Heavenly Harp

BEST LOVED classical harp music Heavenly Harp Best loved classical harp music

1 Alphonse HASSELMANS (1845–1912) 10 Henriette RENIÉ (1875–1956) La Source, Op. 44 3:55 Danse des Lutins 3:59 Erica Goodman (8.573947) Judy Loman (8.554347)

2 Hugo REINHOLD (1854–1935) 11 Marcel TOURNIER (1879–1951) Impromptu in C sharp minor, Op. 28, No. 3 5:35 Vers la source dans le bois 4:18 Elizabeth Hainen (8.555791) (‘Towards the Fountain in the Wood’) Judy Loman (8.554561) 3 John THOMAS (1826–1913) Dyddiau Mebyd (‘Scenes of Childhood’) – 3:05 12 Gabriel FAURÉ (1845–1924) II. Toriad y Dydd (‘The Dawn of Day’) Une chatelaine en sa tour, Op. 110 4:41 Lipman Harp Duo (8.570372) Judy Loman (8.554561)

4 Gaetano DONIZETTI (1797–1848) 13 Elias PARISH ALVARS (1808–1849) Lucia di Lammermoor, Act 1 Scene 2 4:25 Serenade, Op. 83 – Serenade 7:13 (arr. A.H. Zabel) Elizabeth Hainen (8.555791) Elizabeth Hainen (8.555791) 14 Gabriel PIERNÉ (1863–1937) 5 Marcel GRANDJANY (1891–1975) Impromptu-caprice, Op. 9 5:51 Fantasy on a Theme of Haydn, Op. 31 7:54 Ellen Bødtker (8.555328) Judy Loman (8.554561) 15 Nino ROTA (1911–1979) 6 Manuel de FALLA (1876–1946) Toccata 2:33 La vida breve, Act II – 4:11 Elisa Netzer (8.573835) Danse espagnole No. 1 (ver. For 2 guitars)

Judy Loman (8.554561) 16 John PARRY (1710–1782) Sonata No. 2 – Siciliana 2:06 7 Sophia DUSSEK (1775–1847) Judy Loman (8.554347) Sonata – Allegro 2:39

Judy Loman (8.554347) 17 Carl Philipp Emanuel BACH (1714–1788) 12 Variations on La folia d’Espagne, 9:13 8 Louis SPOHR (1784–1859) Wq. 118/9, H. 263 (arr. For harp) Fantasia in C minor, Op. 35 8:20 Cristina Bianchi (OC1715) Elizabeth Hainen (8.555791)

9 Gioachino ROSSINI (1792–1868) Allegretto 1:10 Claudia Antonelli (8.554252)

Total Timing: 81:49

8.578182 2 Heavenly Harp Best loved classical harp music

The harp, one of the most ancient of instruments, invented the single-action harp. This was very has had an interesting evolution which has important in the development of the instrument resulted in the instrument that we are familiar as for the first-time players could change the with today. The concept of the harp is simple pitch of the notes the instrument could produce – strings of differing lengths stretched across a whilst simultaneously playing with their hands. frame to produce a range of pitched notes. It The length of the strings is altered using a is thought that the concept began to develop complex mechanism operated by pedals from the vibrations produced in the bow after attached to rods in the column of the harp which an archer had released an arrow. Later, more link to a mechanism in the neck that turn pins to strings were added to create different notes. clamp onto the string, altering the string length. There are references to harp-like instruments Each string could therefore produce two notes a in the writings of the ancient civilisations of semi-tone apart (some strings were set to flats/ Greece, Assyria and Egypt, alongside Biblical naturals with others naturals/sharps, so that the references. It is one of the earliest forms of player could play in the most common keys), instrument where several discrete notes could with each of the seven pedal responsible for be produced at the same time and therefore changing all of the strings assigned a certain it became a popular instrument to accompany note (e.g. the ‘C’ pedal would change the vocalists for many hundreds of years. length of all of the C strings, the F pedal the The original forms of harp were simple with same for the F strings, and so on). each string of a different length, thus a different Before the beginning of the Baroque period, pitch. As there is no fret board at the top of there are few notable examples of compositions the strings, they cannot be altered to produce for the harp until it was used by Monteverdi in accidentals, like instruments of the violin or Orfeo in 1607. Over the next century the harp guitar family. When music was predominantly became more widely considered by composers, modal, the player would retune the instrument with the rise of playing the instrument as a before starting a performance in the correct salon hobby for ladies in the upper circles of mode. However, by the Baroque period, there society. The harp often had around 40 strings, was need for the harp player to be able to designed so as to not be too heavy for the lady instantly access a wider range of notes. As a player, whilst it was regularly adorned with gilt- result, in the early 1700s Jacob Hochbrücher carvings of angels or flowers (to enhance the

