Repertoire for harp and orchestra is rare, with the Mozart Concerto for flute, harp, and orchestra in C major, K. 299, among the only standard repertory works. That American harpist Elizabeth Hainen manages to avoid that work is notable; that she delivers a largely interesting program without it is impressive. The major find here is the Harp Concerto in G minor, Op. 81, by virtually unknown British harpist-composer Elias Parish Alvars. The work was composed in 1842. It was clearly written for Alvars' own use, but only in ...
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Repertoire for harp and orchestra is rare, with the Mozart Concerto for flute, harp, and orchestra in C major, K. 299, among the only standard repertory works. That American harpist Elizabeth Hainen manages to avoid that work is notable; that she delivers a largely interesting program without it is impressive. The major find here is the Harp Concerto in G minor, Op. 81, by virtually unknown British harpist-composer Elias Parish Alvars. The work was composed in 1842. It was clearly written for Alvars' own use, but only in the slow movement are there hints of the Paganini virtuoso model, and even there they are subtly deployed. The opening movement, which adapts Schumann's broad forms to virtuoso requirements, is as beautifully written for its instrument as anything could be, and Hainen is a remarkably clear, graceful player. The Morceau de concert for harp and orchestra, Op. 154, of Saint-Saëns is also remarkably idiomatic; this sweeping, rhapsodic work is another forgotten piece of French music of a...
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