Harp SKU: FZ.55211 Pewter figurine. Figurines. Material: Pewter (9...(+)
Harp
SKU: FZ.55211
Pewter figurine.
Figurines. Material:
Pewter (95.5 %).
Published by Anne Fuzeau
Productions - France
(FZ.55211).
Cat : 8 cm
- Harp : 11.5 cm
inches.
This pewter
music figurine (95,5%) is
made in France. A touch
of music in your home
thanks to this musician
animal cat harp. This
decoration is delivered
with his authenticity
certificate. Michel Laude
Collection. Photos and
sizes no-contractual.
(For Solo Harp). By Gary Schocker. For harp. Contemporary. Solo part. Standard n...(+)
(For Solo Harp). By Gary
Schocker. For harp.
Contemporary. Solo part.
Standard notation.
Composed July 07 2012. 16
pages. Duration 16
minutes. Published by
Theodore Presser Company
Harp SKU: HL.48181029 For Solo Harp. Composed by George Frideric H...(+)
Harp
SKU:
HL.48181029
For
Solo Harp. Composed
by George Frideric
Handel. Arranged by Tiny
Beon. Leduc. Baroque,
Classical. Softcover. 4
pages. Alphonse Leduc
#AL20028. Published by
Alphonse Leduc
(HL.48181029).
UPC:
888680787677. 9x12
inches.
Passacag
lia is a piece for
advanced harpists,
composed by G.F. Handel
and edited by Tiny
Béon. Really
melodic, it has a main
theme reviewed in 14
variations and includes
many chords, crossing
hands, staccatos and some
natural harmonics. The
tempo varies between
Moderato, Animato and
Tranquillo. This piece
for pedal harps would be
perfect for a recital or
a contest.
by Leslie McMichael and Laurie Riley. For folk/celtic harp. Celtic/Irish. Level:...(+)
by Leslie McMichael and
Laurie Riley. For
folk/celtic harp.
Celtic/Irish. Level:
Intermediate. Book.
Solos. Size 8.75x11.75.
76 pages. Published by
Mel Bay Pub., Inc.
Harp SKU: BT.DV-21943 By Anna Castellari. Composed by Leonardo Leo...(+)
Harp
SKU:
BT.DV-21943
By
Anna Castellari.
Composed by Leonardo Leo.
Book Only. Composed 2022.
40 pages. Da Vinci
Publishing #DV 21943.
Published by Da Vinci
Publishing (BT.DV-21943).
Harp (Harp) SKU: HL.48181033 Composed by Alphonse Hasselmans. Leduc. Clas...(+)
Harp (Harp)
SKU:
HL.48181033
Composed
by Alphonse Hasselmans.
Leduc. Classical,
Romantic. Softcover. 25
pages. Alphonse Leduc
#AL20037. Published by
Alphonse Leduc
(HL.48181033).
UPC:
888680868758.
9.0x12.0x0.198
inches.
Written by
Francois Joseph Naderman
(1781-1835), Sonatinas
Progressive, Op. 92
consists of a series of
seven small sonatas. The
level of difficulty
alternates between
intermediate and advanced
as these can be played at
different speeds but
necessitates some strong
technique as well as some
pedal changes. These
Sonatinas Progressive,
Op. 92 are still
considered as some of the
most famous pieces of the
harp repertoire today.
Francois Joseph Naderman
was a classical harpist,
composer and teacher at
the Paris Conservatoire.
His vocation was
developed by growing up
as the son of a Luthier
harp maker. He also wrote
Sonatas for harp, harp
and cello, studies and
other pieces.
Harp SKU: UT.HS-231 Arranged by Sara Simari. Saddle stitching. Classical....(+)
Harp
SKU:
UT.HS-231
Arranged by
Sara Simari. Saddle
stitching. Classical. Ut
Orpheus #HS 231.
Published by Ut Orpheus
(UT.HS-231).
ISBN
9790215324558. 9 x 12
inches.
Tarascon
e; Tarantella Capuanese;
Valzer; Polka di
Vittorio; Tarantella
Stiglianese
Th
e history of the
Viggianesi, strolling
musicians, winds over a
period of about four
centuries and esprimeun
‘unicum’
musically and
anthropologically. Heirs
of a travelling musical
tradition that from the
late Middle Ages
inhabited more than just
the streets of the
Kingdom of Sicily and
Naples, the harpists of
this extraordinary story
made their first
appearances as early as
the end of the 1600s
engaged in musical
practices at
shrines. Armed with an
urgent need to make a
living together with a
strong musical
inclination, adaptability
and versatility, the
groups of musicians,
almost always belonging
to the same family
circle, became the
promoters of the great
Italian musical tradition
(Southern in particular),
and with their harps on
their shoulders they
became the identification
symbol of a well-defined
and limited area of
Italy: the Agri Valley,
in Basilicata. From
the many documents
examined, a very wide and
varied musical repertoire
emerges mixing the
pastoral tradition with
classical tradition
(mainly opera, devotional
music with songs from the
cities (from the
Neapolitan tradition to
international
production). The pastoral
repertoire, the subject
of this publication,
consists of a strongly
characterized native
repertoire which the
Viggianesi had
consolidated in both
public and private ritual
occasions in their native
land, even if performing
in distant
lands.
