For Harp. By Franz Joseph Haydn, Anton Rubenstein, Christoph Willibald von Gluck...(+)
For Harp. By Franz Joseph
Haydn, Anton Rubenstein,
Christoph Willibald von
Gluck, Carlos Salzedo.
Arranged by Carlos
Salzedo. Text: Yolanda
Kondonassis. For Harp.
Solo part. 64 pages.
Published by Carl
Fischer.
Early to Intermediate Solos for Harps with and Without Pedals. By Anonymous, Fra...(+)
Early to Intermediate
Solos for Harps with and
Without Pedals. By
Anonymous, Franz Xaver
Gruber, Adolphe-Charles
Adam. Arranged by William
B. Costello. For Harp.
Classical. Level: Early
to Intermediate. Solo
part. 24 pages. Published
by Carl Fischer.
By Johann Sebastian Bach; May Hogan Cambern; Michael Praetorius. Arranged by Ano...(+)
By Johann Sebastian Bach;
May Hogan Cambern;
Michael Praetorius.
Arranged by Anonymous;
May Hogan Cambern. For
Harp. Classical. Soft
Cover. 20 pages.
Published by Carl
Fischer.
Harp SKU: UT.HS-284 Composed by Pellegrino Santucci. Edited by Giuseppe M...(+)
Harp
SKU:
UT.HS-284
Composed by
Pellegrino Santucci.
Edited by Giuseppe
Monari. Saddle stitching.
Classical. Ut Orpheus #HS
284. Published by Ut
Orpheus (UT.HS-284).
ISBN 9790215326460. 9
x 12
inches.
Melodia
for Solo Harp/ Alleluja
Modo II - Wachet auf for
Harp and
Organ
This
publication gathers
together in these three
pieces the only
compositions by Santucci
devoted to the harp, both
as a solo instrument and
in dialogue with the
organ, his favourite
instrument. The little
Melodia per arpa,
a simple piece having an
apparently didactic
purpose, does not show
the date of composition
but, judging by the
handwriting of the
manuscript, it probably
dates back to the period
between 1980 and 1990. No
other information has
reached us as to why the
piece was
composed. The two
pieces Alleluja Modo
II and Wachet
auf, both dated 20
March 1993, composed for
the unusual duo of harp
and organ, are dedicated
to Anna Maria Restani,
first harp in the
orchestra of the Teatro
Comunale of Bologna from
1965 to 2002, and to her
son Wladimir Matesic,
organist and now teacher
at the Conservatoire in
Trieste. Gregorian chant
is the protagonist of the
first piece, evoking a
Gothic and rarefied
atmosphere. The second is
instead a blatant tribute
to Johann Sebastian Bach
(right from the first
bars the reference to
Prelude no. 1 of the
Well-Tempered
Clavier is clear),
through one of his most
famous chorales
(Wachet auf, ruft uns
die stimme), also
used by Santucci for
numerous other
compositions, including
Il corteo dei Magi
[for trumpet, organ,
orchestra and choir,
1986, ms.], still
performed in the
Christmas concerts in
Bologna. (Giuseppe
Monari).
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.
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..
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: 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).
By Yolanda Kondonassis. harp. Published by Carl Fischer. A collection of over th...(+)
By Yolanda Kondonassis.
harp. Published by Carl
Fischer. A collection of
over thirty harp solos,
this new book features
Kondonassis' most popular
transcriptions and
compositions, including
those found on her many
critically acclaimed
recordings. Highlights of
the collection include
Liquid Shadows, an
original composition by
Kondonassis, a
comprehensive assortment
of works by Claude
Debussy, her arrangements
of Puccini's Quando men
vo from La Boheme, and
the Chinese folksong,
Small River Flowing. This
volume offers the reader:
" A wide variety of
selections from Bach,
Handel, Telemann,
Scarlatti, and Vivaldi,
to Chopin, Mendelssohn,
Sibelius, Puccini, Satie,
Faure, Debussy, and
Respighi " Complete
editorial markings "
Extensive performer's
notes With a reputation
as one of the preeminent
harpists and
transcribers, Kondonnasis
shares the wealth of her
artistic gifts in this
volume that is essential
to every harpist's
library.
Harp SKU: HL.431600 By Various. Arranged by Ann Lobotzke. Harp. Classics,...(+)
Harp
SKU:
HL.431600
By Various.
Arranged by Ann Lobotzke.
Harp. Classics, Movies,
Pop. Softcover. 112
pages. Duration 310
seconds. Published by Hal
Leonard (HL.431600).
ISBN 9781705163382.
UPC: 196288064633.
9.0x12.0x0.234
inches.
Meticulousl
y curated, Beautiful
songs for Harp features
28 timeless melodies,
thoughtfully arranged for
harpists of all levels.
Suitable for both pedal
and lever harps, this new
collection is perfect for
harpists looking to
enhance their current
repertoire. Songs
include: And I Love Her
⢠Bless the Broken
Road ⢠Bring Him
Home ⢠Can't Help
Falling in Love â¢
For All We Know â¢
God Only Knows â¢
Hallelujah ⢠I Will
Always Love You ⢠If
Ever I Would Leave You
⢠Mia and
Sebastian's Theme â¢
Morning Has Broken â¢
On the Street Where You
Live ⢠The Rainbow
Connection ⢠The
Sound of Silence â¢
You've Got a Friend
⢠and more.
Harp; Early Music SKU: UT.MAG-293 Composed by John Stanley. Arranged by S...(+)
Harp; Early Music
SKU:
UT.MAG-293
Composed
by John Stanley. Arranged
by Simona Marchesi.
Magadis. Classical.
Score. Ut Orpheus #MAG
293. Published by Ut
Orpheus (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.
Orchestra SSA Choir, piano, percussion, harp SKU: CF.O5173 Composed by Pe...(+)
Orchestra SSA Choir,
piano, percussion, harp
SKU: CF.O5173
Composed by Peter Mennin.
The world premiere took
place on January 18, 1979
at Alice Tully Hall,
Lincoln Center. Choral.
Score. With Standard
notation. 63 pages.
Duration 25 minutes. Carl
Fischer Music #O5173.
Published by Carl Fischer
Music (CF.O5173).
ISBN
9780825867248. UPC:
798408067243. 9 X 12
inches. Text: Emily
Dickinson. Emily
Dickinson.
(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