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Elgar’s Sospiri is a great example of this genre, as well as Serenade (I think). I went through my list and most of the works were solo parts, or seem to be, or for flute, harp and strings. So we need more works composed for this eloquent genre.
HARP AND STRINGS REPERTOIRE
compiled by Saul Davis Zlatkovski, from BMI and ASCAP printed catalogs (1971, 1966)N.B.: The harp is a continuo instrument, and therefore may be used for continuo playing in music before the 19th century.
ANDRIESSEN, HENDRIK VARIATIONS ON A THEME BY COUPERIN FLUTE HARP STR HENMAR ASCAP
ANTILL, JOHN FIVE AUSTRALIAN LYRICS HARP STR BOOSEY 13′ ASCAP
APOSTEL, HANS ERICH ADAGIO FOR TWO HARPS, CEL., PIANO, STR UNIVERSAL 22′ BMI
BACH, J.S./SOPKIN, HENRY CONCERTO FOR TWO VIOLINS HARP STR ASCAP
BACH, J.S./ZANDONAI PRELUDE FOR HARP, ORGAN, STR RICORDI 5′ BMI
BALAZS, FREDERIC EVENING SONG SATB, HARP, STR ACA 9′ BMI
BANKS, DON ELIZABETHAN MINIATURES FLUTE, HARP, CELLO, STR SCHOTT 8′ BMI
BAX, ARNOLD CONCERTO FOR BASSOON HARP STR CHAPPELL 12′ ASCAP
BRAHMS/SEVITSKY, FABIEN TWO SONGS VOICE HARP STR ASCAP
BRESGEN, CESAR VISIONS FOR FLUTE, HARP AND STRINGS DOBLINGER 20′ BMI
CASTELNUOVO-TEDESCO, MARIO SIX SCOTTISH SONGS TENOR, HARP, STR UNPUB. 30′ ASCAP
CHILDS, BARNEY CONCERTO FOR ENGLISH HORN, HARP, STR, PERC ACA 15′ BMI
CHOPIN-WILSON, MORTIMER TWO PRELUDES HARP STRINGS WITMARK ASCAP
CHOU, WEN-CHUNG TO A WAYFARER CLARINET, HARP, PERC, STR ACA 9′ BMI
COULTHARD, JEAN THE BIRD OF DAWNING SINGETH ALL NIGHT LONG FOR VIOLA, HARP, STR 9′ BMI
DAMASE, JEAN-MICHELE BALLADE FOR FLUTE, HARP STRINGS BILLAUDOT
DAMASE, JEAN-MICHELE CONCERTINO HARP STRINGS ELKAN-VOGEL 15′ ASCAP
DANA, WALTER ARIA AND INTERLUDE FOR STRINGS AND HARP DANA 8′ BMI
DEBUSSY, CLAUDE DANSES SACREE ET PROFANE DURAND 8′
DELIUS, FREDERICK SERENADE FROM HASSAN HARP STR BOOSEY 3′ ASCAP
DUBENSKY, ARCADY MEDITATION HARP STR 5′ ASCAP
ELGAR, EDWARD SOSPIRI 6′
EPPERT, CARL SERENADE OBOE CLARINET HARP STR 8′ ASCAP
FILAS, THOMAS RHAPSODY OBOE HARP STR 7′ ASCAP
FINE, IRVING NOTTURNO HARP STR BOOSEY 15′ ASCAP
FRANCAIX, JEAN CHACONNE FOR HARP AND 11 STRINGS SCHOTT 10′ BMI
FRANCAIX, JEAN CONCERTO FOR TWO HARPS AND 11 STRINGS SCHOTT 15′ BMI
DE FRUMERIE, GUNNAR PASTORAL SUITE FLUTE HARP STR NORDISKA 12′ ASCAP
GALLON, NOEL FANTAISIES HARP STRINGS BARON 14′ ASCAP
GENZMER, HARALD CONCERTO FOR HARP AND STRINGS PETERS 20′ BMI
GIORDANO, UMBERTO LARGO AND FUGA HARP, ORGAN, STRINGS RICORDI 8′ BMI
GOULD, MORTON HARVEST VIBRA. HARP STR CHAPPELL 12′ ASCAP
GRANDJANY, MARCEL ARIA IN CLASSICAL STYLE FOR HARP AND STRINGS ASSOCIATED 4′ BMI
GRETCHANINOFF, ALEXANDER CONCERTO FOR FLUTE HARP STRINGS LEEDS ASCAP
GRETACHANINOFF, ALEXANDER TRIPTIQUE HARP STR LEEDS 12′ ASCAP
HAIEFF, ALEXEI ECLOGUE CHAPPELL 12′ ASCAP
HANSON, HOWARD CONCERTO FOR ORGAN HARP STR FISCHER 18′ ASCAP
