Classic CD: Ross Harris: Cello Concerto/Symphony No 4

Ross Harris Symphony No 4.

Classic CD
Ross Harris: Cello Concerto/Symphony No 4 (Naxos)
Verdict: Naxos celebrates a very special Kiwi partnership of orchestra and composer Auckland Philharmonia Orchestra's second collection of the orchestral music of Ross Harris is a major contribution to the ever-growing storehouse of our country's classical music.

This CD, beautifully produced by Wayne Laird and expertly engineered by Adrian Hollay, presents two 2011 works, the Cello Concerto and Symphony No4.

For some, this disc will be a much-appreciated souvenir of two concert hall triumphs; for others, it offers a glimpse of the extraordinary partnership between a fine composer and a committed orchestra.

The Concerto is cast in a single movement of just under 25 minutes. Originally described by Harris as an ascension from darkness to light, its journey could not have been undertaken by a more eloquent protagonist than Australian cellist Li-Wei Qin.

This recording confirms first-night impressions of an inspired soloist; Li-Wei draws such vibrant pathos from the lyrical passages and yet astonishes with his ferocity when playing the virtuoso card.

The orchestra is in top form, responding with ease and finesse to an intricate score.

With hindsight and the luxury of being able to revisit this performance, I am even more impressed by the terrier-like persistence of Scottish conductor Garry Walker pursuing the symphonic arguments set before him.

The Symphony No4, conducted by Australian fellow-composer Brett Dean in 2012, is dedicated to the memory of Harris' friend and collaborator, songwriter Mahinarangi Tocker.

A rich and sometimes dark-hued cloak has been laid out in these pages, revealing a remarkable skill in bringing together disparate musical elements.

The various links with Tocker are explained in the programme note, although those familiar with her music will doubly appreciate hearing her song My Love Be Strong unleashing the first movement's seascape.

Towards the end of the symphony, the anger that breaks out during the fourth movement eventually finds peace and acceptance in the finale.

Principal viola Robert Ashworth, who acquits himself magnificently with Harris' musical demands, closes the piece, recalling Tocker's Forever.

The songwriter talks here of her grave being blossomed with stories of old, spoken to song; a heritage for which Ross Harris has created a new and resonant kete.