Roy Harris - Cimarron - 1953

Roy Harris - one of the foremost American composers, but inexplicably not a household name.

Music Of Roy Harris – Eastman-Rochester Wind Ensemble – 1953 – Past Daily Weekend Gramophone

Roy Harris - Cimarron - 1953
Roy Harris – one of the foremost American composers, but inexplicably not a household name.

Roy Harris – Cimarron – Eastman-Rochester Wind Ensemble – Frederick Fennell, Cond. NBC: America’s Composers – March 23, 1953 – Gordon Skene Sound Collection –

Roy Harris to end the week and start a new one. One of the foremost American composers and one of the greatest of the 20th Century, Roy Harris is probably best known for his 3rd Symphony, which was a landmark when it was first performed by The Boston Symphony under Serge Koussevitsky in 1934 and has been considered the single greatest contribution to American music and has made him a household name, although he composed over 15 symphonies as well as some 170 works, including many works for amateurs. His output includes works for band, orchestra, voice, chorus and chamber ensembles.

Harris was a champion of many causes. He founded the International String Congress to combat what was perceived as a shortage of string players in the U.S., and co-founded the American Composers Alliance. In 1958 the U.S. State Department sent him, along with some fellow composers including Peter Mennin and Roger Sessions, to the Soviet Union as a “cultural ambassador”; he was impressed by the support for composers that the Soviet state provided, not aware at the time of how carefully his visit was managed. He was a tireless organizer of conferences and contemporary music festivals and a frequent radio broadcaster. His last symphony, a commission for the American Bicentennial in 1976, was mauled by the critics at its first performance. This may have been due to its themes of slavery and the Civil War, which were in contrast to the celebratory mood of the country.

Although the rugged American patriotism of his works of the 1930s and 1940s is reflected in his research into and use of folk music (and to a lesser extent of jazz rhythms), Harris was paradoxically obsessed with the great European pre-classical forms, especially the fugue (which we hear in the Third Symphony) and passacaglia (as featured in the Seventh). His customary mode of musical discourse, with long singing lines and resonant modal harmonies, is ultimately based on his admiration for and development of Renaissance polyphony.[citation needed] He also used antiphonal effects, which he exploited brilliantly with a large orchestra. Like many American composers of his time, he was deeply impressed by the symphonic achievement of Sibelius.[citation needed] In Harris’s best works the music grows organically from the opening bars, as if a tiny seed gives birth to an entire tree. This is certainly the case with the Third Symphony, which joined the American repertoire during the same era as works by Aaron Copland and Virgil Thomson. The first edition of Kent Kennan’s The Technique of Orchestration (1952) quotes three passages from this symphony to illustrate good orchestral writing for cello, timpani, and vibraphone, respectively. The book quotes no other Harris symphonies. Few other American symphonies have acquired such a position in the standard performance repertory as has this one, due in large part to the championing of the piece by Leonard Bernstein, who recorded it.

Here is a radio performance of Cimarron, premiered in 1941. This performance features the Eastman-Rochester Wind Ensemble led by Frederick Fennell and is from the America’s Composers series from NBC Radio on March 23, 1954.

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