SKU: BT.ALHE32022
French.
As a student of famous harpist Lily Laskine, Denise Mégevand (1917-2004) received high quality musical education and was significantly instrumental in the revival of the Celtic Harp. She compiled numerous, prolific books for theinstrument, Play and Learn the Celtic Harp being no exception. The Celtic Harp characteristically has metal strings, and is notoriously challenging to play. However, Mégevand's Play and Learn the Celtic Harp provides excellentand clear instruction to progression on the instrument. The book addresses general principles of the Celtic Harp, intervals, arpeggios, chords and scales, as well as including 13 pieces. For all aspiring players of the CelticHarp, Mégevand's Play and Learn the Celtic Harp provides excellent insight and instruction for beginners.
SKU: UT.LB-4
ISBN 9788881094479. 6.5 x 9.5 inches.
â??During my career spanning half a century, like all my fellow harpists I constantly had to grapple with the commonly held view that the harp has neither music nor history of its own.Fortunately, over the years I have been able to give the lie to this myth and have tried to bring to light some of the vast repertoire, both early and modern, expressly composed for this instrument which has been treated somewhat as an outsider in the musical world.The research work for my books on Italian and Swiss harp music was plain sailing because source materials were specific titles and title pages. Were I to write books on French, German, Austrian, British, Bohemian, Spanish, Portuguese or Scandinavian harp music, the work involved would be equally smooth and straightforward.However, where Dutch music is concerned, the approach is rather different, because here it is the painters, treatise-writers and historians who provide the evidence and guidance necessary to discover the musical customs and traditions where the harp played a significant part.Performers looking for pieces of music may use this book as follows: chapter II deals with treatises, chapter III with paintings, chapter IV with history and research accounts. Chapters V and VI are concerned with confusions in terminology. Chapter VII describes recent developments and chapters VIII and IX cover composers and pieces of music. Libraries and publishers are listed with their addresses in chapters X and XI, and finally chapter XII consists of the index based on the various groups of performers.In this last chapter harpists will find the composers most suited to their programme, and can then turn to chapters VIII and IX for details. The actual pieces can be obtained by consulting chapters X and XI. I wish you every success in your search, in your rehearsals and in your concerts !In order to define what is Dutch or non-Dutch in early music, I have followed the current approach, i.e. all art and history prior to the separation of the â??Seven ProvinÂces in the 16th century is the common heritage of the Low Countries, whereas everything pertaining to those courageous lands from then onwards is specifically Dutch..
SKU: HL.50511754
ISBN 9790080143582. B/4 quer inches. Hungarian, English. Laszlo Tihanyi.
Greek mythology seems spontaneously to have offered the figure of linos as the central character in a work for solo harp. (Linos was a poet, believed to be the brother of Orpheus, and according to Greek tradition no greater musician ever appeared among mankind.) The musical material, conforming to the characteristics of the harp, consits of two interesting seven-degree note rows incorporating all the possible pedal combinations, their mirror inversions and the five-degree noterows that fit between them. The nine-section composition is made up of scenes from the imagined life of Linos, an imagined 'Linos's hymn', and laments played in his honour.
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