François Joseph Naderman (1781-1835) was a classic harpist, composer and teacher of the period after the French revolution. Very famous in his time, he became the first harp professor at conservatoire de Paris, starting the glorious French school of harp.His works are regarded as some of the most important pieces in the harp repertoire today. Especially the seven progressive sonatas op. 92 are frequently studied, played and recorded.For their usefulness and didactic effectiveness, and for their high artistic quality, I selected some works by Naderman and I arranged them for the lever harp.As my intent is eminently practical and not at all historical or philological, I took some liberty in rearranging the pieces, changing some harmonic progression and adding some passages and cadences to simplify the lever changes. The fingerings for these varied passages are written in the score.Obviously I recommend that you compare my arrangements with the original score, on which you will find all Naderman's fingerings and, of course, the music in its original form.

François Joseph Naderman (1781-1835) was a classic harpist, composer and teacher of the period after the French revolution. Very famous in his time, he became the first harp professor at conservatoire de Paris, starting the glorious French school of harp.His works are regarded as some of the most important pieces in the harp repertoire today. Especially the seven progressive sonatas op. 92 are frequently studied, played and recorded.For their usefulness and didactic effectiveness, and for their high artistic quality, I selected some works by Naderman and I arranged them for the lever harp.As my intent is eminently practical and not at all historical or philological, I took some liberty in rearranging the pieces, changing some harmonic progression and adding some passages and cadences to simplify the lever changes. The fingerings for these varied passages are written in the score.Obviously I recommend that you compare my arrangements with the original score, on which you will find all Naderman's fingerings and, of course, the music in its original form.

François Joseph Naderman (1781-1835) was a classic harpist, composer and teacher of the period after the French revolution. Very famous in his time, he became the first harp professor at conservatoire de Paris, starting the glorious French school of harp.His works are regarded as some of the most important pieces in the harp repertoire today. Especially the seven progressive sonatas op. 92 are frequently studied, played and recorded.For their usefulness and didactic effectiveness, and for their high artistic quality, I selected some works by Naderman and I arranged them for the lever harp.As my intent is eminently practical and not at all historical or philological, I took some liberty in rearranging the pieces, changing some harmonic progression and adding some passages and cadences to simplify the lever changes. The fingerings for these varied passages are written in the score.Obviously I recommend that you compare my arrangements with the original score, on which you will find all Naderman's fingerings and, of course, the music in its original form.

François Joseph Naderman (1781-1835) was a classic harpist, composer and teacher of the period after the French revolution. Very famous in his time, he became the first harp professor at conservatoire de Paris, starting the glorious French school of harp.His works are regarded as some of the most important pieces in the harp repertoire today. Especially the seven progressive sonatas op. 92 are frequently studied, played and recorded.For their usefulness and didactic effectiveness, and for their high artistic quality, I selected some works by Naderman and I arranged them for the lever harp.As my intent is eminently practical and not at all historical or philological, I took some liberty in rearranging the pieces, changing some harmonic progression and adding some passages and cadences to simplify the lever changes. The fingerings for these varied passages are written in the score.Obviously I recommend that you compare my arrangements with the original score, on which you will find all Naderman's fingerings and, of course, the music in its original form.

François Joseph Naderman (1781-1835) was a classic harpist, composer and teacher of the period after the French revolution. Very famous in his time, he became the first harp professor at conservatoire de Paris, starting the glorious French school of harp.His works are regarded as some of the most important pieces in the harp repertoire today. Especially the seven progressive sonatas op. 92 are frequently studied, played and recorded.For their usefulness and didactic effectiveness, and for their high artistic quality, I selected some works by Naderman and I arranged them for the lever harp.As my intent is eminently practical and not at all historical or philological, I took some liberty in rearranging the pieces, changing some harmonic progression and adding some passages and cadences to simplify the lever changes. The fingerings for these varied passages are written in the score.Obviously I recommend that you compare my arrangements with the original score, on which you will find all Naderman's fingerings and, of course, the music in its original form.

