jambs
Buy this recording New Port Classic

Twenty-five Pages (released 1996)
Performed by: Steffen Schleiermacher
Produced by: Wergo
Compositions: Twenty-Five Pages
Buy this recording Wergo

Music for Piano(s) 1951 - 1995 (released 1995)
Performed by: David Arden
Produced by: New Albion
Compositions: Twenty-Five Pages, Three Pieces for Piano, Summer Suite '95, Perspectives, Forgotten Piece, Folio and 4 Systems, Corroboree: for 3 or 2 Pianos
Buy this recording Amazon

American String Quartets, 1950 - 1970 (released 1995)
Performed by: Concord String Quartet
Produced by: Vox
Compositions: String Quartet
Buy this recording Vox

zeitgenoessische Werke fuer Violoncello und Klavier (released 1995)
Performed by: Dorothea von Albrecht, Christine Olbrich
Produced by:
Compositions: Music for Cello and Piano
Buy this recording Dorothea Von Albrecht

New Music for 1, 2, & 3 Pianos (released 1995)
Performed by: Piano Duo Degenhardt-Kent
Produced by: Mode
Compositions: Corroboree: for 3 or 2 Pianos
Buy this recording Mode Records

Synergy (released 1994)
Performed by: Ensemble Avantgarde Leipzig
Produced by: Hat Hut Records
Compositions: Event: Synergy II, Tracking Pierrot, Windsor Jambs
Buy this recording Hat Hut

The New York School 3 (released 1994)
Performed by: Eberhard Blum, Art Lange, Jan Williams
Produced by: Hat Hut Records
Compositions: Folio II, Folio and 4 Systems
Buy this recording Amazon

Four Systems (released 1993)
Performed by: Eberhard Blum
Produced by: Hat Hut Records
Compositions: Folio II, Folio and 4 Systems
Buy this recording Discogs

The New York School 2 (released 1993)
Performed by: Eberhard Blum, Steffen Schleiermacher, Jan Williams
Produced by: Hat Hut Records
Compositions: Octet I, Hodograph I, Folio and 4 Systems
Buy this recording Amazon

The New York School (released 1991)
Performed by: Eberhard Blum, Frances-Marie Uitti, Nils Vigeland
Produced by: Hat Hut Records
Compositions: Music for Cello and Piano, Folio and 4 Systems
Buy this recording Amazon

Cifre / Four Systems / Cartridge Music (released 1988)
Performed by: Mario Bertoncini
Produced by: Edition RZ
Compositions: Folio and 4 Systems
Buy this recording Edition RZ

America Sings: American Choral Music after 1950 The Non-Traditionalists (released 1979)
Performed by: Gregg Smith Singers
Produced by: Vox Turnabout
Compositions: Small Pieces for Large Chorus
Buy this recording Amazon

Gentle Fire (released 1973)
Performed by: Gentle Fire
Produced by: EMI
Compositions: Folio and 4 Systems
Buy this recording EMI

LaSalle String Quartet: avantgarde (released 1969)
Performed by: LaSalle String Quartet
Produced by: Deutsche Grammophon
Compositions: String Quartet
Buy this recording Deutsche Grammophon,

The New Music (released 1966)
Performed by: Rome Symphonie Orchestra / Bruno Maderna
Produced by: RCA
Compositions: Available Forms I
Buy this recording RCA

3a bienal americana de arte(released -0001)
Performed by: Horacio Vaggione, Pedro Echarte
Produced by:
Compositions: Folio and 4 Systems
Buy this recording buy from Discogs

Musique Expérimentale II (released -0001)
Performed by: Group de Recherches Musicales de L'O.R.T.F.
Produced by: disques BAM
Compositions: Times Five
Buy this recording Discogs

Prima Vista (released -0001)
Performed by: Pro Musica da Camera
Produced by: Thorofon
Compositions: Folio and 4 Systems
Buy this recording Discogs

Contemporary Sound Series

Earle Brown’s Contemporary Sound Series gave a panoramic view of avant-garde music from the 1960s and beyond with 49 composers from 16 countries. Composers who also performed on the recordings include John Cage, Luciano Berio, and Bruno Maderna. The series featured the first commercial recordings of Giacinto Scelsi, Christian Wolff, and Sylvano Bussotti.
Earle Brown produced the original 18 LPs from 1960 to 1973. Wergo reissued these rare collector items on six box sets with three CDs each. Udo Wüstendörfer digitized and remastered the historic recordings under the auspices of the Earle Brown Music Foundation.