HANSON, HOWARD SERENADE FLUTE HARP STR FISCHER 6′ ASCAP
HARRISON, JULIUS PRELUDE MUSIC FOR HARP AND STRINGS 1912
HANUS, JAN CONCERTO DOPPIO FOR OBOE, HARP, STRINGS, PERC. JOSHUA 20′ BMI
HARRISON, LOU SUITE FOR VIOLIN, STRINGS, 2 HARPS, PIANO, CELESTA PEER 40′ BMI
HAUFRECHT, HERBERT WALTZ FOR GUITAR, HARP(S), STRINGS ACA 4′ BMI
HENZE, HANS WERNER DOUBLE CONCERTO OBOE HARP STRINGS SCHOTT 18′ BMI
HOVHANESS, ALAN CONCERTO FOR HARP AND STRINGS ACA 11′ BMI
HOVHANESS, ALAN THE HOLY CITY FOR TRUMPET, CHIME, HARP, STR PETERS 4′ BMI
HOVHANESS, ALAN SYMPHONY NO. 16 FOR HARP, PERC, STR PETERS 16′ BMI
JACOBI, FREDERICK RHAPSODY FOR HARP AND STR LEEDS 10′ ASCAP
KLOESS, WILFRIED KAPRIZIOESES STAENDCHEN FLUTE HARP, PIANO STR COLOMBO 11′ ASCAP
MARTIN, FRANK THREE DANCES FOR OBOE, HARP, STR UNIVERSAL 19′ BMI
MARTIN, FRANK PETITE SYMPHONIE CONCERTANTE HARP, HARPSICHORD, PIANO, STR. 22′ UNIVERSAL
MARTINON, JEAN SYMPHONIETTE TIMPANI, HARP, PIANO, STR RICORDI 17′ ASCAP
MENOTTI CANTILENA E SCHERZO HARP AND STRINGS SCHIRMER 15′ ASCAP
MOURANT, WALTER AIR AND SCHERZO HARP, OBOE STRINGS ASSOCIATED 7′ BMI
MOURANT, WALTER BLUE HORIZONS HARP AND STRINGS ACA 3′ BMI
MOURANT, WALTER DARK FOREST HARP, PERC. STR ACA 5′ BMI
MOURANT, WALTER ECSTASY CLAR. HARP STR ACA 4′ BMI
MOURANT, WALTER LULLABY FOR LOVERS HARP AND STR ACA 3′ BMI
MOURANT, WALTER PRELUDE AND RONDO CLAR HARP STR ACA 9′ BMI
MOURANT, WALTER REMEMBRANCE OF THINGS PAST OBOE HARP STR ACA 9′ BMI
MOURANT, WALTER SLEEPY HOLLOW SUITE AMP 12′ BMI
NEWMAN, THEODORE SONG FOR HARP AND STRINGS 6′ BMI
NYSTROEM, GOESTA PARTITA FOR FLUTE HARP STR S.T.I.M. 16′ ASCAP
OSIECK, HANS ROMANCE FOR FLUTE HARP STR HENMAR 8′ ASCAP
PANUFNIK, ANDRZEJ SINFONIA CONCERTANTE FLUTE HARP STRINGS 20′
PAPINEAU-COUTURE, JEAN OSTINATO HARP PIANO STR CMC 3′
PISTON, WALTER CAPRICCIO FOR HARP AND STRINGS AMP 8′ BMI
PISTON, WALTER FANTASY ENGLISH HORN, HARP, STR AMP 10′ BMI
ROUSSEAU, MARCEL SAMUEL VARIATIONS PASTORALE SUR UN VIEUX NOEL HARP STR BARON
ROUSSEL, ALBERT LE MARCHAND DE SABLE QUI PASSE FLUTE, HORN, HARP, STR. ESCHIG 17′
SCHNITTKE, ALFRED CONCERTO FOR OBOE, HARP, STRINGS UNIVERSAL 16′
SKORZENY, FRITZ CONCERTO FOR OBOE, HARP, STRINGS DOBLINGER 20′
SOMERS, HARRY SUITE FOR HARP AND CHAMBER ORCHESTRA (STR) BERANDOL 18′
SPORCK, GEORGES FANTASIE CAPRICE FOR HARP AND ORCHESTRA? ESCHIG
STURZENBERGER, RICHARD CONCERTO NO. 3 FOR CELLO, HARP AND STRINGS SCHOTT 23′
TAKACZ, JENO MEDITATION, OP. 66A OBOE HARP STR DOBLINGER 4′
THOMSON, VIRGIL AUTUMN CONCERTINO HARP STR PERC G. SCHIRMER 10′ ASCAP
TOURNIER, MARCEL FEERIE HARP STR BARON 10′
TURINA, JOAQUIN TEMA CON VARIZIONI UME 10′
VAUGHAN-WILLIAMS GREENSLEEVES HARP STR OXFORD
VAUGHAN-WILLIAMS FIVE VARIANTS ON DIVES AND LAZARUS TWO HARPS STR OXFORD 10′ ASCAP
VERACINI,FRANCESCO/PREVITALI TOCCATA E CAPRICCIO HARPSI, ORGAN, HARP STR RICORDI 10′
