Download Booklet

Total Page:16

File Type:pdf, Size:1020Kb

Download Booklet 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.
Recommended publications
  • Download the Programme for the Xvith International Congress of Celtic Studies
    Logo a chynllun y clawr Cynlluniwyd logo’r XVIeg Gyngres gan Tom Pollock, ac mae’n seiliedig ar Frigwrn Capel Garmon (tua 50CC-OC50) a ddarganfuwyd ym 1852 ger fferm Carreg Goedog, Capel Garmon, ger Llanrwst, Conwy. Ceir rhagor o wybodaeth ar wefan Sain Ffagan Amgueddfa Werin Cymru: https://amgueddfa.cymru/oes_haearn_athrawon/gwrthrychau/brigwrn_capel_garmon/?_ga=2.228244894.201309 1070.1562827471-35887991.1562827471 Cynlluniwyd y clawr gan Meilyr Lynch ar sail delweddau o Lawysgrif Bangor 1 (Archifau a Chasgliadau Arbennig Prifysgol Bangor) a luniwyd yn y cyfnod 1425−75. Mae’r testun yn nelwedd y clawr blaen yn cynnwys rhan agoriadol Pwyll y Pader o Ddull Hu Sant, cyfieithiad Cymraeg o De Quinque Septenis seu Septenariis Opusculum, gan Hu Sant (Hugo o St. Victor). Rhan o ramadeg barddol a geir ar y clawr ôl. Logo and cover design The XVIth Congress logo was designed by Tom Pollock and is based on the Capel Garmon Firedog (c. 50BC-AD50) which was discovered in 1852 near Carreg Goedog farm, Capel Garmon, near Llanrwst, Conwy. Further information will be found on the St Fagans National Museum of History wesite: https://museum.wales/iron_age_teachers/artefacts/capel_garmon_firedog/?_ga=2.228244894.2013091070.156282 7471-35887991.1562827471 The cover design, by Meilyr Lynch, is based on images from Bangor 1 Manuscript (Bangor University Archives and Special Collections) which was copied 1425−75. The text on the front cover is the opening part of Pwyll y Pader o Ddull Hu Sant, a Welsh translation of De Quinque Septenis seu Septenariis Opusculum (Hugo of St. Victor). The back-cover text comes from the Bangor 1 bardic grammar.
    [Show full text]
  • The Folk Harp Journal Index of Issue Content March 1986 - Winter 1998
    The Folk Harp Journal Index of Issue Content March 1986 - Winter 1998 Author or Year Issue Type Composer/Arranger Title Subtitle Misc 1998 Winter Cover Illustration Make a Joyful Noise 1998 Winter Column Sylvia Fellows Welcome Page 1998 Winter Column Nadine Bunn From the Editor 1998 Winter Column Laurie Rasmussen Chapter Roundup 1998 Winter Column Mitch Landy New Music in Print Harper Tasche; William Mahan 1998 Winter Column Dinah LeHoven Ringing Strings 1998 Winter Column Alys Howe Harpsounds CD Review Verlene Schermer; Lori Pappajohn; Harpers Hall & Culinary Society; Chrys King; John Doan; David Helfand 1998 Winter Article Patty Anne McAdams Second annual retreat for Bay Area folk harpers 1998 Winter Article Charles Tanner A Cool Harp! 1998 Winter Article Fifth Gulf Coast Celtic harp 1998 Winter Article Ann Heymann Trimming the Tune 1998 Winter Article James Kurtz Electronic Effects 1998 Winter Column Nadine Bunn Classifieds 1998 Winter Music Traditional/Sylvia Fellows Three Kings 1998 Winter Music Sharon Thormahlen Where River Turns to sky 1998 Winter Music Reba Lunsford Tootie's Jig 1998 Winter Music Traditional/M. Schroyer The Friendly Beats 12th Century English 1998 Winter Music Joyce Rice By Yon Yangtze 1998 Winter Music Traditional/Serena He is Born Underwood 1998 Winter Music William Mahan Adios 1998 Winter Music Traditional/Ann Heymann MacDonald's March Irish 1998 Fall Cover Photo New Zealand's Harp and Guitar Ensemble 1998 Winter Column Sylvia Fellows Welcome Page 1998 Fall Column Nadine Bunn From the Editor 1998 Fall Column
    [Show full text]
  • Harp Start Book 1 Handbook and Guide
    Harp Start Book 1 Handbook and Guide 1 2 Harp Start Book 1 - Guidebook Introduction Welcome to the Handbook and Guide to Harp Start Book 1. This material is provided as extra information that you might have missed at your lesson, or you want to read in advance of learning the pieces in Harp Start. There are little versions of each page for reference, though if you have an earlier edition of Harp Start Book 1, you may detect some small differences as I continually try to improve the book. There are 3 appendices at the back: Appendix 1 is “How to Read Music Notation”, which may be profitably consulted by those with no musical literacy background. It is a harp-centered approach to the subject, and though it scratches the surface, it should get you through the beginning stages. Appendix 2 is “Sharps, Flats and Levers”. Appendix 3 is “Using the Harp Start Bonus Tuning Reference Chart” which will help you tune your harp and organize your levers. Some people use this book with a teaher, and others without. The italic notes are info for teachers with more detail about how I use the pages, but will be good advice for everyone. I use harp jewels in my teaching. They are little stick-on plastic jewels, sometimes known as diamonds ⋄ . I use them mostly just above the knuckle to be a tactile and very sparkly landing pad for the tip of the thumb. (I don’t wrap the thumb around the finger, but relax onto the pointy pillow on the side of, just above, the knuckle.
