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 But in recent years harpist Carl Swanson has discovered a treasure trove of pieces by Tournier heretofore unknown and unpublished.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.

Arranged for Harp Spiral Bound. Arranged by Sylvia Woods. Harp. Pop, Oldies. Softcover. 122 pages. Published by Hal Leonard

Harp Harp, Folk Harp - Difficulty: medium

SKU: HL.720640

Composed by Turlough O'carolan. Edited by Sylvia Woods. Arranged by S Woods. Harp. Traditional Folk. Harp solo book (spiral bound). With standard notation and introductory text. 112 pages. Published by Hal Leonard (HL.720640).

ISBN 9780960299089. UPC: 073999206401. 8.75x11 inches.

Arranged for beginning and advanced harpers, this book contains 40 of the best tunes by O'Carolan, the most famous of the Irish harpers and composers who lived from 1670-1738. Each of the 40 tunes has two arrangements: an easy play version and a more difficult version. Each tune includes chord indications that can be used by harpers or other instrumentalists.

(Harp Part). By Angela Dastrup. By Dr. Shinichi Suzuki. For Harp. Book; CD; Harp (Suzuki); Method/Instruction; Suzuki. Suzuki Harp School. 36 pages. Published by Alfred Music

(Harp Part). Composed by Dr. Shinichi Suzuki. For Harp. Book; Harp (Suzuki); Method/Instruction; Suzuki. Suzuki Harp School. 36 pages. Published by Alfred Music

Composed by Samuel-Rous Louis August. Leduc. Classical. Softcover. 20 pages. Alphonse Leduc #AL20038. Published by Alphonse Leduc

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.

By Angela Dastrup. By Dr. Shinichi Suzuki. CD; Harp (Suzuki); Method/Instruction; Suzuki. Suzuki Harp School. Published by Alfred Music (AP.44773).

(Arranged for Solo Harp and Harp Duet). By Pharrell. Arranged by Sylvia Woods. For Harp. Harp. Softcover. 8 pages. Published by Hal Leonard

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.

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).

Composed by Jesus Guridi (1886-1961). Music Sales America. Exam Material. Book Only. 8 pages. Union Musical Ediciones #MUSUME19549. Published by Union Musical Ediciones

Harp (Harp)

SKU: HL.48181028

For Harp. Composed by R. Nicholas-Charles Bochsa. Leduc. Classical. Softcover. Alphonse Leduc #AL20026. Published by Alphonse Leduc (HL.48181028).

Composed by Bochsa, Twenty-Five Studies, Op. 6a is a set of part of the Favourite Studies from the same author for intermediate and advanced harp players. Reviewed by Alphonse Hasselmans, each studies has a different difficulty level and can be played separately. This set of studies will help the harpist to gain in flexibility and speed, and would ideally be played on pedal harps. In the same series, Bochsa also composed a set of Forty Easy Studies, Op. 318, a set of Twenty Studies in two books and one called Fifty Studies, Op.34. All these sets have been reviewed by Alphonse Hasselmans, professor at the Paris Conservatoire, who also indicated the best finger positions to use.

Choir Secular Harp

SKU: AP.12-0571520634

A Homage to Britten. Composed by Anthony Bolton. Choral Extended Work; Larger Works; Performance Music Ensemble. Faber Edition. Christmas; Sacred; Winter. Part(s). Faber Music #12-0571520634. Published by Faber Music (AP.12-0571520634).

ISBN 9780571520633. English.

A Garland of Carols is a homage to Benjamin Britton's Ceremony of Carols. Written by Anthony Bolton, best known as one of the UK's most successful fund managers, it includes a translation of the traditional Portuguese carol Beijai o menino, as well as original works such as Lanterns which evokes a barren winter landscape from which we are transported to a more mystical land in the middle section. Though originally written for trebles, the carols work equally well for female voices.

This is the harp part only.