SKU: HL.50561841
UPC: 073999618419. 8.25x11.75x0.125 inches.
Arranged for harp by Marielle Nordmann. Contents: Beethoven - Valse No. 1 * Schubert - Six Waltzes * Chopin - Valse in A * Sibelius - Waltze.
SKU: UT.MAG-158
ISBN 9790215309791. 8.26 x 11.69 inches. Transcribed by Robert Nicolas Charles Bochsa.
Piano pianissimo senza parlar; Ecco ridente in cielo; Largo al factotum della città ; All’idea di quel metallo
SKU: BA.BA09310
ISBN 9790006531134. 42 x 29.5 cm inches.
World Premiere 26/03/2005, Paris.
SKU: HL.49044459
UPC: 888680641481. 8.25x11.75x0.082 inches.
SKU: CF.O5173
ISBN 9780825867248. UPC: 798408067243. 9 X 12 inches. Text: Emily Dickinson. Emily Dickinson.
SKU: HL.49044302
ISBN 9790001197922. 9.0x12.0x0.136 inches.
Im Fruhjahr 2012 schrieb ich fur das Duo Imaginaire ein knapp viertelstundiges Werk fur die ganz ungewohnliche, aber umso reizvollere Duobesetzung von Klarinette und Harfe. Der romantisch-ironische Titel einer melancholischen Serenade gibt den semantischen Inhalt des Stuckes recht genau wieder. Musikalisch formal handelt es sich um ein grossformatiges rondoartiges Gebilde, in dem sich zahlreiche melodische und virtuose Episoden um ein schwebend-synkopisches Thema gruppieren, das sich zwar verandert, aber als roter Faden trotzdem deutlich wiederzuerkennen ist. Das Stuck besitzt einen tonalen Rahmen, der auf siebentonigen Skalen basiert, die die Gegebenheiten der Harfe als diatonisches Instrument nutzen, ohne ein einziges Mal als echte Dur- oder Mollskalen in Erscheinung zu treten. Der serenadenhafte Charakter des Stuckes wird unterstrichen durch die Charakterisierung der Klarinette als lineares Gesangsinstrument und die Harfe als akkordisch gefuhrtes Zupfinstrument. Selbstverstandlich verlassen beide Instrumente immer wieder den ihnen angestammten Bereich (die Harfe beginnt zu singen, wahrend sich die Klarinette in uppigen Figurationen ergeht), wodurch ein kammermusikalisch dichtes und klanglich reizvolles Gewebe entsteht.- Stefan Heucke.
SKU: OU.9780193588769
ISBN 9780193588769. 12 x 8 inches.
For oboe, clarinet, viola, harp The opening movement of this five-movement work features the oboe, being a setting of a solo piece written by the composer in memory of Barbara Hepworth. The second is a lyrical canon for oboe, clarinet, and viola, the third and fourth movements are formal and chorale-like whilst, the last is a sprightly, rather quirky march.
SKU: ST.Y217
ISBN 9790220221385.
[Standard: Advanced].
SKU: OU.9780193588790
ISBN 9780193588790. 12 x 8 inches.
For oboe and harp The piece is a suite of six contrasting miniatures built around fragments of melodies which are repeated, each time with subtle variations. Particularly striking is the simple, folk-like melody of the fifth movement and the dissonant, almost grotesque march that precedes it.
SKU: FG.55011-885-0
Whizzing, growling and rattling – you can produce all kinds of sounds with the harp, not just the fairy-tale shimmer and glissandos that you first think of. Lotta Wennäkoski composed Sigla for harp and orchestra (2021-2022) in close collaboration with the harpist Sivan Magen, to whom the concerto is dedicated. The title of the concerto, Sigla, has different meanings in different languages. In Italian, it means a jingle; in Icelandic, it means sailing; and in Tagalog, spoken in the Philippines, it means vivaciousness or enthusiasm. Wennäkoski has not specifically referenced these in the movements of the concerto as such, but she does allow that the various meanings of the word may be identified with the music according to the listener’s perception.The recording of the work (Ondine ODE1420-2) was premiered with the Gramophone award as the the best release in the contemporary category in October 2023.This product is the solo part.The orchestral material is available for hire from the publisher.Duration: 19'Instrumentation:Harp solo – equipped with paint brush, tuning key and a plastic hair clip2 Flutes (2nd doubling piccolo)2 Oboes2 Clarinets in Bb2 Bassoons2 Horns in F2 Trumpets in C – trumpets and trombone doubling an egg slicerBass trombone attached to a piece of wood or a flat cardboard boxPercussion (2 players)Percussion I: crotales, vibraphone, 5 gongs (a#, bn, c’, e’, f’), bass drum, cymbal, guiro, bell tree, shell chimes, whip, lion’s roar and different beaters including a bow, superball stck and wire brushesPercussion II: tam-tam, cymbal, snare drum, 2 cowbells, 2 temple blocks (med/lg), triangle (small/med), vibraslap and different beaters including a bow, wire brushes and superball stickPiano – equipped with a plectrum, wire brushes and 2 soft percussion beatersStrings.
