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Handel, Handel for Harp, Vol. 2

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Handel for Harp, Vol. 2
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A collection of works by G.F. Handel arranged for pedal harp by Daniel Burton.

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A collection of works by G.F. Handel arranged for pedal harp by Daniel Burton.

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Handel, G.F., Pastoral, Theme and Variations

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Pastoral, Theme and Variations
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This composition, attributed to George Frideric Handel, though not listed in catalogs of his works, was prepared from a reproduction of the work published in Vienna by Mathias Artaria.

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This composition, attributed to George Frideric Handel, though not listed in catalogs of his works, was prepared from a reproduction of the work published in Vienna by Mathias Artaria.

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Handel, G.F.; arr. Avesian, Holly, Sonata in F Major

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Classical trio for intermediate level pedal harp and treble instuments
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Delightful classical piece by Handel arranged by Holly Avesian. For intermediate level pedal harp. The piece is scored for flute, violin and harp, but the trio could also be done with several different combinations of treble instruments: two violins, flute and oboe, two flutes, etc. Pedal changes are marked and are not difficult, just one busy spot in the third movement. Harp part is in score format with other parts printed above. Parts for the other instruments are included on separate pages. A great addition to the printed repertoire to help the intermediate level harpist get into ensemble playing. Have some fun with your friends who play flute, violin or oboe! 7 pages.

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Delightful classical piece by Handel arranged by Holly Avesian. For intermediate level pedal harp. The piece is scored for flute, violin and harp, but the trio could also be done with several different combinations of treble instruments: two violins, flute and oboe, two flutes, etc. Pedal changes are marked and are not difficult, just one busy spot in the third movement. Harp part is in score format with other parts printed above. Parts for the other instruments are included on separate pages. A great addition to the printed repertoire to help the intermediate level harpist get into ensemble playing. Have some fun with your friends who play flute, violin or oboe! 7 pages.

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Handel, Georg Friedrich, Tema con Variazioni

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Tema con Variazioni
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This theme and variations in the Baroque style is a technical and musical treat for the intermediate pedal harpist. Attributed to G.F. Handel and reprinted under the auspices of H.J. Zingel, this piece (for harp or piano) is truly a Baroque gem. The lyrical theme opens at a moderato tempo with a quarter note accompaniment and gradually increases in speed from variation to variation - from quarter notes to eighth notes, to triplets, to a rousing sixteenth note final variation. 7 pages.

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This theme and variations in the Baroque style is a technical and musical treat for the intermediate pedal harpist. Attributed to G.F. Handel and reprinted under the auspices of H.J. Zingel, this piece (for harp or piano) is truly a Baroque gem. The lyrical theme opens at a moderato tempo with a quarter note accompaniment and gradually increases in speed from variation to variation - from quarter notes to eighth notes, to triplets, to a rousing sixteenth note final variation. 7 pages.

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Handel, Schumann, Two Little Suites for a Musical Clock

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Two Little Suites for a Musical Clock
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These two little suites by G.F. Handel have been arranged for intermediate level pedal or lever harp by Ellis Schuman. Handel composed these pieces for Clay's Musical Clock (a sort of music box operated by clockwork mechanism) in London around 1730 or 1740. The similarity in timbre between a harp and a well-made music box (in fact, the harp is often called upon to sound like a music box in some compositions) make these transcriptions natural under the harpist's fingers. Ellis Schuman writes that these pieces are also "excellent material for developing independence of hands and clear articulation."

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These two little suites by G.F. Handel have been arranged for intermediate level pedal or lever harp by Ellis Schuman. Handel composed these pieces for Clay's Musical Clock (a sort of music box operated by clockwork mechanism) in London around 1730 or 1740. The similarity in timbre between a harp and a well-made music box (in fact, the harp is often called upon to sound like a music box in some compositions) make these transcriptions natural under the harpist's fingers. Ellis Schuman writes that these pieces are also "excellent material for developing independence of hands and clear articulation."

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