WALTER, FRIED DER PARADIESVOGEL FLUTE HARP STR HENMAR 8′
WARTISCH, OTTO CONCERTO FOR 2 VIOLINS, HARP, PIANO STR LEUCKART/AMP 18′
WEINBERGER, JAROMIR THE RAVEN HARP AND STRINGS AMP 5′
WEINER, LEO ROMANZE CELLO, HARP, STRINGS BOOSEY 9′ ASCAP
WHITE, PAUL SEA CHANTY HARP STR ELKAN-VOGEL 15′ ASCAP
WIKLUND, ADOLF THREE PIECES FOR HARP STR SUECIA ASCAPIt is not available from Curtis unless you get permission from the heirs controlling the estate. But there are copies with those who have performed it, and it may be in the public domain, having been distributed and performed, most likely without a copyright designation. I don’t have this one. Check with John Carrington.
It is obviously impossible to play those harmonics except on the string indicated, as you have just played the c an octave below in the chord. However, for good writing, the chord tones need to be moved to the left hand so the right hand only plays the harmonics. That said, the harmonics are too high to be played well. This composer had no idea how to write for the harp. I think the busy harpist would simply play the notes as written and ignore all the wishful harmonic notations. One has to see the full score to see what doubling there is and how to adjust the part in context.
I find fluorocarbon strings, or rather, Savarez, painful to play. They are much tighter. Pirastro makes the best nylon strings, if only because they are a bit thicker. I believe they are now made with the same material as other nylon brands, but it used to be something more durable.
Another fine work for solo harp and strings is Joaquin Turina’s Tema y Variazioni.
I have an old printed ASCAP catalog that I searched through and I remember finding many pieces for harp and strings, not solo works necessarily, but I never extracted a list from it, and it may be all American composers. Peggy Stuart Coolidge and Peggy Glanville-Hicks both wrote such works, I think.
I have a piece by Gretchaninov for harp and strings I’ve yet to premiere.I’ve never heard of this, I would consult a doctor. Are you sure it wasn’t a recording defect? If a digital mic is too close it will pick up finger noise you cannot otherwise hear. It might have been the sound of your finger leaving the string.
Can you create a version for harp and organ or perhaps string ensemble? That would greatly facilitate performances in synagogues.
Your aunt, Erica Goodman, is a marvelous harpist. She gave a remarkable performance at HarpMusicFest: the International Harp Festival of Philadelphia, and I love all of her recordings.
I would imagine it is up to the first harp, if they care. If not, I would say upstage and either parallel or a little behind.
You may enjoy my channel: HarpMusic by Saul Davis Zlatkovski on youtube. It contains my last recital program, so far.
