Original Manuscript Edition-Almost 100 years after the first publication of Debussy's Sonate Pour Flute Alto Et Harpe by Durand et Cie this seminal work in the chamber music literature has been meticulously compared contrasted and corrected against Debussy's handwritten and autographed 1915 manuscript. Using photographs provided by the National Library of France harpist Carl Swanson has documented and corrected nearly 300 discrepancies between the composer's intent and the Durand 1916 edition.The corrections made in this edition consist of musical indications being omitted misplaced or inverted; dynamic markings that are in the manuscriptbut not the printed version have been added wrong and misaligned notes have been corrected musical indications previously omitted in individual parts have been added and intended durations of dynamic and tempo changes have been corrected.Debussy was one of the first composers to make extensive use of musical indications and was extremely meticulous in his scores. To read a score of his with missing misplaced or wrong directions is a significant as reading a score with missing or incorrect notes. Now for the first time in history Debussy's Sonate Pour Flute Alto Et Harpe has been printed exactly as the composer intended.

Appartenant à la catégorie Classique la partition Piwit (Cor solo, Flute, Basson, Harpe, Piano, Vibraphone,quatuor à cordes) Defaye Jean-Michel est éditée par la maison d'édition Robert Martin. Sa référence catalogue est SL10024. / Ensemble Instrumental / Partition

La référence FP 281 de l'éditeur Fertile Plaine dont l'auteur célèbre est Dondeyne Désiré, qui a pour titre Tryptique pour harpe solo et sextuor ( Flute, hautbois, clarinette, cor, basson, contrebasse ), a été écrite et composée pour Harpe et plus particulièrement pour Harpe Et Instruments Divers. Cette partition musicale appartient à la catégorie Classique. / Harpe Et Instruments Divers / Partition

The Nash Ensemble commissioned Richard Rodney Bennett to write Sonata After Syrinx for Flute Viola and Harp. The work was inspired by Debussy's Syrinx for Solo Flute and the score directs that Sonata After Syrinx should always be preceded by a performance of the Debussy work. Composer performer and arranger Richard Rodney Bennett was internationally respected for his serious music and many award-winning film scores (Murder on the Orient Express Nicholas and Alexandra) as well as his works for children and his religious pieces. In addition this markedly versatile musician frequently performed as a jazz pianist. On his move to the United States the two sponsors for hisgreen card (work permit) were Leonard Bernstein and Stephen Sondheim.

Pastoreles De Noël by André Jolivet is a piece for Flute Bassoon and the Harp lasting nearly 13 minutes. This piece is really gentle and restrained which demonstrates the quality of Jolivet’s work but also reflects that period of WWII when France was under occupation. These scores are of medium level of ability. Pastoreles De Noël features four sections: L’étoile (the Star) Les Mages (the Wisemen) La Vierge et l’Enfant (the Virgin and the Child) and Entrée et Danse des Bergers (the Shepherds’ dance). Each of these parts describes a part of theChristmas story starting with the Flute and the Bassoon in a duet followed by the entrance of the Harp to settle the first part. The second section is quieter expressing the walk in the desert. The Virgin and the Child is like a lullaby and the piece finishes on a joyful dance to express happiness and devotion. André Jolivet is a French composer who was really inspired by the Antiquity and had a strong interest for atonality. He also wrote many chamber music pieces eleven concertos some orchestral and some vocal music.

For Flute, Clarinet In Bb, Harp, and String Quartet. Par LASH HANNAH. Form and Postlude is a piece in one continuous movement but with a distinct postlude which ends the work. I play throughout with the idea of pacing on many levels: the largest level is the idea of proportion of sections to one another, then harmonic rhythm (in the broad sense), then harmonic rhythm on a more local level, and of course then on the surface of the music there is instrumental texture and how fast the notes go by. Along with this sense of play in terms of the pacing and motion is the idea of color. I love this ensemble, and its palette of color has been part of my DNA, as it were, for many years, because Ravel’s wonderful work Introduction et Allegro is such a cornerstone in the harpist’s repertoire. While composing, I found myself feeling that I was entering into this colorful world that is possible with this combination of instruments, almost as if it were possible to step into a painter’s palette in a real and visceral way, physically interacting with all the different colors. The title Form and Postlude nods to Ravel’s Introduction et Allegro, although my piece lives in its own very distinct space apart from Ravel. – Hannah Lash/ Répertoire / Flûte Traversière, Clarinette, Harpe et Quatuor à