SKU: CF.H84
ISBN 9781491165539. UPC: 680160924530.
Marcel Tournier (1879–1951) was one of the most important harpist/composers in the history of the harp. Over his long career, he added a significant catalogue of very beautiful works to the harp repertoire. Many of his solo works, almost one hundred, have been consistently in print since they were first published. But in recent years harpist Carl Swanson has discovered a treasure trove of pieces by Tournier heretofore unknown and unpublished. These include the Déchiffrages in this edition, as well as songs set for voice, harp, and string quartet, and ensemble arrangements of some of his most beloved works.All of the works that Carl Swanson found were in manuscript only. With the help of the great harpist Catherine Michel, he has put these pieces into playable form, and they are being published for the very first time. He and Catherine often had to re-notate passages to show clearly how they could be played, adding fingerings and musical nuances, tempos, pedals, and pedal diagrams.Tournier wrote these pieces when he was in his 20s, and before he became the impressionistic composer those familiar with his work know so well. They are written in the late nineteenth-century romantic style that was being taught at that time at the Paris Conservatory. They are beautiful short, intermediate level pieces by a first rate composer, and add much needed repertoire to that level of playing.Marcel Tournier (1879–1951) was one of the most important harpist/composers in the history of the harp. He graduated from the Paris Conservatory with a first prize in harp in 1899. He also studied composition there and won a second prize in the prestigious Prix de Rome competition, as well as a first prize in the Rossini competition, another major composition competition of the day. From 1912 to 1948 he taught the harp class at the Paris Conservatory. But composition, and almost entirely, composition for the harp, was the main focus of his life. His published works, including many works for solo harp, a few for harp and other instruments, and several songs, number around one hundred pieces.In 2019, while researching Tournier for my edition MARCEL TOURNIER: 10 Pieces for Solo Harp, I discovered that there was a significant list of pieces by this composer that had never been published and were not included on any inventory of his music. Principal on this list were his déchiffrages (pronounced day-she-frahge, like the second syllable in the word garage).The word déchiffrage means sight-reading exercise, and that was their original purpose. Tournier numbered and dated these pieces, with dates ranging from 1900 to 1910, indicating that they were in all likelihood written for Alphonse Hasselmans’ class at the Paris Conservatory. Tournier was probably told how long to make each one, and how difficult. They range in length from two to four pages, with only one in the whole series extending to five, and from thirty to fifty-five measures, with only one extending to eight-five. The level of difficulty for the whole series is intermediate, with some at the easier end, and others at the middle or upper end.We don’t know if they were intended to test students trying to enter the harp class, or if they were used to test students in the class as they played their exams. The fact that they were never published means that students had to not only sight read them, but sight read them in manuscript form!I worked from digital images of the original manuscripts, which are in the private music library of a harpist in France. She had twenty-seven of these pieces, and this edition is the second in a series of three that will publish, for the first time, all of the ones that I have found thus far. The manuscripts themselves consist of little more than notes on the page: no pedals written in, no fingerings, few if any musical nuances and tempo markings, and no clear indication as to which hand plays which notes. These would have been difficult to sight read indeed! My collaborator Catherine Michel and I added musical nuances, fingerings, pedals and pedal diagrams, and tempo indications to put them into their current condition.At the time these were written, Tournier would have been in his twenties, having just graduated from the harp class himself (1899), and might still have been in the composition class. These are the earliest known pieces that he wrote, and they were written at the very beginning of a cultural revolution and upheaval in Paris that was to completely and profoundly alter musical composition. Tournier himself would eventually be caught up in this new way of composing. But not yet.All of the déchiffrages are written in the late romantic style that was being taught at that time at the Paris Conservatory. Each one is built on a clear musical idea, and the variety over the whole series makes them wonderful to listen to as well as to learn. They are also great technical lessons for intermediate level players.The obvious question is: Why