3 8.578182 appearance of a room, rather than to encourage composers, as well as harpists themselves both more practise by its owner!). The need for composing and arranging for the instrument. music to satisfy these patrons lead composers Much of the repertoire in this collection is to produce studies, sonatas and other similar from this period, when the harp enjoyed its works to develop and challenge the technique compositional heyday. Harpists were commonly of the player. In the 1720s Handel used the entered into music conservatoires, resulting harp in some of his oratorios and even wrote a in more technical and interesting works to be concerto, which was the start of the inclusion of written for the instrument. Furthermore, the harp the harp as a standard musical instrument, with was regularly included in orchestral music, when Mozart’s famous Concerto for Flute and Harp it was used by composers for its soft tones and written in 1778. effects such as glissandi. It was, however, often The music of the Classical period continued overwhelmed by the louder, more numerous to become more and more chromatic, and other orchestral instruments. Harpists called for once again the harp was limited by the number larger instruments to stand up on the orchestral of notes that it could produce, as it could only stage, resulting in the swift increase in the size of produce B, E, A and D flats and F, C and G the harp and by the early 20th century 47 strings sharps, alongside all of the naturals. In 1810, became standard. The soundboard of the harp Sébastien Érard revolutionised the instrument by also changed shape, with extended areas added introducing the ‘double movement’ (now referred to the sides of the instrument, again to assist in the to as ‘double action’) harp. This enabled players production of more sound. For nearly a century, to access all of the notes (flats, naturals and the harp has remained in this design, both for sharps) with every string being shortened not just solo and orchestral players, however in 2019 once, but twice. This resulted in a fully chromatic Italian manufacturer Salvi Harps introduced a instrument, a system still in use today. 48-string model, perhaps indicating that once These technological developments again, it is time for the harp to evolve to meet the occurring significantly after the piano had demands of the modern player. gained recognition amongst both professionals and amateurs, put the harp at a popularity 1 Hasselmans: La Source, Op. 44 disadvantage, never quite gaining enough Born in Liège, Belgium, Alphonse support to produce the wealth of music Hasselmans (1845–1912) came from composed for it as the piano. By the latter part a family of distinguished musicians. He of the 19th century the harp repertoire gained first studied the harp with his father and considerably from the interest of distinguished later in Strasbourg under Gottlieb-Krüger,

8.578182 4 who himself had been a pupil of Parish- Philharmonic and the Hellmesberger Alvars. The early part of Hasselmans’ Quartet. The Impromptu in C sharp minor career was spent in Brussels, before he was originally a piano work, but the opening became professor of harp at the Paris and closing fast arpeggiated passages Conservatoire in 1884, a position which contrast with the central section’s sonorous he held until his death in 1912. He is melody accompanied by rich chords, and a very influential figure in the modern this makes the piece well-suited to the harp history of the instrument composing a as this performance demonstrates. wide selection of repertoire and teaching many notable harpists of the twentieth 3 J. Thomas: Dyddiau Mebyd century. Other composers were inspired (‘Scenes of Childhood’) – by his virtuoso harp performances and II. Toriad y Dydd (‘The Dawn of Day’) dedicated many works to him. Hasselmans’ John Thomas (1826–1913) was born in own compositions were written to add to Bridgend, South Wales. He first learned the technical repertory of the harp and La the Welsh Triple harp with his father and Source is a notable example. Throughout aged eleven, he won the eisteddfod at this technically demanding piece fast, Abergavenny. Three years later Ada, arpeggios depict a flowing stream. Countess of Lovelace (Lord Byron’s daughter) sponsored him to enter the 2 Reinhold: Impromptu in C sharp minor, Royal Academy of Music in London, Op. 28, No. 3 where he studied the pedal harp with J. Hugo Reinhold (1854–1935) was an B. Chatterton. Later he taught harp at the Austrian composer and pianist, whose Royal Academy of Music, Royal College of prolific collection of works has been all Music and the Guildhall College of Music. but forgotten today. Born in Vienna, he Thomas toured extensively as a solo harpist was a chorister at the court chapel, before around Europe and in 1872 he succeeded he was admitted to the Conservatorium Chatterton as harpist to Queen Victoria. der Musikfreunde where he studied under He was a prolific composer for the harp, Anton Bruckner, Otto Dessoff and Julius both solo and chamber works. Many of his Epstein. When he left at the age of 20, he works are arrangements of compositions became a piano teacher at the Akademie by other composers, including Handel, der Tonkunst, Vienna. During his lifetime Mendelsohn, Schubert and Rossini. Toriad his works were performed by the Vienna y Dydd is a Welsh folk song, one of