Earle Brown shot these photographs for the Contemporary Sound Series, often during the recording sessions.


Contents (scroll down or go directly to Vol. I, Vol. II, Vol. III, Vol. IV, Vol. V, Vol. VI):

Earle Brown – A Life in Music – Vol. I:

CD 1: Concert Percussion for Orchestra
Amadeo Roldán: Ritmicas Nos. 5 & 6
Lou Harrison: Canticle No. 1
William Russell: Three Dance Movements
Henry Cowell: Ostinato Pianissimo
William Russell: Three Cuban Pieces
John Cage and Lou Harrison: Double Music
John Cage: Amores

CD 2: Stockhausen – Kagel
Karlheinz Stockhausen: Zyklus / Refrain
Mauricio Kagel: Transición II

CD 3: Live Electronic Music Improvised
MEV: Spacecraft

The Manhattan Percussion Ensemble / conductors: John Cage and Paul Price / Christoph Caskel: percussion / David Tudor: piano / Aloys Kontarsky: piano, wood blocks / Bernhard Kontarsky: celeste, antique cymbals / MEV (from Rome: Ala Bryant / Alvin Curran / Frederic Rzewski / Richard Teitelbaum / Ivan Vandor): electronics / AMM (from London: Cornelius Cardew / Lou Gare / Christopher Hobbs / Eddie Prévost / Keith Rowe): electronics

Earle Brown – A Life in Music – Vol. 2:

This Volume won the prestigious German Record Critics' Award.

CD 1 – Works for Chamber Orchestra
Luigi Nono: Polifonica – Monodia – Ritmica
Bruno Maderna: Serenata N. 2
Luciano Berio: Différences

CD 2 – New Music from London
Peter Maxwell Davies: Antechrist
Harrison Birtwistle: Ring a Dumb Carillon
David Bedford: Come In Here Child
Richard Orton: Cycle for 2 or 4 Players

CD 3 – Feldman – Brown
Morton Feldman: Durations I–IV
Earle Brown: Music for Violin, Cello and Piano
Music for Cello and Piano

The English Chamber Orchestra / conductor: Bruno Maderna / Jacques Castagner: flute / Walter Lewis: clarinet / Francis Pierre: harp / Walter Trampler: viola / Seymour Barab: cello / conductor: Luciano Berio / The Pierrot Players / conductor: Peter Maxwell Davies / Mary Thomas: soprano / Jane Manning: soprano / John Tilbury: piano / Moray Welsh: cello / Richard Orton: piano / Don Hammond: (alto) flute / Don Butterfield: tuba / David Tudor: piano / Philip Kraus: vibraphone, orchestra bells, marimba / Matthew Raimondi: violin / David Soyer: cello

Earle Brown – A Life in Music – Vol. 3:

This Volume was nominated for the ICMA classical music awards 2011.

CD 1 – The Voice of Cathy Berberian
Luciano Berio: Circles (e.e. cummings)
Sylvano Bussotti: Frammento
John Cage: Aria with Fontana Mix

CD 2 – Toshiro Mayuzumi: Nirvana Symphony
Buddhist Cantata for 12-part male chorus and orchestra

CD 3 – New Music for Piano(s)
Iannis Xenakis: Herma
Roger Reynolds: Fantasy for Pianist
Yuji Takahashi: Metathesis
Earle Brown: Corroboree

Cathy Berberian: voice / Francis Pierre: harp / Jean-Pierre Drouet: percussion / Boris de Vinogradov: percussion / Luciano Berio: piano / NHK Symphony Orchestra / Tokyo Choraliers / Nippon University Chorus / conductor: Wilhelm Schüchter / Yuji Takahashi: piano

