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>
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
Viola, Electronics SKU: CA.1630200 For Viola and live electronics....(+)
Viola, Electronics
SKU: CA.1630200
For Viola and live
electronics. Composed
by Walter Feldmann. This
edition: Paperbound.
German title: Courbe 2
(1993/2001). Full score.
Composed 1993/rev. 2001.
34 pages. Duration 8
minutes. Carus Verlag #CV
16.302/00. Published by
Carus Verlag
(CA.1630200).
ISBN
9790007099695. Language:
all languages.
The
viola solo courbe 2 is
based on an excerpt from
the viola part in the
Trio for flute, viola and
harp << courbes >> -
sequences. In the densest
time curve of this piece
the viola plays the
leading role for a span
of almost three minutes.
This material is taken
from the Trio, presented
and divided into separate
parts. courbe 2 is three
times longer in duration
than the Trio excerpt
from which it is derived.
The musical text of the
individual fragments
remains as it is in the
original, but, pulsating,
demarcated in seconds.
Fissures emerge between
the fragments, windows
open: - to harmonic
fields, central sounds,
taken over from the
reverberations, from
which new tone material
is derived; the fields in
turn are distorted and
spacialised by the
electronics - to metrical
structures and pulses
freed from the individual
motives of the original
musical text, which forms
new variants in
interaction with these
fields. Thus in courbe 2
which, as already
indicated, is three times
longer in duration than
the original, three
musical levels are
interpenetrated, whereby
all three are derived
from one tone, which
plays an absolutely
central role in most of
my works. It is a
reference to the French
writer Anne-Marie Albiach
(and to her great text <<
H II >> lineaires), and
it remains as the only
tone at the end of the
piece, definitively,
determining everything, b
= 247 Hertz. Walter
Feldmann.
Skylark for Harp Harpe [Conducteur] - Intermédiaire Stainer and Bell
Harp SKU: ST.H495 Composed by Sarah Rodgers. String music. Set for the Tr...(+)
Harp
SKU: ST.H495
Composed by Sarah
Rodgers. String music.
Set for the Trinity
examinations, Grade 3.
Score. Stainer & Bell
Ltd. #H495. Published by
Stainer & Bell Ltd.
(ST.H495).
ISBN
9790220224942.
Set
for the Trinity
examinations, Grade 3,
Skylark is an
atmospheric musical
impression for pedal or
non-pedal harp of the
view from the composer's
home, overlooking the
farmland and broad aerial
vistas of Norfolk.
Contrasting textures of
open arpeggios and
accompanied melody convey
the various stages of the
bird's flight, and its
singing from on high,
rising to the climax of
its song on a musical
'thermal' of sustained,
arpeggiated chords before
a descent to rest in
pastureland.
Contemplative, even
quietly ecstatic in mood,
Skylark will prove an
effective element in
balanced
programme-building,
whether as required by
the Trinity syllabus, or
as engaging repertoire
for young players.
(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
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
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.
Twenty-Three Classic, Traditional, and Ethnic Wedding Arrangements. Compo...(+)
Twenty-Three Classic,
Traditional, and Ethnic
Wedding Arrangements.
Composed by Beth A. Kolle
and Laurie Riley.
Squareback saddle stitch.
Book and online audio.
Published by Mel Bay
Publications, Inc
(MB.98748M).
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: UT.MAG-266 Composed by Wilhelm Posse. Edited by Anna Pasetti. S...(+)
Harp
SKU:
UT.MAG-266
Composed
by Wilhelm Posse. Edited
by Anna Pasetti. Saddle
stitching. Magadis.
Classical. Ut Orpheus
#MAG 266. Published by Ut
Orpheus (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.
Harp - intermediate SKU: ST.Y259 Composed by Rhian Samuel. String music. ...(+)
Harp - intermediate
SKU: ST.Y259
Composed by Rhian Samuel.
String music. [Standard:
Intermediate]. Score.
Stainer & Bell Ltd.
#Y259. Published by
Stainer & Bell Ltd.
(ST.Y259).
ISBN
9790220222559.
Far
Across the Sea'
(Ymhell dros y
mor) is the
latest instrumental work
from a composer noted for
her original and
sensitive writing for
harp and harp
ensemble.
In
this gentle solo, what
sounds like a folksong -
and a very fine one - is
in fact a newly composed
tune, crafted with artful
simplicity. But as the
music journeys further
from its
characteristically Welsh
opening, teasing out new
suggestions from the
material, the sense of
nostalgia becomes
definitely more
contemporary than
traditional, though the
uplifting conclusion
restores the tone of
bardic rhetoric.
This work would be a
rewarding item for
players of intermediate
standard, and was
recommended for the under
18 category of the 2009
Wales International Harp
Festival.
Chamber Music harp SKU: PR.114423960 Composed by Chen Yi. Sws. Performanc...(+)
Chamber Music harp
SKU: PR.114423960
Composed by Chen Yi. Sws.
Performance Score. 4
pages. Duration 3
minutes. Theodore Presser
Company #114-42396.
Published by Theodore
Presser Company
(PR.114423960).
UPC:
680160689293. 9 x 12
inches.
Shadowy
lines traced in fading
colors suggest a mountain
range in silhouette
against the night sky in
this mesmerizing and
poetic miniature for solo
harp. The composer takes
the instrument’s full
range as her canvas,
carrying the listener’s
imagination from distant
peaks to shrouded
foothills. Particularly
memorable is a recurring
tremolo motifxa0 played
with a wooden drumstick
on the instrument’s
lowest strings. DARK
MOUNTAINS is artistically
refined, but not
virtuosic, making it a
novel and approachable
addition to the
repertoire for developing
and professional harpists
alike.