5 8.578182 many transcriptions that Thomas made of taught by Hasselmans and Renié at the traditional music from his homeland. Paris Conservatoire, gaining the Premier Prix in 1905, before moving to the US 4 Donizetti, arr. A.H. Zabel: Harp Solo from in 1936. There he held many prominent Lucia di Lammermoor (Act I, Scene 2) teaching positions as head of harp at The Albert Heinrich Zabel (1834–1910), born Julliard School of Music, the Conservatoire in Germany, was harpist of the Berlin de Musique et d’Art Dramatique, Montréal Opera at the age of 14 before joining and the Manhattan School of Music. the orchestra of the Imperial Ballet in St Whilst Grandjany was both an exceptional Petersburg, where he remained for the performer and revered teacher, he gained rest of his life. When Anton Rubinstein most enjoyment from composition. He took founded the St Petersburg Conservatory influences both from highly technical harp in 1862, Zabel was appointed as teacher compositions of Parish Alvars, Renié and (later becoming professor) of harp. He Hasselmans, alongside Debussy, Ravel composed many pieces for the harp, and Stravinsky to create some of the most including a concerto and some 40 solo and notable harp repertoire. Until late in his transcriptions. Gaetano Donizetti (1797– life he regularly gave concert tours across 1848) was a prolific composer of operas, Europe and North America, being one of writing over 60 operas, of which one of the first notable harpists to programme solo his best known is Lucia de Lammermoor, recitals. He felt that there was not enough written in 1835 based upon The Bride of suitable repertoire for these and therefore Lammermoor by Sir Walter Scott. In the composed and arranged music to fulfil his opera (Act I, Scene 2) Lucia stands by need. The Fantasy on a Theme of Haydn the fountain in the park waiting for the was published in 1958, it takes the form of return of her lover Edgardo, singing of her a theme with five variations. love to her companion Alisa. The aria is introduced atmospherically by the harp, 6 Falla: La vida breve – Act II – lending itself naturally to an arrangement Danse espagnole No. 1 in Zabel’s eyes. Manuel de Falla (1876–1946) was born in Cádiz and received his first music lessons 5 Grandjany: Fantasy on a Theme of Haydn, from his mother. He went on to become Op. 31 one of the first Spanish composers to win Marcel Grandjany (1891–1975) was international renown. In the late 1890s

