卡洛斯·萨泽多的个人简介
卡洛斯·萨泽多（Carlos Salzedo，1885.4.6-1961.8.17）时代精萃竖琴演奏家，作曲家，指挥家生于法国阿卡雄。
生平
卡洛斯·萨泽多1885.4.6 上午11：30 出生，早产两个月，起名Charles Moise Léon Salzedoon。父亲是Isaac Gaston Salzedo一名了不起的歌手，母亲Thérèse Judith Anna Silva一位钢琴家，夫妇都来自古老的谢法尔迪犹太部族。她是西班牙女王玛丽亚·克里斯蒂雅的宫廷钢琴师。他们住在法国南部靠近西班牙的山区小城西布勒。当他们在阿卡雄度假时，她摔倒在楼梯上，导致了卡洛斯的早产。卡洛斯·萨泽多三岁时就为女王演奏钢琴，女王御赐爱称：“我的小莫扎特”。卡洛斯·萨泽多五岁丧母. 他们全家搬到波尔多。他们请了一位巴斯克妇女Marthe Bideberripe做管家，保姆间家庭教师。卡洛斯·萨泽多后来深深地依恋她，在他有生之年一直给她寄钱，他甚至吧他自己当成巴斯克人。他后期作品惯于使用五拍典型巴斯克舞曲即索提科舞曲谱写，可能就反映了这一点 。
卡洛斯·萨泽多三岁开始演奏钢琴并谱写了他的第一首乐曲“蚊子波尔卡”，五岁时出版。尽管后来失传，这个主题重新出现在他的《八个舞曲》。六岁他进入圣塞西莉亚音乐学校，三年之后他得了钢琴和唱名大奖，然后举家迁往巴黎。他继续和Charles de Beriot学习钢琴，Charles de Beriot是著名小提琴家的儿子，师从Thalberg。
卡洛斯·萨泽多的父亲，此时已是闻名声乐老师，决定让卡洛斯·萨泽多学习第二种乐器并且选择了竖琴，因为身体太弱卡洛斯·萨泽多不适合吹奏管乐，而他哥哥Marcel已经学了小提琴。音乐学院不接受白丁，卡洛斯·萨泽多就和Marguerite Achard学竖琴。几个月后，他的水平已经达到可以做音乐学院竖琴教授 Alphonse Hasselmans的学生。和这位教授学习竖琴一年之后，在他十三岁时，他被音乐学院正式录取。1901年，卡洛斯·萨泽多空前绝后地获得了竖琴和钢琴的头奖，作为奖品，他得到了一台斯坦威钢琴。在学生时代他就以自由职业者身份在拉穆勒，奥林匹亚和Folies-Bergere歌剧院管弦乐团做第二竖琴师。卡洛斯·萨泽多同时还在音乐学院学习了作曲，最终获得指挥Gabriel Faure极高的赞誉。毕业后他在作曲家指挥家Luigini手下担任比亚里茨新博彩宫的竖琴独奏，首席竖琴，钢琴独奏。随后的冬天他同科洛纳音乐会管弦乐团在欧洲巡回演出，后来他又成为科洛纳音乐会管弦乐团的竖琴独奏，首席竖琴，钢琴独奏。1903年18岁时他在巴黎首次以竖琴家钢琴家登台，并把乳名Léon-Charles Moise换成Carlos。几乎同时，中风使他的父亲偏瘫，他父亲把其犹太会堂音乐指导的位置传给了年轻的卡洛斯·萨泽多。他在欧洲以独奏身份巡回演出，获得报界闪光的评论。
美国婚姻战争
1909年，Arturo Toscanini邀请卡洛斯·萨泽多为纽约大都会歌剧院演奏，不会说英语的卡洛斯·萨泽多离开了法国来到美国。在一次晚会，卡洛斯·萨泽多被介绍给曾在巴黎学习的Viola Gramm, 一位受尊敬的女歌唱家，钢琴家。卡洛斯·萨泽多和她产生了浪漫情感，他管她叫蜜蜜妮。1913年，他们一同到法国旅行。1914.4.30，他们结了婚。卡洛斯·萨泽多特意写了《婚礼康塔塔》，朋友在婚礼上演奏了此曲。
婚后不久卡洛斯·萨泽多和Georges Barrère 长笛， Paul Kéfer 大提琴，组成了"Trio de Lutèce", 三重奏团。他们密集地在美国巡回演出。并且安排了欧洲演出。借此机会卡洛斯·萨泽多和蜜蜜妮在欧洲度过了蜜月。在英国他们被介绍给各家贵族，还给Battenberg公主演出。第一次世界大战开始他们搬家到芒通-圣伯纳堡，希望小两口能待在一起。但卡洛斯·萨泽多被法国军队征兵。
卡洛斯·萨泽多在步兵联队当伙夫，在他的单位还有好多音乐家画家。顶头上司很富于同情心，他把卡洛斯·萨泽多等艺术家组成演出小组为士兵和医院唱歌。卡洛斯·萨泽多还为他们写了好几首歌。卡洛斯·萨泽多甚至得机会延长假期和蜜蜜妮小聚。新来的上司不再允许音乐活动。卡洛斯·萨泽多生了很重的肺炎和麻痹症，为此他在复原前住了好几个月的医院。为了获得护照离开法国（1914年以前是不需要护照的），他和蜜蜜妮不得不1915年八月第二次结婚来证实他的身份。
卡洛斯·萨泽多在成年伊始，他的生活便在上流社会和音乐界高层展开。他在缅因海豚港与富豪为邻。他的朋友包括Edgard Varese, Josef Hoffman, Leopold Stokowskiand Dane Rudhyar. 他经常应邀为上层社交场合演出并被关注。
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回归美国
On the Salzedos’ return to the US in 1916, Carlos rejoined the Trio de Lutèce, but not the Metropolitan Opera, from which he had resigned in 1913. Salzedo and Mimine began spending summers in Seal Harbor, Maine, where Salzedo became friends with Vaslav Nijinsky, a Russian dancer with whom he developed a theory of esthetic gestures for the harp that later became part of the Salzedo methodfor the harp. In the Twenties, Salzedo and Mimine grew apart - she was spending more time inRome, and Carlos was spending more time with the increasing number of students who were coming to him for lessons. They had an amicable divorce in 1926, and in 1928, 42-year-old Salzedo married 21-year-old Lucile Lawrence, who had begun her