AHJ, Vol. 2 No. 1, Spring 1969

ered. The duration of the whole work 1s
about nine minutes, and the harp part 1s
not difficult.
Fox, Charles, Ancient Dance ( after Ravel),
Peer International Coq~oration, N.Y.
This is for the musically advanced harpist.
The piece is admirably fingered and the
pedals accurately noted. There are quite a
few, but all very possible. There is a slower
middle section that is very expressive. The
composer has a very thorough knowledge
of the instrument.
Hoddinott, Alun, Sonata for Harp, Opus
36, Oxford University Press, N.Y. This was
commissioned by the 1964 Chettenham Festival
and was edited by Osian Ellis, the first
performer. Fourteen pages long, it consists
of three movements, Moderato, Adagio espressivo
and Presto-alla Tarantella. This is
a major work, and not for the inexperienced.
Orr, Buxton, Three Diatonic Preludes
for Harp, Oxford University Press, N.Y.
Once the key signatures have been set, there
are no pedal changes in these pieces. The
first, Alla Marcia is crisp and well accented.
The second, Tranquillo, has a lovely melody,
light and graceful. The last, Vivace, sparkles
without being too difficult. These preludes
were edited by Sidonie Goossens.
Adler, Samuel, Introduction and Capriccio,
Southern Music, N.Y. The first two
pages of the Introduction contain fifty-one
pedal changes, but only eight are notated.
This I can never understand. The music is
unusual and the changes unexpected. The
Capriccio is well named, for one meets the
unexpected at every turn. The rhythmic
pattern, though not difficult to follow is
constantly changing and the harmonic
structure is full of unresolved dissonance.
Spohr, Ludwig, Sonata Concertante, Opus
113, for violin and harp, Theodore Presser,
Bryn Mawr, Pennsylvania. Edited by Marjorie
Call and Louis Kaufman. Those who
attended the Conference in Santa Barbara
last summer will recall the beautiful performance
this piece received. Having reviewed
so much contemporary music it was
a delight to relax to the charm and grace
of this music. It poses some problems, but
interesting ones. There is so little of the
music of this period in print that it becomes
an even more valuable contribution.
SPRING/ 1969
Stevens, Halsey, Prelude, Peer International
Corporation, N.Y. This work should
be played in a flowing manner without
stiffness. There is a melodic line which becomes
apparent as one becomes more familiar
with the harmonic structure. Two pages,
Andante. It is, by the way, dedicated to
Anne Adams.
Devos, Gerard, Methode de Harpe, Editions
Rideau Rouge, Paris. In this book Mr.
Devos endeavors to define the fundamentals
of harp technique as have so many before
him. The work is copiously illustrated, but
contains no exercises beyond the key of C.
Anno11neeD1ent
We would like to invite our readers to
submit articles for publication in the Journal.
A great many people have interesting
material at hand that could be made into
articles of general interest, but seem to
suffer excessive shyness about writing it up.
A brief look at past issues will reveal the
sort of material needed-historical, educational,
technical, biographical, etc. If you
studied with the great teacher X, let everyone
know about it, for a lot of us were
students of Y, and are anxious to know all
about X and his teaching methods. If you
are interested in the early history of the
harp in a certain culture, tell us about it.
Regarding the submitting of materials
( and this applies to those who send in Chapter
Reports, items for People and Places,
etc., as well) , all copy should be typed using
triple spacing. This leaves room for all the
typographical and editorial comment that
has to be furnished for the printer's information.
Linotype operators abhor singlespaced
copy, and much time is lost in retyping
illegible material. Obviously, some
don't type, and certainly we understand
this.
The Journal is only as good as our contributors
make it, so spend a few minutes
considering whether or not you might not
be able to make a contribution that would
serve the interests of the harp and of harpists
everywhere.
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