This
collection is included
among the compulsory
pieces of The 7th
International Harp
Contest in Italy Suoni
D’Arpa, 2017,
Category A –
Associazione Italiana
dell’Arpa –
www.ass
ociazioneitalianarpa.it
a>
Harp SKU: LM.24264 Composed by Jean-Michel Damase. Classical: 20th Centur...(+)
Harp
SKU: LM.24264
Composed by Jean-Michel
Damase. Classical: 20th
Century (Contemporary).
Score. Editions Henry
Lemoine #24264. Published
by Editions Henry Lemoine
(LM.24264).
By Benjamin Britten (1913-1976). For Harp. Harp; Masterworks; Part(s); Solo. Fab...(+)
By Benjamin Britten
(1913-1976). For Harp.
Harp; Masterworks;
Part(s); Solo. Faber
Edition. Form: Suite.
20th Century; Masterwork.
Published by Faber Music
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: HL.50484136 Harp Solo. Composed by Aram Ilyich Khachatur...(+)
Harp
SKU:
HL.50484136
Harp
Solo. Composed by
Aram Ilyich Khachaturian.
Harp. Classical,
Contemporary, Russian. 12
pages. G. Schirmer
#HR280. Published by G.
Schirmer (HL.50484136).
ISBN 9780634035074.
UPC: 073999841367.
8.25x11.75x0.045
inches.
Books and Journals; Harp SKU: UT.LB-3 Composed by Mirella Vita. Paperback...(+)
Books and Journals; Harp
SKU: UT.LB-3
Composed by Mirella Vita.
Paperback (Soft Cover).
Classical. Books and
Journals. Ut Orpheus #LB
3. Published by Ut
Orpheus (UT.LB-3).
ISBN 9788881094462.
6.5 x 9.5
inches.
«Sono
stata un?arpista attiva
per mezzo secolo. Come
tutti i miei colleghi, ho
dovuto affrontare le
difficoltà create dalla
leggenda che l?arpa non
abbia né musica, né
storia.
Fortunatamente, nel
corso della mia carriera,
ho potuto constatare che
questa diceria è
infondata e ho cercato di
mettere in risalto almeno
una piccola parte
dell?immenso repertorio
antico e moderno di
questo strumento
considerato un Paria
della musica. Il
lavoro è stato piano e
diretto per i libri che
ho scritto sulla musica
d?arpa italiana e
svizzera, perché basato
su precisi titoli e
frontespizi; la ricerca
sarebbe stata ugualmente
scorrevole per i libri
che non scriverò sulla
musica d?arpa francese,
tedesca, austriaca,
britannica, boema,
spagnola, portoghese e
scandinava. Per la
musica olandese il
cammino è un po?
diverso: i pittori, i
trattatisti e gli storici
sono i testimoni e le
guide che aiutano a
ritrovare gli usi e i
costumi musicali nei
quali l?arpa aveva una
parte importante. Il
concertista in cerca di
pezzi potrà utilizzare
così questo libro: dopo
i trattati (capitolo II),
i dipinti (capitolo III),
la storia e la cronaca
(capitoli IV-VII), autori
e musiche (capitoli VIII
e IX), biblioteche ed
editori (capitoli X e
XI), arriverà all?indice
secondo le formazioni
strumentali (capitolo
XII). Potrà
cominciare dal cercare,
in quest?ultimo capitolo,
gli Autori adatti al suo
gruppo e al suo
programma; ritroverà i
relativi dettagli nei
capitoli VIII e IX;
otterrà i pezzi seguendo
le indicazioni dei
capitoli X, XI e XII; e
buona caccia, buono
studio, buone
prove! Nel cercare di
stabilire che cosa sia
olandese o non-olandese
nella musica antica è
stata seguita l?abitudine
corrente di considerare
patrimonio comune dei
Paesi Bassi l?arte e la
storia anteriori alla
separazione delle "Sette
Province" nel secolo XVI;
e specificamente olandese
tutto ciò che accadde in
quei coraggiosi territori
da allora in
poi.»