We think
of Roy Harris as the pioneer symphonist. There are after
all fourteen symphonies not counting the Symphony for
Voices. Little thought is paid to his chamber music or
piano music. This disc logically collects together the
most prominent chamber works. They are from the years
between the Third and Seventh symphonies and as such
catch Harris at one of his career peaks - possibly
the peak.
The
Piano
Quintet was written while he was on the teaching
staff at Westminster Choir College near Princeton.
It was here that he met the Canadian pianist Beulah
Duffy (later Johanna Harris) and it was for her that
he wrote the Quintet. It carries the authentic Harris
DNA including chugging ostinatos, heroic taciturn themes
and protesting capricious surges - here often carried
by the piano. The finale is a fugue but accorded the
wily Harris treatment and a seething oratorical closure
typical of the symphonies. The
Violin Sonata is
similarly complex but always buoyed up by the surge
of victory, hard won. The second movement is a caressing
and slow bubbling serenade with Rob Blessinger's violin
especially honeyed. The third movement is subdued and
darkly introspective - recalling similar moods in Frank
Bridge. The finale is hay and square-dance playful
rather than visionary. At the end the plainsman fiddler
pushes his instrument higher and faster to end stubborn
and typically take-it-or-leave-it. The
Third Quartet -
we never hear about the first two and were there any
later ones? - is a series of four each alternating
preludes and fugues seemingly written in admiration
of Bach's
Well Tempered Clavier. His transcription
of the Bach
Art of the Fugue is, by the way,
on Biddulph (
see
review). Each prelude and each fugue here has its
own track. The Harris we know from the Third Symphony
can be heard in the fugues. The final fugue is especially
joyous.
More Harris
to come 'ere too long in the Naxos complete Roy Harris
symphonies project. Marin Alsop has been in the studio
with the Bournemouth Symphony Orchestra for the two wartime
symphonies: 5 and 6 and
Acceleration. Alsop also
made a fine job of the Third and Fourth a couple of years
ago with the Colorado Symphony. Naxos will then have
symphonies 3 and 4 (
see
review), 5 and 6, 7 and 9 (
see
review) to their name. Only another eight to go.
I still have high hopes that Naxos will also record his
complete choral works and perhaps add the two wonderfully
impressive and otherwise bereft Rózsa motets
To Everything
There is a Season and
Vanity of Vanities.
For now
Koch have complemented the two Albany discs of Harris's
music for solo piano and violin and piano (TROY105) and
choir ‘I Hear America Singing!’ (TROY164). Not so very
long ago Koch also issued the Schuman Sixth with the
Roy Harris Seventh both conducted by Hugh Keelan (
see
review).
For now
though this disc provides collector-listeners with fine
stirring Harris in compact chamber form. The sentiments
and spirit are familiar from the symphonies but one
can feel the pioneering Whitmanesque spirit straining
at the bounds of the chamber medium.
This is
a valuable contribution to the living Harris catalogue.
The performances have the authentic confidence of Harris
from his most exalted vintage and these are aided by
engineering that presents a strong audio image.
Rob Barnett