Earle Brown - A Life in Music - Vol. 4:

CD 1 – New Music for String Quartet
Pierre Boulez: Livre pour Quatuor I, II, V
Giacinto Scelsi: Quartetto d’archi n. 4
Earle Brown: String Quartet

CD 2 – New Music for Chamber Orchestra
Iannis Xenakis: Achorripsis
Aldo Clementi: Triplum
Bo Nilsson: Szene III, Frequenzen
Arnold Schönberg: Drei Stücke
Wlodzimierz Kotonski: Canto
Yuji Takahashi: Six Stoicheia

CD 3 – The Hamburger Kammersolisten
Milko Kelemen: Études contrapuntiques
Niccolò Castiglioni: Tropi
Vittorio Fellegara: Serenata
Isang Yun: Musik für sieben Instrumente

Quatuor Parrenin / Hamann Quartett / Quartetto di Nuova Musica / New York String Quartet / Internationales Kranichsteiner Kammerensemble, conductor: Bruno Maderna / Hamburger Kammersolisten, conductor: Francis Travis / Paul Zukofsky: violin

Earle Brown – A Life in Music – Vol. 5:

CD 1 – Sonic Arts Union: Electric Sound
Alvin Lucier: Vespers
Robert Ashley: Purposeful Lady Slow Afternoon
David Behrman: Runthrough
Gordon Mumma: Hornpipe

CD 2 – "Concord“ Sonata
Charles Ives: Piano Sonata No. 2 “Concord, Mass., 1840–1860”

CD 3 – Music for Flute and Piano
Franco Evangelisti: Proporzioni
Niccolò Castiglioni: Gymel
Luciano Berio: Sequenza I
Olivier Messiaen: Le Merle noir
Yoritsune Matsudaira: Somaksah
Bruno Maderna: Honeyrêves

Alvin Lucier: electronics / Robert Ashley: electronics / Mary Ashley, Barbara Lloyd, Mary Lucier: singers / Cynthia Liddell: speaker / David Behrman: electronics / Gordon Mumma: French horn, electronics / Aloys Kontarsky: piano / Theo Plümacher: viola / Willy Schwegler: flute / Severino Gazzelloni: flute


Earle Brown - A Life in Music - Vol. 6:

CD 1 – John Cage – Christian Wolff
John Cage: Cartridge Music
Christian Wolff: Duo for Violinist and Pianist / Duet II for Horn and Piano / Summer for Strings Quartet

CD 2 – New Music for Violin and Piano
George Crumb: Four Nocturnes for Violin and Piano (Night Music II)
Isang Yun: Gasa
Charles Wuorinen: The Long and the Short
John Cage: Six Melodies for Violin and Keyboard

CD 3 – New Music from South America for Chamber Orchestra
Gerardo Gandini: Soria Moria
César Bolaños: Divertimento III
Marlos Nobre: Tropicale
Oscar Bazán: Sonogramas
Manuel Enríquez: Diptico I
Alcides Lanza: Penetrations II

John Cage / David Tudor: piano / Kenji Kobayashi: violin / Howard Hillyer: horn / Matthew Raimondi: violin / Walter Trampler: viola / David Soyer: cello / Paul Zukofsky: violin / Gilbert Kalish: piano / The New Sound Composers-Performers Group / Alcides Lanza: conductor

A gallery of photos taken by Earle Brown for the Contemporary Sound Series:


Brown, Earle. “Some Notes on Composing” [1963] in The American Composer Speaks: A Historical Anthology, 1770-1965. Ed. Gilbert Chase. Baton Rouge, LA: Louisiana State University, 1966. 298-305.

__________. “Music Essays” in An Anthology of Chance Operations. Ed. La Monte Young and Jackson Mac Low. New York, 1963. unpaginated.

