By Enrique Granados (1867-1916). For flute and harp (or piano). Classical. Score. 19 7 pages. Published by Editions Henry Lemoine

By Nino Mazzoni. For Flute and Harp. Score and Parts. Published by Ut Orpheus. (MAG 66)

Eight Pieces for Flute and Harp. By Ned Rorem. Boosey and Hawkes Chamber Music. Size 8.5x11 inches. 24 pages. Published by Boosey & Hawkes.

Chamber Music Flute, Harp

SKU: PR.164001780

For Flute and Harp. Composed by Dan Welcher. Classical. Set of Score and Parts. With Standard notation. Composed Apr-86. Duration 7 minutes. Theodore Presser Company #164-00178. Published by Theodore Presser Company (PR.164001780).

UPC: 680160037056.

The American imagist poet Amy Lowell (1874-1925) provided both the title and the substance for this brief descriptive work in her poem Night Clouds. I had been commissioned by the flute/harp duo Chaski to write a piece that had a different sound than most flute and harp pieces. The image of these elusive beasts cavorting through the night, before the appearance of the tiger sun, seemed to me perfectly suited for the flute and harp and would give me the chance to write a work for that combination that did NOT have overtones of nymphs and shepherds. I wanted to make much use of the harp's more violent sounds (beating the strings and the soundboard, for instance) as well as its unusual and idiomatic effects, such as pedal glissandi. For the flute, there are jet-whistle effects, extremes of register, pitch-bending and other decidedly non-pastoral gestures. The work was composed in 1986.   --Dan Welcher.

Flute and Harp

SKU: HL.14021002

Composed by Sir Peter Maxwell Davies. Music Sales America. Classical. Book [Softcover]. Composed 1999. 10 pages. Chester Music #CH60938. Published by Chester Music (HL.14021002).

ISBN 9780711955103. 9.0x12.0x0.054 inches.

Two dances for flute and harp from Peter Maxwell Davies' ballet Caroline Mathilde. A new instrumentation restores this linked pair of dances from Davies's second full-length ballet, Caroline Mathilde based on the story of the eighteenth-century British princess sent in marriage to Denmark, to the eighteenth-century milieu of the work's setting and musical world. The period manners - a gavotte in the first dance, a gigue at the start of the second - are typically overlaid with the composer's Scottishness. In general the harp has an accompanying role, but it comes forward alone in the second movement, which ends with bravura from both instruments. These two dances were first performed in September 1993 at the Northlands Festival by David Nicholson and Eluned Pierce. Score and flute part. Duration c. 5mins. Harp part edited by Elune Pierce.