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Waltzes, opus 101 (2002) for flute and harp

Digital Sheet Music

By Thomas Oboe Lee

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Instrumental Duet Flute, Harp, Instrumental Duet - Level 4 - Digital Download
Composed by Thomas Oboe Lee. 20th Century, Baroque, Classical, Contemporary, Romantic Period. Score and parts. 30 pages. Thomas Oboe Lee #31085. Published by Thomas Oboe Lee (A0.869171).

Item Number: A0.869171

Program note.

When Bart Feller asked me to write a work for flute and harp, I immediately came up with the idea of doing a piece made up of waltzes. Why waltzes? Why not?I have been an enthusiastic adult ballet student since the summer of 1988. Dancing to live music, especially the waltz, has been a joy. This hobby of mine has inevitably drawn me to the history of ballet. Some years ago, I wrote a duo, "Dark Angels," for viola and cello. Apropos of my interest in dance and music, I matched each movement with a danseur of international renown: Nijinsky, Nureyev & Baryshnikov.

For this flute and harp work---more delicate and lyrical in its instrumentation---I have decided to bring back from history the four Romantic ballerinas featured in the infamous "Pas de quatre" divertissement choreographed by Jules Perrot in 1845 and presented at Her Majesty’s Theater in London: Marie Taglioni, Fanny Cerrito, Carlotta Grisi and Lucile Grahn. According to ballet lore, Queen Victoria and Prince Albert were in attendance at the premiere.In Waltzes, opus 101, each ballerina is paired with a movement, or "waltz." The quotation marks indicate that some of these waltzes are pseudo-types---distant relations to the genre. Nevertheless, the triple meter is a dominant feature.

The first waltz, "Dream Landscape," is Marie Taglioni---the original La Sylphide---who was known for her ethereality.

The second movement, "Waltzin,’" is Fanny Cerrito, who danced with flair, bravura and abandon.
The third waltz, "Lullaby," is Carlotta Grisi, the original Giselle, who "danced with a perfection, a lightness, a boldness, a chaste and refined seductiveness … "

The last waltz is Lucile Grahn, a proponent of the Bournonville school, who was admired for her "natural grace, elevation, suppleness, energy, technical virtuosity and strong mime."

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This product was created by a member of ArrangeMe, Hal Leonard’s global self-publishing community of independent composers, arrangers, and songwriters. ArrangeMe allows for the publication of unique arrangements of both popular titles and original compositions from a wide variety of voices and backgrounds.

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