Located in the UK
Located in the USA
Located in Europe
- Carlos Chávez
Trio (1940)
- Carlanita Music (World)
Programme Note
Transcriptions of works by Claude Debussy and Manuel de Falla
Movements:
The Snow is Dancing (Debussy)
Asturiana (Falla)
Polo (Falla)
Golliwogg's Cakewalk (Debussy)
Program Note:
In January of 1938, Samuel R. Rosenbaum approached Carlos Chávez hoping the celebrated Mexican composer would be willing to write a concerto for harp and orchestra. A prominent Philadelphia lawyer and businessman, Rosenbaum owned the radio station WFII and served on the Philadelphia Orchestra board of directors. Rosenbaum's wife, Edna Phillips, was the Philadelphia Orchestra's principal harpist — the first woman to occupy such a position with a major American orchestra. A disciple of the legendary harpist and pedagogue Carlos Salzedo, Phillips was particularly intent in having a new work that she could perform with the orchestra in residence at her husband's radio station.
Chávez expressed great interest in the possibility of writing a new concerto for such an accomplished artist and at Ms. Phillips' suggestion wasted no time in gaining an acquaintance with Salzedo's innovative harp techniques. However, in March of 1938 Chávez received the breathtaking news that the John S. Guggenheim Memorial Foundation had awarded him a two-year fellowship that would allow him to entirely devote his creative energies to compose a piano concerto. Indeed, the Concerto for Piano and Orchestra completed in 1940, was first performed to much acclaim at Carnegie Hall on January 1, 1942 by Eugene List and the New York Philharmonic under the direction of Dimitri Mitropoulos.
Needless to say, Ms. Phillips and her husband were terribly disappointed that the composer's attention and efforts were diverted elsewhere. Unwilling to give up the opportunity of having a work by Chávez in her repertoire, Ms. Phillips eventually convinced the composer to write a work for her chamber ensemble consisting of flute, viola and harp. Indeed, flutist William Kincaid and violist Samuel Lifschey — her Philadelphia Orchestra colleagues — had a need for such work as they were frequently invited to perform chamber concerts throughout the Philadelphia area and elsewhere.
Chávez decided to transcribe two selections from the Children's Corner Suite by Claude Debussy and two songs from the Siete canciones populares españolas by Manuel De Falla. His savvy transcriptions provide the three instrumentalists with ample opportunity for technical display. Chávez brings to life Debussy's colorful piano writing skillfully employing harp glissandi, sonorous chords and harmonics. He also exploits the various timbres available in the viola such as right and left hand pizzicato, muted sounds and unexpected passages in high harmonics. And the flute gets the opportunity to showcase its versatility and all its registers, from the velvety low tones to the powerful and piercing high register.
For many years, Ms. Phillips and her colleagues enjoyed performing these masterful transcriptions while their ensemble was active. They welcomed this masterful and delightful addition to the flute-viola-harp repertoire. Chávez's incisive idea to envelope Falla's well-liked songs with Debussy's popular piano music resulted in what could be considered a new work jointly penned by three composers.
— Max Lifchitz, New York, 2015
Movements:
The Snow is Dancing (Debussy)
Asturiana (Falla)
Polo (Falla)
Golliwogg's Cakewalk (Debussy)
Program Note:
In January of 1938, Samuel R. Rosenbaum approached Carlos Chávez hoping the celebrated Mexican composer would be willing to write a concerto for harp and orchestra. A prominent Philadelphia lawyer and businessman, Rosenbaum owned the radio station WFII and served on the Philadelphia Orchestra board of directors. Rosenbaum's wife, Edna Phillips, was the Philadelphia Orchestra's principal harpist — the first woman to occupy such a position with a major American orchestra. A disciple of the legendary harpist and pedagogue Carlos Salzedo, Phillips was particularly intent in having a new work that she could perform with the orchestra in residence at her husband's radio station.
Chávez expressed great interest in the possibility of writing a new concerto for such an accomplished artist and at Ms. Phillips' suggestion wasted no time in gaining an acquaintance with Salzedo's innovative harp techniques. However, in March of 1938 Chávez received the breathtaking news that the John S. Guggenheim Memorial Foundation had awarded him a two-year fellowship that would allow him to entirely devote his creative energies to compose a piano concerto. Indeed, the Concerto for Piano and Orchestra completed in 1940, was first performed to much acclaim at Carnegie Hall on January 1, 1942 by Eugene List and the New York Philharmonic under the direction of Dimitri Mitropoulos.
Needless to say, Ms. Phillips and her husband were terribly disappointed that the composer's attention and efforts were diverted elsewhere. Unwilling to give up the opportunity of having a work by Chávez in her repertoire, Ms. Phillips eventually convinced the composer to write a work for her chamber ensemble consisting of flute, viola and harp. Indeed, flutist William Kincaid and violist Samuel Lifschey — her Philadelphia Orchestra colleagues — had a need for such work as they were frequently invited to perform chamber concerts throughout the Philadelphia area and elsewhere.
Chávez decided to transcribe two selections from the Children's Corner Suite by Claude Debussy and two songs from the Siete canciones populares españolas by Manuel De Falla. His savvy transcriptions provide the three instrumentalists with ample opportunity for technical display. Chávez brings to life Debussy's colorful piano writing skillfully employing harp glissandi, sonorous chords and harmonics. He also exploits the various timbres available in the viola such as right and left hand pizzicato, muted sounds and unexpected passages in high harmonics. And the flute gets the opportunity to showcase its versatility and all its registers, from the velvety low tones to the powerful and piercing high register.
For many years, Ms. Phillips and her colleagues enjoyed performing these masterful transcriptions while their ensemble was active. They welcomed this masterful and delightful addition to the flute-viola-harp repertoire. Chávez's incisive idea to envelope Falla's well-liked songs with Debussy's popular piano music resulted in what could be considered a new work jointly penned by three composers.
— Max Lifchitz, New York, 2015