studies with him ten years earlier and developed into a virtuosa in her own right. Salzedo had a very extensive performing schedule in these years, with tours by the Trio de Lutece, the Salzedo Harp Ensemble, and solo appearances. Lawrence served as first harp of the Salzedo Harp Ensemble, a high-profile group, and she also led her own Lawrence Harp Quintette on engagements too small for the Salzedo Harp Ensemble. Salzedo was involved in many arenas, including the burgeoning "new music" circles in New York, where he co-founded the International Composers Guild with Edgard Varese. The Guild was the first group of its kind, and presented the most prominent European composers and others in concert, figures such as Ravel and Casella. This later led to the formation of the rival League of Composers, which was organized to support "American" composers, causing a rift in musical circles not healed for many years. Salzedo was in the forefront of artistic ideas, and social circles. He encountered Martha Graham as the roommate of a pupil, and seeing her genius, he brought all influence to bear on her being given a Rockefeller grant, that was instrumental in the development of her career. He toured with Adolf Bolm, the great dancer and choreographer as a conductor as well as composer. His compositions, performed by major orchestras, reflect a searching, creative mind, with much originality and a timeless freshness. His pieces have a great appeal that does not wane, and show off the harp as an imaginative, eloquent instrument of great drama, and poetry, as well as abstract qualities, and virtuoso display. Salzedo led many fund-raising efforts, raising considerable amounts for the wartime relief of France, to buy a pipe organin Seal Harbor, with matching funds fromJohn D. Rockefeller, and notably, another was to help Vladimir Nijinsky escape to safe asylum in Switzerland.
演出
He appeared regularly as asoloistwith orchestras such as the Philadelphia Orchestra, on tour as a recitalist, harp ensemble leader and flute-harp-cello trio member. His activity in the 1920s alone was astonishing in its energy, and he was a celebrity as well. He was compared toWanda Landowskaby no less a critic than Virgil Thomson, as a pioneer and as a fascinating performer.
He was different in introducing historical music as well as the new, featuring French baroque musicextensively on his programs. His performing season would typically include a solo recital; tours with his Trio de Lutece or B-S-B trio (Barrere-Salzedo-Britt), Salzedo Harp Ensemble, and later his Salzedo Concert Ensemble, as well as appearances with orchestras. He was a sought-after teacher as well, privately in New York, and at the Curtis Institute of Music, where he maintained a large department until 1961.
