SKU: UT.MAG-221
ISBN 9790215318625. 9 x 12 inches.
Martin-Pierre Dalvimare, born in 1770, in Dreux (Eure-et-Loir), from a distinguished family, learnt music as an entertainment art, and was obliged to make it a resource for his existence, after the troubles of the Revolution in 1789. He had acquired a remarkable talent for the harp; when he arrived in Paris he made a very good impression. Then, man of the world, knowledgeable in many fields, which is rare for a musician, he was welcome everywhere, and very soon came in friendly terms with some of the most renowned artists and men of letters of his times. The marriage certificate of the poet Legouve (15 pluviose of the year XI, or February 1803, 12th municipality of Paris), shows that Dalvimare was one of his best men and that at the time he was thirty-two years old. He became harpist of the Opera in the year VIII (1800), and was definitively confirmed in the month of fructidor of the year IX. At the time of the institution of the emperor Napoleon's private music, M. Dalvimare was appointed as his harpist. In September 1807 he obtained the title of harp master of the empress Josephine. A lucky change of his fortune allowed this artist to renounce to practise his talent for living, he resigned from all of his positions on March, 12th, 1812, and he retired in Dreux, where he still was living in 1837. For a peculiar weakness, he does not like to speak about his artist career, which had been entirely honourable, and he would like to forget his success too. His first composition was a symphonie concertant for harp and horn, which he composed with Frederic Duvernoy, and published in the year VII (1798); notwithstanding, he counted as his first opus a collection of romances with accompaniment of piano or harp, which he later published with Pleyel.In 1809 Dalvimare composed, for the theatre Feydeau, a one-act opera-comique called The Marriage for Imprudence. The music was weak; the work did not succeed, and people used to say that the greatest imprudence had been the one of the authors who had it performed. Nevertheless, the score of this opera was published in Paris by erard. (Francois-Joseph Fetis).
SKU: PR.110406720
UPC: 680160001316.
I have always been fond of writing works for specific people or organizations. It has been my good fortune during most of my creative career to be asked to compose for many extraordinary performers. The Sonata for Harpsichord Solo is such a case in point: it was written in 1982 for Barbara Harbach, a superb performer, close friend, and collaborator on many musical projects. The Sonata was premiered on March 2, 1984, in a recital given by Dr. Harbach at Nazareth College in Rochester, New York. During my formative years as a composer, one seldom heard of the harpsichord as a modern instrument, though while I attended undergraduate school at Boston University, some of us banded together to construct a small harpsichord from one of the first do-it-yourself kits which began to appear in the late '40s. It was also during this time that I heard the Sonatina for Violin and Harpsichord by my teacher Walter Piston and consequently specified that the accompanying instrument for my second violin sonata could either be a piano or a harpsichord. It was not until recently, however, that my interest in the harpsichord as a solo instrument for new music was aroused. This was because of the emergence of so many young virtuosi, such as Barbara Harbach, who are interested in the performance of new music besides the great harpsichord music of the Classical, Baroque, and pre-Baroque eras. The keyboard music of Domenico Scarlatti has always intrigued and fascinated me. The brevity, excitement, and clarity of this sparkling music is charming as well as exhilarating. It is this type of Baroque sonata that inspired the conception and form of my harpsichord sonata. The entire work is loosely based on the musical translation of Barabara Harbach's name, especially the conflict of the B (B-flat) and H (B-natural in German notation). This secondo rub or dissonance especially pervades the first movement, which is in a modified sonata form, pitting jagged and tense melodic elements against most lyrical and smooth lines. This second movement is a song-like melody accompanied by rolled chords which may be played on the lute stop of the instrument if this sonata is performed on a two-manual harpsichord. The final movement is an ever-driving joyous toccata which brings the work to an exciting close with a coda made up of accelerating repeated chords. --Samuel Adler.
SKU: HL.48180979
UPC: 888680878399. 9x12 inches.
