Chamber Music harp

SKU: CF.H84

Composed by Marcel Tournier. Edited by Carl Swanson. Collection - Score. Carl Fischer Music #H84. Published by Carl Fischer Music (CF.H84).

ISBN 9781491165539. UPC: 680160924530.

Marce l Tournier (1879–1951) was one of the most important harpist/composers in the history of the harp. Over his long career, he added a significant catalogue of very beautiful works to the harp repertoire. Many of his solo works, almost one hundred, have been consistently in print since they were first published. But in recent years harpist Carl Swanson has discovered a treasure trove of pieces by Tournier heretofore unknown and unpublished. These include the Déchiffrages in this edition, as well as songs set for voice, harp, and string quartet, and ensemble arrangements of some of his most beloved works.All of the works that Carl Swanson found were in manuscript only. With the help of the great harpist Catherine Michel, he has put these pieces into playable form, and they are being published for the very first time. He and Catherine often had to re-notate passages to show clearly how they could be played, adding fingerings and musical nuances, tempos, pedals, and pedal diagrams.Tournier wrote these pieces when he was in his 20s, and before he became the impressionistic composer those familiar with his work know so well. They are written in the late nineteenth-century romantic style that was being taught at that time at the Paris Conservatory. They are beautiful short, intermediate level pieces by a first rate composer, and add much needed repertoire to that level of playing.
Marcel Tournier (1879–1951) was one of the most important harpist/composers in the history of the harp. He graduated from the Paris Conservatory with a first prize in harp in 1899. He also studied composition there and won a second prize in the prestigious Prix de Rome competition, as well as a first prize in the Rossini competition, another major composition competition of the day. From 1912 to 1948 he taught the harp class at the Paris Conservatory. But composition, and almost entirely, composition for the harp, was the main focus of his life. His published works, including many works for solo harp, a few for harp and other instruments, and several songs, number around one hundred pieces.In 2019, while researching Tournier for my edition MARCEL TOURNIER: 10 Pieces for Solo Harp, I discovered that there was a significant list of pieces by this composer that had never been published and were not included on any inventory of his music. Principal on this list were his déchiffrages (pronounced day-she-frahge, like the second syllable in the word garage).The word déchiffrage means sight-reading exercise, and that was their original purpose. Tournier numbered and dated these pieces, with dates ranging from 1900 to 1910, indicating that they were in all likelihood written for Alphonse Hasselmans’ class at the Paris Conservatory. Tournier was probably told how long to make each one, and how difficult. They range in length from two to four pages, with only one in the whole series extending to five, and from thirty to fifty-five measures, with only one extending to eight-five. The level of difficulty for the whole series is intermediate, with some at the easier end, and others at the middle or upper end.We don’t know if they were intended to test students trying to enter the harp class, or if they were used to test students in the class as they played their exams. The fact that they were never published means that students had to not only sight read them, but sight read them in manuscript form!I worked from digital images of the original manuscripts, which are in the private music library of a harpist in France. She had twenty-seven of these pieces, and this edition is the second in a series of three that will publish, for the first time, all of the ones that I have found thus far. The manuscripts themselves consist of little more than notes on the page: no pedals written in, no fingerings, few if any musical nuances and tempo markings, and no clear indication as to which hand plays which notes. These would have been difficult to sight read indeed! My collaborator Catherine Michel and I added musical nuances, fingerings, pedals and pedal diagrams, and tempo indications to put them into their current condition.At the time these were written, Tournier would have been in his twenties, having just graduated from the harp class himself (1899), and might still have been in the composition class. These are the earliest known pieces that he wrote, and they were written at the very beginning of a cultural revolution and upheaval in Paris that was to completely and profoundly alter musical composition. Tournier himself would eventually be caught up in this new way of composing. But not yet.All of the déchiffrages are written in the late romantic style that was being taught at that time at the Paris Conservatory. Each one is built on a clear musical idea, and the variety over the whole series makes them wonderful to listen to as well as to learn. They are also great technical lessons for intermediate level players.The obvious question is: Why didn’t Tournier publish these pieces, and why didn’t he list them on his own inventory of his music? Actually, four of them were published, with small changes, as his collection Four Preludes, Op. 16. These came from the ones that will be in volume three of this series from Carl Fischer. His first large piece, Theme and Variations, was published in 1908, and his two best known and frequently played pieces, Féerie and Au Matin, followed in 1912 and 1913 respectively. We can only speculate because there is so much still unknown about Tournier and about these unpublished pieces. He may have looked at them, fresh out of school as he was, as simply a way to make some quick money. The first several pieces that he did publish are much longer than any of the déchiffrages. So it could be that, because of their shorter length, as well as the earlier musical style that he was moving away from, he chose not to publish any more of them. We may never know the full story. But all these years later, more than a century after they were composed, we can listen to them for their own merits, and not measured against whatever else was going on at the time. The numbers on these pieces are the ones that Tournier assigned to them, and the gaps between some of the numbers suggest that there are perhaps thirty or more of these pieces still to be found, if they still exist. They will, in all likelihood, be found, as these were, in private collections of harp music, not in institutional libraries. We can only hope that more of them will be located in years to come.—Carl SwansonGlossary of French Musical TermsTournier was very precise about how he wanted his pieces played, and carefully communicated this with many musical indications. He used standard Italian words, but also used French words and phrases, and occasionally mixed both together. It is extremely important to observe and understand everything that he put on the page.Here is a list of the French words and phrases found in the pieces in this edition, with their translation.bien chanté well sung, melodiousdécidé firm, resolutediminu peu à peu becoming softer little by littleen diminuant becoming softeren riten. slowing downen se perdant dying awayGaiement gayly, lightlygracieusement gracefully, elegantlyLéger light, quickLent slowmarquez le chant emphasize the melodyModéré at a moderate tempopeu à peu animé more lively, little by littleplus lent slowerRetenu held backsans lenteur without slownesssans retinir without slowing downsec drily, abruptlysoutenu sustained, heldtrès arpegé very arpeggiatedTrès Modéré Very moderate tempoTrès peu retenu slightly held backTrès soutenu very sustainedun peu retenu slightly held back.

