Mezzo Soprano Voice and
Percussion - Grade 4
SKU: HL.14001357
Composed by Poul Rovsing
Olsen. Music Sales
America. Book Only.
Composed 2005. Edition
Wilhelm Hansen #WH29981.
Published by Edition
Wilhelm Hansen
(HL.14001357).
Alapa-Tarana
Op.41 for Mezzo-Soprano
and Percussion was
composed by Poul Rovsing
Olsen in 1959. Programme
note: I was encouraged by
the singer Jolanda Rodio
to write a piece for
mezzo-soprano and
percussion. In my mind
the idea immediately
awoke associations of
Indian or Arab music, in
which the combination of
drums together with
either an instrument or
voice is very common. In
a solo performance (as
opposed to choral and
ensemble performances)
the piece is called a
raga or a macam. A raga
or macam is a scale and
at the same time a number
of melodic formulas.
Further more, it is a
spiritual concept, a
specific raga or macam
expressing a specific
emotion. My piece isnot
based on any traditional
Indian raga or Arab
macam. The raga in my
piece is entirely my own
invention. The title is
derived from Indian
music, an ''Alapa being
the first, unaccompanied
part of a raga.
Traditionally, in the
Alapa the characteristics
of the raga are first
presented
improvisationally,
without strict metre,
followed by a section in
which the drums set in.
The latter can have
various forms. I have
chosen a variation form
called Tarana. (Poul
Rovsing Olsen 1960)
Alapa-Tarana
Op.41 for
Mezzo-Soprano and
Percussion was composed
by Poul Rovsing
Olsen in
1959.
Programme
note: I was encouraged by
the singer Jolanda Rodio
to write a piece for
mezzo-soprano and
percussion. In my mind
the idea immediately
awoke associations of
Indian or Arab music, in
which the combination of
drums together with
either an instrument or
voice is very common. In
a solo performance (as
opposed to choral and
ensemble performances)
the piece is called a
'raga' or a
'macam'.
A
'raga' or 'macam' is a
scale and at the same
time a number of melodic
formulas. Further more,
it is a spiritual
concept, a specific'raga'
or 'macam' expressing a
specific emotion. My
piece is not based on any
traditional Indian 'raga'
or Arab 'macam'. The
'raga' in my piece is
entirely my own
invention. The title is
derived from Indian
music, an ''Alapa' being
the first, unaccompanied
part of a 'raga'.
Traditionally, in the
'Alapa' the
characteristics of the
'raga' are first
presented
improvisationally,
without strict metre,
followed by a section in
which the drums set in.
The latter can have
various forms. I have
chosen a variation form
called 'Tarana'.
(Poul Rovsing Olsen
1960).
Traditional Indian
