Three Folk Songs: Harp Book
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Three Folk Songs: Harp Book
for Harp and Flute
By Chou Wen-chung
Item: 98-EP6896
$22.95
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Description
Chou Wen-chung composed Three Folk Songs for harp and flute in 1950 at the urging of Lucile Lawrence (1907-2004), one of the most distinguished harpists in American musical history. Lawrence was also acclaimed as an educator and is credited with training the leading harpists of the next generation.
This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer.
In this four-minute work, one hears strains from the well-known folk song "Little Cabbage," and from the erhu classic, "The Moon Reflected in the Second Spring." The final section is a variation on the Fengyang Flower Drum Song.
Chou composed Three Folk Songs the year after he completed his first work, Landscapes. Musicologist Peter Chang refers to a common thread in Chou's early compositions in his biographical publication Chou Wen-chung. Chang writes: "A shared characteristic of these early works is the principle of theme and variation in which Chinese themes have structural significance. In these works, themes become the center that determines the length, form, rhythmic character and texture of the piece. The structural constituents are generated from thematic material, not the other way around."
This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer.
In this four-minute work, one hears strains from the well-known folk song "Little Cabbage," and from the erhu classic, "The Moon Reflected in the Second Spring." The final section is a variation on the Fengyang Flower Drum Song.
Chou composed Three Folk Songs the year after he completed his first work, Landscapes. Musicologist Peter Chang refers to a common thread in Chou's early compositions in his biographical publication Chou Wen-chung. Chang writes: "A shared characteristic of these early works is the principle of theme and variation in which Chinese themes have structural significance. In these works, themes become the center that determines the length, form, rhythmic character and texture of the piece. The structural constituents are generated from thematic material, not the other way around."
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