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 Janna McCall Geller and Mallory Geller. For Harp (Folk/Celtic). method. Non-S...(+)
by Janna McCall Geller
and Mallory Geller. For
Harp (Folk/Celtic).
method. Non-Series. All
styles. Level: Beginning.
Book. Size 8.5x11. 208
pages. Published by Mel
Bay Publications, Inc.
[The Wet Garden for Harp]. Composed by Jacques de la Presle. Leduc. Classical....(+)
[The Wet Garden for
Harp].
Composed by Jacques de la
Presle. Leduc. Classical.
Softcover. 7 pages.
Alphonse
Leduc #AL20001. Published
by
Alphonse Leduc
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.
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.