He performed with the major orchestras as a soloist in the Chorale and Variations by Widor, his own tone poemThe Enchanted Isle, premiered in America theIntroduction and Allegroof Maurice Ravel, the Handel Concerto, the Mozart Concerto for flute and harp, the Triple Concerto by Wagenaar (commissioned by the Trio de Lutece) and the Concerto by Norman Dello Joio for which he contributed the cadenza, as he also did for the Concerto for Harp by Nicolai Berezowsky. His own Concerto for Harp and Seven Winds was introduced by Lucile Lawrence and Lily Laskine, and his Second Concerto was premiered for his 1985 centennial by Jennifer Hoult with the American Chamber Orchestra. (The orchestrations were completed by Robert Russell Bennett with a grant from the Alice Ditson Fund, and stolen immediately after the performance, as yet not recovered.)
传说
Salzedo is well-considered history’s great harpist. He was as highly regarded as a pianist and conductor by his colleagues as he was by harpists. Recordings he made evidence an unparalleled virtuosity, with a signature style of clarity, facility, articulation, and subtle phrasing. His transcriptions and compositions are quite original. He was a progressive spirit, seeking new resources in theharp, inspiring and creating new works and creating new styles of music. His composing progressed from FrenchRomantictoImpressionistto a new style uniquely his own. Many harpists objected to his innovations, provoking a backlash that continues into present times, yet his influences and contributions remain definite. While a few harpists have equaled his virtuosity, Heidi Lehwalder, Alice Giles, neither is a composer as well, nor conductor. As a teacher, he was a Moses leading his people into a new world. He raised standards of strength, facility, quality, and thus his students were widely sought-after for positions of influence.
He influenced many composers with his new ideas for the harp’s sounds and notation. They are reflected in such signature works as the Concerto for Harp by Alberto Ginastera, the Serenade no. 10 and Parable by Vincent Persichetti, the Suite for Harp and Chamber Orchestra by Harry Somers, Divertissement by Wallingford Riegger, the Divertissements by Andre Caplet and many other works.
His artistic ideas led to the designs of two harps still manufactured by Lyon & Healy, the art-nouveau style 11 and the art deco Salzedo model. The Salzedo model harp is based on the number 5, his favorite number, and has five stripes of each color on the sounding board, five sections of the base, five parts in the column, etc., for striking effect. Salzedo harpStyle 11
He founded the harp program at Curtis Institute, and the Salzedo Harp Colony in Camden, Mainewith Lucile Lawrence, and served early on the faculty of New York’s Institute of Musical Art (later known as Juilliard). He was a National Patron of Delta Omicron, an international professional music fraternity.
Salzedo’s students number in the hundreds. Many are deceased, several are currently performing in symphony orchestras, including the Philadelphia, Milwaukee, New Jersey, Santa Fe Opera Orchestras, and teaching at conservatories and universities.
He died on August 17, 1961, in Waterville, Maine, at the age of 76.
技术出版物
The Art of Modulating Carlos Salzedo with Lucile Lawrence (Schirmer) text and musicConditioning Exercises Carlos Salzedo (Schirmer)The Harpist’s Daily Dozen (Schirmer, Lyra)Method for the Harp Lawrence / Salzedo (Schirmer) music, text by LawrenceModern Study of the Harp Carlos Salzedo (Schirmer) music and textPathfinder to the Harp, containing Pathfinder Studies Lawrence / Salzedo (Peer-Southern) only contributed music for "Conflict" according to Lucile Lawrence.
