Harp SKU: UT.HS-274 Composed by Giovanni Caramiello. Edited by Letizia Be...(+)
Harp
SKU:
UT.HS-274
Composed by
Giovanni Caramiello.
Edited by Letizia
Belmondo. Saddle
stitching. Classical.
Score and Parts. Ut
Orpheus #HS 274.
Published by Ut Orpheus
(UT.HS-274).
ISBN
9790215326002. 9 x 12
inches.
Divertim
ento Brillante sulla
Traviata di G. Verdi (Op.
4); Duetto sulla Forza
del Destino di G. Verdi
(Op. 91)
(10 Selections for Lever and Pedal Harp). By Billy Joel. Arranged by Emily Breck...(+)
(10 Selections for Lever
and Pedal Harp). By Billy
Joel. Arranged by Emily
Brecker. For Lever and
Pedal Harp. Softcover. 88
pages. Published by Hal
Leonard
Harp SKU: FG.55011-885-0 Composed by Lotta Wennäkoski. Classical, cont...(+)
Harp
SKU:
FG.55011-885-0
Composed by Lotta
Wennäkoski. Classical,
contemporary. Part.
Fennica Gehrman
#55011-885-0. Published
by Fennica Gehrman
(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.
Duratio
n:
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.
Chamber Music harp SKU: PR.110406720 Composed by Samuel Adler. Classical....(+)
Chamber Music harp
SKU: PR.110406720
Composed by Samuel Adler.
Classical. Softcover.
With Standard notation.
Duration 14 minutes.
Theodore Presser Company
#110-40672. Published by
Theodore Presser Company
(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.
Harp; Early Music SKU: UT.MAG-293 Composed by John Stanley. Arranged by S...(+)
Harp; Early Music
SKU:
UT.MAG-293
Composed
by John Stanley. Arranged
by Simona Marchesi.
Magadis. Classical.
Score. Ut Orpheus #MAG
293. Published by Ut
Orpheus (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.
Harp (Harp) SKU: HL.48181026 Composed by R. Nicholas-Charles Bochsa. Ledu...(+)
Harp (Harp)
SKU:
HL.48181026
Composed
by R. Nicholas-Charles
Bochsa. Leduc. Classical.
Softcover. Alphonse Leduc
#AL20022. Published by
Alphonse Leduc
(HL.48181026).
UPC:
888680878597.
This
book, the first volume of
Famous Studies for the
Harp - Fifty Studies, Op.
34 by Nicolas-Charles
Bochsa, was dedicated to
J.B. Cramer. Edited and
arranged according to
Hasselmans's methods by
R. Martenot, it features
the studies 1 to 25 for
intermediate harp players
and above. This volume is
followed by a second book
including the studies 26
to 50. Nicolas-Charles
Bochsa (1789-1856) was a
musician and composer
able to play the flute,
the piano and the harp.
He became the harpist of
the Imperial Orchestra
but had to move to London
where he was one of the
founders of the Royal
Academy of Music.
Harp SKU: UT.MAG-157 Composed by Charles Bochsa and Robert Nicolas. Edite...(+)
Harp
SKU:
UT.MAG-157
Composed
by Charles Bochsa and
Robert Nicolas. Edited by
Anna Pasetti. Saddle
stitching. Magadis.
Classical. Ut Orpheus
#MAG 157. Published by Ut
Orpheus (UT.MAG-157).
Soprano voice, flute, violin, bass clarinet, horn and harp SKU: HL.49006465(+)
Soprano voice, flute,
violin, bass clarinet,
horn and harp
SKU:
HL.49006465
Kantate nach Worten
des spaten Holderlin.
Composed by Wolfgang
Fortner. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Classical. Piano
reduction. Composed 1951.
16 pages. Duration 14'.
Schott Music #ED 6595.
Published by Schott Music
(HL.49006465).
Harp SKU: UT.MAG-276 Composed by Ludwig van Beethoven. Edited by Anna Pas...(+)
Harp
SKU:
UT.MAG-276
Composed
by Ludwig van Beethoven.
Edited by Anna Pasetti.
Saddle stitching.
Magadis. Classical. Ut
Orpheus #MAG 276.
Published by Ut Orpheus
(UT.MAG-276).
ISBN
9790215326880. 9 x 12
inches.
Johannes
Snoer is not one of the
most remembered harpists
today, but his didactic
work was really important
and can still be useful
today. For didactic
purposes, he also
published collections of
simple pieces by great
composers transcribed for
harp. Among his
transcriptions there is
the Adagio from Sonata n.
5 in C minor, op. 10 no.
1, by Ludwig van
Beethoven, subject of
this edition. The
original musical text has
been left unchanged, only
the ornamentation has
been written in full and
the harp fingerings and
indications relating to
the movement of the
pedals have been added.
The work brings the
dedication to Mr. H.
Rutters, probably a
relative of his wife
Antoinette.
Harp SKU: UT.MAG-266 Composed by Wilhelm Posse. Edited by Anna Pasetti. S...(+)
Harp
SKU:
UT.MAG-266
Composed
by Wilhelm Posse. Edited
by Anna Pasetti. Saddle
stitching. Magadis.
Classical. Ut Orpheus
#MAG 266. Published by Ut
Orpheus (UT.MAG-266).
ISBN 9790215326439. 9
x 12
inches.
Posseâ€â
„¢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.