Harp

SKU: SU.50025470

For Harp. Composed by Gardner Read. Harp, Solo Harp. Score. Seesaw Music Corp #50025470. Published by Seesaw Music Corp (SU.50025470).

Copyright 1971. Published by: Seesaw Music.

Harp

SKU: HL.48182532

Composed by Henri Tomasi. Leduc. Softcover. Alphonse Leduc #AL23856. Published by Alphonse Leduc (HL.48182532).

UPC: 888680841027. 7.25x10.75x0.229 inches.

Tomasi Henri Highland's Ballad Ballade Ecossaise Harp & Orch Score.

Harp

SKU: BT.HU3268

Revised edition. Composed by Joseph Haussler. Book Only. 6 pages. Harmonia #HU3268. Published by Harmonia (BT.HU3268).

ISBN 9789043146647. A4 (210X297) inches. International.

Cont ents:
I. Theme - ascribed to Wolfgang A. Mozart - with variations for harp by Joseph Häussler.
II. Variations on Mozarts Joseph Häussler theme for harp or celtic harp by Ank van Campen.

Inhalt:
I. Thema - Wolfgang A. Mozart zugeschrieben - mit Variationen für Harfe von Joseph Häussler.
II. Variationen über Joseph Häusslers Mozartthema für Harfe oder keltische Harfe von Ank van Campen.

Harp

SKU: CU.MA3954

Composed by Giovanna Farolfi. Published by Edizioni Curci (CU.MA3954).

Harp

SKU: BT.SCM11059

Book Only. 80 pages. Schell Music #SCM11059. Published by Schell Music (BT.SCM11059).

ISBN 9783864110597.

By Christina Perri. Arranged by Sylvia Woods. For Harp. Harp. Softcover. 4 pages. Published by Hal Leonard

Composed by Bonnie Goodrich. For Harp. Harp. Softcover. 36 pages. Published by Hal Leonard

Harp

SKU: HL.228128

Harp Solo. Composed by Halsey Stevens. Peermusic Classical. Classical. 8 pages. Peermusic Classical #61128-557. Published by Peermusic Classical (HL.228128).

UPC: 680160425433. 9x12 inches.

Folk Harp; Harp

SKU: HL.720360

For Harp. Composed by Johann Pachelbel. Arranged by Sylvia Woods. Harp. Classical. 40 pages. Hal Leonard #0936661186. Published by Hal Leonard (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.

Harp Method. By Ettore Pozzoli. Harp. Size 9x12 inches. 72 pages. Published by Ricordi.

Harp

SKU: GI.G-7231INST

Composed by Gerald Custer. This edition: Instrument edition. Christmastide, Christmas Daw, Christmas Day, Holy Family B, Presentation of the Lord. Evoking Sound. Music Education. Instrumental part(s). 1 pages. GIA Publications #7231INST. Published by GIA Publications (GI.G-7231INST).

Text Source: Richard Crashaw, 1616-1649.

Music Theory and Arranging Techniques for Folk Harps arranged by Sylvia Woods. For Harp, Folk Harp. Harp. 112 pages. Published by Hal Leonard

Harp

SKU: BT.DV-21475

Composed by Antonio Scontrino. Book Only. Composed 2019. 12 pages. Da Vinci Publishing #DV 21475. Published by Da Vinci Publishing (BT.DV-21475).

Chamber Music harp

SKU: CF.H84

Composed by Marcel Tournier. Edited by Carl Swanson. Collection - Score. Carl Fischer Music #H84. Published by Carl Fischer Music (CF.H84).

ISBN 9781491165539. UPC: 680160924530.

