Torsten Mossberg & Stina Hellberg Agback - Songs to Harp from the Old and New World (2021)
BAND/ARTIST: Torsten Mossberg, Stina Hellberg Agback
- Title: Songs to Harp from the Old and New World
- Year Of Release: 2021
- Label: Sterling
- Genre: Classical
- Quality: flac lossless +Booklet
- Total Time: 00:55:13
- Total Size: 265 mb
- WebSite: Album Preview
Tracklist
01. O Captain! My Captain! (Arr. for Voice and Harp)
02. Dirge for Two Veterans (Arr. for Voice and Harp)
03. Es Regnet (Arr. for Voice and Harp)
04. My Ship (Arr. for Voice and Harp)
05. Acht Gedichte aus, Letzte Blätter, Op. 10 No. 3: Die Nacht (Arr. for Voice and Harp)
06. Sechs Lieder aus Lotosblätter, Op. 19 No. 2: Breit' über mein Haupt dein schwarzes Haar (Arr. for Voice and Harp)
07. 4 Lieder, Op. 27 No, 4: Morgen! (Arr. for Voice and Harp)
08. 3 Songs, Op. 29 No. 1: Traum durch die Dämmerung (Arr. for Voice and Harp)
09. Lady Be Good: Oh, Lady, Be Good (Arr. for Voice and Harp)
10. Oh, Kay!: Someone To Watch Over Me (Arr. for Voice and Harp)
11. Rosalie: How Long Has This Been Going On (Arr. for Voice and Harp)
12. Girl Crazy: But Not for Me (Arr. for Voice and Harp)
13. Shall We Dance: They Can't Take That Away From Me (Arr. for Voice and Harp)
14. The Goldwyn Follies: Love is Here to Stay (Arr. for Voice and Harp)
A harp creates completely different overtones than a grand piano, which makes a big difference between singing with the accompaniment of a harp, and a grand piano. The singer has to adjust the ears to a completely different sound that partly supports the song well, but also makes it difficult for the singer to intonate; the singer is more vulnerable than with a piano accompaniment. The harp’s design makes it hard for the harpist to quickly make key changes and modulations, that for a pianist is natural, or even simple. Sometimes the key has to be adapted to the harp’s capability. A good and direct communication between singer and accompanist is always essential, regardless of accompaniment. Even a flexible and sensitive harpist can experience more difficulties to shift tempo than a pianist, forcing the singer to phrase different than singing to the piano or guitar. However, such difficulties must be tackled and afterwards the cooperation can be rewarded with an emergence of a magical atmosphere. Since the harpist Stina Hellberg Agback is also a skillful improviser, another dimension is added, here in the songs by George Gershwin.
01. O Captain! My Captain! (Arr. for Voice and Harp)
02. Dirge for Two Veterans (Arr. for Voice and Harp)
03. Es Regnet (Arr. for Voice and Harp)
04. My Ship (Arr. for Voice and Harp)
05. Acht Gedichte aus, Letzte Blätter, Op. 10 No. 3: Die Nacht (Arr. for Voice and Harp)
06. Sechs Lieder aus Lotosblätter, Op. 19 No. 2: Breit' über mein Haupt dein schwarzes Haar (Arr. for Voice and Harp)
07. 4 Lieder, Op. 27 No, 4: Morgen! (Arr. for Voice and Harp)
08. 3 Songs, Op. 29 No. 1: Traum durch die Dämmerung (Arr. for Voice and Harp)
09. Lady Be Good: Oh, Lady, Be Good (Arr. for Voice and Harp)
10. Oh, Kay!: Someone To Watch Over Me (Arr. for Voice and Harp)
11. Rosalie: How Long Has This Been Going On (Arr. for Voice and Harp)
12. Girl Crazy: But Not for Me (Arr. for Voice and Harp)
13. Shall We Dance: They Can't Take That Away From Me (Arr. for Voice and Harp)
14. The Goldwyn Follies: Love is Here to Stay (Arr. for Voice and Harp)
A harp creates completely different overtones than a grand piano, which makes a big difference between singing with the accompaniment of a harp, and a grand piano. The singer has to adjust the ears to a completely different sound that partly supports the song well, but also makes it difficult for the singer to intonate; the singer is more vulnerable than with a piano accompaniment. The harp’s design makes it hard for the harpist to quickly make key changes and modulations, that for a pianist is natural, or even simple. Sometimes the key has to be adapted to the harp’s capability. A good and direct communication between singer and accompanist is always essential, regardless of accompaniment. Even a flexible and sensitive harpist can experience more difficulties to shift tempo than a pianist, forcing the singer to phrase different than singing to the piano or guitar. However, such difficulties must be tackled and afterwards the cooperation can be rewarded with an emergence of a magical atmosphere. Since the harpist Stina Hellberg Agback is also a skillful improviser, another dimension is added, here in the songs by George Gershwin.
Year 2021 | Classical | FLAC / APE
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