Composition involves a continuing process of engagement and dialogue with influences from the past and the present: it is impossible for a composer to work in isolation from a legacy of any received canon. This paper outlines the compositional elements of the recent piece for lever harp, Chromatétude by Anne-Marie O’Farrell, which acknowledges and develops received musical materials from previous sources. Outlining contextualisation and drawing comparisons with similar approaches by Alfred Schnittke, Peter Maxwell Davies, and Judith Weir, the article demonstrates the paraphrase of harper-composer Denis Hempson’s ricercar Faigh an Gléas, collected by Edward Bunting at the Belfast Harp Festival in 1792, along with use and transformation of all twelve transpositions of Scriabin’s quartal hexachord, and Slonimsky’s twelve-tone quartal chord from his Thesaurus of Scales and Melodic Patterns of 1947. These compositional resources show the capacity of the lever harp as a vehicle for a twelve-tone pitch set without the use of levers or scordatura. The combination of these elements creates a harmonic language not normally heard on this instrument, since much of the development of Western classical musical language and thought through the centuries has, for a variety of reasons, been reflected in the repertoire of other instruments and of other types of harp.

中文翻译：

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杠杆竖琴的 Chromatétude (2015)：迈向更广阔的音乐景观

作曲涉及与过去和现在的影响进行接触和对话的持续过程：作曲家不可能脱离任何已接受的经典遗产而独立工作。本文概述了安妮-玛丽·奥法雷尔 (Anne-Marie O'Farrell) 创作的杠杆竖琴的最新作品 Chromatétude 的组成元素，该作品承认并开发了先前来源的音乐材料。这篇文章概述了情境化并与阿尔弗雷德·施尼特克、彼得·麦克斯韦·戴维斯和朱迪思·威尔的类似方法进行了比较，展示了竖琴作曲家丹尼斯·亨普森 (Denis Hempson) 的稻草车 Faigh an Gléas 的释义，由爱德华·邦廷 (Edward Bunting) 在 1792 年贝尔法斯特竖琴节上收藏，以及斯克里亚宾四六和弦的所有十二个移调的使用和转换，和斯洛尼姆斯基 1947 年的《音阶和旋律模式同义词库》中的十二音四和弦。这些组成资源显示了杠杆竖琴作为十二音调集载体的能力，而无需使用杠杆或调音琴。这些元素的组合创造了一种通常在这种乐器上听不到的和声语言，因为几个世纪以来西方古典音乐语言和思想的大部分发展，由于各种原因，已经反映在其他乐器和其他乐器的曲目中。竖琴的种类。