__________. “The Notation and Performance of New Music.” [1964] The Musical Quarterly 72, no. 2 (spring 1986): 180-201.

__________. “Form in New Music.” Darmstädter Beiträge zur Neuen Musik 10 (1965): 57-69. Rpt. in Source: Music of the Avant-garde 1, no. 1 (January 1967): 49-51.

__________. “Serial Music Today.” Preuve (March 1966). Rpt. in Breaking the Sound Barrier: A Critical Anthology of the New Music. Ed. Gregory Battcock. New York: E. P. Dutton, 1981. 97-101.

__________. “Panel Discussion: Notational Problems.” American Society of University Composers Proceedings, 1970. 8-14.

__________. “On December 1952.” [1970; transcription of audio] American Music 26, no. 1 (spring 2008): 1-12.

__________. “Notes on Some Works: 1952-1971.” Contemporary Music Newsletter 6, no. 1 (1972): 1-3.

__________. “Merce” in Merce Cunningham. Ed. James Klosty. New York: Saturday Review Press, 1975. 74-77.

__________. “Earle Brown” in The Music Makers. Ed. Deena Rosenberg and Bernard Rosenberg. New York: Columbia University Press, 1979. 79-91.

__________. “Aufregende Synthese in Darmstadt” in Von Kranichstein zur Gegenwart: 50 Jahre Darmstadter Ferienkurse. Ed. Rudolf Stephan, et al. Stuttgart: DACO Verlag, 1996. 382-387.

__________. “Transformations and Developments of a Radical Aesthetic.” Current Musicology 67-68 (2002): 39-57.

This list was compiled by Jason Cady and Rebecca Kim. Last update: June 27, 2016


December 11, 2017
Earle Brown Archive Moved to Paul Sacher Foundation, Switzerland

The archive of the American composer Earle Brown (1926–2002) has been transferred from the Earle Brown Music Foundation Charitable Trust to the Paul Sacher Foundation. The collection will be available for research immediately. It contains musical autographs (sketches and drafts, as well as fair copies), text manuscripts, correspondence, sound recordings and photographs, and program brochures, reviews, and other documentary material. The transfer was made possible through a generous gift by the philanthropist Sabine Duschmalé.

The acquisition allows for multiple connections and references within the spectrum of collections at the Paul Sacher Foundation. Brown’s archive expands the Foundation's existing emphasis on American composers and also allows for cross references to the archives of composers who were close to Brown, including Cathy Berberian, Bruno Maderna, and Edgard Varèse, among others.

The collection’s holding can be searched provisionally through the catalogue of the Earle Brown Music Foundation here


The Earle Brown Music Foundation,
founded in 1997 by Susan Sollins-Brown and Earle Brown

Thomas Fichter, Executive Director, email: thomas.fichter at earle-brown.org
Kayleigh Butcher, Program Coordinator, email: kayleigh.butcher at earle-brown.org

Special Thanks to:
Jason Cady, research and archiving
Gina Genova, Musicologist - Archivist
Russell Hassell, Designer (print)
Robert Williams, Retoucher and Designer (pre press preparation)
Marybeth Sollins, Editor (text)
Phil Thomas, Music Engraver
Udo Wüstendörfer, Tonmeister (digitization: Contemporary Sound Series)
Rebecca Y. Kim, (bibliography, chronology)

As of December 2017, the archive of the American composer Earle Brown (1926–2002) has been transferred permanently from the Earle Brown Music Foundation Charitable Trust to the Paul Sacher Foundation, Basel, Switzerland. The collection will be available for research immediately. The collection's holding can be searched provisionally through the EBMF online catalogue. Please direct any research requests directly to the Paul Sacher Foundation.

The Earle Brown Music Foundation Charitable Trust is a 501(c)3 Private Foundation

The Earle Brown Music Foundation
115 Broadway, 3rd floor
New York, NY 10006, USA


Past events:


Sunday, November 13, 2016, 1-4 p.m.

Density 2036: The Making of a New Body of Repertory for Solo Flute Lecture-Performance

Image gallery (please click on images to see name captions):

Claire Chase, Flute
Levy Lorenzo, Sound Engineer
New: Composers Suzanne Farrin and Richard Beaudoin
will participate in the performance! Suzanne Farrin will
play Ondes Martenot.

