By Turlough O Carolan ; Donal O'sullivan. For Harp. Irish, Folk, Celtic. 380 pages. Published by Ossian Publications.

Harp Harp, Folk Harp - Difficulty: medium

SKU: HL.720640

Composed by Turlough O'carolan. Edited by Sylvia Woods. Arranged by S Woods. Harp. Traditional Folk. Harp solo book (spiral bound). With standard notation and introductory text. 112 pages. Published by Hal Leonard (HL.720640).

ISBN 9780960299089. UPC: 073999206401. 8.75x11 inches.

Arranged for beginning and advanced harpers, this book contains 40 of the best tunes by O'Carolan, the most famous of the Irish harpers and composers who lived from 1670-1738. Each of the 40 tunes has two arrangements: an easy play version and a more difficult version. Each tune includes chord indications that can be used by harpers or other instrumentalists.

Harp

SKU: UT.MAG-158

Vol. 1. Composed by Gioachino Rossini. Edited by Anna Pasetti. Saddle stitching. Magadis. Classical. Score and Parts. Ut Orpheus #MAG 158. Published by Ut Orpheus (UT.MAG-158).

ISBN 9790215309791. 8.26 x 11.69 inches. Transcribed by Robert Nicolas Charles Bochsa.

Piano pianissimo senza parlar; Ecco ridente in cielo; Largo al factotum della città; All’idea di quel metallo

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

by Kim Robertson. For folk/celtic harp. All styles. Level: Multiple Levels. Book. Solos. Size 8.75x11.75. 88 pages. Published by Mel Bay Pub., Inc.

Composed by Chuck Bird and Susan Peters. Squareback saddle stitch. Book and online audio. 120 pages. Published by Mel Bay Publications, Inc (MB.95500M).

Choir Secular Harp

SKU: AP.12-0571520634

A Homage to Britten. Composed by Anthony Bolton. Choral Extended Work; Larger Works; Performance Music Ensemble. Faber Edition. Christmas; Sacred; Winter. Part(s). Faber Music #12-0571520634. Published by Faber Music (AP.12-0571520634).

ISBN 9780571520633. English.

A Garland of Carols is a homage to Benjamin Britton's Ceremony of Carols. Written by Anthony Bolton, best known as one of the UK's most successful fund managers, it includes a translation of the traditional Portuguese carol Beijai o menino, as well as original works such as Lanterns which evokes a barren winter landscape from which we are transported to a more mystical land in the middle section. Though originally written for trebles, the carols work equally well for female voices.

This is the harp part only.

(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

Nine Traditional Tunes from Ireland, Scotland and England Arranged for Lever Harp. Composed by Frances Thiele. Saddle-stitched, Featured Products, British, Scottish, Harp: Folk and Pedal, Solos, Celtic / Irish. Style. Book. 24 pages. Mel Bay Publications, Inc #30745. Published by Mel Bay Publications, Inc

[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

Harp

SKU: LM.27774

Composed by Benoit Wery. Classical. Score. Editions Henry Lemoine #27774. Published by Editions Henry Lemoine (LM.27774).

ISBN 9790230977746.

Sous le tilleul - Faon vient de naitre - Jeux de papillons - La chanson de Papi Hibou - La Danse du cygne - A la lisiere - La Ballade du petit labrador - Hymne a l'imperatrice Marmotte - A la rencontre de l'ecureuil - Soleil couchant.

Composed by Star Edwards. Harp: Folk and Pedal,Style,Celtic / Irish,Classical,Folk,Feat ured Products,Method. Young Beginner. Book and Online Audio. 80 pages. Published by Mel Bay Publications, Inc

Harp - Beginner

SKU: LM.29643

Composed by Marc Le Gars. Score. Editions Henry Lemoine #29643. Published by Editions Henry Lemoine (LM.29643).

ISBN 9790230996433. 9 x 12 inches. Francais.

Instrumen tal Music.

By Huguette Geliot. For harp. Classical. Score. 61 + 7 pages. Published by Editions Henry Lemoine

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: UT.MAG-159

Vol. 2. Composed by Gioachino Rossini. Edited by Anna Pasetti. Saddle stitching. Magadis. Classical. Score and Parts. Ut Orpheus #MAG 159. Published by Ut Orpheus (UT.MAG-159).

ISBN 9790215309807. 8.26 x 11.69 inches. Transcribed by Robert Nicolas Charles Bochsa.

Ah qual colpo inaspettato; Una voce poco fa; Buona sera; Presto sbrighiamoci

Composed by Yvon Rivoal / Catherine Garson. For 1 or 2 harps. Yvon Rivoal. Classical. Score. 20 pages. Published by Editions Henry Lemoine

[The Wet Garden for Harp]. Composed by Jacques de la Presle. Leduc. Classical. Softcover. 7 pages. Alphonse Leduc #AL20001. Published by Alphonse Leduc

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.

By Star Edwards. For Harp (Folk/Celtic). Solos. Celtic/Irish. Level: Beginning. Book. Size 8.5x11. 40 pages. Published by Mel Bay Publications, Inc.