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Lou Harrison CONCERTO for P'i-p'a with String Orchestra

To Dennis Russell Davies, Wu Man, and Lincoln Center for the Performing Arts, Inc. Aptos, 1997

â€˘

peermus1c

New York â€˘ Hamburg

Notes about performing my Concerto for P'i-p'a with String Orchestra There are two principle matters of instrumental concern: First, in the little movement titled Three Sharing, the solo violoncello and the solo contrabass are, so to speak, asked to play percussion on their instruments. The techniques are the same for both, with the left hand playing at the place indicated by using flat fingers on the large body of the instrument - as though it were a fine drum head. The sound will be drummish and harmlessly produced. Second, instead of endangering the fine varnish of the collegno bow, the cellist ought better to use a wooden dowel of about three-eighths an inch diameter and about a foot long. The contrabassist should play in the same way, but his dowel should be thicker probably a half-inch or more. In the final movement I have notated the same left-hand drumming method by writing an 'X' on the middle line of the staff. The other regular notes are to be played arco on the strings indicated, but below the bridge, where they will make a charming kind of carousel 'tooting'. These notes have a letter 'B' above or below them, standing for "below the bridge". In the Threnody (movement three) all strings except the contrabass begin with mutes. All mutes are removed from measure thirty-eight to the end of the piece. My friend Larry Polansky tells me that any mandolinist interested in the Concerto for P'i-p'a should think of perhaps using different instruments in different movements. As composer, my suggestion is that the chords, which on the p'i-p'a are all simple cross-fret chords, may be converted to octaves, omitting the two other notes. - Lou Harrison

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