Suite for Harp and Cello (2024)
cello, harp
cello, harp
Performed April 18, 2024, Amanda Kengor (harp) and Emil Olejnik (cello).
Score & Part (digital download): $20.00
Score Only (digital download): $12.00 Score & Part (hard copy): $30.00 + shipping Score Only (hard copy): $18.00 + shipping |
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Program Note
Although the term “suite” has carried different implications throughout history—from a more-or-less defined set of dances in the 17th century to a collection of concert excerpts from a ballet or film in the 20th century—the basic definition of suite has remained constant: simply put, a “suite” can refer to any piece with multiple movements. In the case of this Suite for Harp and Cello, five movements are linked together without pause in a single arc that weaves in and out of different musical traditions and eras.
At the outset, the Prelude introduces a rhapsodic sound-world filled with ornaments, improvisation, and expressive lines that trail off one after another. Next, the Air—a Baroque term for any songlike movement—introduces a kaleidoscope of lilting rhythms against the stability of a pedal point (a constantly repeated note). The Toccata breaks the spell of the Air, exposing both performers to a whirlwind of rhythmic virtuosity and dancelike intensity. After a brief Ritornello—a “return” to the music from the Prelude—the Suite concludes with a Finale which soars to the very end.
—Jacob Beranek
Although the term “suite” has carried different implications throughout history—from a more-or-less defined set of dances in the 17th century to a collection of concert excerpts from a ballet or film in the 20th century—the basic definition of suite has remained constant: simply put, a “suite” can refer to any piece with multiple movements. In the case of this Suite for Harp and Cello, five movements are linked together without pause in a single arc that weaves in and out of different musical traditions and eras.
At the outset, the Prelude introduces a rhapsodic sound-world filled with ornaments, improvisation, and expressive lines that trail off one after another. Next, the Air—a Baroque term for any songlike movement—introduces a kaleidoscope of lilting rhythms against the stability of a pedal point (a constantly repeated note). The Toccata breaks the spell of the Air, exposing both performers to a whirlwind of rhythmic virtuosity and dancelike intensity. After a brief Ritornello—a “return” to the music from the Prelude—the Suite concludes with a Finale which soars to the very end.
—Jacob Beranek
