J.B. Krumpholtz, Sonata II (G) for Harp and Flute |
 |
|
|
|
| Early classical work for pedal harp and treble instrument |
| 1 Available |
Bold sonata for flute and harp with a delicate slower second movement. For pedal harpists with strong technique. Pedal changes are not numerous, they are marked and are not difficult. As is typical with harp music of the early classical period, this is keyboard writing applied to the harp, but helpful fingerings for the more problematic passages are given by editor Holly Avesian. Ornamentation is moderate. Flute part is printed above the harp part . Flute part - which could be played by violin or oboe as well - is included as a separate part. Harp part is 12 pages. |
|
|
Bold sonata for flute and harp with a delicate slower second movement. For pedal harpists with strong technique. Pedal changes are not numerous, they are marked and are not difficult. As is typical with harp music of the early classical period, this is keyboard writing applied to the harp, but helpful fingerings for the more problematic passages are given by editor Holly Avesian. Ornamentation is moderate. Flute part is printed above the harp part . Flute part - which could be played by violin or oboe as well - is included as a separate part. Harp part is 12 pages. |
|
|
J.B. Krumpholtz, Sonata III (F) for Harp and Flute |
 |
|
|
|
| Early classical era sonata for pedal harp and treble instrument |
| 1 Available |
Substantial sonata for flute and harp with a delicate slower second movement. For pedal harpists with strong technique. Pedal changes are not numerous, they are marked and most are not difficult. As is typical with harp music of the early classical period, this is keyboard writing applied to the harp - lots of Alberti base figures, broken octave and chords and the like - but helpful fingerings for the more problematic passages are given by editor Holly Avesian. Ornamentation is moderate in the outer movements and there is quite a lot of it in the second movement. Flute part is printed above the harp part . Flute part - which could be played by violin or oboe as well - is included as a separate part. Harp part is 16 pages. |
|
|
Substantial sonata for flute and harp with a delicate slower second movement. For pedal harpists with strong technique. Pedal changes are not numerous, they are marked and most are not difficult. As is typical with harp music of the early classical period, this is keyboard writing applied to the harp - lots of Alberti base figures, broken octave and chords and the like - but helpful fingerings for the more problematic passages are given by editor Holly Avesian. Ornamentation is moderate in the outer movements and there is quite a lot of it in the second movement. Flute part is printed above the harp part . Flute part - which could be played by violin or oboe as well - is included as a separate part. Harp part is 16 pages. |
|
|
J.B. Krumpholtz, Sonata IV (E flat) for Harp and Flute |
 |
|
|
|
| Early classical era sonata for pedal harp and treble instrument |
| 2 Available |
Lovely sonata for flute and harp with a delicate slower second movement. For pedal harpists with strong technique. Very few pedal changes, these are marked. As is typical with harp music of the early classical period, this is keyboard writing applied to the harp - lots of Alberti base figures, the Adagio second movement has passages of parallel thirds, sixths, fourths, most of these can be taken with two hands. Helpful fingerings for the more problematic passages are given by editor Holly Avesian. Ornamentation is sparse. Flute part is printed above the harp part . Flute part - which could be played by violin or oboe as well - is included as a separate part. Harp part is 16 pages. |
|
|
Lovely sonata for flute and harp with a delicate slower second movement. For pedal harpists with strong technique. Very few pedal changes, these are marked. As is typical with harp music of the early classical period, this is keyboard writing applied to the harp - lots of Alberti base figures, the Adagio second movement has passages of parallel thirds, sixths, fourths, most of these can be taken with two hands. Helpful fingerings for the more problematic passages are given by editor Holly Avesian. Ornamentation is sparse. Flute part is printed above the harp part . Flute part - which could be played by violin or oboe as well - is included as a separate part. Harp part is 16 pages. |
|
|
Jolivet, A, Prelude pour Harpe |
 |
|
|
|
| Prelude pour Harpe |
| 4 Available |
André Jolivet (1905-1974) was a French composer interested in acoustics and atonality. He studied with the composer Edgard Varese - Varese was a very good friend of legendary harpist Carlos Salzedo. Jolivet's works for solo instruments are known for the technical virtuosity they demand from the performer. This work for solo harp is full of pedal changes and sophisticated harmonies. |
|
|
André Jolivet (1905-1974) was a French composer interested in acoustics and atonality. He studied with the composer Edgard Varese - Varese was a very good friend of legendary harpist Carlos Salzedo. Jolivet's works for solo instruments are known for the technical virtuosity they demand from the performer. This work for solo harp is full of pedal changes and sophisticated harmonies. |
|
|
Joplin, Elite Syncopation for 3 Harps |
 |
|
|
|
| Elite Syncopation for 3 Harps |
| 2 Available |
Elite Syncopation composed by Scott Joplin. Transcribed for 3 harps by Dewey Owens. The level of difficulty for this piece is intermediate-advanced and suitable for pedal harp. 12 pages |
|
|
Elite Syncopation composed by Scott Joplin. Transcribed for 3 harps by Dewey Owens. The level of difficulty for this piece is intermediate-advanced and suitable for pedal harp. 12 pages |
|
|
|
