Harp Harp, Folk Harp - Difficulty: medium SKU: HL.720640 Composed by Turl...(+)
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 SKU: NR.43796 Per arpa Borgatti Schirinzi, Andrea, ed. Compos...(+)
Harp
SKU: NR.43796
Per arpa Borgatti
Schirinzi, Andrea,
ed. Composed by
Bernard Rie. Edited by
Andrea Borgatti
Schirinzi. Plucked
instrumental music.
Score. Noten Roehr
#43796. Published by
Noten Roehr (NR.43796).
Harp SKU: NR.43793 Per arpa Borgatti Schirinzi, Andrea, ed. Compos...(+)
Harp
SKU: NR.43793
Per arpa Borgatti
Schirinzi, Andrea,
ed. Composed by
Domenico Zipoli. Edited
by Andrea Borgatti
Schirinzi. Plucked
instrumental music.
Score. Noten Roehr
#43793. Published by
Noten Roehr (NR.43793).
Harp - Level 2 SKU: HF.FH-2069 Composed by Johann Georg Heinrich Backofen...(+)
Harp - Level 2
SKU:
HF.FH-2069
Composed
by Johann Georg Heinrich
Backofen. Edited by
Hanstedt. Sheet music.
Friedrich Hofmeister
Musikverlag #FH 2069.
Published by Friedrich
Hofmeister Musikverlag
(HF.FH-2069).
Harp SKU: UT.MAG-183 Composed by Charles Bochsa and Robert Nicolas. Edite...(+)
Harp
SKU:
UT.MAG-183
Composed
by Charles Bochsa and
Robert Nicolas. Edited by
Anna Pasetti. Saddle
stitching. Magadis.
Classical. Ut Orpheus
#MAG 183. Published by Ut
Orpheus (UT.MAG-183).
Harp SKU: UT.MAG-157 Composed by Charles Bochsa and Robert Nicolas. Edite...(+)
Harp
SKU:
UT.MAG-157
Composed
by Charles Bochsa and
Robert Nicolas. Edited by
Anna Pasetti. Saddle
stitching. Magadis.
Classical. Ut Orpheus
#MAG 157. Published by Ut
Orpheus (UT.MAG-157).
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€
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€
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-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).
Harp SKU: UT.MAG-274 Composed by Philipp-Joseph Hinner. Edited by Frances...(+)
Harp
SKU:
UT.MAG-274
Composed
by Philipp-Joseph Hinner.
Edited by Francesca La
Carrubba Jessica
Pettenà . Saddle
stitching. Magadis.
Classical. Score and
Parts. Ut Orpheus #MAG
274. Published by Ut
Orpheus (UT.MAG-274).
ISBN 9790215326859. 9
x 12
inches.
Rediscoveri
ng, studying and
analyzing the musical art
of Philipp Joseph Hinner
means enhancing a piece
of the eighteenth-century
harp music mosaic.
Hinner's work intrigues
for its extraordinary
simplicity, for its
regularity and harmony;
the ordered balance of
the parts, symmetry and
sense of proportion are
essential elements for
the author, and give
character and unity to
his work. The harp
repertoire has long been
overshadowed by the
keyboard one, which
boasts extensive solo and
chamber literature, and
consolidated for over two
centuries. The
rediscovery of the
history of our
instrument, however, is
still recent and the
research work in the
field of harp music is
still long. Hinner,
with the apparent
simplicity of his opus
10, can thus regain his
role in the harp
repertoire of the
eighteenth century, as
well as covering a
considerable didactic
value today. The part of
the first harp
undoubtedly presents
characteristics of
greater rhythmic and
virtuosic complexity than
that of the second, which
consists of a continuous
accompaniment
interspersed with simple
thematic imitated
episodes. Furthermore in
the composition are
included arias such as
O ma tendre
Musette, a French
popular melody of the
18th century (previously
set to music by
Pierre-Alexandre
Monsigny), and <>, taken from
the opera-comique
L'erreur d'un moment
ou la Suite de Julie
by Nicolas Dezede, as
well as themes from
Gluck's Iphigenie en
Aulide, which had
been all used also by
Hinner's first harp
master, Francesco Petrini
(1744-1819). Hinner's
opus 10, originally
written in separate parts
for two harps, or harp
and fortepiano, is
presented here updated
and completed with its
score, for a thorough
perception of the
work.