SKU: PR.114417670
ISBN 9781491107973. UPC: 680160636228. 9x12 inches.
The inscription above Carter Pann's Emerald's on Artemis reads: A music box for Emerald Weber (born 18 June, 2010) on Morgan Black's harp Artemis. The title of this 2010 composition is a bit cryptic, but Artemis is the given name of harpist Morgan Black's instrument. The music is both out-and-out tender and exuberant, clearly celebrating the birth of Emerald, the first daughter of one of Pann's dear childhood friends. For advanced harpists._______________________________________Text on the scanned back cover:Composer/pianist Carter Pann (2016 Pulitzer Prize Finalist in Music) has written for and worked with musicians around the world, garnering performances by ensembles such as the London Symphony and City of Birmingham Symphony, the Tchaikovsky Symphony in Moscow, many radio symphonies around Europe, the Seattle Symphony, National Repertory Orchestra, the youth orchestras of New York and Chicago, and countless wind ensembles.He has written for Richard Stoltzman, the Antares Ensemble, the Capitol Saxophone Quartet, the West Coast Wind Quintet, the River Oaks Chamber Ensemble, and many concert pianists. His String Quartet No. 2 “Operas†was commissioned by the Takács Quartet. Pann has been awarded a Charles Ives Fellowship, a Masterprize seat in London, and many ASCAP awards over the years. His numerous CDs encompass solo, vocal, chamber, orchestral, and wind music, and have received two Grammy nominations. He currently teaches at the University of Colorado in Boulder.
SKU: HL.50600990
8.25x11.75 inches.
Krzysztof Meyer's “Movimento rapsodico” for harp solo is a commissioned work by the International Music Competition of the ARD Munich. The world premiere was given during the course of this competition (semifinal) on 4 September 2016.
SKU: UT.MAG-83
ISBN 9790215306196. 8.26 x 11.69 inches.
SKU: HL.48187068
UPC: 888680884109. 9.0x12.0x0.059 inches.
“Composed for Pedal Harps, Sweet Blues is a piece of 4 minutes by Bernard Andrès. This melodious yet quite nostalgic work uses natural harmonies, pinched sounds, arpeggios and numerous pedal changes. Quite difficult, it would be better for advanced players. Three parts can be differentiated: Lento, Piú lento and Piú lento. The first part starts with a tune in natural harmonies only by the right hand, followed by the same tune in pinched notes. The piece continues with soft ordinary sounds. Pinched sounds and natural harmonies re-appear in the last part, before the quiet finale. Bernard Andres (born in 1941) is a world-known French Harpist and composer. Recognised for his work on both lever and pedal Harps and for chamber music pieces, some of his most famous pieces are 'Elegy to a dead Shepherd' and 'Anamorphoses'.”.
SKU: HL.50607022
UPC: 196288284048.
Composed for Pedal Harps, Sweet Blues is a piece of 4 minutes by Bernard Andrès. This melodious yet quite nostalgic work uses natural harmonies, pinched sounds, arpeggios and numerous pedal changes. Quite difficult, it would bebetter for advanced players. Three parts can be differentiated: Lento, Piú lento and Piú lento. The first part starts with a tune in natural harmonies only by the right hand, followed by the same tune in pinched notes. The piececontinues with soft ordinary sounds. Pinched sounds and natural harmonies re-appear in the last part, before the quiet finale. Bernard Andres (born in 1941) is a world-known French Harpist and composer. Recognised for his workon both lever and pedal Harps and for chamber music pieces, some of his most famous pieces are 'Elegy to a dead Shepherd' and 'Anamorphoses'.
SKU: BT.DMP115045
SKU: OU.9780193359628
ISBN 9780193359628. 12 x 8 inches.
For solo harp An arrangement of Scenes 5 and 12 from a projected stage-work on the life of Tchaikovsky. They are identical in structure and draw on the set of Russian folk songs that Tchaikovsky arranged for piano-duet, albeit with a high level of distortion and adaptation.
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: HL.14040905
French.
SKU: SS.50009827
SKU: PR.110406720
UPC: 680160001316.
I have always been fond of writing works for specific people or organizations. It has been my good fortune during most of my creative career to be asked to compose for many extraordinary performers. The Sonata for Harpsichord Solo is such a case in point: it was written in 1982 for Barbara Harbach, a superb performer, close friend, and collaborator on many musical projects. The Sonata was premiered on March 2, 1984, in a recital given by Dr. Harbach at Nazareth College in Rochester, New York. During my formative years as a composer, one seldom heard of the harpsichord as a modern instrument, though while I attended undergraduate school at Boston University, some of us banded together to construct a small harpsichord from one of the first do-it-yourself kits which began to appear in the late '40s. It was also during this time that I heard the Sonatina for Violin and Harpsichord by my teacher Walter Piston and consequently specified that the accompanying instrument for my second violin sonata could either be a piano or a harpsichord. It was not until recently, however, that my interest in the harpsichord as a solo instrument for new music was aroused. This was because of the emergence of so many young virtuosi, such as Barbara Harbach, who are interested in the performance of new music besides the great harpsichord music of the Classical, Baroque, and pre-Baroque eras. The keyboard music of Domenico Scarlatti has always intrigued and fascinated me. The brevity, excitement, and clarity of this sparkling music is charming as well as exhilarating. It is this type of Baroque sonata that inspired the conception and form of my harpsichord sonata. The entire work is loosely based on the musical translation of Barabara Harbach's name, especially the conflict of the B (B-flat) and H (B-natural in German notation). This secondo rub or dissonance especially pervades the first movement, which is in a modified sonata form, pitting jagged and tense melodic elements against most lyrical and smooth lines. This second movement is a song-like melody accompanied by rolled chords which may be played on the lute stop of the instrument if this sonata is performed on a two-manual harpsichord. The final movement is an ever-driving joyous toccata which brings the work to an exciting close with a coda made up of accelerating repeated chords. --Samuel Adler.
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.94060
ISBN 9781562221973. UPC: 796279006026. 8.75 x 11.75 inches.
One of Meg Petersons finest books. This comprehensive text presents all of the strums and techniques needed to play back-up and melody on autoharp. Contains excellent teaching on various strum and fingerpicking styles. In addition, arrangements are included on 57 country favorites.
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.