didn’t Tournier publish these pieces, and why didn’t he list them on his own inventory of his music? Actually, four of them were published, with small changes, as his collection Four Preludes, Op. 16. These came from the ones that will be in volume three of this series from Carl Fischer. His first large piece, Theme and Variations, was published in 1908, and his two best known and frequently played pieces, Féerie and Au Matin, followed in 1912 and 1913 respectively. We can only speculate because there is so much still unknown about Tournier and about these unpublished pieces. He may have looked at them, fresh out of school as he was, as simply a way to make some quick money. The first several pieces that he did publish are much longer than any of the déchiffrages. So it could be that, because of their shorter length, as well as the earlier musical style that he was moving away from, he chose not to publish any more of them. We may never know the full story. But all these years later, more than a century after they were composed, we can listen to them for their own merits, and not measured against whatever else was going on at the time. The numbers on these pieces are the ones that Tournier assigned to them, and the gaps between some of the numbers suggest that there are perhaps thirty or more of these pieces still to be found, if they still exist. They will, in all likelihood, be found, as these were, in private collections of harp music, not in institutional libraries. We can only hope that more of them will be located in years to come.—Carl SwansonGlossary of French Musical TermsTournier was very precise about how he wanted his pieces played, and carefully communicated this with many musical indications. He used standard Italian words, but also used French words and phrases, and occasionally mixed both together. It is extremely important to observe and understand everything that he put on the page.Here is a list of the French words and phrases found in the pieces in this edition, with their translation.bien chanté well sung, melodiousdécidé firm, resolutediminu peu à peu becoming softer little by littleen diminuant becoming softeren riten. slowing downen se perdant dying awayGaiement gayly, lightlygracieusement gracefully, elegantlyLéger light, quickLent slowmarquez le chant emphasize the melodyModéré at a moderate tempopeu à peu animé more lively, little by littleplus lent slowerRetenu held backsans lenteur without slownesssans retinir without slowing downsec drily, abruptlysoutenu sustained, heldtrès arpegé very arpeggiatedTrès Modéré Very moderate tempoTrès peu retenu slightly held backTrès soutenu very sustainedun peu retenu slightly held back.
SKU: PR.114423040
UPC: 680160685813.
SKU: BT.ALHE31254
French.
Pastoreles De Noël by André Jolivet is a piece for Flute, Bassoon and the Harp lasting nearly 13 minutes. This piece is really gentle and restrained which demonstrates the quality ofJolivet’s work but also reflects that period of WWII when France was under occupation. These scores are of medium level of ability. Pastoreles De Noël features four sections:L’étoile (the Star), Les Mages (the Wisemen), La Vierge et l’Enfant (the Virgin and the Child) and Entrée et Danse des Bergers (the Shepherds’ dance). Each of these parts describes a part oftheChristmas story, starting with the Flute and the Bassoon in a duet, followed by the entrance of the Harp to settle the first part. The second section is quieter, expressing the walk in the desert. The Virgin and the Child islike a lullaby and the piece finishes on a joyful dance to express happiness and devotion. André Jolivet is a French composer who was really inspired by the Antiquity, and had a strong interest foratonality. He also wrote many chamber music pieces, eleven concertos, some orchestral and some vocal music.
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: HL.48187550
UPC: 888680850388. 9.0x12.5x0.112 inches.
“Christmas Pastoral by André Jolivet is a piece for Flute, Bassoon and the Harp lasting nearly 13 minutes. This piece is really gentle and restrained which demonstrates the quality of Jolivet?s work but also reflects that period of WWII when France was under occupation. These scores are of medium level of ability. Christmas Pastoral features four sections: L?étoile (the Star), Les Mages (the Wisemen), La Vierge et l?Enfant (the Virgin and the Child) and Entrée et Danse des Bergers (the Shepherds? dance). Each of these parts describes a part of the Christmas story, starting with the Flute and the Bassoon in a duet, followed by the entrance of the Harp to settle the first part. The second section is quieter, expressing the walk in the desert. The Virgin and the Child is like a lullaby and the piece finishes on a joyful dance to express happiness and devotion. André Jolivet is a French composer who was really inspired by the Antiquity, and had a strong interest for atonality. He also wrote many chamber music pieces, eleven concertos, some orchestral and some vocal music.â€.
