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Harpsichord News

September 30, 2016
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Well-Tempered: Lou Harrison
and the harpsichord

Long before others had expressed interest in the use of varied historic temperaments for harpsichord tuning, the American composer Lou Harrison advocated using just, meantone, and other exotic ones as the preferred aural components for the realization of his early keyboard compositions. Among the earlier 20th-century works for plucked keyboards, Harrison’s Six Cembalo Sonatas (composed between 1934 and 1943) hold a special place because of his spare, mostly two-part idiom, perfectly suited for effective performance at the harpsichord, and his understanding that non-equal tuning adds a further dimension to the expressivity of music, an important advancement among composers of the early keyboard revival. Originally published as a facsimile of his holograph manuscript as part of the New Music Edition series produced by Harrison’s mentor and friend, Henry Cowell, Six Sonatas joined a small group of well-crafted American works for revival instruments, appearing midway between Theodore Ward Chanler’s Prelude and Fugue for Clavichord (1934, the unpublished manuscript is held by the Library of Congress) and Walter Piston’s Sonatina for Violin and Harpsichord (1945, published by Boosey and Hawkes). Harrison’s six short pieces have continued to garner kudos from a small but savvy group of players who program revival repertory.

While gathering material for my 1989 book Harpsichord in America, I wrote to the American iconoclast with some questions about the genesis of these early works. His answers came in an extensive two-page typewritten, single-spaced letter, dated September 11, 1979, from which I quote the following passages:

 

It is entirely possible that [a dating problem] derives from the fact that I wrote [the sonatas] individually or in groups of two at several times, thus the first one actually dates from the mid-30’s but the whole set was not completed until the early ‘40’s. I am sorry that I cannot get you any closer dates than that. The original impulse came from two sources as the Sonatas themselves have probably already made clear to you. The first of these was my intense admiration for Manuel de Falla and especially for his use of the harpsichord in several instances including the famous Concerto. This was, in my own feelings, perhaps erroneously embedded in a matrix of feeling which concerned California. The ‘Mission Period’ style of life, artifacts, and feelings intrigued me very much. You will, of course, remember that this was the WPA period and that the dominant impulse was ‘Regionalism.’ Thus, the Cembalo Sonatas reflect ‘Nights in the Gardens of Spain,’ ‘Flamenco,’ as well as ‘Indian Dances’ and ‘Provincial Baroquery’ in the West. As to the question for whom they were composed, the answer is—everybody who is interested. Of several, I played the premiere on a tiny Wittmayer [spinet] that Eileen Washington had brought from Munich to San Francisco in the late ‘30’s and which was used at San Francisco State College (University now). Later, Henry Cowell published them in the New Music Edition and they were circulated by the State Department to various embassies as part of our cultural campaign. Alas for those days!!!

Later they were played, I think, in part by Sylvia Marlowe in Times Hall [New York City] and then still later (this was the 50’s I believe) Ralph Kirkpatrick took them on tour nationally, along with Henry Cowell’s ‘set’. [Set of Four, composed for Kirkpatrick, published by Associated Music Publishers]. He also played all six Sonatas as a ‘Suite’ which I had had vaguely in mind when I arranged them in the printed order.

. . . I am very happy that you play a Dowd instrument. My own is a simple Zuckermann Flemish model, but I do enjoy it. Last night I re-tuned it in the Kirnberger Well Temperament, one of six tunings that I am going to be writing about for the Canadian magazine, Continuo . . . .

P. S. I now remembered that Margaret Fabrizio [harpsichord teacher at Stanford University] made a tape with me of the Sonatas on a tiny Wittmayer which she had in her home down in Big Sur during the late ‘50’s. We individually tuned each Sonata in Just Intonation and the result was fun.

What a personable and interesting letter to receive from a composer! But then this “gentle person” was so much more than merely a reliable source for new music! In The New Grove Dictionary of American Music (published in 1986) the extensive entry for Lou Harrison was written by his only slightly younger colleague Ned Rorem (born 1923), who provided this utterly fascinating introductory paragraph: 

 

Born in Portland, Oregon, on May 14, 1917, Harrison studied with Cowell in San Francisco, and with Schoenberg in Los Angeles [!]. During World War Two he organized recitals of percussion music with John Cage and by himself, while working as a florist, record clerk, poet, dancer, and dance critic, music copyist (his handwriting is known for its beauty), and playwright. . . . In 1943 he moved to New York City, where he was intellectually (though not musically) influenced by Virgil Thomson. . . . He wrote for [various musical publications] including The New York Herald Tribune . . . and conducted the first complete performance of a symphony by Charles Ives (the Third) in 1947.

Slightly more than four decades after that Ives symphony premiere, I had my one face-to-face meeting with Lou Harrison on Monday, April 25, 1988. I had the opportunity to speak with Lou when he and his life partner William Colvig (also born in Oregon in 1917) were in Dallas to attend a concert presented by the contemporary music ensemble Voices of Change. The program featured music by Toru Takemitsu and Harrison. During our brief conversation I asked Lou if he had composed any additional music for harpsichord, to which he responded that he had, indeed, just completed his new work, A Summerfield Set, and that he would be happy to send me a copy. The eagerly awaited package, mailed on May 5 from the Harrison-Colvig home at 7121 Viewpoint Road in Aptos, California, arrived on May 9. Inside were the Xeroxed pages of a three-movement piece comprising a Sonata—Air—Sonata da Capo, Ground, and Round for the Triumph of Alexander (the young son of organist-harpsichordist Susan and her husband Harry Summerfield). Suffice it to say that the first readings revealed a most attractive work, one that I have enjoyed playing on several occasions, including the first movement’s London premiere in recital at the Handel House.

