Roy Harris

Harris writes with sweeping, asymmetrical melodies and wide-open harmonies that evoke American plains and spaces—his music has a modal quality derived from folk traditions. His orchestration favors clear textures and transparent counterpoint, his forms are often continuous and organic rather than sectional. There's an optimistic, pioneering spirit to his music, and his rhythms often have the freedom of speech-patterns rather than metric regularity.

He studied with Nadia Boulanger in Paris, absorbing French clarity while maintaining American identity. Copland was a colleague in creating distinctly American concert music. Folk music and hymn traditions shaped his melodic and harmonic language. He represented the American symphonic tradition alongside Schuman and Piston.

His late start meant early works came in his 30s. The 1930s brought his mature style with the Third Symphony establishing his reputation. His middle period was highly productive with numerous symphonies and other works. Later works maintained his style even as musical fashion moved toward serialism and other trends he rejected.

Harris grew up on a farm in Oklahoma and didn't begin serious music study until his twenties—this late start gave his music a certain rugged, self-taught quality, and he saw himself as representing American pioneer spirit through music. His background was utterly different from European-trained composers.

Harris married five times and had numerous affairs—his personal life was as turbulent as his music was expansive, and several relationships with fellow musicians influenced his work.

Harris's Third Symphony appears regularly on American orchestras' programs and is considered essential American repertoire. His other symphonies are under-programmed, and his chamber music is known primarily to specialists. There's room for Harris revival beyond the famous Third—his body of work deserves broader exploration.