By Chuck Bird and Susan Peters. For Harp (Folk/Celtic). Solos. Bill's Music Shelf. Ragtime. Beginning-Intermediate. Book Online Audio. 120 pages. Published by Mel Bay Publications, Inc

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.

By Huguette Geliot. For harp. Classical. Score. 61 + 7 pages. Published by Editions Henry Lemoine

Arranged by Sylvia Woods. Harp. Size 8.5x11 inches. 173 pages. Published by Hal Leonard.

By Various. Arranged by Sylvia Woods. For Harp. Harp. Softcover. 96 pages. Hal Leonard #0936661402. Published by Hal Leonard

Oboe, clarinet, viola, harp

SKU: OU.9780193588769

Composed by Howard Skempton. Mixed Ensemble. 44 pages. Duration 8'. Oxford University Press #9780193588769. Published by Oxford University Press (OU.9780193588769).

ISBN 9780193588769. 12 x 8 inches.

For oboe, clarinet, viola, harp The opening movement of this five-movement work features the oboe, being a setting of a solo piece written by the composer in memory of Barbara Hepworth. The second is a lyrical canon for oboe, clarinet, and viola, the third and fourth movements are formal and chorale-like whilst, the last is a sprightly, rather quirky march.

Oboe & harp

SKU: OU.9780193588790

Composed by Howard Skempton. Mixed Ensemble. Set of parts. 16 pages. Duration 6'. Oxford University Press #9780193588790. Published by Oxford University Press (OU.9780193588790).

ISBN 9780193588790. 12 x 8 inches.

For oboe and harp The piece is a suite of six contrasting miniatures built around fragments of melodies which are repeated, each time with subtle variations. Particularly striking is the simple, folk-like melody of the fifth movement and the dissonant, almost grotesque march that precedes it.

Harp

SKU: BT.HU2703

Method. Book Only. 32 pages. Harmonia #HU2703. Published by Harmonia (BT.HU2703).

ISBN 9789230085278. International.

Ank Van Campen’s Tutor for The Celtic Harp is an attempt to benefit both children and adults. Whilst minimising the inevitable accessibility issues. It is a detailed approach to playing this evocative traditionalinstrumentwith studies, fragments of melodies and exercises all guiding you in the right direction. There are also several sections for ensemble or group sessions with suggestions and ideas for discussion and practical work.

(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

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 Provin­ces 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 Solo. Performed by Sylvia Woods. By Various. Arranged by Sylvia Woods. Harp. Size 8.5x11 inches. 96 pages. Published by Hal Leonard.

Books and Journals; Harp

SKU: UT.LB-3

Composed by Mirella Vita. Paperback (Soft Cover). Classical. Books and Journals. Ut Orpheus #LB 3. Published by Ut Orpheus (UT.LB-3).