Claire Chase, flutist and 2012 MacArthur Fellow, offers an interactive performance-lecture and discussion of her 22-year project Density 2036, an ambitious initiative to create, archive and advance a new body of repertory for solo flute leading up to the 100th anniversary of Density 21.5, Edgard Varèse's seminal and groundbreaking 1936 work.
Together with her sound engineer and creative partner Levy Lorenzo, Chase will perform and discuss excerpts from the first three years of the project, and will offer the first-ever preview of new works to be unveiled on her December 1-2 concert at The Kitchen.
Central to the Density 2036 project are questions of historicity, new production and funding models, collaborative frameworks and archival/dissemination methods. These issues will be explored in a discussion with audience members following the performance.
Density 2036 Overview
Density parts i, ii, iii (2013-2015) new repertoire
Density 2016 Preview
Density 2036 Roundtable Discussion

The Earle Brown Music Foundation, 52 Brevoort Lane, Rye, NY 10580


Sunday, October 23, 2016, 11:00 a.m.- 12:30 p.m.
New Music, Old Allies?

Historical Reflections on the Legacy of German-American Collaboration
Lecture by Amy C. Beal, Professor of Music, University of California, Santa Cruz.

Location: The Earle Brown Music Foundation, 52 Brevoort Lane, Rye, NY 10580
This event is free but you must RSVP to info@earle-brown.org to reserve a spot.

Drawing on extensive research for her book New Music, New Allies: American Experimental Music in West Germany from the Zero Hour to Reunification (2006), musicologist Amy C. Beal reflects on the history of transatlantic relationships between the two countries, and speculates about where that legacy has brought the networks of contemporary music performance in the early twenty-first century. Highlights of this history include the seminal role of German public radio stations as tools of dissemination for non-commercial and non-academic American music.

What potential power does knowledge of our past relationships hold for us today?




BEYOND NOTATION, an Earle Brown Symposium
At Northeastern University, Boston, MA

On January 18 and 19, 2013, the Department of Music at Northeastern University with support from the Earle Brown Music Foundation hosted a symposium on the music of Earle Brown (1926-2002) across two days of scholarship, exhibits, open rehearsals, and performances. Please click here to go to the conference website at NEU. You will find details about the conference, an Earle Brown bibliography and much more.

With: Kyle Gann, Richard Toope, Susan Sollins-Brown, Christina Wolff, Carolyn Brown, Stephen Drury, Steffen Schleiermacher, Louis Pine, Thomas Fichter, Jason Cady, Cornelius Dufallo, Fredrick Gifford, Zbigniew Granat, Shanna Gutierrez, Natilee Harren, Elizabeth Hoover, Rebecca Y. Kim, David Magnus, Kerry O’Brien, David Ryan, Micah Silver, Volker Straebel, William Susman.

New: See the full symposium on video here.

(Photos: Thomas Fichter)

Earle Brown Conducting Workshop, Frankfurt 2011, August 2-4, 2011

Hans Zender, Ensemble Modern
Frankfurt, Germany, August 2-3, 2011

The renowned Ensemble Modern, in collaboration with the Earle Brown Music Foundation, held a workshop on conducting Earle Brown’s “open form” works.

The participating conductors were: Pablo Rus Broseta, Spain, Michel Galante, USA, Steven Jarvi, USA, Manuel Nawri, Germany, Alan Pierson, USA.

The American composer Earle Brown (1926 - 2002) irrevocably changed the thinking of generations of composers since about 1950. His “open form” works, inspired by Alexander Calder’s mobile sculptures and Jackson Pollock’s paintings, broke up the existing ideas of overall linear time, development and fixed form in composition, replacing it with the spontaneous creation of musical form by shaping, mixing and superimposing predetermined mobile elements. Conductor-composer Hans Zender shared his extensive knowledge of Earle Brown’s music.

(Photos: Thomas Fichter)

Time Spans Festival

This website has been moved to www.timespans.org
The next festival will be held from August 10 to August 28, 2019. 
The program will be made public on April 15, 2019.

