1825123
White Mares of the Moon
1825123
1825123
1825123
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Chamber Music Flute, Harp
SKU: PR.164001780
For Flute and Harp. Composed by Dan Welcher. Classical. Score and parts. With Standard notation. Composed Apr-86. Duration 0:07:00. Theodore Presser Company #164-00178. Published by Theodore Presser Company (PR.164001780).
UPC: 680160037056.
The American imagist poet Amy Lowell (1874-1925) provided both the title and the substance for this brief descriptive work in her poem Night Clouds. I had been commissioned by the flute/harp duo Chaski to write a piece that had a different sound than most flute and harp pieces. The image of these elusive beasts cavorting through the night, before the appearance of the tiger sun, seemed to me perfectly suited for the flute and harp and would give me the chance to write a work for that combination that did NOT have overtones of nymphs and shepherds. I wanted to make much use of the harp's more violent sounds (beating the strings and the soundboard, for instance) as well as its unusual and idiomatic effects, such as pedal glissandi. For the flute, there are jet-whistle effects, extremes of register, pitch-bending and other decidedly non-pastoral gestures. The work was composed in 1986. --Dan Welcher.
Chamber Music Flute, Harp
SKU: PR.164001780
For Flute and Harp. Composed by Dan Welcher. Classical. Score and parts. With Standard notation. Composed Apr-86. Duration 0:07:00. Theodore Presser Company #164-00178. Published by Theodore Presser Company (PR.164001780).
UPC: 680160037056.
The American imagist poet Amy Lowell (1874-1925) provided both the title and the substance for this brief descriptive work in her poem Night Clouds. I had been commissioned by the flute/harp duo Chaski to write a piece that had a different sound than most flute and harp pieces. The image of these elusive beasts cavorting through the night, before the appearance of the tiger sun, seemed to me perfectly suited for the flute and harp and would give me the chance to write a work for that combination that did NOT have overtones of nymphs and shepherds. I wanted to make much use of the harp's more violent sounds (beating the strings and the soundboard, for instance) as well as its unusual and idiomatic effects, such as pedal glissandi. For the flute, there are jet-whistle effects, extremes of register, pitch-bending and other decidedly non-pastoral gestures. The work was composed in 1986. --Dan Welcher.
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