23600923
Fault Line
23600923
23600923
23600923
Copyright Material for Preview Only - Sheet Music Plus
Harp (Harp Part)
SKU: HL.2033987
For Solo Harp. Composed by Stephen Hartke. LKM Music. Classical. Softcover. Duration 420 seconds. Lauren Keiser Music Publishing #X550004. Published by Lauren Keiser Music Publishing (HL.2033987).
UPC: 196288380566.
This chromatic etude for solo Harp was written in the winter-spring of 2020-2021, after a sketch made in Philadelphia in the spring of 1975. Program note from Stephen Hartke: “Fault Line is based on a sketch for a chromatic harp etude I made in early 1975 and which I found myself curious to revisit when Yolanda invited me to contribute to her Five Minutes for Earth project. The opening bars come from that sketch, but thereafter the music found itself going in different directions, but still rooted in those initial gnarly, grinding sonorities. It was Yolanda herself who offered the title, and I happily seized upon it as I felt it matched the sonic world evoked in the piece with its extensive and angular use of pedal glissandos and the dramatic intrusions of pedal buzzes.”Recorded by Yolanda Kondonassis on Azica 71349.
Harp (Harp Part)
SKU: HL.2033987
For Solo Harp. Composed by Stephen Hartke. LKM Music. Classical. Softcover. Duration 420 seconds. Lauren Keiser Music Publishing #X550004. Published by Lauren Keiser Music Publishing (HL.2033987).
UPC: 196288380566.
This chromatic etude for solo Harp was written in the winter-spring of 2020-2021, after a sketch made in Philadelphia in the spring of 1975. Program note from Stephen Hartke: “Fault Line is based on a sketch for a chromatic harp etude I made in early 1975 and which I found myself curious to revisit when Yolanda invited me to contribute to her Five Minutes for Earth project. The opening bars come from that sketch, but thereafter the music found itself going in different directions, but still rooted in those initial gnarly, grinding sonorities. It was Yolanda herself who offered the title, and I happily seized upon it as I felt it matched the sonic world evoked in the piece with its extensive and angular use of pedal glissandos and the dramatic intrusions of pedal buzzes.”Recorded by Yolanda Kondonassis on Azica 71349.
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