Crimson rosella : for fortepiano and glass armonica
by Ann Carr-Boyd (2015, this version: 2018)
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Version: This product features the Duos: 2 Harpsichords version of this work
Library shelf no. CD 2924 [Available for loan]
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Library shelf no. 785.3912/CAR 1 [Not for loan]
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In order to perform the work to full effect, at least one
harpsichord should have two manuals. This applies especially to
the second section in which Harpsichord Two freely interjects
snatches of melody against the constant pattern of notes of
Harpsichord One, which plays closely pitched notes at speed using
the two manuals of the harpsichord. This also applies to the last
section - the 'Fandango' section - in which resonance is also
built by utilising the two keyboards of harpsichord one.
The Suite is named in honour of one of Australia's most spectacular and beautiful birds.
In the first of four sections, a 'whimsical andantino', the melody and the music built around it were taken and adapted from an earlier work in which a snippet of melody is the basis for a brief nostalgic waltz. In the second section the interjections from Harpsichord
Two are stylised snatches of birdsong. Next there is a Tango, again based on the little whimsical snatch of melody from the opening section. The last section consists of adaptation of my mandolin piece Fandango for mandolins - a transfer of music written for one type of plucked instrument (the mandolin) to another (the harpsichord). This adaptation of Fandango was a special request from Diana Weston - and hearing her interpretation together with Michael Tsalka on the second harpsichord, I must say that this two harpsichord version works well.
Parts of the work could be enhanced with the addition of acoustic guitar, especially in the middle section of 'Fandango'.
Year: 2015, this version: 2018
Instrumentation: Fortepiano, glass armonica. Can be played with alternative instrumentations such as harpsichord, piano with vibraphone or keyboard using vibraphone sound.
Duration: 4 min.
Crimson Rosella was commissioned by Diana Weston in 2016 for performance by herself and Michael Tsalka on two harpsichords. The original work is in four sections. In 2017, when Michael Tsalka asked me to compose a short work for forte piano and glass armonica, I immediately thought that the first section of this four movement piece would adapt well as an arrangement for these two instruments.
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