Lou Harrison - Chamber & Gamelan Works
£11.88
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Label: New World Records
Cat No: 806432
Format: CD
Number of Discs: 1
Release Date: 19th November 2007
Contents
Works
HarrisonConcerto in Slendro (1961)
Harrison
Main Bersama-Sama (1978)
Harrison
Threnody for Carlos Chavez (1979)
Harrison
Serenade for Betty Freeman and Franco Assetto (1978)
Harrison
String Quartet Set (1978–9)
Harrison
Suite for Percussion (1942)
Artists
Daniel Kobialka (violin)Machiko Kobialka (tack piano I)
James Barbagallo (tack piano Ii)
Patricia Jennerjohn (celesta)
Don Marconi (percussion)
Jerome Neff (percussion)
Scott L. Hartman (french horn)
Susan Bates (violin)
Lou Harrison (suling player)
Gamelan Sekar Kembar
Kronos Quartet
The Manhattan Percussion Ensemble
Conductors
Robert HughesPaul Price
Works
HarrisonConcerto in Slendro (1961)
Harrison
Main Bersama-Sama (1978)
Harrison
Threnody for Carlos Chavez (1979)
Harrison
Serenade for Betty Freeman and Franco Assetto (1978)
Harrison
String Quartet Set (1978–9)
Harrison
Suite for Percussion (1942)
Artists
Daniel Kobialka (violin)Machiko Kobialka (tack piano I)
James Barbagallo (tack piano Ii)
Patricia Jennerjohn (celesta)
Don Marconi (percussion)
Jerome Neff (percussion)
Scott L. Hartman (french horn)
Susan Bates (violin)
Lou Harrison (suling player)
Gamelan Sekar Kembar
Kronos Quartet
The Manhattan Percussion Ensemble
Conductors
Robert HughesPaul Price
About
Harrison’s major contributions to twentieth-century American music lie in three main areas: (1) the development of the percussion ensemble as a viable performance medium; (2) the linkage of Asian and Western musical styles; and (3) the exploration of just intonation tuning systems. All three are represented in the works on this disc.
The influences manifest in the works on this disc remained with Harrison for the rest of his career. He ultimately composed over three dozen gamelan pieces and the estampie became one of his favorite forms (he used it in a dozen works, ranging from solo keyboard to full orchestra). Nor did his advocacy of just intonation systems diminish: he called for pure intervals in works in all genres. But the most distinctive characteristic of Harrison’s music lies in its inherent plurality. He was drawn to community, both in performance groups such as the gamelan and the percussion ensemble, and in the compositions themselves, which unite elements from various times and places. Harrison’s originality lay in the way he creatively combined these elements to produce novel syntheses. His fervent advocacy of hybridity led to a type of transethnic music that truly foreshadowed the post-modern celebration of diversity.
The reissue of this long-unavailable release from the CRI catalog features extensive new liner notes by Harrison biographer Leta Miller.
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