You are bound to find something that appeals to you among the recent releases for solo harp. “Intermezzo” from the opera Cavalleria Rusticana by Pietro Mascagni remains one of the most beloved melodies by classical music and opera fans today. There are several solo versions available for both lever and pedal harp, but this new publication from UTOrpheus is worth consideration. Edited by Emanuela Degli Esposti and Sara Simari, this edition contains two parts. The first is a faithful draft of the original paraphrase for solo harp by Italian harpist and composer Michele Albano published in 1891. The second part is a beautiful virtuoso variation that features the melody embedded within a torrent of elaborate arpeggios. This technique, popular in the nineteenth century, does require a very capable player who can bring out the melody while executing clean, even arpeggios.

The preface shares some interesting tidbits about the harp in the Kingdom of Naples that gave birth to the Neapolitan school of harp, as well as a brief discussion of the paraphrase and its function. There are some double harmonics and the inverted chords in the left hand on the first part require some jumping around on the instrument. Fingering is kept to a minimum. Most page turns are manageable, and the typesetting is nicely done on oversized, cream-colored paper. Unfortunately, pedal markings were not included, but there aren’t many.

You can find a short excerpt of this arrangement on YouTube played by harpist Sandra Macher. Have a listen, and if it appeals to you, you can add this flashy piece to your solo repertoire with a little effort.

One of our best jazz harpists, Carol Robbins, has penned two gorgeous ballads for solo pedal harp. They are published and available instantly as downloads through Harp Column Music. She explains in the foreword that her hope in publishing these original tunes is to share with harpists her “deep love of complex chord voicings and beguiling melodies.” Mission accomplished!

Beguiling is the perfect word to describe “Still Light.” It is in E-flat, just two pages, and no fingering. There are lots of pedal changes—all marked—but none are difficult at this slow, easy tempo. Besides, the pedals are what make the double-action harp fit right in on all that chromatic jazz. It’s so refreshing to hear current music that isn’t just the same repeated note and the same basic chords! Her chord voicings illustrate her thorough understanding of the harp and how to get the most resonance from these lush chords without sounding muddy or notey.

There are even more pedal changes on “Emilia,” another lovely ballad. This one is in A-major and again, no fingering. There are three pages and the page turn is reasonable. Both of these pieces can be heard played with her jazz ensemble on her “Jazz Play” CD. Again, a listen on YouTube should get you hooked on these captivating tunes.

Music from Carol Robbins is like being rewarded with a big, juicy caramel. As soon as you sink your teeth into it, the flavor spills throughout your mouth, but it sticks with you for a while because you can’t just swallow the whole thing. So you get to savor it for a while, and the sweetness lingers for a long time. If you’re in the mood for a musical caramel, try these two delicious ballads!

For something a little easier to play, suitable for lever harp, or with a more new age feel, Frank Voltz offers some new original compositions that would be appropriate in a variety of settings.

“Simplicity” is published by Chiera Music and, like all their publications, the typesetting is easy to read. This is in 3/4 and the key of E-flat. Fingering is included where it is helpful. The melody starts with some nice chords, and then the left hand switches to an arpeggiated pattern. There are a few scale glisses.

The introductory theme is repeated an octave higher after a section that features sixths in the right hand. There are two page turns and both are manageable. The finale includes some rolled chords (identical in both hands), some arpeggios, and three ascending chords. It is a soothing and likable melody.

“Once Upon a Time” is another calming and pleasant tune. Like the previous piece, there are no lever or pedal changes. Both these pieces are sight-readable for the intermediate player.

After stating the melody, Voltz repeats it up one octave. This is in C-major, includes a scale gliss, and has two realistic page turns. Voltz suggests pedal harpists might want to play it in C-flat major for a richer sonority. Try these Voltz creations for something more readily playable with a peaceful and relaxing effect.

Jan Jennings has been the music review editor for Harp Column since 1993. She is an active freelancer and teacher, and is the author of The Harpist’s Complete Wedding Guidebook and Effortless Glissing. Email her at
mail@harpbiz.com.