One of the most appealing and complementary instruments to pair with the harp is the flute, and we are fortunate to have a number of recent publications that add a lot of variety to our duo repertoire.

Lyrebird Editions, founded by the Lyrebird Ensemble, a Chicago-based duo, has published several duo arrangements. “Valse Melancolique” by Clémence de Grandval, a female French composer and student of Saint-Saëns, was written for flutist Paul Taffanel and harpist Alphonse Hasselmans and premiered in 1891. It demonstrates a style of writing that contrasts with the style of the first half of the nineteenth century and it is one of the earliest surviving works written for the flute and harp in the late nineteenth century.

The flute part includes a lovely, long trill and chromatic scale and the harp part features cascading arpeggios, glissandi, and a few harmonics. All pedal markings are included in the middle of the staff where they won’t be missed. A separate flute part is included, and is also printed on the harp score. Page turns were carefully planned for the 11 pages of music. It is suitable for intermediate to advanced players. Edited by flutist Ellen Huntington and harpist Lillian Lau of the Lyrebird Ensemble, this captivating work would make a delightful addition to a concert program.

This same twosome commissioned Canadian composer Cameron Wilson to write “Orleans Strut” for harp and flute. This is a complete change of pace that even advanced harpists will find challenging, with lots of pedal work and changing time signatures. Mr. Wilson combines Dixieland, swing, ragtime, and other styles in this jazzy piece. The end result is an interesting fusion that employs tapping on the soundboard, a whole-tone gliss, trills, and tremolos for the harp. It is difficult to play, but worth the effort.

Cameron Wilson was also commissioned to write something for flute and harp by another duo, Lorna McGhee (flute) and Heidi Krutzen (harp). The title of this work may be a little misleading. “Woofin’ the Cat Suite” combines a variety of traditional tunes from Scotland, Nova Scotia, and Prince Edward Island to represent the Celtic heritage of Canada’s Maritime Provinces.

The suite begins with the melody “Sunset” played by either alto flute or C flute. The harp accompaniment begins at measure six. The harp plays solo during the eight-measure transition to the next tune, “Orra Bhonna Bhonnagan.” There is a key change, but no pedal markings are included here or anywhere throughout the suite.

The harp plays the transition to the next piece, “Flora MacDonald,” and then accompanies the flute with taps on the soundboard to simulate a bodhrán. The taps are used again later in the piece.

The final melody is the title piece, “Woofin’ the Cat.” It has a lot of movement and ends with the harp swirling on a whole tone scale gliss while the flute trills. This suite is not as difficult as the “Strut,” so intermediate harpists will find it very playable.

These three publications from Lyrebird Editions cover a broad spectrum of styles and offer harp and flute duos the opportunity to expand their duo inventory. The typesetting is easy to read and printed on high quality paper. Let’s hope the Lyrebird Ensemble will commission more works for harp and flute!

Herald Music also has an arrangement that’s worthy of consideration. “Por Una Cabeza” is an Argentine tango by Carlos Gardel. Patricia Jaeger has ably arranged this sizzling dance for flute (or violin) and harp.

The two instruments harmonize while the harpist plays low octaves to provide a strong bass line. Ms. Jaeger uses some pedal slides and short, scale glisses. All pedal changes are marked in the middle of the staff. The piece is just two pages in length, but there is a repeat and second ending. The music comes with two complete scores that combine the harp and flute parts on each page and is suitable for intermediate players. This piece will add some drama and passion to a harp and flute program and may make you (or the audience) want to tango!

Last but not least, publisher UtOrpheus brings us Three Sonatinas op. 27 for harp and flute (violin) by Francois-Joseph Naderman, edited by Anna Pasetti. She includes a fascinating history lesson in the preface on Naderman and his disdain for the double-action pedal harp.

The first sonatina has two movements: allegro maestoso followed by an andante with five variations. The second and third sonatinas have three movements.

The book is beautifully typeset on oversized paper. No pedal markings are included. There are separate parts for flute and violin and they are somewhat different from each other. The flute part is also printed on the harp score. These are charming pieces that are not difficult to play and would fill a substantial amount of time at a harp and flute gig. •