ISBN 9788881094462. 6.5 x 9.5 inches.

«Sono stata un?arpista attiva per mezzo secolo. Come tutti i miei colleghi, ho dovuto affrontare le difficoltà create dalla leggenda che l?arpa non abbia né musica, né storia.
Fortunatamente, nel corso della mia carriera, ho potuto constatare che questa diceria è infondata e ho cercato di mettere in risalto almeno una piccola parte dell?immenso repertorio antico e moderno di questo strumento considerato un Paria della musica.
Il lavoro è stato piano e diretto per i libri che ho scritto sulla musica d?arpa italiana e svizzera, perché basato su precisi titoli e frontespizi; la ricerca sarebbe stata ugualmente scorrevole per i libri che non scriverò sulla musica d?arpa francese, tedesca, austriaca, britannica, boema, spagnola, portoghese e scandinava.
Per la musica olandese il cammino è un po? diverso: i pittori, i trattatisti e gli storici sono i testimoni e le guide che aiutano a ritrovare gli usi e i costumi musicali nei quali l?arpa aveva una parte importante.
Il concertista in cerca di pezzi potrà utilizzare così questo libro: dopo i trattati (capitolo II), i dipinti (capitolo III), la storia e la cronaca (capitoli IV-VII), autori e musiche (capitoli VIII e IX), biblioteche ed editori (capitoli X e XI), arriverà all?indice secondo le formazioni strumentali (capitolo XII).
Potrà cominciare dal cercare, in quest?ultimo capitolo, gli Autori adatti al suo gruppo e al suo programma; ritroverà i relativi dettagli nei capitoli VIII e IX; otterrà i pezzi seguendo le indicazioni dei capitoli X, XI e XII; e buona caccia, buono studio, buone prove!
Nel cercare di stabilire che cosa sia olandese o non-olandese nella musica antica è stata seguita l?abitudine corrente di considerare patrimonio comune dei Paesi Bassi l?arte e la storia anteriori alla separazione delle "Sette Province" nel secolo XVI; e specificamente olandese tutto ciò che accadde in quei coraggiosi territori da allora in poi.»

Harp

SKU: UT.MAG-290

Composed by Andre Caplet. Edited by Anna Pasetti. Magadis. Classical. Score. Ut Orpheus #MAG 290. Published by Ut Orpheus (UT.MAG-290).

ISBN 9790215328310. 9 x 12 inches.

(for Harp). Composed by Hannah Lash. For Harp. Instrumental Solo. 12 pages. Schott Music #ED30056. Published by Schott Music

Harp

SKU: HL.48186683

Composed by Alain Abbott. Leduc. Classical. Softcover. Alphonse Leduc #HA009599. Published by Alphonse Leduc (HL.48186683).

UPC: 888680885847. 9.0x12.0x0.105 inches.

1.Induline; 2.Chrysaniline; 3.Smaragdine; 4.Zinzoline; 5.Alizarine.

Harp

SKU: BT.DMP116013

Composed by Raoul de Smet. Book Only. Composed 2017. Digital Music Print #DMP116013. Published by Digital Music Print (BT.DMP116013).

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.

Harp

SKU: CU.EC7233

Composed by Roberto Caggiano. Published by Edizioni Curci (CU.EC7233).

(Harp Solo). For Harp, Folk Harp. Harp. 62 pages. Hal Leonard #0960299025. Published by Hal Leonard

By Benoit Wery. For harp. Classical. Score. 11 pages. Published by Editions Henry Lemoine

Harp

SKU: PR.574004610

Composed by Tzvi Avni. With Standard notation. Duration 8 minutes. Israel Music Institute #574-00461. Published by Israel Music Institute (PR.574004610).

UPC: 680160398065.

Harp

SKU: HL.121110

Arranged for Harp. Arranged by Sylvia Woods. Harp. General Worship, Hymn. Softcover. 4 pages. Published by Hal Leonard (HL.121110).

ISBN 9780936661339. UPC: 669619661332. 8.5x11.0x0.042 inches.

Wondrous Love is a modal hymn from the shape note (also called Sacred Harp) singing popular in churches of Colonial New England. Sylvia's arragement includes three variations and is for advanced beginners and intermediate harp players. 3 pages, with fingerings and no lever changes in a C tuning. Playable on lever harps and pedal harps.