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).
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.
Harp SKU: UT.HS-222 Composed by Turlough O’Carolan. Edited by Tati...(+)
Harp
SKU:
UT.HS-222
Composed by
Turlough
O’Carolan. Edited
by Tatiana Donis.
Arranged by Tatiana
Donis. Saddle stitching.
Classical. 32 pages. Ut
Orpheus #HS 222.
Published by Ut Orpheus
(UT.HS-222).
ISBN
9790215323322. 9 x 12
inches.
Bridget
Cruise; Captain
O’Kane;
Carolan’s Farewell
to Music;
Carolan’s Quarrel
with the Landlady; Frank
Palmer; George Brabazon.
First Air; George
Brabazon. Second Air;
Grace Nugent; Morgan
Magan; Mr
O’Connor
Harp SKU: UT.HS-200 Composed by Elias Parish Alvars. Edited by Floraleda ...(+)
Harp
SKU:
UT.HS-200
Composed by
Elias Parish Alvars.
Edited by Floraleda
Sacchi. Saddle stitching.
Classical. 16 pages. Ut
Orpheus #HS 200.
Published by Ut Orpheus
(UT.HS-200).
ISBN
9790215320161. 9 x 12
inches.
Traum am
Bache Op. 71;
Gretchen’s Gebet
vor dem Bilde der Mater
Dolorosa
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; 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.
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.
Books and Journals; Harp SKU: UT.LB-4 Composed by Mirella Vita. Paperback...(+)
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 ProvinÂces
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 SKU: UT.HS-231 Arranged by Sara Simari. Saddle stitching. Classical....(+)
Harp
SKU:
UT.HS-231
Arranged by
Sara Simari. Saddle
stitching. Classical. Ut
Orpheus #HS 231.
Published by Ut Orpheus
(UT.HS-231).
ISBN
9790215324558. 9 x 12
inches.
Tarascon
e; Tarantella Capuanese;
Valzer; Polka di
Vittorio; Tarantella
Stiglianese
Th
e history of the
Viggianesi, strolling
musicians, winds over a
period of about four
centuries and esprimeun
‘unicum’
musically and
anthropologically. Heirs
of a travelling musical
tradition that from the
late Middle Ages
inhabited more than just
the streets of the
Kingdom of Sicily and
Naples, the harpists of
this extraordinary story
made their first
appearances as early as
the end of the 1600s
engaged in musical
practices at
shrines. Armed with an
urgent need to make a
living together with a
strong musical
inclination, adaptability
and versatility, the
groups of musicians,
almost always belonging
to the same family
circle, became the
promoters of the great
Italian musical tradition
(Southern in particular),
and with their harps on
their shoulders they
became the identification
symbol of a well-defined
and limited area of
Italy: the Agri Valley,
in Basilicata. From
the many documents
examined, a very wide and
varied musical repertoire
emerges mixing the
pastoral tradition with
classical tradition
(mainly opera, devotional
music with songs from the
cities (from the
Neapolitan tradition to
international
production). The pastoral
repertoire, the subject
of this publication,
consists of a strongly
characterized native
repertoire which the
Viggianesi had
consolidated in both
public and private ritual
occasions in their native
land, even if performing
in distant
lands.
This
collection is included
among the compulsory
pieces of The 7th
International Harp
Contest in Italy Suoni
D’Arpa, 2017,
Category A –
Associazione Italiana
dell’Arpa –
www.ass
ociazioneitalianarpa.it
a>
Performed by Deborah Friou. By Various. Arranged by Sylvia Woods, Deborah Friou....(+)
Performed by Deborah
Friou. By Various.
Arranged by Sylvia Woods,
Deborah Friou. Harp. Size
8.5x11 inches. 32 pages.
Published by Hal Leonard
Corporation.
Harp SKU: UT.HS-195 Composed by Gioachino Rossini. Edited by Floraleda Sa...(+)
Harp
SKU:
UT.HS-195
Composed by
Gioachino Rossini. Edited
by Floraleda Sacchi.
Arranged by Elias Parish
Alvars. Saddle stitching.
Classical. 16 pages. Ut
Orpheus #HS 195.
Published by Ut Orpheus
(UT.HS-195).
Composed by Star Edwards. Harp: Folk and Pedal,Style,Celtic / Irish,Classical...(+)
Composed by Star Edwards.
Harp: Folk and
Pedal,Style,Celtic /
Irish,Classical,Folk,Feat
ured
Products,Method. Young
Beginner. Book and Online
Audio. 80 pages.
Published by
Mel Bay Publications, Inc
Composed by Monika Mandelartz. For Folk Harp and Pedal Harp. Saddle-stitched. ...(+)
Composed by Monika
Mandelartz. For Folk Harp
and
Pedal Harp.
Saddle-stitched.
Intermediate-Advanced.
Book.
28 pages. Published by
Mel
Bay Publications, Inc
By Chuck Bird and Susan Peters. For Harp (Folk/Celtic). Solos. Classic. Level: I...(+)
By Chuck Bird and Susan
Peters. For Harp
(Folk/Celtic). Solos.
Classic. Level:
Intermediate. Book/CD
Set. Size 8.5x10.75. 120
pages. Published by Mel
Bay Publications, Inc.