Marion Bauer

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Marion Eugénie Bauer (15 August 1882 to September 1955) was an American composer, teacher, editor, and music critic.

Bauer, a contemporary of Aaron Copland, was instrumental in shaping American musical identity in the first half of the twentieth century. Bauer, a composer, symphonic orchestra, solo voice, and vocal ensembles.

She rose to prominence as a teacher and taught music history and composition from 1926 to 1951.

Bauer, in addition to her New YorkU appearance, served as a guest lecturer from 1940 to 1955, and died in 1955.

Bauer contributed to music, wrote extensively about music, and co-authored and co-authored numerous books, including her 1933 book Twentieth Century Music. Bauer has promoted not only her own work but also new music in general throughout her life.

Bauer was a founding member of the American Music Guild, the American Music Center, and the American Composer's Alliance.

Bauer served as both a board member and secretary in the Society for the Publication of American Music.

She was often the only female in these organizations in a leadership role. Bauer's music includes dissonance and extended tertian, quartal, and quintal harmonies, but it seldom goes beyond the boundaries of extending tonality, save for a brief experiment with serialism in the 1940s.

She enjoyed many performances of her own music, most notably the New York Philharmonic premiere of Sun Splendor in 1947 under Leopold Stokowski's baton, and a 1951 New York Town Hall concert devoted solely to her music.

Personal life

Bauer was a kindhearted, good-humored individual who treated others with warmth, compassion, and generosity, as shown by the recollections of acquaintances, teachers, and students. Milton Babbitt also remembers how he and his classmates referred to Bauer "not derisively but affectionately" for her matronly demeanor and appearance, as well as her writing due to the fact that she names so many composers and organizations in terms of teaching her students' careers, but also for her writing because she writes about so many composers and organizations.

Despite her Jewish immigrant roots, Bauer does not appear to have been a observant Jew in adulthood. Though Bauer's memorial service was conducted by a rabbi, she was cremated afterwards, which is prohibited by Jewish law. Also, Maurice Peress, a former student, and Frederic Stoessel, a 1923 letter from Bauer expressing "a desire to perform a song appropriate for a Christian Science service," has yet to be confirmed as a Christian Science service.

Bauer never married, and a large portion of her personal life is a mystery. Emilie Morrowe's sister Emilie lived with her and was helped by her sister Emilie until Emilie's death in 1926. Bauer and her older sister Flora, who also lived in New York City, were both residing in the early 1950s, which ended until Flora's death in the early 1950s.

Ruth Crawford Seeger's writings were unconfirmed, but when considering Martin Bernstein's remarks (former chair of NYU's music dept.) Bauer may have been a lesbian, according to Milton Babbitt and Milton Babbitt. Crawford and Bauer met at the MacDowell Colony in 1929, where Bauer became a mentor and close friend to the much younger Crawford. Although Crawford preferred to describe their friendship as one of "sisterly-motherly love," she said that when she reserved a single hotel room for the two of them at the International Festival of Contemporary Music in Liège in September 1930, she confirmed it. But she was a hero." Bauer's sexual orientation was not confirmed by solid evidence, but it wasn't yet established.

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