Commentators have found echoes of composers from Schubert to Bruckner and Elgar in these chamber works by Irish composer Hamilton Harty, whose works have been rediscovered along with the rest of the non-avant-garde scene of the beginning of the 20th century. Much of the stylistic diversity can be explained with reference to Dvorák, who was the logical figure for a young Irish composer to emulate, and whose late music encompassed everything from Brahms to folk material to salon music. Harty offers Irish-flavored melodies ...
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Commentators have found echoes of composers from Schubert to Bruckner and Elgar in these chamber works by Irish composer Hamilton Harty, whose works have been rediscovered along with the rest of the non-avant-garde scene of the beginning of the 20th century. Much of the stylistic diversity can be explained with reference to Dvorák, who was the logical figure for a young Irish composer to emulate, and whose late music encompassed everything from Brahms to folk material to salon music. Harty offers Irish-flavored melodies here, but also Slavic and French sounds (Franck's Piano Quintet in F minor, Op. 14, is an influence on Harty's quintet), and it's not always easy to tell which national tradition is being referenced. But Harty kept his melodic gift afloat in the face of these foreign influences (and a few domestic ones), and Australia's Goldner Quartet, with pianist Piers Lane in the quintet, achieves suitably lyrical readings. The composer favors the introduction of unusual string effects as a movement...
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