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Tenth
World Harp Congress 2008 in Amsterdam
17:00 – 18:00 Concert
Grupo de Música Contemporânea de Lisboa:
João Paulo Santos conductor
João Pereira Coutinho flute
Tanja van der Kooij oboe
Luís Gomes clarinet
Gretha Tuls bassoon
Sérgio Pacheco trumpet
Hans van der Zanden horn
José Machado violin
Anna McMichael violin
Ricardo Mateus viola
Jorge Sá Machado violoncello
Quirijn van Regteren Altena double bass
Abel Cardoso percussion
Luís Cascão percussion
Francisco Monteiro piano
Harp - Lucy Wakeford (UK)
Elliott Carter (b. 1908) Mosaic for harp and ensemble (2004)
The Times [London] called Mosaic ‘a scintillating memory
of [Carter’s] youthful friendship with harp wizard Carlos Salzedo. First, a
harp statement; then an instrumental response. But this bare structural
design gives no indication of the playful humor, the jostling arpeggios and
ingenious devices squeezed into its pages. Not every harpist in a modern
score is allowed to explore the instrument’s full resources; Lucy Wakeford
was lucky.’ Noted The Independent, ‘There are wonderful things in
the piece…from almost every kind of harp sound and playing style you could
imagine to the showcasing of viola and oboe in fine melodic profile amid the
accompanying ensemble activity.’
Harp - Mario Falcao (Portugal/USA)
Jorge Peixinho (1940-1995) Concerto for harp
‘Harp Concerto and Ensemble marks the culminant point of the
active presence of this instrument in my composition. More than a solo
instrument, the harp assumes here a catalyser function of all the musical
speech, as a driving element, mediator, unifier, dominant. This is evident
when we observe the course of the piece, as the harp surge as a flux (almost)
constantly in all along, articulating and modelating all of its formal
structure. Structuring fundamental elements (metric levels, rhitmic, agogic)
are in systematic interdependence with the basic structural factors (intervals,
harmonic fields and process). The piece is dedicated to Mário Falcão and
Clotilde Rosa, that knew how to place harp in the center of our
contemporaneity.’ - Jorge Peixinho
Harp - Şirin Pancaroğlu (Turkey)
Hasan Uçarsu (b. 1965) Uninvited Guests (2007)
Concerto for harp & çeng
(old Turkish harp, rebuilt)
The çeng is a twenty-four-string open lap harp which was a prestigious
instrument in Ottoman court music from the middle ages until the seventeenth
century. It was also favoured in Persia and in the music of a number of
other Near Eastern dynasties. The çeng was closely associated with poetic,
intellectual meetings and had a cultural meaning as a representative of deep
sophisticated values of the rich past. Due to its frail frame and limited
capacity of modulation it gradually fell into disuse. The çeng simply couldn’t
keep in step with the developing needs of music.
To compose a work for a forgotten eastern instrument of this nature and
its modern western counterpart, the musical traditions they belong to had to
be approached by an inter-cultural attempt to bring out certain cross
musico-cultural relationships between them.
The structure of the work basically follows an enlarged version of the
typical instrumental form of traditional Ottoman music which can be
represented sectionally as ABCBDB. In this form, the B
section which is traditionally called teslim (to deliver, submit,
admit, give up, surrender), is the most important of all; not only because
it is repeated after each section but also because of its end-oriented
structure. Indeed it has a beautifully embroidered and peaceful character of
closure which arrives to the main mode and tonic after resisting for a while
and then gives itself up to the natural gravity of the tonic.
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