(Varsovie, 1807). By E. T. A. Hoffmann. Edited by Norbert Kaltz. Harpe et quatuor a cordes. For Harp. Facsimiles. Collection Dominantes. Grade 0. 54 pages

Harp

SKU: UT.MAG-249

Composed by Francois-Joseph Gossec. Edited by Emanuela Degli Esposti. Arranged by Emanuela Degli Esposti. Saddle stitching. Magadis. Classical. Score and Parts. Ut Orpheus #MAG 249. Published by Ut Orpheus (UT.MAG-249).

ISBN 9790215321137. 9 x 12 inches.

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.

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

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.

By Carl Philipp Emanuel Bach. For Harp. Classical. Solo part. 5 pages. Published by Carl Fischer.

Composed by Carl Philipp Emanuel Bach (1714-1788). For Harp. 20 pages. Published by Ut Orpheus

Composed by Emanuel Moor. Edited by Anna Pasetti. Saddle stitching. Magadis. Classical. Ut Orpheus #MAG 267. Published by Ut Orpheus

Harp

SKU: UT.HS-225

Composed by Ferdinando Paer. Edited by Emanuela Degli Esposti and Lorenzo Montenz. Saddle stitching. Classical. 16 pages. Ut Orpheus #HS 225. Published by Ut Orpheus (UT.HS-225).

ISBN 9790215323476. 9 x 12 inches.

By Cesare Sebastiani. Edited by Emanuela Degli Esposti / Anna Pasetti. For harp. 12 pages. Published by Ut Orpheus

Composed by Michele Albano Pietro Mascagni. Edited by Emanuela Degli Esposti and Sara Simari. Saddle stitching. Classical. Ut Orpheus #HS 257. Published by Ut Orpheus

Composed by Antonio Zamara and Franz Schubert. Edited by Emanuela Degli Esposti and Sara Simari. Classical. Ut Orpheus #HS 315. Published by Ut Orpheus

Composed by Francesco Petrini. Edited by Emanuela Degli Esposti. Saddle stitching. Classical. Ut Orpheus #HS 243. Published by Ut Orpheus

SKU: HL.50489801

Harp. Composed by Manuel De Sica. Harp Solo. Classical. Ricordi #R131969. Published by Ricordi (HL.50489801).

6.75x10.5 inches.