Das Lied von das Abstimmen: Michael Harrison’s “Seven Sacred Names”


Cantaloupe CA 21157

I first encountered the work of Michael Harrison (1958- ) while searching for Lou Harrison CDs. I came across the New Albion release, “From Ancient Worlds” (1992). It is a disc of short piano compositions played by the composer on an instrument of his own invention, The Harmonic Piano, which was conceived in 1979 and built by1986. Harrison was a student/apprentice of the Godfather of American Minimalism and Guru of non-western tunings, La Monte Young. He has also enjoyed a close relationship with yet another icon of contemporary music and non-western tunings, Terry Riley. Via these associations, Harrison has also studied with Pandit Pran Nath (famously a teacher of both Young and Riley) and Ustad Mashkoor Ali Khan.

He holds a B.M. in composition from the University of Oregon, and and M.M. in composition from the Manhattan School of Music where he studied with Reiko Füting. His collaborations put him in touch with progressive musicians on both the east and west coasts of the United States and he seems to derive a great deal of joy sharing his enthusiasm with many talented artists imparting his knowledge and learning from them as well.

Mr. Harrison’s major opus, “Revelation” (2002-7) for solo harmonic piano is a sort of manifesto or “urtext” and has been the source and inspiration for much of his subsequent work both directly and indirectly. At his 2009 appearance at the Other Minds Festival 14 he premiered “Tone Clouds” (2008) which incorporated a string quartet (Del Sol Quartet) along with the composer at the piano utilizing material from Revelation. Subsequent recordings with cellists Maya Beiser and Clarice Jensen further expanded his use of string instruments along with the piano.

So here we come to Harrison’s second release on Cantaloupe Records (his first was the Maya Beiser release in 2012) this time incorporating Tim Fain (violin), Caleb Burhans (viola), Ashley Bathgate (cello), Payton MacDonald (vocals), Ina Filip (vocals), Ritvik Yaparpalvi (tabla), and Roomful of Teeth, the Grammy winning vocal ensemble in a work which strikes this listener as a grand nearly symphonic effort reminiscent of Mahler’s Das Lied von der Erde. Also, like Mahler, the composer uses non-western (Sufi) texts and (unlike Mahler) non-western tunings derived in part from Hindustani and Carnatic influences, and from his studies with Pran Nath, Terry Riley, and Mashkoor Ali Khan.

The eight sections vary in style but have echoes of Arvo Part, Hindustani/Carnatic musics, minimalism, etc. all integrated into a large form neatly bookended by a prelude and epilogue. It is, in effect, a song cycle and, guess what? It’s about the earth, well, sort of. It is, according to the liner notes by W.H.S. Gebel, music which corresponds to the seven stages of universal awakening outlined in that author’s book, “Nature’s Hidden Dimension”. Maybe Mahler for the New Age?

Only the second movement, “Hayy: Revealing the Tones” derives directly from the aforementioned Revelation but it is clear that Harrison has integrated his diverse musical studies into a personal style descended from artistic and philosophical ancestors. The work struck this listener as being a successfully unified whole and a landmark in this composers still burgeoning career. This is grand and gorgeous music.

Douglas Boyce New and Exciting Chamber Music


boyce

The rather plain cover belies the contents of this album of exciting and powerful chamber music.  This is billed as a “sampler” album and it contains three works by Douglas Boyce (1970- ).  He is a founding member, curator, and composer-in-residence of counter)induction, a composer/performer collective active in the New York region.  He also has experience playing in various punk bands.

Boyce holds a B.A. in Physics and Music from Williams College, an M.M. from the University of Oregon and a Ph.D. from the University of Pennsylvania (1999).  He has studied with George Crumb, James Primosch, Kathryn Alexander, Robert Kyr, Judith Weir, Ladislav Kubik and Robert Suderburg.  He currently serves as Associate Professor of Music at the George Washington University in Washington, DC.

All this gives only the faintest hint of what his music sounds like.  In the three works represented here the listener will notice some influence of Bartok and mid-century modernism.  The first work “102nd and Amsterdam” (2005)  reflects a composer well schooled in writing for string instruments.  This piece is a string trio played by members of the Aeolus Quartet (Rachel Shapiro, violin; Greg Luce, viola; Alan Richardson, cello) and they are given a great deal to do.  This is an energetic piece which engages the listener immediately and doesn’t really let go until the end some 14 plus minutes later.

The writing is virtuosic and the variety of techniques employed in his string writing are engaging and never seem gratuitous (i.e. extended techniques because I can).  Despite multiple glissandi and other string effects the work, like the others on the album, are basically using the tonal language common to most western music.  This is seriously engaging and masterfully developed music.  It hooked this listener immediately.

The second work is Piano Quartet No. 1 (2009).  This is an even more visceral work true to Bartokian esthetics.  In its relatively brief 8 plus minutes the listener is taken on a virtuosic journey by the musicians of counter)induction (Jessica Meyer, viola; Sumire Kudo, cello; Steve Beck, piano)  They are joined by the wonderful Miranda Cuckson who steps out of her soloist role and moves deftly into this chamber group as the finest musicians can do.  Boyce cites influences as diverse as Robert Fripp and King Crimson but the details of that are not necessarily clear to this writer nor is it necessary to the appreciation of the work.  It is a powerful and exciting piece of chamber music.  This work left this listener a bit tired by the end (it is quite a workout) but the same ability to sustain interest and attention which applied to the first work is also present here.

Finally the Trio Cavatina (Harumi Rhodes, violin; Priscilla Lee, cello; leva Jokubaviciute, piano) presents a reading of the four movement “Fortuitous Variations” (2014).  This most recent composition is the big work on this disc.  The underpinnings, if you will, involve philosophical ideas and are elaborated well by the composer on his web site but, like the influences of the previous work, the music stands very well on it’s own.

There are four movements which seem to correspond (at least roughly) to the sonata form commonly used in such works.  Each maintains it’s character as said variations are rolled out and, as in the previous works, sustains interest easily.  This is perhaps a more ponderous work which is less direct than the previous two pieces but this most recent composition no doubt reflects the composer’s development and time will tell what direction his work will take.  There is, however, a sense that the composer has developed a personal style and is cultivating it.  Give a listen.

Most will want to hear these works multiple times.  This reviewer managed to find three separate drives which allowed uninterrupted listening to the entire disc and I know those three won’t be the last.