8.578182 6 he moved to Madrid to pursue his piano notable composers of the age, including studies, entering the Madrid Conservatory Mozart. In this opening movement of the where he won the maximum marks in all of sonata, the performer is required to have a his courses. De Falla’s opera La vida breve very solid technique to be able to achieve was first staged in Nice in 1913 having the flowing scalic passages clearly. won First Prize for Spanish Opera in Spain in 1905. The firstDanse espagnole 8 Spohr: Fantasie in C minor, Op. 35 is taken from Act II at the wedding of Louis Spohr (1784–1859) was a Paco and Carmela. It has been arranged celebrated violinist, composer and several times, including versions for violin conductor, who had studied the harp as and guitar. On the harp it is perhaps even a child growing up in Brunswick. He was more successful due to the wider range one of the most prolific composers of his of the instrument, resulting in more varied generation, writing nine symphonies, 15 sonorities being achievable. violin concertos and numerous chamber and choral works. This piece, the first of 7 S. Dussek: Harp Sonata, Op 2, No. 3 – two Fantasies for harp published under the I. Allegro same opus number, was written in 1805. The Sonata in C minor is the third of After he married harpist Dorette Scheidler Three Sonatas for Harp, Op. 2 by Sophia in 1806 he began writing regularly for Dussek (1775–1847), a Scottish soprano the single-action pedal harp (which she and harpist of Italian descent. She made preferred to the more modern double- her London singing debut in 1791 with action instrument). The harp in the early Haydn directing from the harpsichord. 19th century was a smaller instrument than She composed both songs and works for the concert harp is today and Spohr would the harp and keyboard. The Three Sonatas tune his wife’s harp down a semitone to for Harp were originally attributed to Jan allow the strings to vibrate more to produce Ladislav Dussek, her husband, however the a more resonant sound. This unusual manuscript was discovered in 1978 which strategy would have added to the sound of resulted in the pieces being reassigned to the chords and double-handed arpeggios her. As a result, Sophia Dussek is one of that are a feature of the extended the earliest successful female composers for introduction of this Fantasie, before an the harp. She used a style that was similar intricate passage where the melody moves to the works of her husband and other from one hand to the other, surrounded by

7 8.578182 fast, repetitive accompanying motifs. woman to have a career both as a teacher, composer and notably as a solo harpist. 9 Rossini: Allegretto Renié’s compositions and transcriptions Gioachino Rossini (1792–1868) was feature heavily in the modern harpist’s regarded as the greatest Italian composer repertoire, from short, beginner pieces of his time and it was not until Verdi rose through to advanced technical concert to prominence that he was replaced at the items and includes a ‘Method for Harp’, centre of Italian operatic life. He wrote 39 which is still used by many professional operas, along with a considerable amount harpists today. Danse des Lutins (‘Dance of of choral music, almost all in the first half the Leprechaun’) was written in 1911 and of his life. After his opera William Tell, he is based on a poem by Sir Walter Scott wrote almost nothing for 20 years and then about elves and spirits. This piece used returned to composing, often smaller-scale the harp’s pedal action to great effect, works, during the latter part of his life which requiring the performer to change over one he referred to as his Péchés de vieillesse hundred pedal positions per minute! (‘Sins of Old Age’). This Allegretto was written during this period in 1853, for the 11 Tournier: Vers la source dans le bois harpist Contessa Rita Perozzi. In a lilting (‘Towards the Fountain in the Wood’) triple metre, it uses a typical melody over The son of a luthier, Marcel Tournier accompanying chords texture, and does (1879–1951) was pressed into learning not feature any specific harp techniques, a stringed instrument from a young age. although the ornamented lyrical theme He entered the Paris Conservatoire aged does produce some challenges for the 16 where he was taught by Hasselmans, player. winning the Premier Prix in 1899 and the deuxième Prix de Rome in 1909. Upon 10 Renié: Danse des Lutins Hasselmans’ death in 1912, Tournier (‘Dance of the Leprechaun’) succeeded him as professor at the Paris Henriette Renié (1875–1956) was taught Conservatoire, a position which he held by Hasselmans at the Paris Conservatoire, for 36 years. Heavily influenced by winning the Premier Prix in 1887 aged just Debussy and Ravel, Tournier wanted to 12 (although she was unable to achieve the expand the repertoire for the harp, away Prix de Rome as they did not allow women from pleasant salon music, and into the at the time). She went on to become the first more abstract world of early 20th century