Well, the Style 23 has been considered the “standard” for a concert harp for over 60 years now, perhaps even more than that. It would be lighter than a Salvi harp, but they have those little wheels which help. They do have an improved sound, but I still don’t hear enough aftertones, ringing overtones, sympathetic vibrations that for me define the sound of the harp, though some call it “bright.” I am not hearing enough balance between the treble and lower registers, but I am hearing that on a lot of new harps. It is partly a question of newness, and how harpists balance the registers or don’t. That’s another reason nylon strings are preferable in the second and first octaves, they have better balance, and I like them in the third octave too, as they sustain longer, are more sensitive to nuance, and have better harmonics. One can even replicate the sound of gut strings by playing lower on the nylon strings and with a sharper articulation like that the gut strings require. It used to be that nylon strings held pitch and lasted longer than gut, but I no longer find that to be the case. They are less expensive, and the 23 is a bit less than the Salvi, I think. My issue with the heavier weight is not just moving the harp, but having more weight pressing on your shoulder. Over many years, that could lead to more problems in the shoulder.
You asked about pieces for strings and harp. That is a very popular category for 20th century composers. If you can find an old printed catalog from ASCAP or BMI, you can read through them for pieces with that instrumentation, or ask a music librarian who can access a database that sorts by instrumentation (I think orchestral librarians have this).
Romanze by Leo Weiner is for solo cello, soloistic harp and strings. It’s challenging and beautiful.
Notturno by Irving Fine for harp/strings is rather well-known.
There are hundreds more, but it takes some searching to find them. You can also look in the catalogs of Lou Harrison and Alan Hovhaness for such works.The competition juries also want to reward “contemporary” sounding works, even though audiences are unlikely to enjoy them. Many fine works have won competitions, particularly the one run by the Northern California Harpists Association, so it may have something to do with the caliber of the jury and what standards they may agree on.
There are many fine contemporary concertos besides the Ginastera, which has some real faults of its own, but sadly, too many are copies of the Ginastera. The others do not get played. Susanna Mildonian should look at the concerto by Maurice Thiriet, which was apparently written for Lily Laskine, Introduction, Chanson et Rondes. Harry Somers wrote a superb concerto introduced by Judy Loman.
If conductors aren’t willing to lead harp concertos, that’s a whole other side of the problem.
I re-introduced the Concerto by Nicolai Berezowsky, and found it to be extremely effective, dramatic and colorful. Sea Chanty by Paul White is another such work. There were others also commissioned by Edna Phillips.
It would help if knowledgeable harpists were doing more commissioning themselves, and helping the composers. Charles Fox began a concerto years ago, and would love to have a commission to finish it ($50,000 is all it would take).
Damase wrote more than one concert for harp.
Concertos for harp are, amazingly enough, the most popular genre for harp among composers, so I’m sure that was a thick book, indeed, but I’ve never seen a book that only listed concertos for harp.
Norman Dello Joio wrote a beautiful concerto, but I decided against playing it because it has no ending, it just stops. It needs one or two more bars added to make it effective.
One of the problems is that, because of the Ginastera, I assume, composers get stuck in writing one note at a time for the harp, patters of intricacy, but limited in sound.
Salzedo’s Concerto for Harp and Seven Winds is extremely effective, and his Second Concerto is very strong, premiered by Jennifer Hoult. However, the orchestration is missing and may need to be re-done.
I was so taken by the Malecki Concertino for two harps that I programmed it three different times at HarpMusicFest: the International Harp Festival of Philadelphia, and I was prepared to always have it on, as it got better with each listening.
Francaix composed Jeu Poetique for Harp, rarely played, and also a concerto for two harps.
More importantly, one of Andrzej Panufnik’s symphonies is his Symphonie Concertante for flute, harp and string orchestra, a magnificent piece that is not that difficult.
So, either conductors are to blame, or harpists are to blame for not knowing the literature, or perhaps there is just too big of a literature to know it all when there is no central listing of it all, or a complete bibliography of harp music. The closest thing to that was the catalog of Lyra Music, published by Don Henry in the 1980s.I don’t think either is true. You are free to perform whatever music you want as long as you paid for your copy. Venues are responsible for ASCAP and BMI licensing. You are if you put on a performance for profit at a venue without a license. You are also responsible for submitting a program of what you play, particularly with BMI, as they will pay a composer per performance.
