SKU: UT.MAG-265

ISBN 9790215326422. 9 x 12 inches.

Posse’s compositions for harp are rich and varied, and range from the easy pieces dedicated to his students to the virtuoso concert pieces; we must also remember his didactic works, in particular the ‘Six Small Studies’ and the universally known ‘Eight Great Concert Studies’.
It is not easy to draw a balance of his legacy in the harp world. On one hand his technical vision of virtuosity combined with a great stability of the hand and rigor of the fingerings certainly contributed to the development of the 20th Century harp technique; on the other hand, his use of the pedals, often driven by two together with the same foot (a very old French technique), has gradually become more and more difficult on modern harps. From the point of view of his contribution to the harp repertoire, the constant run-up to the piano has heavily influenced his compositional production, making him often completely miss the idiomatic effects of 19th Century harp music (except for the use of harmonic sounds), which were so loved by his friend Liszt in the compositions of Parish Alvars.

SKU: PR.ZM12500

SKU: PR.ZM12490

SKU: PR.ZM16360

SKU: PR.ZM12520

UPC: 680160647668.

SKU: PR.ZM12540

UPC: 680160647675.

SKU: PR.ZM19730

SKU: HL.14042523

ISBN 9788759826911.

To Mediterrane Meditiationer / Two Mediterranean Meditations for Piano solo was composed by Per Nørgård in 1980. Dedicated Ragnhild Toft. 

1. Græsk motiv (Greek motif) 
2. Medstrømme (Cocurrent) 

The piano pieces (Two Mediterranean meditations) was inspired by a little town, Isternia, in the Greek island Tinos. During a stay there I was captured by the timeless peace that emitted from the shimmering white sculptured steps, and by the sounds in the narrow streets, creating an atmosphere of balanced activity on the background of a meditative silence. The pianopieces are related to the work “Isternia” (1979, for cimbalon solo, later rewritten for other instruments); the music seems to possess a certain timeless or rather ´genre-less´ character; this is effected through the use of archetypal melodies and meters changed in a rather ´cubistic´ way. In this respect the work is related to my “Sonora” (for flute and harp) and the duet “Medstrøms og modstrøms” (“Cocurrent & countercurrent”) 

Per Nørgård