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Dane Rudhyar: His Music, Thought, and Art. By Deniz Ertan. Rochester, N.Y.: University of Rochester Press, 2009.

The depth of Daniel Chennevière’s lifelong commitment to Orientalist mysticism is shown in his adoption, in his early twenties, of “Rudhyar,” a name derived from “Rudra,” a Sanskrit word for the Hindu god Shiva. Rudhyar may not have been the only composer to cultivate his own ego while seeking simultaneously to merge it into that of all humankind, but few other creative artists have chosen to assume the name of a deity as part of their search. Born in Paris in 1895, the future Dane Rudhyar suffered bouts of illness in his youth serious enough to exempt him from military service in World War I. He developed a profound interest in the work of Bergson, Nietzsche, and Scriabin. He also studied composition with Debussy; at age eighteen, he produced a biography of his teacher. He came to the United States in 1916, becoming a U.S. citizen a decade later. Some of his contemporaries may have perceived a certain arrogance in his philosophical approach, his self-presentation, or his music. Elliott Carter wrote to Ives of Rudhyar’s Paeans after it appeared in a New Music Edition (vol. I, no. 2, Jan. 1928): “Paeans are good but they seem a little too majestic, too much of his own greatness taken for granted.”1 Rudhyar, an eloquent advocate for his own vision of modernism, joined Varèse and Salzedo in breaking away from Copland and the League of Composers to form the International Composers Guild in 1923. He also carried on a fierce debate with Charles Seeger in the pages of the Aeolian Review during the 1920s. (The unflappable Henry Cowell refused to be drawn into these disputes and presently published several more of Rudhyar’s scores in his New Music Edition.) His early confrontational style, involving flamboyant behavior at a concert in Montreal, is documented elsewhere.2 In 1919 and 1920 Rudhyar published three articles in the Musical Quarterly under the name Rudhyar D. Chennevière. In these three essays he set out his views about the increasing spiritual emptiness, brokenness, and general decay of Western music, using the music of Stravinsky and Schoenberg as Exhibit A. He saw the Western scale and Western musical instruments, particularly the piano, as