Roy Harris (1898-1979)

[Sergeant Rock]

An interesting review of the Stokowski conducted Harris Seventh (with the NBC Symphony) in Fanfare:

"This performance of Harris's Seventh symphony has excited unusual interest because it is the only surviving broadcast of the work before he revised it."

Full review here. Unfortunately, the clip at JPC sounds atrocious. I'm not sure I want to invest.

Sarge

[Sean]

Listening multiple times to the Ninth here I'm struck by the constant highly impressive artistic insistence and focus on line and aesthetic control, reminiscent of the Third and its weird inward incessant unity...

None of the later symphonies I think quite find the same seemingly lucky visceral imperative but all cultivate this lurching demonic idiom subtly justifying itself; the whole peculiar conception is rather reminiscent of Maxwell-Davies' Third mentioned in recent weeks, even if Harris, Schuman and Hanson et al struggle badly to avoid merging into the American open space emptiness...

Harris really finds something, he's like a whacked Picasso cubist painting that you find resonance with over time.   

[vandermolen]

Listening multiple times to the Ninth here I'm struck by the constant highly impressive artistic insistence and focus on line and aesthetic control, reminiscent of the Third and its weird inward incessant unity...

None of the later symphonies I think quite find the same seemingly lucky visceral imperative but all cultivate this lurching demonic idiom subtly justifying itself; the whole peculiar conception is rather reminiscent of Maxwell-Davies' Third mentioned in recent weeks, even if Harris, Schuman and Hanson et al struggle badly to avoid merging into the American open space emptiness...

Harris really finds something, he's like a whacked Picasso cubist painting that you find resonance with over time.   

I rather like the American open space emptiness! 

[Sean]

Listening multiple times to the Ninth here I'm struck by the constant highly impressive artistic insistence and focus on line and aesthetic control, reminiscent of the Third and its weird inward incessant unity...

None of the later symphonies I think quite find the same seemingly lucky visceral imperative but all cultivate this lurching demonic idiom subtly justifying itself; the whole peculiar conception is rather reminiscent of Maxwell-Davies' Third mentioned in recent weeks, even if Harris, Schuman and Hanson et al struggle badly to avoid merging into the American open space emptiness...

Harris really finds something, he's like a whacked Picasso cubist painting that you find resonance with over time.   

The guy who wrote that review needs to put his thesaurus down for a while.

[snyprrr]

The Harris 6 is incredible in sound and design. I have the Keith Clark recording by the way.

gaaaaahhhhh, I was just outbid on that Clark. Is it even on Amazon? This is the cd with Copland on it too. I guess you're saying Naxos? What's this other one??

[Sean]

Third and Seventh are similar and in one movement but all 13 seem to be searching for the same inwardness, always a sign of a great mind to work in a relatively narrow idiom without needing more.

I'm happy to see so many responses on a Harris thread. If I were to compare his musical language with an American painter it would be someone like . Harris seems a regionalist who prizes the essence of his sound rather than the creation of masterpieces in the European sense. His critics have plenty of ammunition when it comes to technique but the Harris "sound" is singularly rural America ca. 1930s with his use of 5ths and chaccone-like harmonies that are appealing yet often burn the aggregate in just a few chords (a little like serial in content-not sound).
That said, I have to agree with W. Shuman who laments the fact that Harris didn't refine or improve his output during a period where virtually every composer underwent some kind of artistic evolution. His 3rd and 7th are two of my faves...

[Leo K.]

gaaaaahhhhh, I was just outbid on that Clark. Is it even on Amazon? This is the cd with Copland on it too. I guess you're saying Naxos? What's this other one??

I bought it on iTunes, 

I'm going to have to revist that recording.

[Rons_talking]

I've been blogging about the finest American symphonies composed between 1900-60 and the Harris Third immediately came to mind. It really does have the ideal balance of boldness, originality and accessability. His other symphonies are very similar (for the most part) to the third. If you haven't heard his chamber music you're missing out. To an extent the lack of sonic variety helps him avoid some of the comfort zones in which the composer is sometimes accused of taking too much comfort. The Quintet is wonderful!

I haven't heard the last two Harris symphonies but I favor the 3rd, 6th and 7th. But I suppose the 3rd is still the Harris standard. I love the way his harmonies jump around by thirds: ie, A minor to C#minor to A to F, etc. It's really his sound. Slight dissonance in a tonal framework...Hindemith also does that at times, but not to the same effect. I'm listening to the Naxos recording of his 1933 Symphony. After growing up on the vintage Ormandy recording it's nice to hear the work a little faster and without warbles...