8.578182 8 composition. His compositions expanded Fauré had set the entire poem many years the technical possibilities of the harp and earlier in his song cycle La Bonne chanson, have had a lasting influence on the harp writing this solo harp work in 1918. Like repertoire. The impressionistic Vers la the earlier Impromptu, Fauré utilises a source dans le bois was written in 1922. range of harp techniques here, including It has an outstanding use of enharmonics enharmonics (where two strings are tuned (where two strings next to each other are to the same pitch) to enable the player to tuned to produce the same pitch) to create perform repeated notes at speed. the illusion of falling water. 13 Parish Alvars: Sérénade, Op. 83 12 Fauré: Une chatelaine en sa tour, Op. 110 Born in Teignmouth, England, Elias Parish (‘The Lady of the Castle in her Tower’) Alvars (1808–1849) studied the harp Gabriel Fauré (1845–1924) a French with Théodore Labarre, François Dizi and composer and organist, held posts at a Nicholas Bochsa (all themselves recognised number of churches and cathedrals before harpists), before becoming one of the most becoming a professor of composition at celebrated performers of his generation. the Paris Conservatoire in 1896, where his He toured Europe extensively, finally pupils included Ravel. An unostentatious settling in Vienna as harpist at the Opera figure, Fauré wrote no symphonies, in 1836 and later as the chamber harpist concertos or other large works, preferring to the Emperor of Austria in 1847. Berlioz instead to write for the piano and small called him the ‘Liszt of the Harp’ as he is chamber groups. Around 1900, Fauré met said to have had a formidable technique the young pianist Marguerite Hasselmans, – and is said to have been able to play who became his artistic companion. When the Chopin Piano Sonatas on the harp by Fauré wrote his Impromptu in 1904, as a sight. Parish Alvars wanted to elevate the test piece for harpists entering the Paris harp to a similar stature as the piano, not Conservatoire, he dedicated it to her just as a salon instrument. He wrote over father, Alphonse Hasselmans who was 80 pieces for solo harp, along with two the professor of harp. His only other solo concertos, many of which are considered harp composition, the equally technically amongst the most demanding in the harp’s challenging Une chatelaine en sa tour (‘The literature. He developed and pioneered Lady of the Castle in her Tower’) is based several elements of harp technique that on a line taken from a poem by Verlaine. are considered standard today, integrating

9 8.578182 pedal and fingering skills in a completely He entered the Milan Conservatory in new way. His Sérénade, dedicated to 1923, taking lessons with Ildebrando Charlotte Rothschild, for example, opens Pizzetti and Alfredo Casella. He was a and ends with an extended passage that versatile composer, most famously as a utilises harmonics played in one hand, film composer of some 80 scores with his accompanied by chords, which is very credits including music for The Godfather technically demanding. alongside many films directed by Federico Fellini. Additionally, he wrote extensively 14 Pierné: Impromptu-caprice, Op. 9 in other genres, including several operas, Gabriel Pierné (1863–1937) was a French oratorios, symphonies and concertos, composer, organist and conductor, who including a Harp Concerto (1948). The studied under César Franck and Jules Toccata, from Rota’s Sarabanda e toccata Massenet at the Paris Conservatoire. for harp (written in 1945), is a bright He wrote across all genres, including movement written in a Classical style, operas and ballets, as well as orchestral although the addition of more modern and chamber music. Whilst not a ‘harp harmonies in the chordal passages, composer’, he wrote two pieces for harp alongside the use of harmonics, bring it and orchestra (Concertstück and Fantaisie into the 20th century. basque) and used the instrument within his chamber works. The Impromptu-caprice 16 J. Parry: Harp Sonata No. 2 in G major – was written around 1886 for a competition II. Siciliana at the Conservatoire, later published in Welshman John Parry (c. 1710–1782) was 1903, when he also transcribed it for the most notable harpist of his generation, piano. It is a well-known showpiece for the even though he was blind. He played harp, opening in a flourish with a cadenza the Welsh triple harp, which has three before a melodic passage which later rows of strings, as opposed to the pedal- returns to conclude the work after a livelier, operated instruments that were popular at dance-like central section. the time. Throughout his career he had the patronage of the Williams-Wynn family, 15 Rota: Sarabanda e toccata – Toccata for whom he was expected to entertain Nino Rota (1911–1979) was a precocious the family and their guests at social Italian composer who started composing occasions, while also being encouraged his first oratorio at the age of eight. to develop as a soloist. Parry’s playing

