| Ruth Crawford Seeger | |
| Birth Name: | Ruth Porter Crawford |
| Birth Date: | 3 July 1901 |
| Birth Place: | East Liverpool, Ohio, U.S. |
| Death Place: | Chevy Chase, Maryland, U.S. |
| Alma Mater: | American Conservatory of Music |
| Children: | 4 (including Peggy and Mike Seeger) |
Ruth Crawford Seeger (born Ruth Porter Crawford; July 3, 1901 – November 18, 1953) was an American composer and musicologist. Her music heralded the emerging modernist aesthetic, and she became a central member of a group of American composers known as the "ultramoderns". She composed primarily during the 1920s and 1930s, turning towards studies on folk music from the late 1930s until her death. Her music influenced later composers including Elliott Carter.
She is best known for her String Quartet (1931).
Ruth Porter Crawford was born on July 3, 1901, in East Liverpool, Ohio, the second child of Methodist minister Clark Crawford and Clara Crawford (née Graves). The family moved several times during Crawford's childhood, living in Akron, Ohio, St. Louis, and Muncie, Indiana. In 1912, the family moved to Jacksonville, Florida, where Clark died of tuberculosis two years later. After her husband's death, Clara opened a boarding house and struggled to maintain her family's middle-class lifestyle.
Ruth began writing poetry at an early age and as a teenager had aspirations to become an "authoress or poetess". She also studied the piano beginning at age six. In 1913, she began piano lessons with Bertha Foster, who had founded the School of Musical Art in Jacksonville in 1908. In 1917, Ruth began to study with Madame Valborg Collett, who was a student of Agathe Backer Grøndahl and the most prestigious teacher at Foster's school. After her graduation from high school in 1918, Crawford began to pursue a career as a concert pianist, continuing her studies with Collett and performing at various musical events in Jacksonville. She also became a piano teacher at Foster's school and wrote her first compositions for her young pupils in 1918 and 1919.
Crawford moved to Chicago in 1921, where she enrolled at the American Conservatory of Music. She initially planned to stay for a single year, long enough to earn a teaching certificate. In Chicago, she attended symphony and opera performances for the first time, as well as recitals by eminent pianists including Sergei Rachmaninoff and Arthur Rubinstein. She studied piano with Heniot Levy and Louise Robyn at the conservatory, though her focus quickly shifted from piano performance to composition. During her second year at the conservatory, she began composition and music theory studies with Adolf Weidig and wrote several early works, including a Nocturne for Violin and Piano (1923) and a set of theme and variations for piano (1923). Clara Crawford moved to Chicago to live with her daughter in 1923. The next year, Ruth received her bachelor's degree and subsequently enrolled in the American Conservatory's master's degree program.
While Crawford continued to study theory and composition with Weidig through 1929, in 1924 she also began private piano lessons with Djane Lavoie-Herz. One of the most prestigious piano teachers in Chicago at the time, Herz had a profound impact on Crawford's intellectual and musical life. Herz sparked Crawford's interest in Theosophy and the Theosophy-influenced music of Russian composer Alexander Scriabin, and introduced her pupil to an influential community of artists and thinkers including Dane Rudhyar and Henry Cowell. During this time, Crawford also met poet Carl Sandburg, whose writings she would eventually set to music. In 1925, she composed “The Adventures of Tom Thumb,” an experiment which combined spoken word with music.[1]
Crawford spent the summer of 1929 at the MacDowell Colony in Peterborough, New Hampshire, on a scholarship, where she began a friendship with fellow composer Marion Bauer and began work on her Five Songs set to poems by Sandburg. Crawford moved into the New York City home of music patron Blanche Walton and began studying composition with Charles Seeger that autumn.
In 1930, Crawford became the first female composer to receive a Guggenheim Fellowship, and used the grant money to travel to Berlin and Paris. She inquired about a renewal of her fellowship several times over the course of the next year, which was ultimately refused. During that time, she interviewed Emil Hertzka to discuss publishing her music, but he said that "it would be particularly hard for a woman to get anything published." Crawford subsequently travelled to Vienna and Budapest to meet with Alban Berg and Béla Bartók in order to discuss her music and gain support for publication. Though surrounded by exponents of German modernism, she chose to study and compose alone. Charles Seeger's ideas, communicated to her by letter, were crucial to the development of her style and selections. She and Seeger married in 1932 after she made a trip to Paris. At the 1933 International Society for Contemporary Music Festival in Amsterdam, her Three Songs for voice, oboe, percussion and strings, which set poems by Sandburg, represented the United States.
Crawford Seeger and her family moved to Washington, D.C., in 1936 after Charles' appointment to the music division of the Resettlement Administration. She worked closely with folklorists John and Alan Lomax at the Library of Congress' Archive of American Folk Song to preserve and teach American folk music. Her arrangements and interpretations of American folk songs are among the most respected. These include transcriptions for American Folk Songs for Children, Animal Folk Songs for Children (1950), American Folk Songs for Christmas (1953), Our Singing Country (1941), and Folk Song USA by John and Alan Lomax. She also composed "Rissolty, Rossolty" – An American Fantasy for Orchestra, based on folk tunes, for the CBS radio series The American School of the Air.
Crawford Seeger returned to her modernist roots in early 1952 with her Suite for Wind Quintet, but died of intestinal cancer the following November.
In 1932, she married Charles Seeger. Their children, including Mike Seeger, Peggy Seeger, Barbara, Penny, and older stepson Pete Seeger, knew their mother as "Dio". Several of the children as musical artists themselves became central to the American folk music revival, but had little knowledge of their mother's earlier works.
The compositions that Crawford Seeger wrote in Chicago from 1924 to 1929 reflect the influence of Alexander Scriabin, Dane Rudhyar, and her piano teacher Djane Lavoie-Herz. Judith Tick calls these years Crawford Seeger's "first distinctive style period" and writes that the composer's music during this time "might be termed 'post-tonal pluralism. Her compositions from this first style period, including Five Preludes for Piano, Sonata for Violin and Piano, Suite No. 2 for Strings and Piano, and Five Songs on Sandburg Poems (1929), are marked by strident dissonance, irregular rhythms, and evocations of spirituality.
Crawford Seeger's reputation as a composer rests chiefly on her New York compositions written between 1930 and 1933, which exploit dissonant counterpoint and American serial techniques. During these years, Crawford began to incorporate polytonality and tone clusters into her compositions. She was one of the first composers to extend serial processes to musical elements other than pitch and to develop formal plans based on serial operations. Her technique may have been influenced by the music of Arnold Schoenberg, although they met only briefly during her studies in Germany. Many of her works from this period also employ dissonant counterpoint, a theoretical compositional system developed by Charles Seeger and also used by Henry Cowell, Johanna Beyer, and other "ultramodernists". Seeger outlined his methodology for dissonant counterpoint in his treatise, Tradition and Experiment in (the New) Music, which he wrote with the input and assistance of Crawford during the summer of 1930. Crawford Seeger's contribution to the book was significant enough that the possibility of co-authorship was briefly raised.
Crawford Seeger's String Quartet (1931), particularly its third movement, is her most famous and influential work. She described the "underlying plan" of the third movement as "a heterophony of dynamics—a sort of counterpoint of crescendi and diminuendi. ... The melodic line grows out of this continuous increase and decrease; it is given, one tone at a time, to different instruments, and each new melodic tone is brought in at the high point in a crescendo".
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