The handwritten letter (seen in the accompanying illustration) corroborates Rorem’s comment about Harrison’s exceptional calligraphy, and it remains a highly prized treasure amidst my collection of composer/performer autographs.

In the years that came after Harrison’s wildly varied early career, the lauded composer/conductor became more and more fascinated with the ethnic music of America’s natives as well as the exotic scales and instruments to be found in Asia (which he visited for the first time in 1961). With Colvig, whom he met in San Francisco in 1967, Harrison travelled extensively, and the two men shared an interest in collecting and building unusual percussion instruments, including several Javanese gamelans for which ensembles Lou composed highly individual scores.

Among a very extensive list of compositions, two short operas are of particular interest: the first, Rapunzel, garnered two prizes for Lou. In 1954 he was awarded a 20th-Century Masterpiece Citation for the best composition utilizing voice and chamber orchestra at the Rome meeting of the International Conference of Contemporary Music. A second “prize” must surely have been that this winning selection, “Air,” was sung by none other than the young soprano Leontyne Price! Both composition and performance received ecstatic press notices.

A second opera, originally for puppets and esoteric instruments, is based on an episode from the life of Julius Caesar. Young Caesar was subsequently revised for traditional western instruments and human performers to enable performances by the Portland Gay Men’s Chorus. I hope that some enterprising opera company might schedule this work (which may be seen on YouTube) during the forthcoming Harrison centennial year. 

Although saddened by the death of Colvig in 2000, Lou remained musically productive until the final hours of his very productive life. Harrison was on his way to a celebratory festival devoted to his music organized by the Ohio State University in Columbus. Two graduate music students had been dispatched to drive Lou from Chicago to the campus. It was during a stop in Lafayette, Indiana, that the composer was felled by a fatal heart attack on February 2, 2003. The four concerts of Harrison’s music thus served as a memorial tribute, but it was far from a somber occasion. In a perceptive Wall Street Journal piece “Lou Harrison’s Music Is as Joyful as He Was” (February 18, 2003), author Brett Campbell concluded an extensive review of the wide-ranging Ohio State concerts with these exultant words: 

 

Characteristically, the composer had just finished revising the symphony [his third] after tinkering with it since its 1982 premiere, and he looked forward to hearing it performed. Looking forward while looking back, ever striving to create music of lasting beauty—that was the irrepressible, irreplaceable Lou Harrison. 

 

Celebrating the music of Lou Harrison: Scores and CDs

For my own centennial tribute to Lou and his music I plan to perform a selection, or perhaps even all of the Six Sonatas as well as my favorite movement (the Sonata) from A Summerfield Set during our final house concert of this current season (April 26, 2017). It was difficult to decide whether or not to publish this essay now or in May, but I have opted to do it well before the anniversary arrives in the hope that some of our readers will want to seek out the scores, learn the music, and perform Harrison’s music as a tribute to this important and truly unique American composer. 

The score of Six Cembalo Sonatas is available in Susan Summerfield’s revised, annotated score, published by Peer International Corporation, New York (1990; edition number 02-037365-535). The musical notation seems quite small (at least to my aging eyes), but Ms. Summerfield’s suggested ornamentation (printed in red) for the repetitions of both A and B sections in these pieces may be helpful to some players.

A Summerfield Set is listed in various editions. (I possess only the Xerox facsimile of the holograph.) Lou had indicated that Hermes Beard Press was the publisher; in a computer search for that organization I was directed to WorldCat and found there the publisher listed as FrogPeakMusic, Lebanon, New Hampshire (2009). 

A very fine traversal of Lou Harrison’s keyboard music that includes works for harpsichord, tack piano, and fortepiano, and utilizes his suggested historic and experimental tunings, is to be heard on a compact disc recorded by Linda Burman-Hall (New Albion Records, San Francisco, 2002), playing on instruments by Robert Greenberg, Joop Klinkhamer, and Thomas and Barbara Wolf. Excellent informative notes include diagrams charting the various non-equal tunings employed. Ms. Burman-Hall includes an additional 1999 Sonata for Harpsichord (8 minutes in length) and a collection of accessible shorter keyboard pieces that she has formed into a very beguiling suite (Village Music).

For a performance of A Summerfield Set on modern piano, I recommend the disc Lou Harrison (MMD60241X Music Masters, Amrico and Musical Heritage Society, 1990), which includes orchestral works (Solstice and Canticle) conducted by Denis Russell Davies. The elegant pianist Nohema Fernandez, at the time a faculty member at U CAL Santa Cruz, is currently Dean of the School of Music at U CAL Irvine. Her slightly more relaxed tempo of the Summerfield Sonata movement is closer to my preference, but that is a matter of personal taste. The Santa Cruz school’s website also makes available a complete listing of Lou Harrison’s extensive oeuvre. 

Another satisfying recording of Six Cembalo Sonatas may be found on Elaine Funaro’s 2001 Centaur CD Overture to Orpheus. Her instrument and its tuning are by the master harpsichord builder Richard Kingston.

I wish for us all both excitement and enjoyment as we explore the riches to be found in Lou Harrison’s beautiful and idiomatic music. Do be sure to share it with others, wherever you can.

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