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 Provin­ces 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: 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: SU.80111201

Harp Duration: 11 ' Composed: 1966 Published by: Soundspells Productions Infinities #16 (1966) is a vivid solo for harp. An active opening works its way towards a subdued conclusion.

SKU: SU.80600760

Harp solo Composed: 1966 Published by: E.B. Marks.

SKU: SU.80601670

Harp solo Composed: 1969 Published by: E.B. Marks.

SKU: SU.50500990

Solo Harp Duration: 5' 30 Composed: 2010 Published by: Seesaw Music.

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 clip
2 Flutes (2nd doubling piccolo)
2 Oboes
2 Clarinets in Bb
2 Bassoons
2 Horns in F
2 Trumpets in C – trumpets and trombone doubling an egg slicer
Bass trombone attached to a piece of wood or a flat cardboard box
Percussion (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 brushes
Percussion 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 stick
Piano – equipped with a plectrum, wire brushes and 2 soft percussion beaters
Strings.

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: HL.48186700

UPC: 888680788650. 9.0x12.0x0.05 inches.

La Gimblette by Bernard Andrès (born 1941) for Celtic harp or harp.

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.