[Mirror Image]

I'm revisiting some Roy Harris tonight (listening to Symphony No. 9) and I'm having the same issues I've always had with his music: too declamatory and, ultimately, for me, it sounds empty. I even have had problems with his Symphony No. 3, which is supposedly one of the finest American symphonies ever composed. I'd argue that, while it's a nice work, it doesn't begin to touch Copland's own 3rd or William Schuman's for that matter. I simply don't hear a distinctive compositional voice that moves me and really makes me want to hear more of his music. The only symphony I recall liking by Harris was Symphony No. 6 "Gettysburg". This one seemed rather individual to me. I'm going to give his 11th a listen since Jeffrey in his original post gave this one such high marks.

[cilgwyn]

Interesting that you are having another go and actually go so far as to make a fairly positive observation about the Sixth. I spent quite a bit of time on this composer a while back,as you may recall. I tend to agree with you. I did actually like No3 when I was young. I actually played it more than the Copland with which it was coupled. These days it is the Copland that gets played not the other way around! I can sort of understand why I might have been 'grabbed' by listening to one Harris symphony,on it's own,in my youth. The problem is when you listen to some of the others. After a while it gets a bit like listening to some guy in a bar,who initially appears interesting;then after a while you realise you have got stuck with an overbearing bore,who just likes the sound of his own voice. It's really all justl a long winded,opinionated rant! I agree that the Sixth is the most interesting. It's more varied in terms of atmosphere and has a more interesting structure. There is also some quiet,reflective music there which does have a sort of slumbering power. In fact,I think it's quite impressive really;but that said;I won't be listening to it too much! A cold shower afterwards followed by some Frederic Delius,perhaps?!!
The best performace of the Seventh I have ever heard is by Ormandy. I know you are a little allergic to mono sound;but the Albany cd is coupled with Ormandy conducting Piston's Fourth and Schuman's Sixth. They are all very powerful interpretations. I can well believe,listeniing to Ormandy's performance,that if he had recorded more Harris (particularly in stereo) his music might be more highly regarded than it is. That said,I think Piston,Schuman and Copland are infinitely more varied and satisfying. Harris is a curious puzzle,though. I might even be brave enough to have another go a little later?!!

[cilgwyn]

Incidentally,downloads of an LP transfer of the Ormandy recordings I posted about here appear to be available courtesy of one of those Vinyl/Shellac blogs. Being old fashioned I bought the Albany cd!

[snyprrr]

refraining from smart comments- thank me later!!

[Mirror Image]

Interesting that you are having another go and actually go so far as to make a fairly positive observation about the Sixth. I spent quite a bit of time on this composer a while back,as you may recall. I tend to agree with you. I did actually like No3 when I was young. I actually played it more than the Copland with which it was coupled. These days it is the Copland that gets played not the other way around! I can sort of understand why I might have been 'grabbed' by listening to one Harris symphony,on it's own,in my youth. The problem is when you listen to some of the others. After a while it gets a bit like listening to some guy in a bar,who initially appears interesting;then after a while you realise you have got stuck with an overbearing bore,who just likes the sound of his own voice. It's really all justl a long winded,opinionated rant! I agree that the Sixth is the most interesting. It's more varied in terms of atmosphere and has a more interesting structure. There is also some quiet,reflective music there which does have a sort of slumbering power. In fact,I think it's quite impressive really;but that said;I won't be listening to it too much! A cold shower afterwards followed by some Frederic Delius,perhaps?!!
The best performace of the Seventh I have ever heard is by Ormandy. I know you are a little allergic to mono sound;but the Albany cd is coupled with Ormandy conducting Piston's Fourth and Schuman's Sixth. They are all very powerful interpretations. I can well believe,listeniing to Ormandy's performance,that if he had recorded more Harris (particularly in stereo) his music might be more highly regarded than it is. That said,I think Piston,Schuman and Copland are infinitely more varied and satisfying. Harris is a curious puzzle,though. I might even be brave enough to have another go a little later?!!

It would have been nice if Ormandy did a cycle of Harris symphonies. But I suppose he was too busy conducting orchestral blockbusters. Anyway, I don't think Harris is a bad composer, but the lack of variety does wear a bit thin in his music. Like I mentioned, the 6th seemed more unique to my ears (I actually have the Keith Clark/Pacific SO performance on order). I always thought Alsop did a decent job with the symphony, but I could imagine it being a bit more dramatic. The declamatory aspect in his music is still the hardest pill for me to swallow so far. I feel like "stop preaching and get on with it!" Anyway, I'll revisit a few works (incl. the 3rd) and see if I can muster up some actual positive feedback.

