[Towards the Fountain in the Woods pour la Harpe]. Composed by Marcel Tournier...(+)
[Towards the Fountain in
the
Woods pour la Harpe].
Composed by Marcel
Tournier
(1879-1951). Leduc.
Classical. Softcover. 10
pages. Alphonse Leduc
#AL20002. Published by
Alphonse Leduc
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 SKU: UT.MAG-221 Composed by Martin-Pierre Dalvimare. Edited by Anna ...(+)
Harp
SKU:
UT.MAG-221
Composed
by Martin-Pierre
Dalvimare. Edited by Anna
Pasetti. Saddle
stitching. Magadis.
Classical. Ut Orpheus
#MAG 221. Published by Ut
Orpheus (UT.MAG-221).
ISBN 9790215318625. 9
x 12
inches.
Martin-Pier
re Dalvimare, born in
1770, in Dreux
(Eure-et-Loir), from a
distinguished family,
learnt music as an
entertainment art, and
was obliged to make it a
resource for his
existence, after the
troubles of the
Revolution in 1789. He
had acquired a remarkable
talent for the harp; when
he arrived in Paris he
made a very good
impression. Then, man of
the world, knowledgeable
in many fields, which is
rare for a musician, he
was welcome everywhere,
and very soon came in
friendly terms with some
of the most renowned
artists and men of
letters of his times. The
marriage certificate of
the poet Legouve (15
pluviose of the year XI,
or February 1803, 12th
municipality of Paris),
shows that Dalvimare was
one of his best men and
that at the time he was
thirty-two years old. He
became harpist of the
Opera in the year VIII
(1800), and was
definitively confirmed in
the month of fructidor of
the year IX. At the time
of the institution of the
emperor Napoleon's
private music, M.
Dalvimare was appointed
as his harpist. In
September 1807 he
obtained the title of
harp master of the
empress Josephine. A
lucky change of his
fortune allowed this
artist to renounce to
practise his talent for
living, he resigned from
all of his positions on
March, 12th, 1812, and he
retired in Dreux, where
he still was living in
1837. For a peculiar
weakness, he does not
like to speak about his
artist career, which had
been entirely honourable,
and he would like to
forget his success too.
His first composition was
a symphonie concertant
for harp and horn, which
he composed with Frederic
Duvernoy, and published
in the year VII (1798);
notwithstanding, he
counted as his first opus
a collection of romances
with accompaniment of
piano or harp, which he
later published with
Pleyel.
In 1809
Dalvimare composed, for
the theatre Feydeau, a
one-act opera-comique
called The Marriage for
Imprudence. The music was
weak; the work did not
succeed, and people used
to say that the greatest
imprudence had been the
one of the authors who
had it performed.
Nevertheless, the score
of this opera was
published in Paris by
erard. (Francois-Joseph
Fetis).
(Harp Part). By Angela Dastrup. By Dr. Shinichi Suzuki. For Harp. Book; CD; Harp...(+)
(Harp Part). By Angela
Dastrup. By Dr. Shinichi
Suzuki. For Harp. Book;
CD; Harp (Suzuki);
Method/Instruction;
Suzuki. Suzuki Harp
School. 36 pages.
Published by Alfred Music
(Harp Part). Composed by Dr. Shinichi Suzuki. For Harp. Book; Harp (Suzuki); Met...(+)
(Harp Part). Composed by
Dr. Shinichi Suzuki. For
Harp. Book; Harp
(Suzuki);
Method/Instruction;
Suzuki. Suzuki Harp
School. 36 pages.
Published by Alfred Music
Composed by Monika Mandelartz. For Folk Harp and Pedal Harp. Saddle-stitched. ...(+)
Composed by Monika
Mandelartz. For Folk Harp
and
Pedal Harp.
Saddle-stitched.
Intermediate-Advanced.
Book.
28 pages. Published by
Mel
Bay Publications, Inc
(with Selected Arrangements for the Folk Harp). By Mary Umbarger. For Harp (Folk...(+)
(with Selected
Arrangements for the Folk
Harp). By Mary Umbarger.
For Harp (Folk/Celtic).
Solos. Acoustic Music.
Intermediate-Advanced.
Book. 88 pages. Published
by Mel Bay Publications,
Inc
Harp SKU: CF.H82 Five Children’s Pieces. Composed by Mauric...(+)
Harp
SKU: CF.H82
Five Children’s
Pieces. Composed by
Maurice Ravel.
Transcribed by Carl
Swanson. 32 pages. Carl
Fischer Music #H82.
Published by Carl Fischer
Music (CF.H82).
ISBN
9781491160183. UPC:
680160918782.
Mauri
ce Ravel's Mother Goose
is arguably one of the
most well-known and
well-loved of Ravel's
works. Whether one
encounters it first in
its original iteration
for piano, four hands, or
in the sweeping orchestra
transcription, Mother
Goose leaves an
impression that isn't
soon forgotten. The
pieces are short, simple,
and descriptive, but are
nonetheless ravishing,
and beautifully showcase
Ravel’s genius and
compositional skills. Now
for the first time, the
entire work has been
transcribed for solo harp
by harpist Carl Swanson.
