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Playing Apart as “Playing Together”: Lou Harrison’s Threnody for Carlos Chávez for Gamelan and Viola

Playing Apart as “Playing Together”: Lou Harrison’s Threnody for Carlos Chávez for Gamelan... r ACHel CHACKo Playing Apart as “Playing t ogether”: l ou Harrison’s Threnody for Carlos Chávez for Gamelan and Viola o n 22 February 2003, twenty days after the sudden death of l ou Har- rison, the first memorial tribute for this musical maverick took place at the u niversity of California, Santa Cruz r ecital Hall. o rganized by musi- cologist/flutist l eta e . m iller and Harrison archivist Charles Hanson, the memorial honored Harrison’s rich, art-filled life by intertwining many of his wide-ran ging creative interests. Spoken reminiscences were joined with a display of several of Harrison’s paintings, readings of his poetry, video presentations of dance performances for which Harrison had writ- ten the music, and performances of a handful of his compositions. m usic selections included an early work for flute and cello, a recently discov- ered piece for tubular bells (constructed by Harrison and his partner, w illiam Colvig), a work for guitar, and a composition for piano. but it was the memorial’s final performance—Harrison’s Threnody for Carlos Chávez, played by Geraldine w alther on viola and by Gamelan Sekar Kembar, directed by t rish Neilsen—that best captured the complexity of Harrison’s artistic vision. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png American Music University of Illinois Press

Playing Apart as “Playing Together”: Lou Harrison’s Threnody for Carlos Chávez for Gamelan and Viola

American Music , Volume 32 (4) – Jul 26, 2015

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Publisher
University of Illinois Press
ISSN
1945-2349

Abstract

r ACHel CHACKo Playing Apart as “Playing t ogether”: l ou Harrison’s Threnody for Carlos Chávez for Gamelan and Viola o n 22 February 2003, twenty days after the sudden death of l ou Har- rison, the first memorial tribute for this musical maverick took place at the u niversity of California, Santa Cruz r ecital Hall. o rganized by musi- cologist/flutist l eta e . m iller and Harrison archivist Charles Hanson, the memorial honored Harrison’s rich, art-filled life by intertwining many of his wide-ran ging creative interests. Spoken reminiscences were joined with a display of several of Harrison’s paintings, readings of his poetry, video presentations of dance performances for which Harrison had writ- ten the music, and performances of a handful of his compositions. m usic selections included an early work for flute and cello, a recently discov- ered piece for tubular bells (constructed by Harrison and his partner, w illiam Colvig), a work for guitar, and a composition for piano. but it was the memorial’s final performance—Harrison’s Threnody for Carlos Chávez, played by Geraldine w alther on viola and by Gamelan Sekar Kembar, directed by t rish Neilsen—that best captured the complexity of Harrison’s artistic vision.

Journal

American MusicUniversity of Illinois Press

Published: Jul 26, 2015

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