a r t i s t : Lou Harrison
t i t l e : Chamber and Gamelan Works
d a t e : 2006
l a b e l : New World Records
g e n r e : Classical
r l s. d a t e : Aug/2006
t r a c k s : 14
b i t r a t e : VBRkbps
s i z e : 91,0 MB
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Daniel Kobialka, violin; Machiko Kobialka, tack piano I; James
Barbagallo, tack piano II; Patricia Jennerjohn, celesta; Don
Marconi, percussion; Jerome Neff, percussion; Robert Hughes,
conductor; Scott L. Hartman, French horn; Susan Bates, violin;
Lou Harrison, suling player; Gamelan Sekar Kembar; Kronos
Quartet; The Manhattan Percussion Ensemble; Paul Price,
conductor
Lou Harrison (1917û2003) believed fervently in musicÆs power
to create cultural bridges. To this end he applied his
prodigious skills and creative energies to creating syncretic
works that link diverse musical languages. Faulted at times
for his eclecticism, Harrison responded with a vibrant defense
of hybridity, cultivating a musical multiculturalism long
before that termùor even the conceptùheld the currency it now
enjoys.
HarrisonÆs 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 HarrisonÆs 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. HarrisonÆs 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.
Concerto in Slendro (1961), Main Bersama-Sama (1978), Threnody
for Carlos Chavez (1979), Serenade for Betty Freeman and
Franco Assetto (1978), String Quartet Set (1978û9), Suite for
Percussion (1942)
(http://www.newworldrecords.org)
Download liner notes here:
(http://www.newworldrecords.org/uploads/fileyCvr6.pdf)
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01-Concerto In Slendro (1961) - I. Allegro [03:06]
02-Concerto In Slendro (1961) - II. Molto adagio [04:19]
03-Concerto In Slendro [02:17]
(1961) - III. Allegro; Molto vigoroso
04-Main Bersama-Sama (1978) [07:22]
05-Threnody for Carlos Chßvez (1979) [07:06]
06-Serenade for Betty Freeman and Franco Assetto (1978) [05:54]
07-String Quartet Set (1978-9) - I. Variations [05:20]
08-String Quartet Set (1978-9) - II. Plaint [04:12]
09-String Quartet Set (1978-9) - III. Estampie [04:01]
10-String Quartet Set (1978-9) - IV. Rondeaux [08:20]
11-String Quartet Set (1978-9) - V. Usul [04:40]
12-Suite for Percussion (1940) - I. Moderato [03:45]
13-Suite for Percussion (1940) - II. Slow [03:10]
14-Suite for Percussion [02:43]
(1940) - III. Recitative; Moderato allegro
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66:15 min