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Oskar Morawetz Concerto for Harp and Chamber Orchestra, 1976 Commissioned by: Edward Johnson Music Foundation for the 1976 Guelph Spring Festival, Erica Goodman, harp “Far from restricting himself to the gentle wash of sound one usually expects from a harp, Morawetz compels his soloist to respond vigorously to the wit and drama of a richly colored score.” Eric Dawson, Calgary Herald, Saturday, October 4, 1986 “Morawetz’s three movement Concerto for Harp is a true tour-de-force. Dr. V. Sedivy writes that “from the stylistic point of view, this concerto has a special place in the literature of harp music; Morawetz avoids completely the traditional use of the harp, full of arpeggios and broken chords, used not only in the nineteenth century but to a great extent even in this century by Debussy and Ravel. On the other hand, the special colours are used mostly to give the themes new meaning at each appearance but never as the essence of the composition. Therefore, the harp emerges in this work with many so far unexplored possibilities without sacrificing the natural flow of the music.”
Oskar Morawetz Concerto for Harp and Chamber Orchestra, 1976 Commandé par : Fondation de musique Edward Johnson pour le Festival de printemps de Guelph en 1976, Erica Goodman, harpe « Loin de vouloir s’empêcher d’écrire une musique de sons en douceur qu’on associe à la harpe, Morawetz implore le soliste de répondre vigoureusement à l’astuce et au drame d’une partition hautement colorée. » Eric Dawson, Calgary Herald, samedi le 4 octobre 1986 « Le Concerto pour harpe et orchestre de chambre, est un véritable tour de force. Le Dr. V. Sedivy écrit : ‘du point de vue stylistique, ce concerto s’impose dans le répertoire musical de la harpe ; Morawetz évite catégoriquement l’utilisation traditionnelle de la harpe, des arpèges complètes et des accords brisés utilisés non seulement durant le XIXe siècle mais aussi assidûment durant ce siècle par Debussy et Ravel. Par contre, les couleurs spéciales sont employées pour donner un nouveau sens aux thèmes à chaque reprise mais elles ne constituent jamais l’essence même de la composition. Donc, la harpe émerge de cette œuvre avec beaucoup de possibilités inexplorées sans pour autant sacrifier la courant naturel de la musique.’ »
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