    [Show full text]
  • Benjamin, His Harp & Some Friends
    Benjamin, his harp and some friends COMPERE Mari Griffith Angharad Evans (harp) Ann Griffiths (harp) Jane Groves (flute) Catherine Handley (flute) Mali Llywelyn (harp) Eluned Pierce (harp) Dylan Rowlands (harp) Eluned Scourfield (harp) & Under 12’s harp trio Martha Holeyman Tomos Xerri & Benjamin Concert Sponsored by BBC Children in Need Appeal Pencerdd Harps Pilgrim Harps Salvi - Lyon & Healy Harps Telynau Vining Harps Norwegian Church Arts Centre Wednesday 13th November 2002 BBC Children In Need accepts no responsibility for this event but we are delighted that such an effort is being made on our behalf. Defnyddiau, crefftwaith a sain o safon uchel am bris cystadleuol Mae telynau ac offer telyn Camac ar gael drwy gwmni Telynau Vining, Caerdydd… Camac harps and accessories are available through Telynau Vining of Cardiff… Telynau pedal Pedal harps Telynau Celtaidd Celtic harps Telynau trydan Electric harps Offer telyn Harp accessories Gorchuddion telyn Harp covers Cerddoriaeth i’r delyn Music for the harp Cysylltwch â/Contact Elen Vining Telynau Vining Cyf 21 Heol Wingfield, Yr Eglwys Newydd, Caerdydd CF14 1NJ Ffôn & Ffacs / Tel & Fax: (029) 2052 9084 E-bost / E-mail: telynauviningharps@cwcom.net Quality of materials, craftsmanship and sound at a competitive price GARDNERS THE PIANO SPECIALISTS OF CARDIFF Established 1953 STOP PRESS ****** CONGRATULATIONS ****** STOP PRESS On Saturday 9th November 2002 Martha Holeyman won second place in the Under 12s Solo Harp Competition at the Gwyl Cerdd Dant. The is a very prestigious National Festival,
    [Show full text]
  • Medium of Performance Thesaurus for Music
    A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭.
    [Show full text]
  • Albert Schulz As a Cultural Mediator Between the Literary Fields of Nineteenth Century Wales and Germany
    Bangor University DOCTOR OF PHILOSOPHY King Arthur and the privy councillor : Albert Schulz as a cultural mediator between the literary fields of nineteenth century Wales and Germany Gruber, Edith Award date: 2014 Awarding institution: Bangor University Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 29. Sep. 2021 King Arthur and the Privy Councillor: Albert Schulz as a Cultural Mediator Between the Literary Fields of Nineteenth Century Wales and Germany Edith Gruber Bangor University Doctor of Philosophy (PhD) King Arthur and the Privy Councillor: Albert Schulz as a Cultural Mediator Between the Literary Fields of Nineteenth Century Wales and Germany Edith Gruber Abstract This thesis presents Albert Schulz, a lawyer and autodidact scholar, who won the first prize at the 1840 Abergavenny Eisteddfod with his Essay on the Influence of Welsh Traditions on the Literature of France, Germany, and Scandinavia.