作曲
Main article: List of compositions by Carlos Salzedo
Compositions for Cello, Flute, Piano, Trombone, Voice(many early works were published by Costallat, but have apparently vanished)
Berceuse for Cello and Piano, opus 72 (1907) Caprice Scherzando for Cello and Piano (1908) Invocation for Cello and Piano (1908) Piece Concertante for Trombone and Piano, opus 27 (1910) Rivalite de Fleurs for Voice and Piano, opus 25 (1911) Four Choruses in Old Sonata Form for 3 mens voices/choir and harp, organ or piano (1914) Prelude to Olaf Bolm for Piano (1926) Breaking in the New Year for Piano (1935) Offrian for Cello (1951) Volute and Rondel for Flute (1951) Marya Freund for Piano (1956) Enigme for Piano (1960) [edit] Original Compositions for Harp (alone or with other harps, and other instruments or voice)Ballade op. 28 (1910)(later revised) (Trois Morceaux no. 1) Paraphrase (Cadenza) for Liszt’s Second Rhapsody (a solo showpiece or cadenza for orchestral performance)(1910) (Schirmer/Lyra) Jeux d’Eau (1911) (Trois Morceaux no. 2) Variations sur un theme dans le style ancien (1911)(Trois Morceaux no. 3) (Leduc) (a later edition revised by Salzedo was published by Lyon & Healy) Chanson Chagrine (1914) (Lyra) Five Preludes for Harp Alone (1917) (Carl Fischer) (to be performed in this order) (original title: Pentarhythmie) Lamentation Quietude Iridescence Introspection Whirlwind Five Preludes on the name of Olga (Samaroff-Stokowski) (1917) Embryon Eveil Fete au village Hallucinations Fraicheur (Schirmer) The Enchanted Isle, a tone poem for Harp and Orchestra (1918) (Lyra) Bolmimerie, for seven-harp ensemble (1918) Brise Marine, for soprano, oboe, horn, bassoon, six harps (1918) Modern Study of the Harp: Five Poetical Studies for Harp Alone (1919) (Schirmer) "(Flight)" "(Mirage)" "(Inquietude)" "(Idyllic Poem)" "(Communion") Poems of Sara Yarrow, for soprano, oboe, horn, bassoon, six harps (1919) Ecstasy Despair Humility Preludes Intimes (1919) (Boosey & Hawkes) tenderly emoted dreamingly profoundly peaceful in self-communion procession-like Burlesque-Sentimental (1920) Five Sketches on Friends of Mine (1920) Kyra Alanova Dane Rudhyar Edith Sullivan Sara Yarrow Edgard Varese Four Preludes to the Afternoon of a Telephone, for harp duo (1921) Audubon 530 Plaza 4570 Prospect 7272 Riverside 4937 Poem of the Little Stars (1921) (Lyra) Recessional (1921) (Lyra) Sonata for Harp and Piano (1922) (Society for the Publication of American Music, Lyra) Four Pieces for the Modern Irish Harp (1924) Sarabande variee Bi-tonal jig Pavloviana Prelude Nocturne Three Poems of Stephane Mallarme, for soprano, harp, piano (1924) Las de l’amer repos ou ma paresse offense Feuillet d’album (soprano solo) Une dentell s’abolit Nocturne to Ursula, for oboe (1925) Concerto for Harp and Seven Wind Instruments, harp, fl/picc, cl A, ob, hn, bsn, trp C (1926) (Lyra) (three movements) Preludes for Beginners, harp, published in Method for the Harp (1927) (Schirmer) (No titles for I-XI) XII Fanfare XIII Cortege XIV La Desirade XV Chanson dans la nuit Pentacle, suite for harp duo (1928) (FC) Steel Serenade Felines Catacombs Pantomime Preambule et Jeux, harp solo, fl, ob, bsn, str quintet (one movement) Prelude Fatidique, harp solo (1930) (Schirmer, Lyra---published with Suite of Eight Dances) Prelude in the Nature of an Octave Study (editor’s title) (1930) (Lyra) Untitled work, harp, brasses, strings (1930) Musique des Troubadours, soprano, harp, viola d’amore, viola da gamba (1931) Triptic Dance, harp duo or trio (1931) (Lyra) (published as a transcription from Pierre Beauchant, a pseudonym) Short Stories in Music, harp (1934) Series I and II (Elkan-Vogel) The Dwarf and the Giant The Kitten and the Limping Dog Rocking Horse On Donkeyback Raindrops Madonna and Child Memories of a Clock Night Breeze, harp solo or ensemble On Stilts Pirouetting Music Box Behind the Barracks At Church Goldfish The Mermaid’s Chimes Skipping Rope Scintillation (1936) (Elkan-Vogel) Tiny Tales for