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: CA.1630200

ISBN 9790007099695. Language: all languages.

The viola solo courbe 2 is based on an excerpt from the viola part in the Trio for flute, viola and harp << courbes >> - sequences. In the densest time curve of this piece the viola plays the leading role for a span of almost three minutes. This material is taken from the Trio, presented and divided into separate parts. courbe 2 is three times longer in duration than the Trio excerpt from which it is derived. The musical text of the individual fragments remains as it is in the original, but, pulsating, demarcated in seconds. Fissures emerge between the fragments, windows open: - to harmonic fields, central sounds, taken over from the reverberations, from which new tone material is derived; the fields in turn are distorted and spacialised by the electronics - to metrical structures and pulses freed from the individual motives of the original musical text, which forms new variants in interaction with these fields. Thus in courbe 2 which, as already indicated, is three times longer in duration than the original, three musical levels are interpenetrated, whereby all three are derived from one tone, which plays an absolutely central role in most of my works. It is a reference to the French writer Anne-Marie Albiach (and to her great text << H II >> lineaires), and it remains as the only tone at the end of the piece, definitively, determining everything, b = 247 Hertz. Walter Feldmann.

SKU: MB.95472

ISBN 9780786604951. UPC: 796279025461. 8.75 x 11.75 inches.

The book, musician, entertainer, teacher, and recording artist Carol Stober provides melody lines, lyrics, chord symbols, and melody tablature for 35 tunes she learned in Appalachia. The stories woven through the music portray a mixture of life situations that were ever-present in the difficult struggle for survival of our ancestors. The lyrics of many of these songs, although sometimes harsh, give insight into the values of the Appalachian people. The autoharp tablature provides detailed indications for different types of thumb and finger strokes, plucking, and string pinching.