SKU: UT.HS-231

ISBN 9790215324558. 9 x 12 inches.

Tarascone; Tarantella Capuanese; Valzer; Polka di Vittorio; Tarantella Stiglianese

The history of the Viggianesi, strolling musicians, winds over a period of about four centuries and esprimeun ‘unicum’ musically and anthropologically. Heirs of a travelling musical tradition that from the late Middle Ages inhabited more than just the streets of the Kingdom of Sicily and Naples, the harpists of this extraordinary story made their first appearances as early as the end of the 1600s engaged in musical practices at shrines.
Armed with an urgent need to make a living together with a strong musical inclination, adaptability and versatility, the groups of musicians, almost always belonging to the same family circle, became the promoters of the great Italian musical tradition (Southern in particular), and with their harps on their shoulders they became the identification symbol of a well-defined and limited area of Italy: the Agri Valley, in Basilicata.
From the many documents examined, a very wide and varied musical repertoire emerges mixing the pastoral tradition with classical tradition (mainly opera, devotional music with songs from the cities (from the Neapolitan tradition to international production). The pastoral repertoire, the subject of this publication, consists of a strongly characterized native repertoire which the Viggianesi had consolidated in both public and private ritual occasions in their native land, even if performing in distant lands.

This collection is included among the compulsory pieces of The 7th International Harp Contest in Italy Suoni D’Arpa, 2017, Category A – Associazione Italiana dell’Arpa – www.associazioneitalianarpa.it

SKU: UT.MAG-266

ISBN 9790215326439. 9 x 12 inches.

Posse’s compositions for harp are rich and varied, and range from the easy pieces dedicated to his students to the virtuoso concert pieces; we must also remember his didactic works, in particular the ‘Six Small Studies’ and the universally known ‘Eight Great Concert Studies’.
It is not easy to draw a balance of his legacy in the harp world. On one hand his technical vision of virtuosity combined with a great stability of the hand and rigor of the fingerings certainly contributed to the development of the 20th Century harp technique; on the other hand, his use of the pedals, often driven by two together with the same foot (a very old French technique), has gradually become more and more difficult on modern harps. From the point of view of his contribution to the harp repertoire, the constant run-up to the piano has heavily influenced his compositional production, making him often completely miss the idiomatic effects of 19th Century harp music (except for the use of harmonic sounds), which were so loved by his friend Liszt in the compositions of Parish Alvars.

SKU: UT.MAG-274

ISBN 9790215326859. 9 x 12 inches.

Rediscovering, studying and analyzing the musical art of Philipp Joseph Hinner means enhancing a piece of the eighteenth-century harp music mosaic. Hinner's work intrigues for its extraordinary simplicity, for its regularity and harmony; the ordered balance of the parts, symmetry and sense of proportion are essential elements for the author, and give character and unity to his work. The harp repertoire has long been overshadowed by the keyboard one, which boasts extensive solo and chamber literature, and consolidated for over two centuries. The rediscovery of the history of our instrument, however, is still recent and the research work in the field of harp music is still long.
Hinner, with the apparent simplicity of his opus 10, can thus regain his role in the harp repertoire of the eighteenth century, as well as covering a considerable didactic value today. The part of the first harp undoubtedly presents characteristics of greater rhythmic and virtuosic complexity than that of the second, which consists of a continuous accompaniment interspersed with simple thematic imitated episodes. Furthermore in the composition are included arias such as O ma tendre Musette, a French popular melody of the 18th century (previously set to music by Pierre-Alexandre Monsigny), and <>, taken from the opera-comique L'erreur d'un moment ou la Suite de Julie by Nicolas Dezede, as well as themes from Gluck's Iphigenie en Aulide, which had been all used also by Hinner's first harp master, Francesco Petrini (1744-1819).
Hinner's opus 10, originally written in separate parts for two harps, or harp and fortepiano, is presented here updated and completed with its score, for a thorough perception of the work.

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: HL.48181018

UPC: 888680907761. 9x12 inches.

Theme and Variations by Marcel Tournier is a piece for advanced harp players. Starting with a main theme of arpeggiated chords, the piece then follows with a number of variations, including chords, arpeggios, glissandos, and numerous nuances and speed variations. The piece starts in Allegro moderato, then evolving to Allegretto, Allegretto Scherzando, sometimes more energetic or quieter. This piece is great to master speed, flexibility and agility as well as the different types of nuances. Marcel Tournier (1879-1951) was a French harpist and teacher. He studied with Alphonse Hasselmans at the Paris Conservatoire and composed numerous pieces for solo harp: Russian Lullabies, Six Christmas, Four Preludes and Three Images, Suite 1, Op. 29, among many others.

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.

SKU: HL.720360

ISBN 9780936661186. UPC: 073999451405. 8.5x10.8x0.113 inches.

This popular piece is in great demand and is now available for folk harp. This book includes several arrangements: an easy solo version, an advanced solo version in the keys of G and D, and a duet version for harp and melody instrument. Playable on lever harp or pedal harp. Arrangements in this folio include: â?¢ Easy harp solo in the key of D â?¢ Advanced harp solo in the key of D â?¢ â??Aâ? part for harp duet in the key of D â?¢ â??Bâ? part for harp duet or ensemble in the key of D â?¢ Melody instrument part for ensemble in the key of D â?¢ Easy harp solo in the key of G â?¢ Advanced harp solo in the key of G â?¢ â??Aâ? part for harp duet in the key of G â?¢ â??Bâ? part for harp duet or ensemble in the key of G â?¢ Melody instrument part for ensemble in the key of G.

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.