Harrison: Violin Concerto, Grand Duo & Double Music

Album review

A protean innovator, Lou Harrison (1917-2003) espoused ‘world music’ before it even had a name, and this recording documents his pioneering rôles as a composer for percussion and well as a highly original integrator of Western and Indonesian idioms. The Concerto for Violin and Percussion, the first two movements of which were written in 1940 and revised in 59 while a third movement was added, demonstrates his experimental enthusiasm in the use of non-pitched percussion. Movement one alternates proclamatory and motoric episodes; for the central section Harrison instructs: “Here the orchestra should finely shimmer & glitter while the violin chants.” The two main ideas of movement two are a song in stressed long notes and quieter, more intimate music, while the finale is a vigorous dance. The whole score includes precise percussion instructions by Harrison – e.g., “For the washtubs, drill holes up from center on the sides of inverted galvanized iron tubs & suspend by strong elastic cords.” For the coffee cans, “cork or rubber-ended pen-holders make good beaters & are best for the clock coils as well.” The Grand Duo for Violin and Piano (1988) is a remarkable example of gamelan-infused chamber music, no small feat considering a traditional Indonesian gamelan does not belong to the western well-tempered world; while Double Music, co-composed in 1941 with Harrison’s friend John Cage, is a well-known product of their celebrated San Francisco percussion concerts, and makes full usage of an imposing paraphernalia of Asian percussion instruments. This recording of Harrisons highly original music features violonist Tim Fain, pianist Michael Boriskin, and the PostClassical Ensemble conducted by Angel Gil-Ordóñez. © SM/Qobuz