Editing Henry Brant (section)

== Biography ==

Brant was born in [[Montreal]], to American parents (his father was a violinist), in 1913. Something of a child prodigy, he began composing at the age of eight, and studied first at the [[McGill Conservatorium]] (1926–29) and then in [[New York City]] (1929–34). He played violin, flute, tin whistle, piano, organ, and percussion at a professional level and was fluent with the playing techniques for all of the standard orchestral instruments.

As a 19-year-old, Brant was the youngest composer included in [[Henry Cowell]]'s landmark book from 1933, ''American Composers on American Music''; and Cowell realized that Brant had already demonstrated an early identification with the American experimental musical tradition. He was represented in Cowell's anthology by an essay on ''oblique harmony'', an idea which presaged some of the techniques used in his mature spatial compositions.

Thereafter Brant composed, orchestrated, and conducted for radio, film, ballet, and jazz groups. The stylistic diversity of these early professional experiences would also eventually contribute to the manner of his mature output. Starting in the late 1940s, he taught at [[Columbia University]], the [[Juilliard School]] and, for 24 years, [[Bennington College]]. His students included American composer [[Patsy Rogers]].<ref>{{Cite book |last=Cohen |first=Aaron I. |title=International Encyclopedia of Women Composers |date=1987 |publisher=Books & Music (USA) |isbn=978-0-9617485-0-0 |pages=596 |language=en}}</ref>

During the mid-1950s Brant came to the conclusion that (as he himself put it) "single-style music … could no longer evoke the new stresses, layered insanities, and multi-directional assaults of contemporary life on the spirit." In pursuit of an optimal framework for the presentation of a music which embraced such a simultaneity of musical textures and styles, Brant made a series of experiments and compositions exploring the potential for the physical position of sounds in space to be used as an essential compositional element.

As well as producing works for the concert hall, Brant worked as an orchestrator for many Hollywood productions, including the [[Elizabeth Taylor]] movie ''[[Cleopatra (1963 film)|Cleopatra]]'' (1963), one of many collaborations with composer [[Alex North]]. Brant helped with the orchestration of North's score for ''2001'', and due to North's stress-induced muscle spasms, Brant had to conduct the recording session for the film score.<ref>"[http://www.visual-memory.co.uk/amk/doc/0080.html Alex North's Comments on 2001]", ''Visual-Memory.co.UK''.</ref> Other composers whom he assisted as orchestrator included [[Virgil Thomson]], [[Aaron Copland]], [[George Antheil]], [[Douglas Moore]], and [[Gordon Parks]].<ref>"[http://renewablemusic.blogspot.com/2009/07/henry-brant-as-composer-and.html Henry Brant as composer and orchestrator for films]", ''RenewableMusic.blogspot.com'', Friday, July 03, 2009.</ref> Brant's work as an orchestrator was not limited to film and stage: his long-term affinity for the music of [[Charles Ives]] — whose [[The Unanswered Question]] was an acknowledged inspiration for Brant's spatial music — was ultimately found in the premiere of Brant's arrangement of Ives' [[Concord Sonata|Second Piano Sonata, "Concord, Mass 1840–60"]] as ''A Concord Symphony'' in 1996.<ref>"[http://www.artsjournal.com/postclassic/2007/09/the_greatest_symphony_ever_rew.html The Greatest Symphony Ever (Re-)Written]", ''ArtsJournal.com'', September 12, 2007, by [[Kyle Gann]].</ref> ''A Concord Symphony'' was recorded by the [[San Francisco Symphony]] on its SFS Media label.

From 1981, Brant made his home in [[Santa Barbara, California]]. There he died on April 26, 2008, at the age of 94.