NEW YORK, NY.- Gloria Coates, an adventurous composer who wrote symphonies — she was one of the few women to do so — as well as other works, pieces that were seldom performed in her home country, the United States, but found audiences in Europe, where she lived much of her professional life, died Aug. 19 in Munich. She was 89.

Her daughter, Alexandra Coates, said the cause was pancreatic cancer.

Gloria Coates composed 17 symphonies, along with numerous works for small ensembles and voice. In 1999, when she was working on her 11th symphony, composer and critic Kyle Gann wrote in The New York Times that “Ms. Coates’s symphonies are dark and sensuous, and distinguished by an imaginative use of orchestral glissandos (gradual rather than stepwise changes of pitch, like slow sirens), which culminate powerfully in drawn-out crescendos.”

The glissando continued to be her calling card, Gann said this week by email.

“Gloria owned the orchestral glissando the way van Gogh said he owed the sunflower,” he said. “The slow pitch slides that run across the surfaces of her symphonies and string quartets can be difficult for the performers to coordinate, which has probably made musicians less willing to present her music. But they make it absolutely distinctive and recognizable. And underneath those glissandos there is often a clear discipline of canons, palindromes and other simple musical structures.”

“The effect,” he added, “is often like a painting of a beautiful edifice on which rain has impressionistically smeared the surface.”

Coates first came to wide attention when her “Music on Open Strings” was performed by the Polish Chamber Orchestra at the Warsaw Autumn International Festival of Contemporary Music in 1978. Her work has since received only occasional bursts of attention in the United States — as in 1989, when her “Music on Abstract Lines” was given its world premiere at the New Music America festival in New York City; and in 2002, when New World Records released the first recording of her works on an American label; and in 2019, when “Music on Open Strings” was performed at Zankel Hall in New York City by the American Composers Orchestra.

In 2021, Edition Peters announced that it would begin publishing her works.

Coates said her music “sometimes is melodic, but often derived from structures of microtones melted together.”

“It is a way of thinking of music not as separate tones on a scale, as we have for centuries,” she told The Wausau Daily Herald of Wisconsin, her hometown newspaper, in 2021, “but as sounds gliding through time and space which have their own laws and still have roots in the historical musical tradition.”

In 2005, the Crash Ensemble performed her Sixth String Quartet (1999) in Dublin.

“Bleak and ascetic, strange and disturbing as her music may be, it’s also got a purity that makes it peculiarly compelling,” The Irish Times wrote then. “It’s not music that’s ever likely to leave even a single listener indifferent.”

Gloria Ann Kannenberg was born Oct. 10, 1933, in Wausau. Her father, Roland, was a state senator, and her mother, Natalina (Corso) Kannenberg, worked in weapons manufacturing during World War II and was later a nurse’s assistant.




Gloria showed musical inclinations early.

“The children in the 5-year-old kindergarten have a rhythm band,” The Wausau Daily Herald reported in early 1939. “Thomas Evenson, Jack Luedtke and Gloria Kannenberg brought drums from home.”

By then she was also proficient on the toy piano. By 12 she was creating her own often unconventional music. In 1951, a composition of hers won an “excellent” rating in a national junior composers’ competition. But teachers and contest judges sometimes discouraged her more audacious departures from tradition.

She told The Irish Times in 2005 that a key moment in her development came when, as a teenager, she attended a Q-and-A with Russian composer Alexander Tcherepnin, who would become a mentor. He told her that it was more important to follow her instincts than to follow predetermined rules.

After graduating from high school in Wausau, she studied music and drama for a time at Monticello College in Illinois. She later studied at other institutions, including the Cooper Union in New York and Louisiana State University, which she attended after marrying Francis Mitchell Coates Jr. in 1959 and settling for a time in Baton Rouge, Louisiana. She earned a master’s degree in composition there.

She continued her studies in New York, but after her marriage ended in divorce in 1969, she, her daughter and their dachshund boarded a ship for Europe. Coates, who had studied voice as well as composition, settled in Munich and for a time pursued a career singing opera. But fate intervened.

“When I was 7,” Alexandra Coates said by email, “she was hit by another skiing student and was paralyzed in the upper back.”

Gloria Coates gave up singing and focused on painting, another interest, along with music. She told The Irish Times that in the early 1970s, amid the terrorist attacks at the Olympics in Munich and the violence of the Baader-Meinhof Gang, the Munich building where she was living was thought to be a possible terrorist target. She moved her music manuscripts out of the building but continued to live there. (Her daughter was living with her father in the United States.) She was, she said, sending a sort of subliminal message to herself.

“It was not until several months later that I realized that that music was so important, it was more important than my life,” she said.

From then on, music became her primary focus. For years Coates curated a series in Germany devoted to American contemporary music. Her own compositional output covered a wide range. Her daughter said that for a time Coates held a job giving tours of the Dachau concentration camp to members of the U.S. Army. Among the works those tours inspired was her “Voices of Women in Wartime,” a setting of writings by women under various circumstances during World War II.

In addition to her daughter, Coates is survived by a brother, Philip Kannenberg; a sister, Natalie Tackett; and a grandson.

If her work wasn’t often heard in the United States, critics and other writers admired her originality. Simon Cummings, who writes the contemporary music blog 5:4, said by email that Coates had set herself apart from other out-of-the-mainstream composers as “one who doesn’t merely surprise or amuse you when you encounter their music for the first time, but who completely knocks you off your feet, and moves you very deeply and powerfully, even if, at the time, you’re not really sure why you’re experiencing such a strong reaction.”

In 2014, Los Angeles Times music critic Mark Swed called Coates simply “our last maverick.”

This article originally appeared in The New York Times.