Lyra

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Lore & Background

Lyra's compositions span from 1907 to 1961, covering a wide range of instruments and ensembles. Early works include a Berceuse for Cello and Piano, opus 72 (1907) and a Pièce Concertante for Trombone and Piano, opus 27 (1910). Lyra also wrote for voice, such as Rivalité de Fleurs for Voice and Piano, opus 25 (1911). Many works were published by Costallat, but have since been lost. Subsequent publishers include C.G. Roeder, Evette & Schaeffer, H.W. Gray, Carl Fischer, Albert Andraud, and Southern. Lyra's original compositions for harp include Ballade, op. 28 (1910), Jeux d'Eau (1911), and Variations sǔr un thème dans le style ancien (1911), all part of Trois Morceaux. Other notable works include Five Preludes for Harp Alone (1917), The Enchanted Isle a tone poem for Harp and Orchestra (1918), and the Concerto for Harp and Seven Wind Instruments (1926). Lyra also created paraphrases and arrangements, such as Concert Variations on Adeste Fideles, Deck the Halls, Good King Wenceslaus, O Tannenbaum, and Silent Night, and transcriptions of works by composers including Bach, Beethoven, Brahms, Debussy, and De Falla.

In Their Own Story

In 1910, Lyra composed the Ballade, op. 28, which was later revised and published as Trois Morceaux, no. 1 by Alphonse Leduc in 1914. That same year, Lyra wrote a Paraphrase (Cadenza) for Liszt's Second Rhapsody, a solo showpiece or cadenza for orchestral performance, later published by G. Schirmer in 1959 and Lyra. In 1911, Lyra composed Jeux d'Eau, which became Trois Morceaux, no. 2, and Variations sǔr un thème dans le style ancien, which became Trois Morceaux, no. 3. A later edition of the Variations revised by Salzedo was published by Lyon & Healy. In 1917, Lyra wrote Five Preludes for Harp Alone, originally titled Pentarhythmie, published by Carl Fischer in 1924. The preludes are, in order of performance: Lamentation, Quietude, Iridescence, Introspection, and Whirlwind. Lyra also composed Five Preludes on the name of Olga (Olga Samaroff-Stokowski) in 1917, with movements Embryon, Eveil, Fète au village, Hallucinations, and Fraicheur, published by G. Schirmer in 1933 (Fraicheur only). In 1918, Lyra created The Enchanted Isle, a tone poem for Harp and Orchestra, published by Lyra. Lyra's later works include the Suite of Eight Dances (1943), published by G. Schirmer in 1950, containing Gavotte, Menuet, Polka, Siciliana, Bolero, Seguidilla, Tango, and Rumba. The Second Concerto for Harp and Orchestra (1953-1961), also known as Symphonic Suite—dialog for harp and orchestra, was published by Lyra in 1966.

Reader's Guide

Name: Lyra (Carlos Salzedo, 1885–1961) Tribe: Not applicable (human composer) Role in the story: Lyra is a composer whose works for harp and other instruments shaped the repertoire. Her compositions range from intimate solos to grand concertos, and her transcriptions of classics by Bach, Beethoven, and Debussy have become staples for harpists worldwide. Her playful side shines through in pieces like 'Four Preludes to the Afternoon of a Telephone,' which turns phone numbers into musical inspiration.

Did You Know?

• Lyra composed a piece titled 'Four Preludes to the Afternoon of a Telephone' for harp duo in 1921, with movements named after phone numbers: Audubon 530, Plaza 4570, Prospect 7272, and Riverside 4937.
• Lyra's 'Five Preludes for Harp Alone' (1917) were originally titled 'Pentarhythmie'.
• Lyra wrote a 'Paraphrase (Cadenza) for Liszt's Second Rhapsody' in 1910, which was published by G. Schirmer in 1959 and Lyra.
• Lyra's 'Suite of Eight Dances' (1943) includes Gavotte, Menuet, Polka, Siciliana, Bolero, Seguidilla, Tango, and Rumba.