Important Repetoire

[Anton Sie]

Why not playing piano/harpsichord pieces on the harp? Of course, just a
small part of the piano repertoire is possible, but for example,
preludes and fugues by Bach, sonatas by Mozart (330 or 545), Scarlatti
sonatas, Debussy preludes, I’ve seen some Brahms intermezzos on
programmes (though I myself am not a fan of these intermezzos)…for
some reason, Beethoven doesn’t sound so nice on the harp.

Oh, and if you are searching for a technically demanding contemporary
piece which is very appreciated by the public, you should try Partita
(II) by Heinz Holliger.

[unknown-user]

I don’t think of those as suitable composers for the harp, in general. Scarlatti is so idiomatic to the harpsichord, that even when the notes fit the harp perfectly, something is missing. Fortunately, he wrote so many that there are a handful that work pretty well. Mozart piano sonatas are rather unthinkable. They are too long, so piano-oriented and often too chromatic. Brahms is such a bad idea, even if someone is doing it. I can play Chopin on the harp, but it’s just not a good idea. Composers whose music do work well more often are Handel, some Telemann, Kirnberger, Pescetti, Galuppi and others, off the top of my head.

[unknown-user]

Debussy Preludes? A few work well, like Bruyeres (possibly), La Fille aux Cheveux de Lin, and some for harp ensemble. Again, he is so piano-specific that it is hard to validate a transcription. His earlier pieces work much better, like the First Arabesque, Reverie, and so on. I’m not trying to be censorious, but the decision of what not to play when transcribing is as important or more so than what to play. Transcription is a craft unto itself. My personal rule of thumb is that a piece has to be at least as good transcribed and preferably better than the original. In transcribing, some new facet of the piece must be illuminated and something must be revealed of the nature of the harp as well. Harps require more open voicing and texture than keyboard instruments, and it speaks differently in rhythm and tempo as well. Pieces must sometimes be transposed to a new key. It helps if the piece has a universal music in it and is not specific to its original instrument. A Bach piece like the Air (G string) has that universal quality.

[unknown-user]

I want to add, yet again, that I am not trying to oppress creativity, or impose judgement. I care so much about the harp, and it kills me to see us still relegated to second-class status as a concert instrument. It is still in our hands to prove our place by playing artistically, and playing strong music. I believe this still to be true. I have long noticed a very open approach to repertoire, particularly among European harpists in general, that allows for too little emphasis on quality of composition. We cannot rewrite the past. We were neglected by so many great composers because that upstart, the piano. We can’t force our way in. If the music fits naturally, it will belong. It is better perhaps, to concentrate on the fine modern music composed in the last century when the harp really came to bloom, and encourage its creation today, by working with composers so their music will sound well on the harp and make sense, and be playable. We can be the dominant instrument of the future, the people are waiting for us. Let’s take the fore!

[louise-vickerman]

I just ordered the Widor “Chorale & Variations” (Probably because it was on sale at L&H West!), his “Toccata” from his 5th symph. is one of my all time favorites (I had the organist play it at our wedding as the recessional). I had absolutely no idea he wrote a harp concerto and I am looking forward to hopefully playing it some day.

[louise-vickerman]

The Saint Saens “Morceau de Concert” is a gem, I played it here with the UT Symph a few years ago, and it really went down well with the audience.

[Anton Sie]

Ok, I actually meant Debussy pieces in general, I know that many of the Debussy preludes are unplayable on harp (however, I wish I could play them!).

Why do you think particularly European harpists care less about the quality of composition? I think you are right about some harpists, but there are many European harpists who have encouraged the important composers to write for the harp, for example Ursula Holliger (Martin, Yun, Carter and many, many more) and Francis Pierre. I also see many other harpists in Europe focusing on contemporary music. (I think you’ve noticed that I’m European, hehe)

However, the harp as a dominant instrument would be an utopia, but it should get more attention, absolutely. I’m just afraid that it’s more difficult to write for the harp, as we can’t play chromatically as fast as other instruments.

I haven’t transcribed anything yet; I haven’t changed anything in Bach and Mozart yet (although perhaps I will change a quite fast chromatic scale at the end of Mozart KV 330). I’m playing Ravel’s Sonatine in an arrangement by Salzedo for flute, viola and harp. In general it sounds very fine. But there are some quite big differences with the original; not even merely the notes

[Anton Sie]

About Carter: I often play his Bariolage and the audience likes it! And recently, my teacher Ernestine Stoop played “Mosaic”, an ensemble piece with a solo part for the harp, written for the Nash Ensemble in 2005. Of all the pieces played in this concert, the Carter piece was best appreciated! I think Carter can touch the soul (but I know there are many people disliking Carter’s music).

[unknown-user]

among the important women composers for harp:

1744��1824�� anne louise boyvin d’hardancourt brillon de jouy

1759��1838�� maria cosway

1775��1847�� sophia corri dussek

1875��1956�� henriette reni��

1892��1983�� germaine tailleferre

1912��1990�� peggy glanville hicks

1912��2000�� barbara pentland

+ numerous contemporary women composers for harp

i’m glad that you remembered tailleferre and glanville hicks. however, you did forget the others.

and i’m assuming that you meant dussek’s spouse. but actually, some of the works which were attributed to him, were actually written by her!

[unknown-user]

among the important women composers for harp:

1744~1824 anne louise boyvin d’hardancourt brillon de jouy

1759~1838 maria cosway

1775~1847 sophia corri dussek

1875~1956 henriette reni��

1892~1983 germaine tailleferre

1912~1990 peggy glanville hicks

1912~2000 barbara pentland

+ numerous contemporary women composers for harp

[unknown-user]

I hope I can remember everything I want to respond to. I just figured out how I can see both at the same time. I didn’t forget other women composers. I don’t give them special consideration. I don’t believe the argument that Dussek’s music was composed by his wife. It is musically dubious to me, and shouldn’t be taken as absolute fact when it is only theory. I didn’t include Renie, because I think of her as a harpist-composer, not a composer, though undoubtedly talented and gifted. Also, I just don’t care for most of her music. Actually, it’s not so much her music as it is her taste and personality. It comes across very strongly, and I don’t like how it feels. Some people know what I mean. It’s hard to put in words in a forum like this.
Anyways, I never heard of the earlier women than Dussek. I don’t know pieces by Pentland.

[carl-swanson]

Anton- If you want to play Mozart Sonatas on the harp, then play them.

[Anonymous]

I agree with Carl on every point.

[carl-swanson]

Thanks Sam…

[kimberly-rowe]

This thread is interesting. One important point I feel hasn’t been mentioned, especially for students, is that by not playing certain works or composers you’re missing out on an entire segment of musical education and music history. Maybe a Mozart Sonata doesn’t sound as good on the harp as the piano, but does that mean a harp student shouldn’t have exposure to these works? Should they be denied the experience of understanding classical sonata form and harmony by playing it with their own hands (and feet!), simply because it doesn’t sound as good on the harp? Who cares! Maybe in some cases a student’s needs are more important than an audience’s needs.

I fondly remember performing the Debussy trio (written for harp, flute, and viola) on my husband’s senior percussion recital–he played the flute part on vibraphone. After that he played the Mendelssohn violin concerto on marimba. Percussionists are famous for “borrowing” from other instruments. Would it fly at Carnegie Hall? Maybe, or maybe not, but it doesn’t matter. He was musically enriched by being exposed to those works in a way he never would be by limiting himself to repertoire written only for his instrument, or by simply listening to the works.

I think it does an extreme dis-service to a student’s musical education not to expose them to the works of every master composer and genre, or not to allow them to explore works by any composer that interest’s them on their own.

KIM

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