    [Show full text]
  • Call for Evidence
    CC(3) PWA15 Communities and Culture Committee Scrutiny Inquiry :Promoting Welsh Arts and Culture on the World Stage Response from : David Petersen 1 Call for Evidence. Committee Inquiry into the Promotion of Welsh Arts and Culture on the World Stage. 1). How are the Welsh Assembly Government‟s national strategies on promoting arts and culture on the world stage being delivered and coordinated? In my experience WAG‟s national strategies are not being delivered correctly or coordinated properly. See Appendix 1. See Appendix 2. What actually happened was a wasted opportunity to promote Wales because of a lack of experience by WAG officials of the exact requirements and opportunities made available to Wales. Wales was the “Featured Nation” at the Festival in 2008 and as it had been twice before in 2002 and 1997. It is an opportunity for the “Featured Nation” to commission a new musical creation and for it to be given a world premiere at the Festival, in a „state of the art‟ concert venue. In 1997 and in 2002 new work was commissioned from Welsh composers and both received tremendous critical acclaim for the composer and performers as well as reflecting well on Wales as a centre for creativity, both in the local and international press. Because of the unwillingness of the officers responsible to deliver this part of the programme at the Festival, no such new work was commissioned for 2008. Although a new opera had been commissioned by a Welsh composer and was well under way for it to be performed at the Festival, the First Minister wrote to tell me that it would not now be performed.
    [Show full text]
  • Mnprogrambook.Pdf
    AMERICAN HARP SOCIETY 35th National Conference Macalester College St. Paul, Minnesota June 19-22, 2002 1 AHS National Conference AMERICAN HARP SOCIETY Marcel Grandjany, Chairman, Founding Committee Anne Adams Awards Auditions Lucy Clark Scandrett President Elizabeth Richter Karen Lindquist Vice-Presidents Ruth Papalia Secretary Jan Jennings Treasurer Jan Bishop Chairman of the Board THIRTY-FIFTH NATIONAL CONFERENCE Macalester College St. Paul, Minnesota June 19-22, 2002 2 TABLE OF CONTENTS Letters of Greeting 3 AHS Boards and Committees 8 Support Group 9 Acknowledgements 10 Program of conference 11 Program notes 22 Biographies 29 Exhibitors 46 AHS Chapters and Officers 48 Map of campus 54 3 4 5 Dear AHS Conference 2002 Attendees, We are happy to welcome you to the 35th National Conference of the American Harp Society. This is the third conference held in St. Paul, primarily because of its large number of lovely college campuses. The 75 members of the Minnesota Chapter of the American Harp Society have been preparing this conference for three years and sincerely hope we can make your visit comfortable, educational, and inspiring. St. Paul is the Capitol City of Minnesota and as such has much history behind it. The Sioux Indians lived in what is now the St. Paul area long before white people arrived. In 1819 the United States Army established Fort St. Anthony in a temporary building. Between 1820 and 1822, American soldiers under Colonel Josiah Snelling built Fort St. Anthony as a permanent fort. The fort covered a large area on the West Bank of the Mississippi River and soon attracted settlers.
    [Show full text]
  • Welsh Language News Or News in the Welsh Language
    Cambrian Heritage Society Newsletters. Language note: The original title of our newsletter was Newyddion Cymraeg, literally Welsh Language News or News in the Welsh Language. Since most of the newsletter has been and will continue to be written in the English language but about Welsh-related issues and events, a more correct title would be Newyddion Cymreig (meaning Welsh News, where the title means related to Wales in general rather than the language). Some of the issues below were published under the former and less correct title bu thave had their titles changed below for the sake of correctness. Newyddion Cymreig Cambrian Heritage Society Madison, wisconsin Christmas 2012 newsletter Vol. 18 # 2 Do something Welsh with your family this Christmas! Please join us for a fun, interactive, child-friendly performace of “A Child’s Christmas in Wales” a short story by Dylan Thomas Performed by Michael O’Rourke Saturday, December 8th, 11:00am – 1:30pm Sequoya Library 4340 Tokay Blvd. Madison, WI Te Bach (cider & snacks) to follow. Call Trina Muich at 957-2961 for details. Welsh Weekend #7: Mark Your Calendars By:Mary Williams-Norton Seventh Welsh Weekend for Everyone (Seithfed Penwythnos Cymreig i Bawb) is scheduled for May 3, 4, and 5, 2013, in Appleton. Following the very successful model of the weekend this past May in Reedsburg, the event will begin with a supper and “pub night” at the recommended hotel, the Radisson Paper Valley in Appleton, on Friday night, May 3, continue with workshops, children’s activities, displays, supper, Noson Lawen, and awarding of the Eisteddfod Chair on May 4, and conclude with the State Gymanfa Ganu on Sunday afternoon, May 5.