8.578182 10 became noted by some of London’s most in Hamburg, where he stayed until his eminent composers, including Handel and death. During his life Bach wrote over in 1741 Parry performed Handel’s Harp one thousand works in numerous genres Concerto in London. Later, in 1763, he including songs, concertos, symphonies, became a member of the Royal Society solo sonatas and oratorios. Much of his of Musicians. This Sicilana is the graceful reputation, however, is derived from central movement from Parry’s Sonata in G Bach’s numerous keyboard sonatas which major, which was originally published as mark an important turning point between one of four ‘Lessons’ in 1761. These were the grandeur of the Baroque and the later written to be played on either a triple harp Classical style. They break away from or a harpsichord. both the Italian and Viennese schools of form, showing much more variety within 17 C.P.E. Bach: 12 Variations on their structures than other similar works La Folia d’Espagne, Wq. 118/9, of the period. The 12 Variations on La H. 263 (arr. for harp) Folia d’Espagne was originally written for Carl Philipp Emanuel Bach (1714–1788) keyboard in 1778, opening with a short was the second surviving son of Johann theme followed by twelve variations. Like Sebastian Bach. From a young age C.P.E. early keyboard instruments, ornaments Bach was taught keyboard and organ by were used on early pedal harps to help his father and his first compositions were sustain the sound through longer notes keyboard works and chamber pieces as the instruments themselves had little written around 1730. In 1738 he obtained sustaining ability and therefore little is lost a post in Berlin as a clavier player in one in the adaptation from one instrument to of the largest orchestras in Europe, in the the other. service of Frederick II of Prussia. Later he succeeded Telemann as Kapellmeister Nicola Veal © Naxos Rights US, Inc.

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11 8.578182 ELISA NETZER © Patrick Huerlimann NAXOS Heavenly Harp BEST LOVED classical harp music 8.578182 3 2020 © 81827 47313 2000, 2001, 2002, 7 2003, 2005, 2007, 2018, 2019 & ℗ Naxos Rights US, Inc. Made in Germany www.naxos.com Includes comprehensive booklet notes in English 2:33 9:13 2:06 4:41 4:18 5:51 7:13 3:59

(1714–1788)

(1808–1849) (1879–1951) (1875–1956) (1863–1937) (1845–1924) (1710–1782)

(1911–1979) Toccata 12 Variations on La folia d’Espagne, on 12 Variations Wq. 118/9, H. 263 (arr. For harp) Wq. 118/9, H. 263 (arr. Carl Philipp Emanuel BACH Nino ROTA Nino ROTA John PARRY Sonata No. 2 – Siciliana Henriette RENIÉ Marcel TOURNIER Gabriel FAURÉ ALVARS Elias PARISH Gabriel PIERNÉ Une chatelaine en sa tour, Op. 110 Une chatelaine en sa tour, Vers la source dans le bois Vers ’) the Fountain in the Wood (‘Towards Impromptu-caprice, Op. 9 Serenade, Op. 83 – Serenade Danse des Lutins

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7:54 3:55 5:35 3:05 4:25 8:20 4:11 2:39 1:10 Total Timing: 81:49 Total

BEST LOVED classical harp music BEST LOVED classical

Heavenly HarpHeavenly

(1845–1912)

(1891–1975) (1797–1848) (1792–1868) (1854–1935) (1876–1946) (1826–1913) (1775–1847) (1784–1859) Naxos Rights US, Inc. ℗ 2000, 2001, 2002, 2003, 2005, 2007, 2018, 2019 & © 2020 Fantasy on a Theme of Haydn, Op. 31 La Source, Op. 44 3 Op. 28, No. minor, Impromptu in C sharp ’) – Dyddiau Mebyd (‘Scenes of Childhood Act 1 Scene 2 Lucia di Lammermoor, II. Toriad y Dydd (‘The Dawn of Day’) II. Toriad A.H. Zabel) (arr. Alphonse HASSELMANS Hugo REINHOLD Hugo REINHOLD John THOMAS Gaetano DONIZETTI Marcel GRANDJANY Manuel de FALLA Sophia DUSSEK Louis SPOHR Gioachino ROSSINI Fantasia in C minor, Op. 35 Fantasia in C minor, La vida breve, Act II – For 2 guitars) Danse espagnole No. 1 (ver. Sonata – Allegro Allegretto

One of the most antique of instruments, the harp has evolved from simple origins in entertaining origins simple from evolved harp has the instruments, of most antique of the One harps pedal 47-string sophisticated the to Egypt, and Assyria Greece, of civilisations ancient the of age as but it really came quality, had a magical has always The harp today. seen in orchestras the repertoire Much of composer/ was created by here the 19th century. during a solo instrument performers to portraywere skilfully able who tug at our atmospherically natural world, the heartstrings charm love and homeland, in evocations of amaze our ears lyricism and us with elegant with virtuoso technical feats.

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NAXOS Heavenly Harp BEST LOVED classical harp music 8.578182