Program Notes by Dr. V. Sedivy

This work was composed between September 1975 and February 1976.

The first movement is characteristic of the composer's highly unified writing of symphonic movements where contrasts are achieved by many transformations of the principal themes. For instance, the playful phrase of the opening three bars appears later by very imaginative changes in orchestration, rhythm and tempo in a great variety of moods -- lyrical, mysterious and quite dramatic in the closing section; there the opening phrase is accompanied by incisive chords played on the harp with the finger nails, alternating with low percussive sounds struck in the lowest octave of the instrument by the palm of the left hand. The two extended cadenzas for the harp develop their own themes. From the point of view of colour, the second cadenza is particularly original in its use of unusual effects. In one place, the harpist gives the impression of playing two instruments simultaneously, as the right hand plays in two-part counterpoint pizzicato sounds (strings stopped from vibrating by the left hand) combined with a smooth legato line. An equally striking colour is contained in the last two bars where the composer invented for the harp an imitation of a snare drum (finger trill of both hands on the sound board) ending with a Tam-Tam like sound (played by the left hand on the low wire strings). On the whole, this movement uses the harp as an instrument of great dramatic power rather than the accepted use of "soothing, heavenly sounds".

The second movement starts with a polyphonic section for brass quartet (two horns and two trumpets); this is followed by the solo harp which contains almost all the main themes of the slow first part. The middle section is an allegro which starts very quietly with muted violins playing trills in minor sevenths in a dialogue with a solo clarinet. Another dialogue between harp and flute continues in the same mood; this leads into an orchestral interlude which gradually reaches the dynamic climax of the concerto. The general excitement of the orchestra generates from the skillful combination of three previously stated themes, especially with the ingenious alterations of the opening theme. Gradually the tension disappears and fades out into quiet "pp" which prepares the harp entry with all the principal themes of the first part reappearing, dressed in new colours and more extended. The concluding bars bring back again the opening phrase, but this time it is played very quietly by pizzicato 'cellos and basses, supported on certain notes by bell-like sounds played by the harp (the harpist is striking these notes with the tuning fork).

The third movement starts with short interplay between the trumpet and harp. But after a few bars the orchestra stops and an extended cadenza for the harp goes through a variety of textures. Two of the climactic chords are struck together with a strong knock on the soundboard (a sound which is close to the "rim shot" of a snare drum). The cadenza ends with the "thunder effect" (a word invented by the famous harpist Salzedo). This metallic sound merges together with the entrance of the orchestra (timpani, bass drum and basses). The strong rhythmical quality of this entrance prevails through most of the third movement, though it is occasionally contrasted by some expressive melodic lines for solo harp.

From the stylistic point of view, this concerto has a special place in the literature of harp music; Morawetz avoids completely the traditional use of the harp, full of arpeggios and broken chords, used not only in the nineteenth century but to a great extent even in this century by Debussy and Ravel. On the other hand, the special colours are used mostly to give the themes new meaning at each appearance but never as the essence of the composition. Therefore, the harp emerges in this work with many so far unexplored possibilities without sacrificing the natural flow of the music.

Jan. 12, 1992 Hear Morawetz talk about his Harp Concerto on CBC's Two New Hours.