Marce l Tournier (1879–1951) was one of the most important harpist/composers in the history of the harp. Over his long career, he added a significant catalogue of very beautiful works to the harp repertoire. Many of his solo works, almost one hundred, have been consistently in print since they were first published. But in recent years harpist Carl Swanson has discovered a treasure trove of pieces by Tournier heretofore unknown and unpublished. These include the Déchiffrages in this edition, as well as songs set for voice, harp, and string quartet, and ensemble arrangements of some of his most beloved works.All of the works that Carl Swanson found were in manuscript only. With the help of the great harpist Catherine Michel, he has put these pieces into playable form, and they are being published for the very first time. He and Catherine often had to re-notate passages to show clearly how they could be played, adding fingerings and musical nuances, tempos, pedals, and pedal diagrams.Tournier wrote these pieces when he was in his 20s, and before he became the impressionistic composer those familiar with his work know so well. They are written in the late nineteenth-century romantic style that was being taught at that time at the Paris Conservatory. They are beautiful short, intermediate level pieces by a first rate composer, and add much needed repertoire to that level of playing.
Marcel Tournier (1879–1951) was one of the most important harpist/composers in the history of the harp. He graduated from the Paris Conservatory with a first prize in harp in 1899. He also studied composition there and won a second prize in the prestigious Prix de Rome competition, as well as a first prize in the Rossini competition, another major composition competition of the day. From 1912 to 1948 he taught the harp class at the Paris Conservatory. But composition, and almost entirely, composition for the harp, was the main focus of his life. His published works, including many works for solo harp, a few for harp and other instruments, and several songs, number around one hundred pieces.In 2019, while researching Tournier for my edition MARCEL TOURNIER: 10 Pieces for Solo Harp, I discovered that there was a significant list of pieces by this composer that had never been published and were not included on any inventory of his music. Principal on this list were his déchiffrages (pronounced day-she-frahge, like the second syllable in the word garage).The word déchiffrage means sight-reading exercise, and that was their original purpose. Tournier numbered and dated these pieces, with dates ranging from 1900 to 1910, indicating that they were in all likelihood written for Alphonse Hasselmans’ class at the Paris Conservatory. Tournier was probably told how long to make each one, and how difficult. They range in length from two to four pages, with only one in the whole series extending to five, and from thirty to fifty-five measures, with only one extending to eight-five. The level of difficulty for the whole series is intermediate, with some at the easier end, and others at the middle or upper end.We don’t know if they were intended to test students trying to enter the harp class, or if they were used to test students in the class as they played their exams. The fact that they were never published means that students had to not only sight read them, but sight read them in manuscript form!I worked from digital images of the original manuscripts, which are in the private music library of a harpist in France. She had twenty-seven of these pieces, and this edition is the second in a series of three that will publish, for the first time, all of the ones that I have found thus far. The manuscripts themselves consist of little more than notes on the page: no pedals written in, no fingerings, few if any musical nuances and tempo markings, and no clear indication as to which hand plays which notes. These would have been difficult to sight read indeed! My collaborator Catherine Michel and I added musical nuances, fingerings, pedals and pedal diagrams, and tempo indications to put them into their current condition.At the time these were written, Tournier would have been in his twenties, having just graduated from the harp class himself (1899), and might still have been in the composition class. These are the earliest known pieces that he wrote, and they were written at the very beginning of a cultural revolution and upheaval in Paris that was to completely and profoundly alter musical composition. Tournier himself would eventually be caught up in this new way of composing. But not yet.All of the déchiffrages are written in the late romantic style that was being taught at that time at the Paris Conservatory. Each one is built on a clear musical idea, and the variety over the whole series makes them wonderful to listen to as well as to learn. They are also great technical lessons for intermediate level players.The obvious question is: Why didn’t Tournier publish these pieces, and why didn’t he list them on his own inventory of his music? Actually, four of them were published, with small changes, as his collection Four Preludes, Op. 16. These came from the ones that will be in volume three of this series from Carl Fischer. His first large piece, Theme and Variations, was published in 1908, and his two best known and frequently played pieces, Féerie and Au Matin, followed in 1912 and 1913 respectively. We can only speculate because there is so much still unknown about Tournier and about these unpublished pieces. He may have looked at them, fresh out of school as he was, as simply a way to make some quick money. The first several pieces that he did publish are much longer than any of the déchiffrages. So it could be that, because of their shorter length, as well as the earlier musical style that he was moving away from, he chose not to publish any more of them. We may never know the full story. But all these years later, more than a century after they were composed, we can listen to them for their own merits, and not measured against whatever else was going on at the time. The numbers on these pieces are the ones that Tournier assigned to them, and the gaps between some of the numbers suggest that there are perhaps thirty or more of these pieces still to be found, if they still exist. They will, in all likelihood, be found, as these were, in private collections of harp music, not in institutional libraries. We can only hope that more of them will be located in years to come.—Carl SwansonGlossary of French Musical TermsTournier was very precise about how he wanted his pieces played, and carefully communicated this with many musical indications. He used standard Italian words, but also used French words and phrases, and occasionally mixed both together. It is extremely important to observe and understand everything that he put on the page.Here is a list of the French words and phrases found in the pieces in this edition, with their translation.bien chanté well sung, melodiousdécidé firm, resolutediminu peu à peu becoming softer little by littleen diminuant becoming softeren riten. slowing downen se perdant dying awayGaiement gayly, lightlygracieusement gracefully, elegantlyLéger light, quickLent slowmarquez le chant emphasize the melodyModéré at a moderate tempopeu à peu animé more lively, little by littleplus lent slowerRetenu held backsans lenteur without slownesssans retinir without slowing downsec drily, abruptlysoutenu sustained, heldtrès arpegé very arpeggiatedTrès Modéré Very moderate tempoTrès peu retenu slightly held backTrès soutenu very sustainedun peu retenu slightly held back.