EBMF Int. Summer Academy 2017

The Earle Brown Music Foundation (EBMF)

in conjunction with The Avaloch Farm Music Institute presents

The 2017 EBMF International Summer Academy For Young Composers


Chaya Czernowin, Hans Tutschku, and Steven Kazuo Takasugi.


Resident composers:

Martin Rane Bauck (Norway)
Jason Thorpe Buchanan (USA)
Christine Burke (USA)
Mayu Hirano (Japan)

Hunjoo Jung (South Korea)

Weston Olencki (USA)

Sam Salem (UK)

Jeffery Shivers (USA)

The Earle Brown Music Foundation in conjunction with the Avaloch Farm Music Institute proudly hosts the 2017 EBMF International Summer Academy for Young Composers. A gathering of eight young and three faculty composers will take place in the summer of 2017 from July 21 to August 3 at Avaloch Farm in New Hampshire and New York City. The International Summer Academy residency is tuition-free.

During the first segment of the residency at Avaloch Farm, composers will meet with the composition faculty for individual lessons and meet each other in organized one-on-one sessions to discuss their works. Furthermore, each composer will offer a presentation before the entire group, introducing his or her music for feedback and discussion. 

During the second segment of the residency in New York City, these activities continue, supplemented by the full practical application of compositional knowledge and realization through intense and focused rehearsals as the New York-based Talea Ensemble joins the residency program. Two full-evening concerts on August 1 and 2 are an integral part of EBMF’s TIME SPANS 2017 FESTIVAL. The concerts take place in the Mary Flagler Cary Hall of the DiMenna Center for Classical Music in New York’s Midtown West and will be prepared by the 18 musicians of the full Talea Ensemble’s sinfonietta.

The 2017 EBMF International Summer Academy for Young Composers is made possible by the generous support of The Earle Brown Music Foundation and the Avaloch Farm Music Institute.

Dr. Steven Kazuo Takasugi   & Thomas Fichter
EBMF International Summer Academy for Young Composers                                                                              



Chaya Czernowin, Faculty Composer

Chaya Czernowin was born and brought up in Israel. After her studies in Israel, at the age of 25, she continued studying in Germany (DAAD grant), the US, and then was invited to live in Japan (Asahi Shimbun Fellowship and American NEA grant) Tokyo, in Germany (at the Akademie Schloss Solitude) and in Vienna. Her music has been performed throughout the world, by some of the best performers of new music, and she has held a professorship at UCSD, and was the first woman to be appointed as a composition professor at the University of Music and Performing Arts in Vienna, Austria (2006–2009), and at Harvard University in (2009 and on) where she has been the Walter Bigelow Rosen Professor of Music. Together with Jean- Baptiste Jolly, the director of Akademie Schloss Solitude near Stuttgart and with composer Steven Kazuo Takasugi, she has founded the summer Academy at Schloss Solitude, a biannual course for composers. Takasugi and Czernowin also teach at Tzlil Meudcan, an International course based in Israel founded by Yaron Deutsch of Ensemble Nikel.

Czernowin’s output includes chamber and orchestral music, with and without electronics. Her works were played in most of the significant new music festivals in Europe and also in Japan Korea, Australia, US and Canada. She composed 2 large scale works for the stage: Pnima...ins Innere (2000, Munich Biennale) chosen to be the best premiere of the year by Opernwelt yearly critic survey, and Adama (2004/5) with Mozart's Zaide (Salzburg Festival 2006). She was appointed Artist in residence at the Salzburg Festival in 2005/6 and at the Lucern Festival, Switzerland in 2013. Characteristic of her work are working with metaphor as a means of reaching a sound world which is unfamiliar; the use of noise and physical parameters as weight, textural surface (as in smoothness or roughness etc), problematization of time and unfolding and shifting of scale in order to create a vital, visceral and direct sonic experience. All this with the aim of reaching a music of the subconscious which goes beyond style conventions or rationality.