French harpist and composer, Henriette Renié (1875-1956) lived in poverty for much of her life. However, this did not stop her from composing significant works for the harp, including Grandmother Tells a Story, an easy piece for beginners of the instrument. Despite being a talented composer, Renié lived at a time where fame and success was socially unacceptable for women. In 1940, Grandmother Tells a Story was published. As a easy piece, this Renié work is suitable for beginners of the instrument, including detailed performance directions and fingerings. For all beginner harpists, Renié's Grandmother Tells a Story is an exciting and varied addition to the repertoire.
SKU: HL.48181035
UPC: 888680787653. 9x12 inches.
French born harpist and composer, Marcel Grandjany (1891-1975) studied at the Paris Conservatoire before spending much of his working life in America. His Trois petites Pièces were composed in Grandjany's early career and are simple and enjoyable works, suitable for beginner harpists. Grandjany was a teacher of harp at the Julliard School for 37 years whilst also composing and transcribing many works for the instrument. Made up of three movements, Trois petites Pièces begins with a delicate Rêverie (daydream). The second piece, a Nocturne, contains variations in tempo, time signature and dynamics. The Barcarolle third movement is the most challenging of the three pieces, in 6/8 time signature and sixteenth-note flourishes. All these combined aspects of Trois petites Pièces by Grandjany make for a thrilling performance for beginner harpists.
SKU: HL.48181024
UPC: 888680878566. 9x12 inches.
French harpist and composer, Henriette Renié (1875-1956) lived in poverty for much of her life. However, this did not stop her from composing significant works for the harp, including Legend of the Elves inspired the poem of the same name by French poet, Leconte de Lisle. Despite being a talented composer, Renié lived at a time where fame and success was socially unacceptable for women. In 1903, she composed her substantial work for harp, Legend of the Elves. As a highly virtuosic work, this Renié piece displays use of cadenza passages, exploitation of tonality, complex rhythms and variety in performance directions. For advanced harpists, Renié's Legend of the Elves is an exciting and varied addition to the repertoire.
SKU: FG.55011-820-1
ISBN 9790550118201.
Lotta Wennäkoski composed her harp concerto Sigla in 2022. In Segla (2022) for solo harp the concerto’s material is reorganized and developed further. The title means “to sail in Swedish. At the times, the music gently sways on the waves – one might hear some spindrifts as well.Duration: 4'. This product is a B4 sized folder with loose pages.Segla was written for the Royal Academy of Music as a part of the bicentenary project. Premiere by Huw Boucher 17th November 2022, Royal Academy of Music, London.
SKU: HL.48180013
UPC: 888680787660. 9.0x12.0x0.061 inches.
Gabriel Pierné (1863-1937) was a French composer, conductor and organist. Despite being predominantly remembered as a conductor, his Impromptu-Caprice remains a popular performance piece in the advanced harpists' repertoire. Pierné studied at the Paris Conservatoire before taking up the position of chief conductor for the concert series, Concerts Colonne in 1910. He remained in the post until 1933, and during this time, he notably conducted the world premiere of Igor Stravinsky's The Firebird. Pierné composed for a variety of instruments, Impromptu-Caprice being one of four solo works by the composer. This Pierné piece for harp contains many characteristics typical of the French style, such as significant tempo changes, flourishes of semiquavers and many alterations in dynamics. Impromptu-Caprice is a varied piece essential to the repertoire of aspiring harpists.
SKU: HL.234540
9.0x12.0x0.09 inches. English.
'This set of miniatures is based on traditional dance songs of the Yupik Eskimo people of Western Alaska. In their original forms, these melodies would be sung in unison. The first, third and fifth songs would be accompanied by frame drums. The second and fourth are game songs, for jumping rope and juggling pebbles. Aside from the obvious difference in instrumentation, my settings of these songs differ from the Yup'ik originals in other respects. I have extended and varied the melodies, and added countermelodies, ostinato figurations, introductions, interludes and codas. The first four melodies are drawn from the collection Yup'ik Eskimo songs, compiled by Thomas F. Johnston, and Tupou L. Pulu, and published by the University Of Alaska. The fifth was 'loaned' to me by Yup'ik singer and dancer Chuna McIntyre, who learned it in his village of Eek, Alaska. The poems preceding each piece are rough translations of the words to the songs. These verses are often cryptic and enigmatic. Their obscurity is increased because some of the words or their meanings have been lost, over time.' - John Luther Adams.
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