Harpist Beginners, two series (1936) (Elkan-Vogel) In Hoop-Skirts The Little Princess and the Dancing Master A Little Orphan in the Snow Lullaby for a Doll The Cloister at Twilight A Mysterious Blue Light Funeral Procession of a Tin Soldier The Chimes in the Steeple A Lost Kitten Pagoda of the Dragon Panorama Suite (1937) Noon Moonset Expectation The Birth of the Morning Star Waltz Vieni, Vieni (1938) (a suite of harp solos) Sketches for Harpist Beginners, two series (1942) (Elkan-Vogel) Rock Me, Mommy Imitation Echo Huntsman’s Horn Lost in the Mist Hurdy-Gurdy Poor Doggy Tuneful Snuff-Box Pagan Rite Beethoven at School The Organist’s First Steps A Young Violinist Falling Leaves Royal Trumpeters A Lonely Bell Baby on the Swing Mourners On the Tight Rope Pierrot is Sad Choral Second Harp parts for Short Stories in Music (1942) Behind the Barracks Memories of a Clock On Donkey-Back Rain Drops Night Breeze The Mermaid’s Chimes Skipping Rope Tiny Tales for Harpist Beginners, second series (Elkan-Vogel) Processional The Clock-Maker’s Shop Winter Night The Dandy Chimes Little Soldiers Mysterious Forest Little Jacques Grandmother’s Memories Frere Jacques The Art of Modulating (1943)(Schirmer) Lullaby Reverie Carillon Grandmother’s Spinning Wheel Florentine Music Box Petite Valse Suite of Eight Dances (1943) (Schirmer) dedicated to Lucile Lawrence Gavotte Menuet Polka Siciliana Bolero Seguidilla Tango Rumba Mimi Suite (1946) Mimi Awakening Incandescence Obsession (harp or piano) Wedding Presents (1946u201352) Garlanded Chimes Vers l’Inconnu In the Valley In the Month of Maie Shadow of a Shade Idee-fixe Desir Interlude for the Theatre Vision Carol-Paul Cadenza (and editing) for the Berezowsky Concerto for Harp (1947) (Elkan-Vogel) Prelude for a Drama (1948) (M. Baron) Diptych, Two Pieces for the Right Hand Alone (1950) Reflection Interference Conditioning Exercises (1951) (Schirmer) Mardi-Gras Patrol for harp ensemble Conflict (in Pathfinder for the Harp, Peer) Elyze (1952) Second Concerto for Harp and Orchestra 1953-1961(Lyra), also known as Symphonic Suite (dialog for harp and orchestra) Chanson dans la Nuit, second harp part (Schirmer) Rumba and Tango (Suite of Eight Dances) second harp parts (Schirmer) [edit] Original Paraphrases, Arrangements for the harpAnnie Laurie Believe Me, If All Those Endearing Young Charms Blink to me only with one eye Concert Variations on: Adeste Fideles Deck the Halls Good King Wenceslaus O Tannenbaum Silent Night Deep River Diatonic Variations on The Carnival of Venice Dixie Parade I Wonder as I Wander Jingle Bells Jolly Piper Londonderry Air Paraphrases on Christmas Carols: Angels We Have Heard on High Away in a Manger Away in a Manger (to the tune of Flow Gently, Sweet Afton) The First Noel God Rest Ye Merry Gentlemen Hark! The Herald Angels Sing It Came Upon a Midnight Clear** O Little Town of Bethlehem We Three Kings of Orient Are What Child is This (Greensleeves) Short Fantasies on A Basque Carol A Catalan Carol A Neapolitan Carol A Noel Provencale Song of the Volga Boatman The Last Rose of Summer Traipsinu2019 thru Arkansaw Turkey Strut Two New Wedding Marches: Meyerbeer, Gluck The Suite of Eight Dances edition by Lyon & Healy is not the same as the original, hence not authentic.
[edit] Transcriptions of works by other Composers (for harp alone unless otherwise indicated)Albeniz: La Fete-Dieu a Seville (orchestra part created for Leopold Stokowski) Bach, J.S.: Bourree (Schirmer/Lyra) Polonaise et Badinerie (flute and harp) (Lyra) Sixth French Suite (harp duo or ensemble) (Lyra) Beethoven: Adagio from Moonlight Sonata (Schirmer) Boccherini: Sonata in A Major (flute, cello, harp) Brahms: Lullaby (Elkan-Vogel) Waltz in A-flat (Carl Fischer) Cady: Oriental Dance (harp duo) Candeille: La Provencale (Tambourin) (harp quartet) Corelli: Giga (Solos for the Harp Player, Schirmer) Couperin: Concerts Royaux (flute, harp, cello) Sarabande Dandrieu: Le Caquet (harp duo) Play of the Winds (harp