Each of the original five
movements has been
carefully edited, making
the pieces playable on
solo harp, while keeping
the spirit that Ravel
intended. Here is a
valuable addition to the
harp repertoire by one of
the greatest composers of
the twentieth century,
Maurice Ravel.
Harp SKU: HL.14007563 Harp Solo. Composed by Per Norgard. Music Sa...(+)
Harp
SKU:
HL.14007563
Harp
Solo. Composed by Per
Norgard. Music Sales
America. Classical. Book
[Softcover]. 6 pages.
Music Sales #KP01320.
Published by Music Sales
(HL.14007563).
ISBN
9788759867587. UPC:
888680753047.
10.5x14.0x0.033
inches.
Consolation
- Like A Roselike Flower
(Consolazione - Flos Ut
Rosa) for Harp solo by
Per Norgard (2002).
Written for and dedicated
to Tine Rehling.
Programme note by the
composer: The concept of
Mary has a depth that
transcends all religious
persuasions. All over the
earth symbols of the
gentle and maternal are
known. But the word
'Maria' is also
associated - in sound -
with the Latin word for
the sea, mare, and she
thus become the Star of
the Sea, Maris
Stella. In my 3rd
Symphony the Maria motif
is used in a hymn section
in the second, and last,
part of the work. The
choral song “Flos
ut rosa floruit”
was composed directly in
the context of the
symphony, and themelody
had a 'stamina' that
carried it over into many
later vocal and choral
compositions, for
instance the
“Concerto for Harp
No. 2 - through
thorns” (2003) and
the present Consolazione
for harp solo , both
works dedicated to Tine
Rehling. .
Fantasia on the Rondo from the Piano Sonata in A major K. 331 by Wolfgang Am...(+)
Fantasia on the Rondo
from
the Piano Sonata in A
major
K. 331 by Wolfgang
Amadeus
Mozart, arranged for harp
by
Ekaterina Afanasieva
(2015).
Composed by Fazil Say.
Arranged by Ekaterina
Afanasieva. This edition:
Saddle stitching. Sheet
music. Der Finalsatz der
Sonate A-Dur KV 331 von
Wolfgang Amadeus Mozart,
das
Rondo Alla Turca, ist
eines
der bekanntesten
Klavierstucke uberhaupt.
An
diese Popularitat knupft
das
als effektvolle Zugabe
entstandene Stuck von
Faz?l
Say in der Bearbeitung
fur
Harf. Classical. Single
sheet. Composed 1993. Op.
5b.
8 pages. Duration
4'. Schott
Music #ED22797. Published
by
Schott Music
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.
Harp SKU: BA.BA11304-71 Composed by Camille Saint-Saens. Edited by Christ...(+)
Harp
SKU:
BA.BA11304-71
Composed by Camille
Saint-Saens. Edited by
Christina M. Stahl. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Single part. Opus
12. 10 pages.
Baerenreiter Verlag
#BA11304_71. Published by
Baerenreiter Verlag
(BA.BA11304-71).
ISBN
9790006566211. 32.5 x
25.5 cm
inches.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Books and Journals; Harp SKU: UT.LB-4 Composed by Mirella Vita. Paperback...(+)
Books and Journals; Harp
SKU: UT.LB-4
Composed by Mirella Vita.
Paperback (Soft Cover).
Classical. Books and
Journals. Ut Orpheus #LB
4. Published by Ut
Orpheus (UT.LB-4).
ISBN 9788881094479.
6.5 x 9.5
inches.
â??During
my career spanning half a
century, like all my
fellow harpists I
constantly had to grapple
with the commonly held
view that the harp has
neither music nor history
of its
own. Fortunately, over
the years I have been
able to give the lie to
this myth and have tried
to bring to light some of
the vast repertoire, both
early and modern,
expressly composed for
this instrument which has
been treated somewhat as
an outsider in the
musical world. The
research work for my
books on Italian and
Swiss harp music was
plain sailing because
source materials were
specific titles and title
pages. Were I to write
books on French, German,
Austrian, British,
Bohemian, Spanish,
Portuguese or
Scandinavian harp music,
the work involved would
be equally smooth and
straightforward. Howev
er, where Dutch music is
concerned, the approach
is rather different,
because here it is the
painters,
treatise-writers and
historians who provide
the evidence and guidance
necessary to discover the
musical customs and
traditions where the harp
played a significant
part. Performers
looking for pieces of
music may use this book
as follows: chapter II
deals with treatises,
chapter III with
paintings, chapter IV
with history and research
accounts. Chapters V and
VI are concerned with
confusions in
terminology. Chapter VII
describes recent
developments and chapters
VIII and IX cover
composers and pieces of
music. Libraries and
publishers are listed
with their addresses in
chapters X and XI, and
finally chapter XII
consists of the index
based on the various
groups of
performers. In this
last chapter harpists
will find the composers
most suited to their
programme, and can then
turn to chapters VIII and
IX for details. The
actual pieces can be
obtained by consulting
chapters X and XI. I wish
you every success in your
search, in your
rehearsals and in your
concerts ! In order to
define what is Dutch or
non-Dutch in early music,
I have followed the
current approach, i.e.
all art and history prior
to the separation of the
â??Seven ProvinÂces
in the 16th century is
the common heritage of
the Low Countries,
whereas everything
pertaining to those
courageous lands from
then onwards is
specifically Dutch..