PARTITIONS GRATUITES : HARPE
- Bara

For Flute, Viola, and Harp. Composed by Behzad Ranjbaran. Score and part(s). With Standard notation. 16 pages. Duration 7 minutes. Theodore Presser Company #114-41872. Published by Theodore Presser Company (PR.114418720).

For Flute And Harp. Composed by Behzad Ranjbaran. Contemporary. Score and part(s). With Standard notation. Composed 2002. 12 pages. Duration 7 minutes. Theodore Presser Company #114-41800. Published by Theodore Presser Company (PR.114418000).

Composed by Kim Andre Arnesen. Major Work, Concert, General. Harp part. Santa Barbara Music Publishing #SBMP1349-1. Published by Santa Barbara Music Publishing (SB.SBMP-1349.1).

By Ben Allaway. For harp. Instrumental accompaniment only. Octavo sold separately (SBMP-136). Christmas. Harp part. Published by Santa Barbara Music Publishing . harp part. Christmas.

By Anon. Arranged by Ben Allaway. For SATB Choir, harp/flute. Choral music. Choral octavo only. Instrumental accompaniment sold separately (SBMP 135.1, SBMP 135.2, and SBMP 135.3). Published by Santa Barbara Music Publishing. (SBMP 135)
Level: Medium.

By Ben Allaway. For harp. Instrumental accompaniment only. Octavo sold separately (SBMP-134). Christmas. Harp part. Published by Santa Barbara Music Publishing . harp part. Christmas.

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.

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.