This is described as a "3- (or 4-) part ensemble". This is because the the main three parts are what define the piece's character and sound, but there is an optional extra 4th part so that less nimble players can join in. However, I should add that it's perfectly possible for relative beginners with a good sense of rhythm to play the Harp 1 and 2

This is described as a "3- (or 4-) part ensemble". This is because the the main three parts are what define the piece's character and sound, but there is an optional extra 4th part so that less nimble players can join in. However, I should add that it's perfectly possible for relative beginners with a good sense of rhythm to play the Harp 1 and 2 parts with leapfrogging nifty index fingers, leaving the more advanced players to take the full harmony in the Harp 3 part. I did originally include the 4th harp part in the full score, but it necessitated either having the score several pages longer in order to fit all the staves in (which would increase the cost), or making the font size too small for comfort (well, my comfort, anyway), so I have included it only as a separate insert. I've also written the chord names in the Harp 1 part to provide extra performing flexibility: a Harp 1 player desperate to be doing more with their hands could provide a bit of extra (unobtrusive) accompaniment; or a guitarist might like to strum along.

The melody of this piece started life as a means of giving pupils practice in reading quaver rests and coming in on half beats. We’d also recently been studying relative minors, working in F major and D minor - hence the key of The Frozen Lake. To help pupils maintain the quaver feel, I added the flowing accompaniment, and once that was there, the

The melody of this piece started life as a means of giving pupils practice in reading quaver rests and coming in on half beats. We’d also recently been studying relative minors, working in F major and D minor - hence the key of The Frozen Lake. To help pupils maintain the quaver feel, I added the flowing accompaniment, and once that was there, the piece just seemed to be crying out for a plaintive descant to be put on top, and so an exercise was transformed and this ensemble was born. And the great thing is it’s still useful for practising coming in on half beats...

I wrote this as an A-level ensemble performance piece for a pupil (whose name was Poppy, incidentally...). The two of us recorded it with another pupil for her A-level, but unfortunately the recording here is taken directly from the original Sibelius score, and may not have quite the sensitivity and musicality of that performance!

I've always

I wrote this as an A-level ensemble performance piece for a pupil (whose name was Poppy, incidentally...). The two of us recorded it with another pupil for her A-level, but unfortunately the recording here is taken directly from the original Sibelius score, and may not have quite the sensitivity and musicality of that performance!

I've always thought of it as a piece for a trio of pedal harpists, but it was rather expertly played by the Moscow Harp Orchestra in the 2018 Edinburgh International Harp Festival, on lever harps, so it just goes to show composers don't always know what they're talking about. (It is entirely accurate to say, though, for what it's worth, that the Harp 3 part doesn't have any demisemiquavers...)