Labarre, Variations sur Beatrice di Tenda de Bellini, Op. 113 |
 |
|
|
|
| Variations sur Beatrice di Tenda de Bellini, Op. 113 |
| 3 Available |
Théodore Labarre (1805-1870) succeeded Naderman at the Paris Conservatory, and his compositional style shows him to have inhabited a transitional space in the harp's technological development, half way between the established single-action pedal harp school and the development of the double-action pedal harp that we know today. The compositional innovations of Parish Alvars and the Godefroid brothers are the end result of the double-action pedal harp's development. Labarre's music bridges the space between Naderman's music and that of these later Romantic composers. |
|
|
Théodore Labarre (1805-1870) succeeded Naderman at the Paris Conservatory, and his compositional style shows him to have inhabited a transitional space in the harp's technological development, half way between the established single-action pedal harp school and the development of the double-action pedal harp that we know today. The compositional innovations of Parish Alvars and the Godefroid brothers are the end result of the double-action pedal harp's development. Labarre's music bridges the space between Naderman's music and that of these later Romantic composers. |
|
|
Lai, Francis; arr. Eleanor Fell, A Man and a Woman |
 |
|
|
|
| Movie theme song arranged for intermediate level pedal harp |
| 1 Available |
Song by Francis Lai arranged by Eleanor Fell from the Salvi Pop Series. This is the theme song to the French film Un homme et une femme ( A Man and a Woman ) from 1966. Intermediate level. 3 pages. |
|
|
Song by Francis Lai arranged by Eleanor Fell from the Salvi Pop Series. This is the theme song to the French film Un homme et une femme ( A Man and a Woman ) from 1966. Intermediate level. 3 pages. |
|
|
Landy, Mitch, Five Diatonic Pieces |
 |
|
|
|
| Music by Mitch Landy for solo lever or pedal harp |
| 2 Available |
Four preludes and a bagatelle, all Mitch Landy originals. They are presented in four different modes and four different styles. Three of them employ the C scale, one requires F#, and one requires both G# and F#. No accidentals, appropriate for either lever or pedal harp. Interesting, non-conventional melodies, a contemporary harmonic language with many seventh chords. Simple three and four finger placements, nothing really difficult for a player beyond beginner level. Early intermediate level, good sightreading material for more advanced players. 14 pages. |
|
|
Four preludes and a bagatelle, all Mitch Landy originals. They are presented in four different modes and four different styles. Three of them employ the C scale, one requires F#, and one requires both G# and F#. No accidentals, appropriate for either lever or pedal harp. Interesting, non-conventional melodies, a contemporary harmonic language with many seventh chords. Simple three and four finger placements, nothing really difficult for a player beyond beginner level. Early intermediate level, good sightreading material for more advanced players. 14 pages. |
|
|
Landy, Mitch, Jota Aragonesa |
 |
|
|
|
| Spanish style piece for solo pedal harp |
| 2 Available |
A Mitch Landy piece inspired by the Jota Aragonesa for piano by Louis Moreau Gottschalk. Bright, playful arrangement of traditional Spanish themes, it is fun to play as an recital or encore piece. Intermediate level, arranged for pedal harp. Contains moderate amount of pedal changes. 6 pages. |
|
|
A Mitch Landy piece inspired by the Jota Aragonesa for piano by Louis Moreau Gottschalk. Bright, playful arrangement of traditional Spanish themes, it is fun to play as an recital or encore piece. Intermediate level, arranged for pedal harp. Contains moderate amount of pedal changes. 6 pages. |
|
|
Landy, Mitch, Kitty of Coleraine: Variations in Classical Style on an Irish Air |
 |
|
|
|
| Set of variations for solo lever or pedal harp |
| 2 Available |
This Irish song, arranged in D major, is like a minuet in rhythm and character. It is given somewhat classical treatment in six variations. Variations include one in D minor and a full transformation in which the original melody is only vaguely recollected. Lever changes are only found in the D minor variation, and the bridge leading into and out of it. Notated for both lever and pedal harp, intermediate level. |
|
|
This Irish song, arranged in D major, is like a minuet in rhythm and character. It is given somewhat classical treatment in six variations. Variations include one in D minor and a full transformation in which the original melody is only vaguely recollected. Lever changes are only found in the D minor variation, and the bridge leading into and out of it. Notated for both lever and pedal harp, intermediate level. |
|
|
|
