Lou Harrison, Concerto in Slendro.

Lou Harrison, Concerto in Slendro, 1. Allegro 2. Molto Adagio 3. Allegro; Molto Vigoroso. Daniel Kobialka, violin; Machiko Kobialka, tack piano I; James Barbagallo, tack piano II; Patricia Jennerjohn, celesta; Don Marconi, Jerome Neff, percussion; Robert Hughes, conductor. Lou Harrison wrote "The 'Concerto in Slendro' was mostly composed in 1961 aboard the S.S. New York en route to Japan. It is filled with my eager anticipation of the first taste of the beauty and bustle of Asia. The title derives from the fine Indonesian theoretical term denoting a five-tone mode in which the 'seconds' are roughly, 'major' (or large) and the 'thirds' 'minor' (or small). A complementary term 'Pelog' refers to the opposite kind of mode...'seconds' small and 'thirds' wide. This Concerto uses two Slendro type modes only... These two modes are perhaps the most common and generally loved of all man's modes- the first is practically the 'Human Song'... the two modes are heard in correct 'just intonation'...." And now my personal note. For any of us, fortunate to be able to attend any Lou Harrison composition seminar, it was clear from the beginning his profound admiration for the sheer beauty of sound in oriental music. Specifically, he valued the "untempered" scales based on the natural harmonic overtone series as opposed to the "tempered" scales prevalent in western music. He envisioned "just intonation" intervals as universal to all mankind not only on a musical level but as part of a deeper philosophical value. As a teacher, his enthusiasm inspired us all, to think anew, open-up, internalize, and explore, explore, explore..., new ways, unknown directions.