In addition to numerous other prizes, Czernowin represented Israel at Uncesco composer's Rostrum 1980; was awarded the DAAD scholarship ('83–85); Stipendiumpreis ('88) and Kranichsteiner Musikpreis ('92), at Darmstadt Ferienkurse; IRCAM (Paris) reading panel commission ('98); scholarships of SWR experimental Studio Freiburg ('98, '00, '01); The composer’s prize of Siemens Foundation ('03); the Rockefeller Foundation, ('04); a nomination as a fellow to the Wissenschaftskolleg Berlin ('08); Fromm Foundation Award ('09); and Guggenheim Foundation fellowship ('11). She is published by Schott. Her music is recorded on Mode records NY, Wergo, Col Legno, Deutsche Grammophon, Neos, Ethos, Telos and Einstein Records. She lives near Boston with, composer Steven Kazuo Takasugi and their son.


Hans Tutschku, Faculty Composer 

Hans Tutschku was born in Weimar in 1966. Some of his first experiences with electronic music came with the “Ensemble for Intuitive Music Weimar” of which he has been a member since 1982. He studied electronic music composition at the Dresden College of Music and, starting in 1989, participated in several of Karlheinz Stockhausen’s concert cycles to learn the art of sound direction. He continued his studies in sonology and electroacoustic composition at the Royal Conservatoire in The Hague (1991/92), followed by a year’s study at IRCAM in Paris (1994). In 1996 he participated in composition workshops with Klaus Huber and Brian Ferneyhough.

Hans Tutschku has taught electroacoustic composition as a guest professor in Weimar (1995/96); electroacoustic composition at IRCAM in Paris (1997–2001); and at the conservatory of Montbéliard (2001–2004). In May 2003 he completed a doctorate (PhD) with Professor Jonty Harrison at the University of Birmingham, and during the spring term of 2003 was the “Edgard Varèse Guest Professor” at the Technical University of Berlin. Since 2004, he is the Fanny P. Mason Professor of Music at Harvard University, where he teaches composition and works as director of the electroacoustic studios.

Hans Tutschku is the winner of many international composition competitions, including: Bourges, CIMESP Sao Paulo, Hanns Eisler Prize, Prix Ars Electronica, Prix Noroit, and Prix Musica Nova. In 2005 he received the culture prize of the city of Weimar. He held a Fellowship at the Radcliffe Institute for Advanced Study for 2013, and a stipend from the Japan–U.S. Friendship Commission for 2014. In 2015 he received a commission from the Fromm Music Foundation.


Steven Kazuo Takasugi, Faculty Composer

Steven Kazuo Takasugi, born 1960 in Los Angeles, is a composer of electro-acoustic music. This involves the collecting and archiving of recorded, acoustic sound samples into large databases, each classifying thousands of individual, performed instances collected over decades of experimentation and research, mostly conducted in his private sound laboratory. These are then subjecting to computer-assisted, algorithmic composition, revised and adjusted until the resulting emergent sound phenomena, energies, and relationships reveal hidden meanings and contexts to the composer. Against this general project of fixed-media is the addition of live performers, described as an accompanying project: "When people return . . ." This relationship often creates a "strange doubling" playing off the "who is doing what?" inherent with simultaneous live and recorded media: a ventriloquism effect of sorts. 

Takasugi received his doctoral in music composition at the University of California, San Diego. He is currently an Associate of the Harvard Music Department. He was the 2016 Riemen and Bakatel Fellow for Music at the Radcliffe Institute for Advanced Study at Harvard University, and is the recipient of awards including a John Simon Guggenheim Fellowship, two Ernst von Siemens Foundation Commissions, and a Japan Foundation Artist Residency. His work has been performed extensively worldwide. Takasugi is also a renowned teacher of composition associated with masterclasses in Singapore, Stuttgart, Tel Aviv, Darmstadt, Bludenz, and Cambridge, Massachusetts. He has taught at the University of California, San Diego, Harvard University, California Institute for the Arts, and the Kunitachi College of Music in Tokyo. Takasugi is also an extensive essayist on music and was one of the founding editors of Search Journal for New Music and Culture. He has organized numerous discussion panels and fora on New Music including colloquia and conferences at Harvard Music and the Darmstadt Forum.



