Fantaisie sur des motifs de Norma
Introduction & Variations on Bellini’s “Norma” op 36
Elias Parish Alvars (1808-1849)
prepared and edited by Jing-I Jang

Instrumentation: Flute, 2 Oboes, 2 Clarinets in B-flat, 2 Bassoons, 2 Horns in E-flat, 2 Trumpets in E-flat, 3 Trombones, Timpani, Harp, Violin I, Violin II, Viola, Violoncello, Contrabass.

Parish Alvars's famous Introduction and Variations sur des motifs de l’Opera Norma de Bellini op. 36 for solo harp was published by Artaria in Vienna in 1836. Despite an unsuccessful premier, Norma quickly became popular. The most famous theme, Casta Diva, from the first act, being by far the most popular subject.

The themes used by Parish Alvars all come from the second act of the opera, and all three are from duets. The main theme comes from the dramatic duet between Norma and Pollione in Act 2, scene 10. Norma offers Pollione his life if he will swear to abandon all thoughts of Adalgisa with whom he is in love. When he refuses, she threatens to kill not only Pollione but their children as well, and to punish Adalgisa by fire for breaking her druidic vows. Hardly the 'love duet' so often quoted in programme notes on this piece! The other themes used come from duets between Adalgisa and Norma.

Whereas the solo version of Introduction and Variations on Bellini’s Norma is well known and becoming ever more popular, the version with orchestral accompaniment has never been published and its existence is virtually unknown. Only one score is known to exist. Although unsigned, it is almost certainly in Parish Alvars's hand. The harp solo part is almost exactly identical with the published solo versions. The harp’s Introduction, Theme and Variation 1 are followed by an orchestral interlude, and three further orchestral interludes follow Variations II, III and IV, before the Final Allegro.

Thus the original harp solo is transformed into a Concertante for Harp and Orchestra – and the harp soloist is provided with a new Concerto without having to learn any new music. Furthermore, should he or she wish to play the work as a harp solo, all the performer has to do is to omit the orchestral interludes.

Jing-I Jang has prepared and meticulously transcribed the orchestral score from the Basel manuscript, and made a splendid piano reduction, which will be useful not only as rehearsal material, but which will stand on its own as a duo for harp and piano.