The final movement of the Sonata in A major KV 331 by Wolfgang Amadeus Mozart, the Rondo Alla Turca, is one of the most famous piano pieces of all time. Once only familiar to musical experts, later a universal piece for all piano pupils, its opening melody is now even omnipresent as an alienated sinus tone-like mobile phone ring tone.
Fazil Say\'s arrangement, originally created as an effective encore, follows on from this popularity. After the first eight bars have been presented in original form, typical elements of jazz superimposed on the still recognisable classical foundations can be discovered, such as syncopation of the top notes and ornamentation through chromatic blue notes, embedded in the at times frenzied chains of semiquavers. In the spirit of the work\'s improvisatory character, Say likes to perfom his Alla Turca Jazz in different combinations, for example accompanied by jazz singers of with orchestra.

It may appear strange that Fazil Say, who was born in Turkey and - when not on tour - is still resident in that country, does not bring back Mozart\'s interpretation of genuine Turkish music closer to its own roots, particularly as many of his compositions such as Black Earth or the Violin Sonata are characterised by a subtle amalgamation of the Classical-Romantic tradition, Turkish folk music and elements of jazz. In a further Mozart arrangement, the ballet music Patara premiered in Vienna in 2006, composed on the basis of the Rococo-like theme from the first movement of the same A-major Sonata (wich enjoys almost as great popularity as the Alla Turca theme), Say utilised the connection which was absent in Alla Turca, albeit in the opposite direction. In the ballet music, the piano symbolises Western culture and the Ney flute Oriental culture, communcated atmosperically by austere percussion instrumentation and soprano vocalisation.

The very popular piece was now arranged for harp by Ekaterina Afanasieva.

This hauntingly beautiful three-part harp ensemble was commissioned for the opening of a new 2000-seat concert facility, Strathmore Music Hall, in Bethesda, Maryland. Dance of the Harps is presented with an underlying 3/4 accompaniment of swaying rhythm. The melody is shared between the first and second parts, while the third part provides underlying rhythm. The melody develops and expands and is followed by a sharply contrasting middle section, which is much faster and jig-like. In this section, the harps let loose in their dance, which has become spirited and playful. Following this faster middle section, the ensemble returns to the original melody, but with greater intensity and rhythmic vitality. As the piece comes to its dramatic conclusion, layer upon layer of rich harmonies unfold and become increasingly intense, culminating in a bell-like explosion of syncopated celebratory sound. The piece can be played by an ensemble of all level intermediate lever or pedal harpists, as each of the three parts is written with a different degree of technical difficulty.

This solo harp arrangement of the Sailor Moon opening theme (Moonlight Densetsu) is written for both pedal and lever harp. Performance of this piece and links to iTunes, Spotify, Amazon music, etc. and#65279;may be seen on Harpsona's YouTube channel https://youtu.be/Gsnh8qoaznI