John Harbison is one of America's most prominent and popular contemporary composers. Among his principal works are three string quartets, three symphonies, the cantata The Flight Into Egypt, which earned him a Pulitzer Prize in 1987, and three operas including The Great Gatsby, commissioned by the Metropolitan Opera and premiered to great acclaim in December 1999.
The Rewaking is a setting of four late poems by William Carlos Williams. It was commissioned by the Pittsburgh Music Society for the soprano Benita Valente and the Juilliard String Quartet and premiered by them in 1991. The composer is at pains to point out that the work is neither 'a quartet with vocal apotheosis, like Schoenberg's Second, nor a song cycle with string accompaniment'. He claims it to be, instead,' a quintet in which the theme of "rewaking" from a winter of the spirit is carried forward equally by all five performers'. Well, the composer knows best, as they say, but any work which features a soprano soloist and string quartet is bound to invite certain comparisons with the Schoenberg. Indeed, if one remembers the Viennese master's handling of his formal material, and the way the singer magically floats in with Stefan Georg's prophetic words, 'I feel the air blowing from another planet', we do not seem to be too far from Harbison's sound world. However, repeated hearings confirm the composer's intention of interplay between five equal partners to be entirely valid. The piece opens with what is effectively a prelude that, in time honoured tradition, sets out the main melodic material of virtually the rest of the work. Given the title of this movement, 'The Woodthrush', it is no surprise to hear in the soprano's first entry a melismatic, decorative theme (wordless at first) that portrays its subject in vocal terms, with sinewy string counterpoint and continuous overlapping of instruments further enhancing the imitative effect. There is a magical moment at 4'33'' (significant?) when the accompaniment stops and the soprano sings wistfully, '...he looks at me silent - without moving...'
The second movement, 'To a Woodpecker' is again imitative of its subject, with repetitious, insistent patterns of sound that are as obsessive as the bird (Harbison talks about having literally transcribed the rhythms on his Wisconsin farm). The singer has angular thematic lines, often in unison with the strings, but the recurring patterns give it a short 'scherzo' - like feel. In the third movement, 'The Lady Speaks', tempestuous, dissonant chords portray the buffeting of a storm and 'tragic winter thoughts', out of which the lady does indeed speak, but this time of endurance and persistence. The finale is 'The Rewaking', in which the symbolism of the poetry - the new found hope after a winter of the spirit - is amply portrayed in the most 'American' sounding music in the piece. The big, openly Romantic harmonies underpin lines such as " ..and so by your love the very sun itself is revived..." and could easily tip over into sentimentality; it is to the composer's credit that he never allows this to happen. Indeed the very ending, with its strange glissandi and use of high harmonics, has a rather icy, uncomfortable feel that is anything but reassuring. The performances are exemplary, with the quintet blending beautifully and holding rock-steady intonation.
The other major piece on this disc is the 3rd String Quartet, a single 22 minute movement which, in its long unbroken sweep, effectively encompasses many moods. The composer shows us (on disc 2) how all the material is based on a hymn-like theme stated at the outset; this tune becomes a sort of 'cantus firmus' (literally 'fixed melody') that forms the backbone of the work, evoking as it does the tradition of American hymn singing and the much older tradition of plainsong. The overall impression is of hymnodic chant, with much homophonic or near-unison writing consciously avoiding the typical contrapuntal interpl
Read more...