duo) (Lyra) Daquin: L’Hirondelle (harp duo) Debussy: Ballade II from Trois Ballades de Francois Villon (voice and harp duo) Children’s Corner Suite (harp, flute, cello) (Lyra) Clair de Lune (harp solo) (Schirmer) Clair de Lune (harp duo) (Southern) Danseuses de Delphes (harp duo) En Bateau (Lyra) First Arabesque (Solos for the Harp Player, Schirmer) La Cathedrale Engloutie for harp ensemble (published as harp duo) La Danse de Puck (7-harp ensemble) La fille aux cheveux de lin (Lyra) Les Cloches (soprano and harp duo) Les Ingenues (soprano and harp duo) Voiles (harp duo) De Falla: Seven Popular Spanish Songs (voice and harp duo) (American Harp Society edition) various works collected and titled by Salzedo as Suite Espagnole (flute, cello and harp duo) Dahlgren: The Maid and I (soprano and harp duo) Donizetti: Cadenza and solo from Lucia di Lammermoor (Elkan-Vogel) Durand: Chaconne (Solos for the Harp Player, Schirmer) Duparc: Invitation au Voyage (soprano and harp duo) Dvorak: Humoresque (harp solo―C. Fischer, or duo) Enescu: Sept Chansons de Clement Marot (soprano and harp duo) Faure: Dolly Suite (flute, harp, cello) Gluck: Gavotte from Armide (Lyra) Gavotte from Iphigenia in Aulis (Lyra) March of the Priests from Alceste (Lyra) Granados: Spanish Dance no. 5 (harp duo) (Southern) Grieg: A Vision (soprano and harp duo) Springtide (soprano and harp duo) Guion: Alley Tunes―Three Scenes from the South (flute, harp, cello) Handel: Concerto for Harp in B-flat, edited extensively and original cadenza (Schirmer) in modern style, also edited in period style in ms. Concerto for Oboe and harp Largo (C. Fischer) Largo (fl/vln/vla, cello, harp) Sonata in D (flute, cello, harp or harp duo) The Harmonious Blacksmith (Elkan-Vogel) Haydn: Theme and Variations (edited) Hue: Jeune Chansons sur des vieux airs (soprano and harp duo) Kjerulf: Ingrid’s Song (soprano and harp duo) Lara: Concert Fantasy on Granada (Southern) Lie: Snow (soprano and harp duo) Locatelli: Trio Sonata (flute, harp, cello) Lotti: Sonata in G Major (flute, harp, cello) Malotte: The Lord’s Prayer (Schirmer) Marcello: Toccata in C Minor (7-harp ensemble) Martini: Gavotte (harp duo) (Lyra) Massenet: Meditation from Thais (violin and harp) (Baron) Menuet d’Amour from Therese (Heugel) Mendelssohn: On Wings of Song (harp duo) (Lyra) Spinning Song (harp duo) (Lyra) Spring Song (Schirmer) Sweet Remembrance (Songs Without Words, no. 1) (Fischer) Wedding March (Elkan-Vogel) Meyerbeer: Coronation March from Le Prophete (Elkan-Vogel) Mozart: Concerto for flute and harp, edited and revised orchestration, edited cadenzas by Reinecke (Southern) Nin: Granadina (cello and harp) (Lyra) Offenbach: Barcarolle from Tales of Hoffman (Fischer) Pescetti: Sonata in C Minor (Schirmer/Lyra/Colin) Prokofieff: Prelude in C Major (Leeds/Lyra) Rameau: Gavotte from Le Temple de la Gloire (Schirmer/Lyra) La Loyeuse (harp duo) (Lyra) Les Sauvages (harp duo) Menuet Chantee (soprano and harp duo) Rigaudon and Tambourin (Solos for the Harp Player) (Schirmer) Rameau: Pieces de Clavecin en Concert, Suites I and II (flute, harp, cello) Ravel: A la maniere de Faure, Chabrier, Borodin (flute, harp, cello) Cinq Melodies Grecque (voice and harp) (Lyra) Piece en forme de Habanera (solo instrument or voice and harp) (Lyra) Prelude (Durand) Sainte (voice and harp) Sonatine (as Sonatine en Trio) (flute harp and cello) (Lyra) Rimsky-Korsakoff: Revised Cadenza for Capriccio Espagnole (ABC of Harp Playing, Schirmer) Rubenstein: Melody in F (Fischer) Saint-Amans: Ninette a la cour (harp duo) Saint-Saens: The Swan (violin or cello and harp (Schirmer) Scarlatti: The Cat’s Fugue (harp duo) Sierching: Sylvelin (soprano and harp duo) Telemann: Sonata in F (flute/recorder, harp, cello) (Lyra) Tchaikovsky: Cadenza for the Nutcracker (Lyra) Thomas: Cadenza for Mignon (Lyra) Valensin: Menuet from Symphony no. 1 (flute, harp, cello) Wagner: Magic Fire Music from Die Walkure for one or two harps (Leduc) Wedding March from Lohengrin (Lyra)