SKU: UT.MAG-274
ISBN 9790215326859. 9 x 12 inches.
Rediscovering, studying and analyzing the musical art of Philipp Joseph Hinner means enhancing a piece of the eighteenth-century harp music mosaic. Hinner's work intrigues for its extraordinary simplicity, for its regularity and harmony; the ordered balance of the parts, symmetry and sense of proportion are essential elements for the author, and give character and unity to his work. The harp repertoire has long been overshadowed by the keyboard one, which boasts extensive solo and chamber literature, and consolidated for over two centuries. The rediscovery of the history of our instrument, however, is still recent and the research work in the field of harp music is still long.Hinner, with the apparent simplicity of his opus 10, can thus regain his role in the harp repertoire of the eighteenth century, as well as covering a considerable didactic value today. The part of the first harp undoubtedly presents characteristics of greater rhythmic and virtuosic complexity than that of the second, which consists of a continuous accompaniment interspersed with simple thematic imitated episodes. Furthermore in the composition are included arias such as O ma tendre Musette, a French popular melody of the 18th century (previously set to music by Pierre-Alexandre Monsigny), and <>, taken from the opera-comique L'erreur d'un moment ou la Suite de Julie by Nicolas Dezede, as well as themes from Gluck's Iphigenie en Aulide, which had been all used also by Hinner's first harp master, Francesco Petrini (1744-1819).Hinner's opus 10, originally written in separate parts for two harps, or harp and fortepiano, is presented here updated and completed with its score, for a thorough perception of the work.
SKU: HL.48180980
UPC: 888680878504. 9x12 inches.
Composed by the famous harpist Henriette Renié, Pine trees of Charlannes is an easy small piece for lever harp with piano or harp accompaniment. This piece for beginners is really nice to play and to start playing ensemble music. The principal harp sections feature some really melodious sections and some sections with quavers going up. It alternates these sections with the accompaniment played by the piano or a second harp. Henriette Renié was a virtuoso French harpist born in 1875. With professors such as Alphonse Hasselmans and Théodore Dubois, she received the First Prize for the Harp in 1887. She wrote numerous works for harp including chamber music, and a concerto.
SKU: FG.55011-912-3
ISBN 9790550119123.
Luonnonjumala (God of Nature) is Tauno Marttinen’s adaption for harp of his piano suite Taara op. 34. The manuscript for harp was found in January 2024 by Rauno Marttinen, composer’s son.Duration: c. 15’Movements:1. Virran ääniä | The Voices of the Stream2. Luonnonjumalan lähde | The Spring of God of Nature3. Metsässä tuulee |The Wind Blows through the ForestTauno Marttinen (1912–2008) studied in Viipuri and later in Helsinki at the Helsinki Conservatoire. His piano teachers were Ilmari Hannikainen and Selim Palmgren, but he soon became increasingly interested in composing. Marttinen was also the conductor of the Hämeenlinna City Orchestra in 1949−1958 and the founder and principal of the Hämeenlinna Music Institute.Marttinen started his composing career in late Romantic vein. However, his first concerts in the 1940s met with criticism since the winds of Modernism had already landed in Finland. He then became interested in Dodecaphony and studied under Vladimir Vogel in Ascona but later abandoned strict dodecaphony and found his own, personal style incorporating elements from Neo-classicism and free-tonality with a hint of mysticism – he was called the Shaman of Hämeenlinna (his hometown).Tauno Marttinen was an incredibly productive composer; he wrote around four hundred works with opus numbers as well as a wealth of other pieces. His oeuvre includes 10 symphonies, concertos for various solo instruments, operas as well as vocal, chamber and instrumental works. Many of Marttinen’s pieces have become popular standard repertoire, such as the piano piece Kimalluksia (Gleams).
SKU: UT.MAG-265
ISBN 9790215326422. 9 x 12 inches.
Posse’s compositions for harp are rich and varied, and range from the easy pieces dedicated to his students to the virtuoso concert pieces; we must also remember his didactic works, in particular the ‘Six Small Studies’ and the universally known ‘Eight Great Concert Studies’.It is not easy to draw a balance of his legacy in the harp world. On one hand his technical vision of virtuosity combined with a great stability of the hand and rigor of the fingerings certainly contributed to the development of the 20th Century harp technique; on the other hand, his use of the pedals, often driven by two together with the same foot (a very old French technique), has gradually become more and more difficult on modern harps. From the point of view of his contribution to the harp repertoire, the constant run-up to the piano has heavily influenced his compositional production, making him often completely miss the idiomatic effects of 19th Century harp music (except for the use of harmonic sounds), which were so loved by his friend Liszt in the compositions of Parish Alvars.
SKU: UT.MAG-266
ISBN 9790215326439. 9 x 12 inches.
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