(For Harp). By Donald Erb. For Harp Solo. Solo part. Standard notation. 18 pages. Duration 16 minutes. Published by Theodore Presser Company

Harp

SKU: PR.574004610

Composed by Tzvi Avni. With Standard notation. Duration 8 minutes. Israel Music Institute #574-00461. Published by Israel Music Institute (PR.574004610).

UPC: 680160398065.

Harp

SKU: CU.EC9480

Composed by Johann Sebastian Bach. Published by Edizioni Curci (CU.EC9480).

Harp

SKU: ST.C136

Composed by Stewart Green. String music. Clifton Edition #C136. Published by Clifton Edition (ST.C136).

ISBN 9790570811366.

Composed by Various. Harp. Broadway, Pop, Folk, Standards. Softcover. Published by Hal Leonard

Harp

SKU: FG.55011-820-1

Composed by Lotta Wennäkoski. Classical, contemporary. Score. Fennica Gehrman #55011-820-1. Published by Fennica Gehrman (FG.55011-820-1).

ISBN 9790550118201.

Lott a Wennäkoski composed her harp concerto Sigla in 2022. In Segla (2022) for solo harp the concerto’s material is reorganized and developed further. The title means “to sail in Swedish. At the times, the music gently sways on the waves – one might hear some spindrifts as well.

Duration: 4'. This product is a B4 sized folder with loose pages.

Segla was written for the Royal Academy of Music as a part of the bicentenary project. Premiere by Huw Boucher 17th November 2022, Royal Academy of Music, London.

(Arranged for Harp by Deborah Friou). Arranged by Deborah Friou. For Harp. Harp. Softcover. 4 pages. Published by Friou Music

Harp

SKU: BT.ALHE31594

Composed by Albert Perilhou. Classical. Book Only. 4 pages. Heugel & Cie #ALHE31594. Published by Heugel & Cie (BT.ALHE31594).

French.

Albert Périlhou: Chanson de Guillot Martin (Harp solo).

Composed by Marcel Grandjany. Leduc. Classical. Softcover. 14 pages. Alphonse Leduc #AL20047. Published by Alphonse Leduc

Composed by Georg Friedrich Haendel. For harp. Classical. Score. 8 pages. Published by Editions Henry Lemoine

Harp

SKU: UT.HS-222

Composed by Turlough O’Carolan. Edited by Tatiana Donis. Arranged by Tatiana Donis. Saddle stitching. Classical. 32 pages. Ut Orpheus #HS 222. Published by Ut Orpheus (UT.HS-222).

ISBN 9790215323322. 9 x 12 inches.

Bridget Cruise; Captain O’Kane; Carolan’s Farewell to Music; Carolan’s Quarrel with the Landlady; Frank Palmer; George Brabazon. First Air; George Brabazon. Second Air; Grace Nugent; Morgan Magan; Mr O’Connor

From Trilogy. By Elliott Carter. (Harp). Boosey and Hawkes Chamber Music. Size 9x12 inches. 10 pages. Published by Boosey & Hawkes.