François Joseph Naderman (1781-1835) was a classic harpist, composer and teacher of the period after the French revolution. Very famous in his time, he became the first harp professor at conservatoire de Paris, starting the glorious French school of harp.His works are regarded as some of the most important pieces in the harp repertoire today. Especially the seven progressive sonatas op. 92 are frequently studied, played and recorded.For their usefulness and didactic effectiveness, and for their high artistic quality, I selected some works by Naderman and I arranged them for the lever harp.As my intent is eminently practical and not at all historical or philological, I took some liberty in rearranging the pieces, changing some harmonic progression and adding some passages and cadences to simplify the lever changes. The fingerings for these varied passages are written in the score.Obviously I recommend that you compare my arrangements with the original score, on which you will find all Naderman's fingerings and, of course, the music in its original form.

François Joseph Naderman (1781-1835) was a classic harpist, composer and teacher of the period after the French revolution. Very famous in his time, he became the first harp professor at conservatoire de Paris, starting the glorious French school of harp.His works are regarded as some of the most important pieces in the harp repertoire today. Especially the seven progressive sonatas op. 92 are frequently studied, played and recorded.For their usefulness and didactic effectiveness, and for their high artistic quality, I selected some works by Naderman and I arranged them for the lever harp.As my intent is eminently practical and not at all historical or philological, I took some liberty in rearranging the pieces, changing some harmonic progression and adding some passages and cadences to simplify the lever changes. The fingerings for these varied passages are written in the score.Obviously I recommend that you compare my arrangements with the original score, on which you will find all Naderman's fingerings and, of course, the music in its original form.

François Joseph Naderman (1781-1835) was a classic harpist, composer and teacher of the period after the French revolution. Very famous in his time, he became the first harp professor at conservatoire de Paris, starting the glorious French school of harp.His works are regarded as some of the most important pieces in the harp repertoire today. Especially the seven progressive sonatas op. 92 are frequently studied, played and recorded.For their usefulness and didactic effectiveness, and for their high artistic quality, I selected some works by Naderman and I arranged them for the lever harp.As my intent is eminently practical and not at all historical or philological, I took some liberty in rearranging the pieces, changing some harmonic progression and adding some passages and cadences to simplify the lever changes. The fingerings for these varied passages are written in the score.Obviously I recommend that you compare my arrangements with the original score, on which you will find all Naderman's fingerings and, of course, the music in its original form.

François Joseph Naderman (1781-1835) was a classic harpist, composer and teacher of the period after the French revolution. Very famous in his time, he became the first harp professor at conservatoire de Paris, starting the glorious French school of harp.His works are regarded as some of the most important pieces in the harp repertoire today. Especially the seven progressive sonatas op. 92 are frequently studied, played and recorded.For their usefulness and didactic effectiveness, and for their high artistic quality, I selected some works by Naderman and I arranged them for the lever harp.As my intent is eminently practical and not at all historical or philological, I took some liberty in rearranging the pieces, changing some harmonic progression and adding some passages and cadences to simplify the lever changes. The fingerings for these varied passages are written in the score.Obviously I recommend that you compare my arrangements with the original score, on which you will find all Naderman's fingerings and, of course, the music in its original form.

The Children's Album is dedicated to Tchaikovsky's favorite nephew, Vladimir Davydov. On 12/24 December 1878, Tchaikovsky wrote to Lev Davydov: "Tell Bobik that the music has been printed with pictures, that the music was composed by Uncle Petya, and that on it is written Dedicated to Volodya Davydov. The silly little fellow will not understand what dedicated means... Even so, Bobik is an inimitably delightful figure when he's playing, and he might look at the notes, and think that a whole symphony is dedicated to him?.

In a letter of 30 April/12 May 1878 to Nadezhda von Meck, the composer wrote: "A while ago I thought that it would not be a bad idea to make a small contribution to the stock of children's musical literature, which is very modest. I want to create a series of little individual pieces just for children, and with an attractive title, like Schumann`s.

