Harp SKU: UT.MAG-265 Composed by Wilhelm Posse. Edited by Anna Pasetti. S...(+)
Harp
SKU:
UT.MAG-265
Composed
by Wilhelm Posse. Edited
by Anna Pasetti. Saddle
stitching. Magadis.
Classical. Ut Orpheus
#MAG 265. Published by Ut
Orpheus (UT.MAG-265).
ISBN 9790215326422. 9
x 12
inches.
Posseâ€â
„¢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 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€â
„¢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 SKU: HL.48180980 For Lever Harp and Piano. Composed by Henrie...(+)
Harp
SKU:
HL.48180980
For
Lever Harp and Piano.
Composed by Henriette
Renie. Leduc. Classical.
Softcover. 5 pages.
Alphonse Leduc #AL19923.
Published by Alphonse
Leduc (HL.48180980).
UPC: 888680878504.
9x12
inches.
Composed by
the famous harpist
Henriette Renié,
Pine trees of
Charlannes is an easy
small piece for lever
harp with piano or harp
accompaniment. This piece
for beginners is really
nice to play and to start
playing ensemble music.
The principal harp
sections feature some
really melodious sections
and some sections with
quavers going up. It
alternates these sections
with the accompaniment
played by the piano or a
second harp. Henriette
Renié was a
virtuoso French harpist
born in 1875. With
professors such as
Alphonse Hasselmans and
Théodore Dubois,
she received the First
Prize for the Harp in
1887. She wrote numerous
works for harp including
chamber music, and a
concerto.
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.