AHJ, Vol. 2 No. 1, Spring 1969

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12 OBERLIN CONSERVATORY OF MUSIC Undergraduate Programs In Music Bachelor of Arts Scholarship Awards Bachelor o'f Music OBERLIN COLLEGE OBERLIN, OHIO IMPROVED HARP CARRIER Designed For Station Wagon Transport Light Weight (30 lbs.) Large Base Casters Simple Fastenings Easy Adjustments Dismantles for Storage Save 1/3 The Special Introductory Price Of $86.00 Ends on July 31, 1969. Order from: PLEKTRO,N Box 338 Rancho Santo Fe, Calif. 92067 known as Sophia Dussek-Moralt. His "Lass of Richmond Hill' sonata (in F, no Opus number) also fairly obviously dates from this period, although it was not published until 1800. As far as harp music is concerned, there now follows a long gap. No harp work can be attributed to the next six years when he was variously in Hamburg, Prague, St. Petersburg, and in the employ of Prince Louis Ferdinand in Magdeburg. On the latter's death, Dussek went to Paris where he entered the service of Count Talleyrand, in which he remained until his death in 1812. In Paris, however, he began to write for the harp again. In 1810 he appeared at a benefit concert at the Odeon theatre, "accompanied on the harp" by M. Naderman. The work was billed as an "Introduction and Funeral March", and in the Journal de Paris for March 23rd 1810 the critic asks, "etoit-il aussi convenable de terminer ce premier concert par un morceau necessairement triste et nwnotone?'' Dussek does seem, in fact, to have had second thoughts about this, as the first edition-published by Cianchettini, his nephew, and Sperati in London -has three movements. They are in B flat, G minor and B flat (Minuetto, Tempo di Balla). Opus 69 No. 2 in E flat has a second movement in G, and a finale in E flat; while Opus 69 No. 3, published in 1811, has three movements in F, B flat and F. These "Trois Duos Concertants" represent the peak of Dussek's harp works. Lasting nearly twenty minutes each, and making full use of N aderman's obviously outstanding virtuosity, the three works are a formidable technical challenge to any twentieth-century harpist. Discussion of their technical difficulties is, however, not sufficient without a consideration of the type of instrument used in Dussek's day. Why, you may ask, does the key of E flat predominate in the harp works? In order to differentiate it from the instrument patented by Sebastian Erard in 1810, this kind of harp is now known as a "single-action". Like the modern harp, it has seven pedals ( one for each note of the scale) and was tuned in the key of E flat major. E flat major, therefore, was its normal, or open, key. Each pedal could be depressed once, therefore each note could be raised a semitone. This meant that the harp AMERICAN HARP JOURNAL
could be played in E flat, B flat, F, C, G, D, A and E major, and in C, G, D, A and E minor. Some harp tutors of the period recommend a re-tuning of all the Ds to D flat, giving the additional keys of A flat major and F minor, though Dussek, in fact, never does this. When he occasionally needs a D flat ( eg. slow movement of Opus 69 No. 3) he uses the synonym C sharp. This limitation of keys provides the essential difference between Dussek's harp and his piano music. The bold modulations and far-ranging harmonic changes which characterize so much of his piano music are simply not possible on the single-action harp. In all fairness, it must be said that even within the limits of the single-action, he manages to modulate ( or even if not actually modulate, to suggest keys) far oftener than any other composer of his time. For example, in the E flat sonata (Opus 34) at the beginning of the development section of the first movement, he moves from B flat - G -A minor - G minor - D major - G minor - E flat, in 16 bars. Of course, this is very mild stuff when compared with almost contemporary piano works like the "Farewell" sonata. Therefore the only harp works which reflect the true characteristics of Dussek' s style are the Opus 69 duos, which must be considered his most important harp compositions. The combination of the two instruments allows him to build up some very advanced harmonies for his time, and during the harp's bars rest he sometimes indulges in wild flights of fancy on the piano while allowing the harpist ample time to change his pedals and prepare for his next entry. Dussek's style of harp-writing seems to fall into three well-defined periods, seemingly dictated by the style of playing of the harpists with whom he was variously associated. A quick glance at the music is usually quite sufficient to decide for which harpist they were written. Thus several works ( usually salon pieces) not bearing any opus numbers can safely be attributed to his London period. A group of six sonatinas ( dedicated to Madame Krumpholtz) and two duettinos for harp and piano have the appearance of being teaching pieces. No problem other than technical ones are presented by modern performances of the solo harp works, but the problem of balance SPRING/1969 HARP INSTRUCTION by MARCELLA DeCRAY Master Classes in the Harp in Symphony and Opera Opportunities for Orchestral Experience ACADEMIC YEAR: San Francisco Conservatory of Music Milton Salkind, Director 1201 Ortega Street San Francisco, Calif. 94122 Degrees offered: Bachelor of Music Music Diploma Artist Diploma SUMMER: Aspen Music Festival Gordon Hardy, Dean Aspen, Colorado 1860 Broadway New York, N. Y. 10023 Scholarships Available for Qualified Students at Both Institutions Teachers & Professional Discount MUSIC STRINGS SUPPLIES Harps, Band & Orchestra Instruments Victor Salvi, Representative in U.S. Selling strings - both gut & nylon, music stands & harps. MAIL ORDERS PROMPTLY FILLED 13
Page 2 and 3: WE ARE PLEASED to announce ... that
Page 4 and 5: THE EDITOR,S PAGE A REPORT FROM THE
Page 6 and 7: lJnde1·standing The Stt1dent Harpi
Page 8 and 9: the C above. From that point she sh
Page 10 and 11: PRESENTS HARPS of the ANCIENT TEMPL
Page 12 and 13: School of Music Indiana University
Page 16 and 17: in the harp and piano works is a di
Page 18 and 19: cardo Edition (International Music
Page 20 and 21: TEXAS CHRISTIAN UNIVERSITY Degree P
Page 22 and 23: THE JUILLIARD SCHOOL .... .... ....
Page 24 and 25: Summer course in harp Salzburg - Au
Page 26 and 27: As of January 1, 1969: Receipts: K
Page 28 and 29: CHAPTER NEWS MID ATLANTIC Greater N
Page 30 and 31: January: Several members went to Tu
Page 32 and 33: 30 HARP GILDER Professionally artis
Page 34 and 35: Joseph. After the necessary revisio
Page 36 and 37: TIIE SIXTII NATIONAL CONFERENCE R.O
Page 38 and 39: Sunday, June 29 10 A.M. Meeting of
Page 40 and 41: REGISTRATION FORM SIXTH NATIONAL CO
Page 42 and 43: Rossi and Mr. Goodman appeared as s
Page 44 and 45: Show, the Dick Cavett Show, the Mik
Page 46 and 47: MARJORIE HARTZELL (Mrs. K. D.) 9 Wa

AHJ, Vol. 2 No. 1, Spring 1969

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