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To everyone who is in isolation right now.

Here's the Perpetuum mobile, the third movement of the Tailleferre's Sonate pour harpe. While the first two movements were recorded in Den Haag, I played this movement after coming back to Italy, due to the Corona circumstances.

Germaine Tailleferre was the only woman of "Les Six", the group of composers created in Paris around 1920. Here there are the first two movements of her Sonate pour harpe.

"Tra di esse, fresca della ferita, la fenicia Didone errava nella vasta selva; appena l'eroe troianio le ristette vicino e la riconobbe tra le ombre, indistinta, quale si vede sorgere la luna al principio del mese, o si crede di averla veduta tra le nubi, gli sgorgarono lagrime, e parlò con dolce amore..." Virgilio, Eneide, VI Dedicato a Maria Di Giulio :)

Premiered on the 17th of December 2019 in Korzo Theater The Hague (NL) The piece displays how the human ear needs some time to get used to a pitch, which is out of tune. Only one string is tuned down 40 cents. Finally, however, this out of tune pitch is no longer seen as out of tune, but just as an extra note. The ears ‘accepted’ its ‘disturbing quality.’

After Pleyel harp company commissioned Claude Debussy to write a piece for their new chromatic harp (the Danses sacrée et profane), Maurice Ravel was asked by the Erard company to show the superiority of the pedal harp over the chromatic one. What came out was a masterpiece of the 20th century repertoire: the Introduction et Allegro, for harp, string quartet, clarinet and flute. Here's the Harp...

"That was the age of the 'wonderful arabesque' when music was subject to the laws of beauty inscribed in the movements of Nature herself"

De Doelen, Rotterdam Harp: Maria Palma Piano: Alessandra Di Gennaro Flute: Tirza Leeman Clarinet: Rosa Alonso Percussion: Gabriele Segantini

Spohr Fantasia in C minor- Maria Palma

B. Smeteana: Moldau - Maria Palma (trans. Hanuš Trneček)

M. Glinka: Nocturne - Maria Palma