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
Chamber Music harp SKU: PR.114417670 For Harp. Composed by Carter ...(+)
Chamber Music harp
SKU: PR.114417670
For Harp. Composed
by Carter Pann. Sws.
Contemporary. Solo part.
With Standard notation.
Composed 2010. 8 pages.
Duration 4:30. Theodore
Presser Company
#114-41767. Published by
Theodore Presser Company
(PR.114417670).
ISBN
9781491107973. UPC:
680160636228. 9x12
inches.
The
inscription above Carter
Pann's Emerald's on
Artemis reads: A music
box for Emerald Weber
(born 18 June, 2010) on
Morgan Black's harp
Artemis. The title of
this 2010 composition is
a bit cryptic, but
Artemis is the given name
of harpist Morgan Black's
instrument. The music is
both out-and-out tender
and exuberant, clearly
celebrating the birth of
Emerald, the first
daughter of one of Pann's
dear childhood friends.
For advanced
harpists.________________
_______________________Te
xt on the scanned back
cover:Composer/pianist
Carter Pann (2016
Pulitzer Prize Finalist
in Music) has written for
and worked with musicians
around the world,
garnering performances by
ensembles such as the
London Symphony and City
of Birmingham Symphony,
the Tchaikovsky Symphony
in Moscow, many radio
symphonies around Europe,
the Seattle Symphony,
National Repertory
Orchestra, the youth
orchestras of New York
and Chicago, and
countless wind
ensembles.He has written
for Richard Stoltzman,
the Antares Ensemble, the
Capitol Saxophone
Quartet, the West Coast
Wind Quintet, the River
Oaks Chamber Ensemble,
and many concert
pianists. His String
Quartet No. 2
“Operas†was
commissioned by the
Takács Quartet. Pann
has been awarded a
Charles Ives Fellowship,
a Masterprize seat in
London, and many ASCAP
awards over the years.
His numerous CDs
encompass solo, vocal,
chamber, orchestral, and
wind music, and have
received two Grammy
nominations. He currently
teaches at the University
of Colorado in
Boulder.
Harp SKU: HL.48181029 For Solo Harp. Composed by George Frideric H...(+)
Harp
SKU:
HL.48181029
For
Solo Harp. Composed
by George Frideric
Handel. Arranged by Tiny
Beon. Leduc. Baroque,
Classical. Softcover. 4
pages. Alphonse Leduc
#AL20028. Published by
Alphonse Leduc
(HL.48181029).
UPC:
888680787677. 9x12
inches.
Passacag
lia is a piece for
advanced harpists,
composed by G.F. Handel
and edited by Tiny
Béon. Really
melodic, it has a main
theme reviewed in 14
variations and includes
many chords, crossing
hands, staccatos and some
natural harmonics. The
tempo varies between
Moderato, Animato and
Tranquillo. This piece
for pedal harps would be
perfect for a recital or
a contest.
Harp SKU: HL.48182311 Composed by Marcel Grandjany. Leduc. Classical. Sof...(+)
Harp
SKU:
HL.48182311
Composed
by Marcel Grandjany.
Leduc. Classical.
Softcover. 12 pages.
Alphonse Leduc #AL23442.
Published by Alphonse
Leduc (HL.48182311).
UPC: 888680787066.
9.25x12.25x0.055
inches.
Written by
Marcel Grandjany on a
tune of Haydn, Fantasy is
a piece for Harp that
includes 5 variations of
the main theme. Ideally
to be played on pedal
Harp, it would fit the
skills and abilities of
advanced Harp players.
The technical
difficulties encountered
are various as this piece
involves some
hand-crossings,
arpeggios, natural
harmonies, accidental
alterations as well as
some pedal changes.
Marcel Grandjany is a
French-born American who
lived in the 20th
century. He studied with
Alphonse Hasselmans at
the Paris Conservatoire
from the age of 11 and
got the First Prize at 13
years old. He composed
numerous pieces for Harp,
of all levels: '3 Very
Easy Little Pieces, Op.
7', 'Divertissement, Op.
29', 'Variation on the
Londonderry Air, Op. 20'
and 'Two Duets for 2
harps, Op. 26' among many
others..
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.
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..
Books and Journals; Harp SKU: UT.LB-3 Composed by Mirella Vita. Paperback...(+)
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.»
