Concert rediscovers the music of Lou Harrison

Judging from the assortment of gongs, gourds, flowerpots, coffee cans, a huge spring, bells, brake drums, marimbas, drum sets, cymbals, xylophones, wood blocks, metalophones, cymbals, and other instruments that arranged on the stage in Lincoln Recital Hall, the audience at CeLOUbration concert on Friday evening (June 16) knew that they were going to hear something unique. The program consisted of works by composer Lou Harrison, who was born in Portland a hundred years ago and new pieces inspired by Harrison. The intrepid listeners heard intoxicating sonic combinations that easily showed how much Harrison’s influence reverberates today.

The concert was the first of two that were held on the campus of Portland State University in celebration of Harrison, who passed away in 2003 at the age of 85. It was also the first chance for the general public to purchase a spanking new copy of “Lou Harrison, American Musical Maverick” (Indiana University Press) and get the autographs of co-authors Bill Alves and Brett Campbell. While Alves is on the music faculty at Harvey Mudd College, Campbell teaches journalism at PSU and was instrumental in putting together the two-day CeLOUbration. Their book, which I have just begun reading, is well-written and researched, making it an essential item for any Harrison fan.

The concert was the first of two that were held on the campus of Portland State University in celebration of Harrison, who passed away in 2003 at the age of 85. It was also the first chance for the general public to purchase a spanking new copy of “Lou Harrison, American Musical Maverick” (Indiana University Press) and get the autographs of co-authors Bill Alves and Brett Campbell. While Alves is on the music faculty at Harvey Mudd College, Campbell teaches journalism at PSU and was instrumental in putting together the two-day CeLOUbration. Their book, which I have just begun reading, is well-written and researched, making it an essential item for any Harrison fan.

Cellist Diane Chaplin and harpist Kate Petak delivered a lovely performance of Harrison’s “Suite for Cello and Harp.” Melodic threads wove back and forth between the two instruments, ending with a sequence that was totally soothing. The Portland Percussion Group played Harrison’s “Song of Quetzalcoatl” incisively, starting with a big kaboom before tiptoeing through intricate passages that transitioned into some very lively material and finishing in a more delicate space. Flutist Sydney Carlson and percussionist Florian Conzetti gave a fine interpretation of “First Concerto for Flute and Percussion,” which Harrison wrote when he was 22 years old. It had a slightly exotic feel that hinted at Harrison’s the direction he would travel.

One of the most interesting pieces of the evening was the “Double Music,” which Harrison wrote with John Cage. The Portland Percussion Group handled an oddball assortment of instruments that included a cymbal that was halfway immersed in a tub of water, a big sheet of metal (perhaps tin). When raised from the water and struck, the cymbal created a low shimmery sound. The metal sheet emitted a soft tremolo. The last couple of notes of the piece didn’t line up together, but perhaps it was meant to be that way.

The concert featured Susan Alexjander’s “Three Little Multiverses (For Lou),” which was inspired by and incorporated poetry that Harrison had written. The text, wonderfully sung by mezzo-soprano Hannah Penn, was accompanied by cor anglais (Catherine Lee), cello (Chaplin), and harp (Petak). The word painting in the music was fairly direct and the sentiment of the piece was hopeful. A quartet of percussionists gave Lisa Marsh’s “Changing Winds” a thrilling ride as the music changed from motoric to more heavily rhythmic.

Paul Safar’s “Refugium” included visual slides that were projected on a screen behind the performers: flutist Carlson, violist Sharon Eng, and percussionist Brian Gardiner, who deftly moved between several different instruments and lightly vocalized, too boot. The piece was an ode to nature that abruptly stopped after a sequence of rising notes. The Portland Percussion Group had fun with Greg Steinke’s “Diversions and Interactions” whose members got to shout “Hey Ha Ja” periodically. The rapid play of spoons on the knee was a real treat amidst a variety of interesting sound effects that the ensemble created with precision.

Overall, the festive sounds of the concert was a joy to hear and may generate more Harrison-inspired events. In the meantime, readers will enjoy the new Harrison biography that Alves and Campbell wrote.