SKU: PR.114415700
ISBN 9781598064711. UPC: 680160612284. 9x12 inches.
Schocker's first harp Sonata offers three movements (1. Changes; 2. Procession, Remembering; 3.Facing Forward) in approachable form for advancing students Perfect for year-end recitals. For intermediate to advanced. Duration: 8'_______________________________________SONATA NO. 1 for Harp (114-41570)With the same spontaneous gift and gusto that Gary Schocker has offered the flute world, providing a rich library of solo works and chamber music, Schocker has recently turned his creative generosity to harp. The 8-minute SONATA NO. 1 is within the reach of intermediate players, and set in three movements: Changes; Procession, Remembering; and Facing Forward. .
SKU: ST.Y259
ISBN 9790220222559.
Far Across the Sea' (Ymhell dros y mor) is the latest instrumental work from a composer noted for her original and sensitive writing for harp and harp ensemble. In this gentle solo, what sounds like a folksong - and a very fine one - is in fact a newly composed tune, crafted with artful simplicity. But as the music journeys further from its characteristically Welsh opening, teasing out new suggestions from the material, the sense of nostalgia becomes definitely more contemporary than traditional, though the uplifting conclusion restores the tone of bardic rhetoric. This work would be a rewarding item for players of intermediate standard, and was recommended for the under 18 category of the 2009 Wales International Harp Festival.
SKU: PR.114423960
UPC: 680160689293. 9 x 12 inches.
Shadowy lines traced in fading colors suggest a mountain range in silhouette against the night sky in this mesmerizing and poetic miniature for solo harp. The composer takes the instrument’s full range as her canvas, carrying the listener’s imagination from distant peaks to shrouded foothills. Particularly memorable is a recurring tremolo motifxa0 played with a wooden drumstick on the instrument’s lowest strings. DARK MOUNTAINS is artistically refined, but not virtuosic, making it a novel and approachable addition to the repertoire for developing and professional harpists alike.
SKU: CF.O5173
ISBN 9780825867248. UPC: 798408067243. 9 X 12 inches. Text: Emily Dickinson. Emily Dickinson.
SKU: PR.411411250
UPC: 680160590636. 9 x 12 inches. Text: Stephen Crane. Stephen Crane. Poems by Stephen Crane.
SKU: PR.144404690
UPC: 680160030996.
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: SU.29130160
Action Portrait of the Captain of the Ship of Souls, After Dante, Purgatory, Canto 2Harp Duration: 11'30 Composed: 1986/2018 Published by: Christopher Fulkerson.
SKU: UT.HS-274
ISBN 9790215326002. 9 x 12 inches.
Divertimento Brillante sulla Traviata di G. Verdi (Op. 4); Duetto sulla Forza del Destino di G. Verdi (Op. 91)
SKU: UT.MAG-293
ISBN 9790215328341. 9 x 12 inches.
John Stanleyâ??s 30 Voluntaries (translatable as preludes), published in three collections as opp. 5, 6 and 7, are among the best known organ works of the 18th century. These free-style compositions were received with great appreciation by his contemporaries; the first volume, published in 1748, immediately achieved canonical status and encouraged other composers to write similar collections. The pieces, of easy to medium difficulty, are for manuals (alternatively, they can also be played on the harpsichord) and comprise two movements, slow and fast, many of which are characterized by a certain rhythmic energy and richness of color, expressed through the use of solo registers such as cornet and trumpet, with multiple echo effects, here adapted and transformed into piano, forte, and playing near the sound board effect, limiting, or rather modifying, their results.
SKU: SU.50009827
Published by: Seesaw Music.
SKU: SU.50020930
Copyright 1976. Published by: Seesaw Music.
SKU: UT.MAG-210
ISBN 9790215316164. 9 x 12 inches.
SKU: UT.MAG-291
ISBN 9790215328327. 9 x 12 inches.
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