Talea Ensemble, Ensemble-in-residence

The Talea Ensemble has been labeled “...a crucial part of the New York cultural ecosphere” by the New York Times.  Recipient of the 2014 CMA/ASCAP Award for Adventurous Programming, the ensemble has given many important world and US premieres of new works by composers including Pierre Boulez, Georges Aperghis, Olga Neuwirth, John Zorn, Unsuk Chin, Brian Ferneyhough, Beat Furrer, and Pierluigi Billone.  Talea has performed at Lincoln Center Festival, Internationales Musikinstitut Darmstadt, Warsaw Autumn, Wien Modern, Contempuls, Newport Jazz Festival, Royaumont (France), and Art Summit Indonesia (Jakarta). Radio broadcasts of performances have been heard on ORF (Austria), HRF (Germany), and WQXR’s Q2.  As an active collaborator of new music Talea has joined forces with the Austrian Cultural Forum, Consulate General of Denmark, Korean Cultural Service NY, Italian Cultural Institute, and the Ukrainian Institute.  Assuming an ongoing role in supporting and collaborating with student composers, Talea is currently ensemble in residence at Columbia University and has been a guest ensemble at Harvard University, Stanford University, Ithaca College, Cornell University and New York University. Talea has recorded works on the Living Artists Label, Gravina Musica, Tzadik, Innova, Wergo, and New World Records.  For more information, please visit www.taleaensemble.org (Photo by Beowulf Sheehan)


Jeffrey Means, Conductor

One of a younger generation of conductors dedicated to new and recent repertoire, Jeffrey Means has emerged as a prominent figure in contemporary music. 

Based in Boston, Means has conducted many of the city's new music ensembles, including the Firebird Ensemble, Ludovico Ensemble, Callithumpian Consort, East Coast Contemporary Ensemble, Dinosaur Annex, and others. He has also frequently led ensembles in New York, including the Talea Ensemble and Mimesis Ensemble. Means is the conductor and artistic director of Sound Icon, whose performance of Georg Friedrich Haas’ In Vain was named the best contemporary music performance of 2012 by the Boston Globe. Means has been honored to work closely with some of the most significant composers of our time, including Tristan Murail, Helmut Lachenmann, Salvatore Sciarrino, Pierre Boulez, Pierluigi Billone, Steve Reich, Jonathan Harvey, Chaya Czernowin, and others.

Jeffrey has conducted in numerous music festivals here and abroad. In 2008, he led the opening concert of the Ditson Festival of Contemporary Music, and in 2010 he led the first concert of the Celebrating Boulez festival, which included the composer’s seminal Le marteau sans maître. Jeffrey has twice served as conductor of the Etchings Festival of Contemporary Music in Auvillar, France, has conducted the Composit Festival in Rieti, Italy, and the Musica Antiqua Nova Foundation International Festival in Argentina. In 2013, Means led the Fromm Concerts at Harvard University, a two-concert series that centered on Elliott Carter’s seminal Double Concerto. Later this year, he will be featured as a conductor and percussionist at the Piano Espoo festival in Finland. 

In 2009, Means was one of two conductors invited to study with Pierre Boulez in Lucerne, Switzerland. There, he learned Boulez’s electro-acoustic masterwork, Répons. Means was invited back to study with Boulez again in 2011. He has since had a close relationship with Boulez's music, and has led many of the major works in his catalog. Means will return to the Lucerne Festival from 2015 to 2017 to serve as conductor of the Roches Young Commissions project.

Means is on the conducting faculty at the Berklee College of Music. He holds a BM in percussion and an MM in conducting from New England Conservatory. At NEC, he received the John Cage Award, the Tourjee Alumni Award, and was given the Gunther Schuller Medal at his graduation. He has recordings available on Albany, Mode, New World, Navona, Naxos, and Tzadik records. (Photo by Jesse Weiner)