Some months before this letter was written, while staying in Florence on 14/26 February, Tchaikovsky told Pyotr Jurgenson that he wanted "to write a number of easy pieces, like Kinderstück?. Evidently, the idea of creating a collection of pieces for young people had not been abandoned by the composer, and after his return to Kamenka in April he decided to begin composition. In the aforementioned letter to Nadezhda von Meck, he informed her: "Tomorrow I shall start working on my collection of miniatures for children".

On 1/13 May the composer wrote to Anatoly Tchaikovsky: "I'm working well and have done rather a lot". On 4/16 May the sketches for all 24 pieces were ready. Shortly afterwards, Tchaikovsky accepted an invitation from Nadezhda von Meck to stay at her Brailov estate until the end of May/beginning of June, before spending a few days in Moscow; from there he went to spend five days with his friend Nikolay Kondratyev at Nizy, and in mid/late June he called at Kiev, before returning to Verbovka. In the days following his arrival, he began to put the finishing touches to all the pieces written in April and May. The fair copy of the Children's Album was begun, it seems, on 13/25 July.

By 20 July/1 August the copying out was completed, and on 21 July/2 August the composer told Nadezhda von Meck that he was working on the Liturgy of Saint John Chrysostom.

On 29 July/10 August the manuscript of the Children's Album, along with a number of other compositions, was sent to Pyotr Jurgenson in Moscow. In October, after the proofs had been corrected, the album was published.



P.S.- Other than a modest suggestion for an interpretation, this arrangements remain absolute faithful to the original composition.

The first version is in the original key of g minor, the second is transposed to ?a minor?, the third one is intended for a little lap harp and transposed to d minor. It sounds better in the original key of g minor. I used a lot the d minor version and performed it with my little harp very often, always experiencing a very deep musical feedback.

A little nuance was added to the arrangements, thus obliged by its minimal use on the original manuscripts.

I included the original long and expressive leggato bows and left out the staccatos for the left hand between the bars 17 and 20. I felt somehow awkward when applying this technic on the harp myself.

May be the staccatos suites you best, and you should try it.

The score was written on Finale.

The sound file was produced with samplers from Garritan,

intended as an audio support for the presentation of the score.

A reproduction of Tchaikovsky`s original manuscript is added to the file as a reference to the original sources of this composition, it is an extra bonus intentionally didactic and obviously not included in the price of the arrangement itself.

Thank you very much for taking your time to read this text and to listen to the file.

I hope you enjoy the music.

The final movement of the Sonata in A major KV 331 by Wolfgang Amadeus Mozart, the Rondo Alla Turca, is one of the most famous piano pieces of all time. Once only familiar to musical experts, later a universal piece for all piano pupils, its opening melody is now even omnipresent as an alienated sinus tone-like mobile phone ring tone.
Fazil Say\'s arrangement, originally created as an effective encore, follows on from this popularity. After the first eight bars have been presented in original form, typical elements of jazz superimposed on the still recognisable classical foundations can be discovered, such as syncopation of the top notes and ornamentation through chromatic blue notes, embedded in the at times frenzied chains of semiquavers. In the spirit of the work\'s improvisatory character, Say likes to perfom his Alla Turca Jazz in different combinations, for example accompanied by jazz singers of with orchestra.

It may appear strange that Fazil Say, who was born in Turkey and - when not on tour - is still resident in that country, does not bring back Mozart\'s interpretation of genuine Turkish music closer to its own roots, particularly as many of his compositions such as Black Earth or the Violin Sonata are characterised by a subtle amalgamation of the Classical-Romantic tradition, Turkish folk music and elements of jazz. In a further Mozart arrangement, the ballet music Patara premiered in Vienna in 2006, composed on the basis of the Rococo-like theme from the first movement of the same A-major Sonata (wich enjoys almost as great popularity as the Alla Turca theme), Say utilised the connection which was absent in Alla Turca, albeit in the opposite direction. In the ballet music, the piano symbolises Western culture and the Ney flute Oriental culture, communcated atmosperically by austere percussion instrumentation and soprano vocalisation.

The very popular piece was now arranged for harp by Ekaterina Afanasieva.