Coulomb, Laurent, Lalita-Nartya: A Choreographic Poem for Harp
Composed as accompaniment to a dancer of East India classical dance, Lalita-Nartya is built upon modes karnatiques with frequent changes of pace and environment. A truly sweet introductory passage states the rhythms and thematic elements that will permeate the suite, and a glissando announces the beginning of the dance. A performance by Cecile Bontron-Maudire is available on (YouTube). For advanced harpists. Composer Laurent Coulomb writes in her forward to the work:
"The challenge was to maintain the formal unity of the musical work while not thwarting the existing choreographic discourse...The title is both an evocation of the Hindu goddess Gaudi and a tribute to the graceful dancer who inspired the piece. Lalita translates as "she who plays," "the loving one," or "the most beautiful one" and nartya is associated with anything dance related. The full title then reads as "the dance of the most beautiful one" and "the goddess' delight."
"The mellow introduction features the dotted rhythm that characterizes the piece, followed by a brief anticipation of the main theme. A glissando firmly establishes the mode and launches a succession of several short and well-defined thematic motifs (all deriving from the original rhythmic cell) that offer agogic or dynamic contrasts adapted to the choreography. The main motif, already heard in the introduction, recurs as a leitmotif throughout the piece...A decrescendo leads to the final section that explores the motif anew before and ultimate crescendo gives way to a contemplative, almost ethereal coda."
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