SKU: 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)

SKU: UT.MAG-284

ISBN 9790215328099. 9 x 12 inches.

SKU: 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.

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: 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.50575301

0.088 inches.

SKU: 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.

SKU: UT.MAG-157

ISBN 9790215309784. 9 x 12 inches.

SKU: 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.

SKU: UT.MAG-266

ISBN 9790215326439. 9 x 12 inches.

Posseâ€⠄¢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.