ABSTRACT

The musical underpinnings of Cowell's band compositions represent a confluence of unexpected events and unique circumstances. It can be argued that an original American wind band repertory was, ironically, initiated with the Cowell works for the San Quentin Concert Band. It is instructive to consider the status of the San Quentin Concert Band prior to Cowell's participation. The opportunity for Cowell to rehearse and compose for the San Quentin Concert Band was not guaranteed, and likely occurred at the discretion of John A. Hendricks, the incumbent band director. John Bird correctly pointed out that Percy Grainger and Richard Franko Goldman came to Cowell's aid in both personal and professional ways by promulgating his prison music and advocating for his eventual parole. Although Cowell left no written record of an affiliation with Hendricks, Sidney Cowell made two references to him in the memoirs of her life with her husband.