Minimal Harp

Composed in 2012, Minimal Harp is a triptych of highly contrasting movements that together form a compelling exploration of rhythm, texture, and colour within the unique sound world of the harp.

The first movement is energetic and vibrant, based on an obsessively repeated figure. This figure evolves gradually, initially through changes in the bass notes, which shift the harmonic palette in subtle yet effective ways. A striking moment occurs with a sudden modal shift, after which the motif is heard in retrograde — its notes played in reverse order — creating a fascinating contrapuntal effect. The movement intensifies through frequent modulations and increasingly dense rhythmic textures, culminating in a powerful conclusion.

The second movement, cast in ABA’ form, unfolds within a contemplative atmosphere anchored by a persistent bass pedal note (D♭) present throughout. Two short motivic cells and a rapid rhythmic figure underpin the entire movement. Lysight makes use of the harp’s distinctive diatonic mechanism, exploiting enharmonic tunings and pedal settings to produce deliberately “defective” glissandi — a technique which results in shimmering, unorthodox sonorities. The central B section reworks this material with heightened drama and expressivity before A’ offers a fleeting recollection of the opening, its motifs now played in harmonics, as though echoing from memory. The rapid figure reappears unexpectedly, bringing the movement to a close.

The final movement is a dazzling tour de force. Here, a multitude of rhythmic cells proliferate and intertwine, their momentum building inexorably towards a brilliant and exuberant conclusion.

The world premiere took place on 5 June 2012 at the Hôpital Robert Debré in Paris, performed by Anaëlle Tourret.