    [Show full text]
  • Musical Instruments and Material Culture Professor Tim Ingold
    Musical Instruments and Material Culture Thursday 26th March 2015 The Pavilion, Horniman Museum and Gardens, 100 London Road, London, SE23 3PQ http://www.horniman.ac.uk This conference is held jointly by the Horniman Museum and Gardens and the Royal Anthropological Institute. PROGRAMME 09:30 Registration and coffee 10:15 Welcome/ Opening Remarks Tim Corum, Director of Curatorial and Public Engagement, Horniman Museum 10:30-11:30 Panel 1: Combating Disempowerment Khadija Abbasi, The Graduate Institute, Geneva: Dambora: The embodiments of sufferings, resistance and identities for Hazaras of Afghanistan Veronica Doubleday, Goldsmiths, University of London: Moving the Spirit: Musical Instruments from Found Objects 11:30-12:30 Keynote Speech Materials Matter: Towards a Political Ecology of Musical Instrument Making Professor Kevin Dawe, University of Kent 12:30 – 13:30 Lunch 13:30 – 14:30 Panel 2: Spirituality and Enchantment Dr Conor Caldwell, Queen's University, Belfast: A musical movement: The status of the fiddle in south west Donegal, 1850-2014 Owen Coggins, The Open University, UK: Sunn Amps and Smashed Guitars: Drone Metal’s Amplifier Cult 14:30-15:30 Panel 3: Meanings in Metal Deidre Morgan, SOAS, University of London: The Norwegian munnharpe revival: A dialogue between material and intangible culture Lyndsey Marie Hoh, University of Oxford: Brass Instruments in Benin: Metal, Meaning, and the Material Turn 15:30 – 16:00 Tea 16:00 – 17:00 Panel 4: Historic Instruments as Signifiers of Culture Stephen Rees, University of Bangor, and
    [Show full text]
  • Original Compositions for the Lever Harp
    “HARP OF WILD AND DREAM LIKE STRAIN” ORIGINAL COMPOSITIONS FOR THE LEVER HARP RACHEL PEACOCK A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO APRIL 2019 © Rachel Peacock, 2019 !ii Abstract This thesis focuses on a collection of original pieces written for the solo lever harp, contextualized by a short history of the harp and its development. Brief biographical information on influential contemporary harpists who have promoted the instrument through performance, publishing new music, and recording. An analysis of the portfolio of two compositions Classmate Suite and Telling Giselle: Theme and Variations highlights musical influences and the synthesis of different traditions. !iii Acknowledgements I would like to thank the following people for their invaluable direction and assistance in this graduate degree. Professor Michael Coghlan, who served as my advisor, Professor Mark Chambers, my secondary reader, and Sharlene Wallace who has mentored my harp playing and provided helpful feedback on my compositions. The encouragement and kind guidance of these people have made this thesis achievable. Special thanks to my parents, John and Marlene Peacock, and to Dave Johnson. !iv Table of Contents Abstract ii Acknowledgements iii List of Tables vi List of Figures vii Introduction 1 The Allure of the Harp 2 Training 2 Chapter One: A Brief History of the Harp 5 The Early History of the Harp 5 Turlough Carolan
    [Show full text]
  • The Use of Harp in Early Seventeenth-Century Italy
    THE USE OF HARP IN EARLY SEVENTEENTH-CENTURY ITALY by Yi-Yun Loei Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University July 2017 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Elisabeth Wright, Research Director ______________________________________ Elzbieta Szmyt, Chair ______________________________________ Nigel North ______________________________________ Stanley Ritchie July 6, 2017 ii Copyright © 2017 Yi-Yun Loei iii ACKNOWLEDGEMENTS I would like to thank Prof. Elisabeth Wright for her guidance as my research director, for opening the door of early music for me, and fostering a love and interest in the art of continuo playing. My education has been greatly enriched not only by her expertise, but also by her constant patience and encouragement during my time at Indiana University. My appreciation also extends to my research committee members: Elzbieta Szmyt, Nigel North, and Stanley Ritchie, for their time and advice in the completion of this document. I would also like to thank a few friends who have generously helped along the way: thank you to Hannah Lane and Antoine Malette-Chénier for sharing their insights and knowledge of the arpa doppia and early harp music; to Nathanael Udell for helping me scan all the necessary documents from the IU library that I would have otherwise been unable to access; and also to Daniel Stein and Sarah Huebsch for their moral support and encouragement in finishing the document.
    [Show full text]