Nicanor Zabaleta, harp Wolfgang Amadeus Mozart Concerto for Flute,Harp and Orchestra in C major KV299 1. Allegro 10:18 2. Andantino 8:59 3. Rondo (Allegro) 10:03 Francois Adrien Boieldieu Concerto for Harp and Orchestra in C major 4. Allegro brillante 8: 14 5. Andante - Lento (Attacca) 3:54 6. Rondo (Allegro agitato) 4:57 Maurice Ravel 7. Introduction and Allegro for Harp, Flute, Clarinet and String Quartet 11 :07 Johann Sebastian Bach 8. Prelude in C minor for Harpsichord 2:56 Jan Krtitel Krumpholtz 9. Aria with variations 4:39 Gabriel Faure 10. Une Chatelaine en sa tour 5:02 Mateo Albeniz 11. SonatainDmaj.3:18 Total time: 73:27For many years Zabaleta was the only harpist able to give a satisfactory recital. He was no innovator, and didn't start any trend: the harp recital was born and died with him. Of course, it could be revived by someone else, but it was and will always remain an exception to the rule that says: the harp is marvelous in an orchestral score, but pathetic on its own. Nicanor Zabaleta did with the harp what Segovia had done with the guitar: he tried to retrieve the retrievable from the harp repertory of the past, transcribe the transcribable from the harpsichord and violin repertory, and asked contemporary composers to write for the harp. Born in 1907, zabaleta grew up when the cultural trend called "neoclassicism" was in full bloom, with instrumental virtuosity viewed with suspicion and held, in essence, to be mere showing off. Zabaleta's choice of repertory stopped at the Classical era, jumped right over Romanticism, and began again from impressionism.
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