1-3 french harps (diat.) (MDHARM) SKU: HL.49035666 Solo - Duo - Trio(+)
1-3 french harps (diat.)
(MDHARM)
SKU:
HL.49035666
Solo -
Duo - Trio. Composed
by Herold. Edited by
Helmuth Herold. This
edition: Saddle
stitching. Sheet music.
Edition Schott. 60 pages.
Schott Music #MH 170161.
Published by Schott Music
(HL.49035666).
by Janna McCall Geller and Mallory Geller. For Harp (Folk/Celtic). method. Non-S...(+)
by Janna McCall Geller
and Mallory Geller. For
Harp (Folk/Celtic).
method. Non-Series. All
styles. Level: Beginning.
Book. Size 8.5x11. 208
pages. Published by Mel
Bay Publications, Inc.
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.
Folk Harp; Harp SKU: HL.131541 Arranged for Harp. By A. Great Big ...(+)
Folk Harp; Harp
SKU:
HL.131541
Arranged
for Harp. By A. Great
Big World. Arranged by
Sylvia Woods. Harp. Pop.
Softcover. 4 pages.
Published by Hal Leonard
(HL.131541).
ISBN
9780936661667. UPC:
888680025564.
8.5x11.0x0.031
inches.
Say
Something is an original
song by the American duo
A Great Big World. The
lyrics are about letting
go when a relationship
ends. It became an
international hit when
Christina Aguilera joined
A Great Big World on a
re-recorded version in
2013. Sylvia Woods has
made a 4-page advanced
beginner to intermediate
arrangement, playable on
either lever or pedal
harp. This music features
a pedal point (also
called a pedal note or
pedal tone), which is a
sustained or continually
repeated note that is
held constant while
harmonies change in other
parts. A pedal point is
usually found in the
bass, but here it is in
the middle register.
Virtually every measure
includes a middle C note
on the downbeat.
Sometimes it is played
with the right hand, and
at other times with the
left. But it is almost
always there. This pedal
point harmony is what
originally drew me into
this beautiful piece of
music the first time I
heard it on the radio.
The music is in the key
of C, and no sharping
levers are required, as
there are no lever
changes. Fingerings,
lyrics and chord symbols
are included. The harp
range required is 24
strings from a low C up
to an E. It can be played
on 24-string to 26-string
harps with a C as the
lowest string if you play
both hands an octave
higher than written.
Harp SKU: UT.MAG-274 Composed by Philipp-Joseph Hinner. Edited by Frances...(+)
Harp
SKU:
UT.MAG-274
Composed
by Philipp-Joseph Hinner.
Edited by Francesca La
Carrubba Jessica
Pettenà . Saddle
stitching. Magadis.
Classical. Score and
Parts. Ut Orpheus #MAG
274. Published by Ut
Orpheus (UT.MAG-274).
ISBN 9790215326859. 9
x 12
inches.
Rediscoveri
ng, 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.