Marcel Tournier wrote nearly 100 pieces for solo harp, and many of them are staples of the harp repertoire today. He taught at the Paris Conservatory after the death of his teacher, Alphonse Hasselmans, but composition was his primary focus. As it turns out, there exists a substantial list of his works that were never published. Through the efforts of several people including Elizabeth Fontan-Binoche, Magali Pyka de Coster, Catherine Michel, and Carl Swanson, these forgotten, unpublished works are now available more than 70 years after Tournier’s death. 

Carl Fischer has published Marcel Tournier: Intermediate Pieces for Solo Harp Volume 1. This is a collection of eight pieces called “déchiffrages” or sight-reading exercises. This book is by no means all of the déchiffrages written by Tournier, but it represents a considerable number of those uncovered by Swanson so far. Swanson and Michel collaborated on editing the music, adding fingering, suggested tempo markings, and pedal diagrams and markings. Catherine Michel has recorded all of these déchiffrages on a new CD. You can read more about the remarkable journey to unearth these lost gems in the preface of the book. 

Swanson has rated each déchiffrage as low, medium, or high intermediate level. They average about three pages in length, and the typesetting is very easy to read. Pedal changes are notated in the middle of the staff. 

These are beguiling, charming pieces that would make wonderful recital pieces and excellent teaching repertoire for intermediate students. If you’re a fan of Tournier’s music, you will definitely want this book! Stay tuned for more volumes from this treasure chest of Tournier. 

For some music from a living composer, try “Lyra” by Alexandra Genova. This self-published, original piece has versions for pedal harp and lever harp and is available on HarpColumnMusic.com (HCM).

“Lyra” is a sweet, gentle waltz that starts out in E-flat and then transitions to F major. It is four pages in length, and the typesetting is easy to read.  There are only two pedal changes, and they are marked in the middle of the staff. Fingering is suggested only in one short passage, but it really isn’t necessary as the music falls comfortably in the hands. 

The piece begins with an eight measure intro. The left hand accompaniment is primarily a bass note followed by a chord or some eighth notes requiring crossing under. The right hand melody is fairly simple and appealing. Intermediate players should be able to sight-read this piece. 

This lovely melody sets a very pleasant mood, and it could be used in a variety of settings. Listen to the sample on HCM and hear it for yourself. 

Trista Hill also has some original music available on HCM. A recent release is “Rose: version 2­—Blooms.” It is for pedal or lever harp and has no pedal or lever changes. 

Hill explains this music was originally written so that it could be improvised—in the style of the “Canon in D” with similar chord progressions—but then develops into a three chord motif. This was to enable making it easy to lengthen or shorten as needed. There are no chord symbols that might help with improvisation. 

This version expands on the theme of an earlier version, “Beginnings,” that is also available. “Blooms” is in D major and is five pages in length. The typesetting is easy to read, although sometimes just a tiny bit crowded. Still, wouldn’t you rather have fewer page turns? Some fingering is suggested. 

There are mostly eighth notes in both hands which propels the piece continuously forward and gives a constant energy to the piece. It is enjoyable and appealing to listen to and sight-readable for intermediate players (perhaps at a slightly slower tempo than indicated.) Listen to the sample on HCM and see if you agree that this could be a useful and readily accessible addition to your performing repertoire. 

If you’d like something original for harp with another instrument, have a listen to a very interesting piece by Megan Metheney, “Mon Souffle” (My Breath).  It is for pedal or lever harp and cello. Published by Afghan Press Music, it is also available on HCM. The piece was premiered at the American Harp Society conference in 2022. 

The cello part is included on the harp part, and there is also a separate cello part. There are two pre-set levers for the lever harp, but one of them is a sixth octave A which most lever harps with 36 or fewer strings don’t have anyway. Only the A pedal needs to be changed throughout the piece, and these changes are clearly marked below the harp score. 

It starts out with the harpist tapping on the soundboard with the right hand while playing some bass notes. The rhythm is a little tricky throughout the piece, especially when alternating between playing and tapping. The cello joins in on the tapping in measure five, and the harp introduces a melody line. Later, the cello plays the melody. Each instrument is featured in a section in which they sound as if they are improvising. The harp adds some pulsing quarter notes, eventually joined by the cello. The piece ends with tapping on both instruments. 

The co-mingling of the two instruments is beautifully done. The music is not difficult and is suitable for the intermediate level, but it requires coordination to play. It is six pages and about four and a half minutes long.
“Mon Souffle” may cast a thought-provoking, contemplative spell on the listeners. Check it out. •