[cilgwyn]

I like your first line! I heard the Keith Clark performance of the Sixth on R3,back in the 80's.Imho (as they say) and that of other posts,on this forum and elsewhere,there is no comparison! The Keith Clark is just miles better. There is one particular bit which might surprise you,if you've only heard the Naxos recording. The brass absolutely lets rip. Whatever you think of the symphony,as a whole,it really is quite a sound! I am going to put my cards on the table and say now that I actually think the Sixth is his best symphony.......not the third!! History picked the wrong one (and then dumped that one,too,it seems!!).
Apart from the Sixth I do quite like the short orchestral work 'Memories of a Child's Sunday',on the Albany cd of Symphonies 8 & 9. A bit more of this kind of playfulness and humour and I might be playing Harris a bit more!

[vandermolen]

Nice to see some renewed interest in this composer and I was interested in the comments from John and Cilgwyn. I like the third, fifth, sixth, seventh, eleventh and 'Symphony 1933'. They are quite similar in a way but I also agree that No.6 especially in the recording by Keith Clark stands out as one of the best. It has a personal meaning for me as I discovered it in a record library at around the time my father died in 1985 and I found the slow movement very consoling, poignant and moving at the time. It always reminds me of that sad time whenever I hear it but I agree that Keith Clark's is by far the best performance. If you find the declamatory style of the Harris symphonies rather overbearing I strongly recommend a little known reflective work 'Abraham Lincoln Walks at Midnight' for piano trio and mezzo-soprano. It lasts 14 minutes and is an extraordinarily moving and hauntingly atmospheric work. You can even find it on a double Naxos CD set and I can't rate it highly enough:
[asin]B001NZA04W[/asin]

[cilgwyn]

Thank you for your suggestion,Vandermolen. I don't actually know this work,but I have noticed it's lovely,evocative title!
Whatever my feelings about his music,I do find Roy Harris an interesting puzzle and I do actually like some of his music. In fact,in some ways I found mulling over the musical value of his legacy more interesting and satisfying than actually listening to his music;which does seem strange. I also do rather like some of his symphonies,ie the Fifth,Sixth and Seventh,for example;and find much to admire.......but I can't say I exactly warm to them,or long to hear them. But then again,I'm starting to get an uncontrollable urge to put one on! Must fight the urge.......................aaaaaagh,I've got the Clark cd of the Sixth in my hand right now;and there is the possibility I might even enjoy,at least some of it and start multiple posts here,again!!!

[Mirror Image]

Thanks for the posts, Jeffrey and Cilgwyn.

Jeffrey, I know that 2-CD set you linked but haven't heard any of that music in years. I really need to revisit it at some juncture. It's also good to know Harris' 6th has a special meaning for you. I think all music has a purpose and that purpose is communication on a another plain --- something that can't be communicated through words but rather in sound through musical expression.

[cilgwyn]

http://www.musicweb-international.com/classrev/2009/Apr09/Lincoln_portraits_8559373.htm

For some reason I overlooked this set,which got some very good reviews. The other music sounds intriguing and I think I'll put it on my 'list' now. Not to buy now,however. My wallet need a rest and the postman was starting to give some funny looks. There has been quite a flood of (Sorry,Vandermolen,I can't think of another word for it! ) packages through the door,of late! I see that Rob Barnett suggests a recording of Harris's tenth at the end of his review. 'Eccentric' is one of the more polite terms I have heard used to describe this piece. Actually,I'm all for it,because it would fill in the gap I've got in my Harris symphony collection. I'm not sure it will be worth the effort,but I have a feeling someone will probably record it eventually!!
Actually,I think Roy Harris is more of an enigma than a puzzle (Wait a minute,that's pretty much the same?) Allot of his critics reckon he did the same work over and over again. The same declamatory rhetoric. On that basis I suppose you could say the same thing about some other composers. I tend to concur with MI's point of view. But then again,there is something there that gets me picking up and wondering!

Or would I be better off just getting it over with and take them down to a charity shop so I can spend all the time I've got left on Copland,Barber,Piston,Mennin and Schuman?!!

Or maybe clean out the fridge,instead?!!

[cilgwyn]

By the way,you mentioned Harris's Eleventh symphony,MI. His eighth is a bit like the eleventh,without the rhetoric. Like the Sixth it's a bit different from his usual declamatory idiom. Full of tinkling tintinnabullations. I think it's rather original. Less aggressive than usual for Harris. In fact,I think that's the one I'll put on!!

[cilgwyn]

The back of the Albany cd: