AHJ, Vol. 4 No. 3, Spring 1974

tic instrument conceived by Parish-Alvars (see examples
8a and 8b).
The Rondo, whose theme is charming, has three
cadenzas, each preceding a repetition of the melody.
From this point the compositions of Petrini gave the
harp a fresh impetus. These works, published for the
most part during the Revolution and in the beginning of
the 19th Century, somewhat exceed the limits of this
article. However, two works must be cited as particularly
interesting: the Third Duo for Two Harps ( or Harp
and Violin) with Accompaniment of Violin and Bass
ad lib., dedicated to the Citizen Archinard, Op. XXXI
and the 4 Symphonies for Harp (Op. XXXVI) with
Accompaniment of I Flute, 2 Violins, 2 Horns and 1
Bass.
But-let us turn back. There is perhaps an explanation
for these contrasting aspects of the same composer.
The mediocre Petrini of the first years was above all a
courtier eager to gain a reputation. As a protege of
Mme. de Genlis, it seems that his compositions at this
period had the single aim of pleasing a public of amateurs.
His early efforts were dedicated to melodies with
variations and ariettas with harp accompaniment. We
find later in Petrini this same opportunism which led
him to write at the end of the Revolution some variations
on "The Awakening of the People" by Gaveaux,
which, after Thermidor, saluted the end of the terror.
[Pierre Gaveaux (1761-1825): Tenor and Composer of
thirty-three operas. Thermidor: Eleventh month of the
calendar of the first French Republic, July 19-August
17-Ed.] Under the Empire he published a "Battle of
Wagram" for harp, which is rather astonishing; and
under the Restoration some variations on Long live
Henri IV!" Petrini died in 1819; if he had not, political
events in France doubtless would have inspired other
pages, all equally curious.
Mme. de Genlis had invented a technique which had
no success: she sanctioned the use of the little finger.
This position forced the harpist to invert the hand completely,
and deprived him of adequate strength to pluck
the strings. In the book of sonatas (Op. IV) dedicated
to the Countess of Genlis, and also in Op. X, Three
Airs and Variations and 2 Sonatas Dedicated to Her
Serene Highness Mademoiselle [The title "Mademoiselle"
designated the eldest sister of the king of France
-Ed.] of which the first "air varie" is by Mme. la
Marquise de Sillery, (Mme. de Genlis), Petrini uses the
little finger, and boasts in the dedicatory letter: "I have
composed music suitable to the new method which
Mme. la Marquise de Sillery uses with so much success
in playing the harp, and which she has taught to your
Serene Highness."
At the same time it must be observed that the compositions
of Petrini destined for his own personal use
avoid using the five fingers ...
It is practically impossible to compile a catalogue of
works for harp in an era when music publication was
abundant. In 1784 Roze de Chantoiseau in the Register
of Famous Musicians lists 5 8 professors of harp in Paris
alone, almost all of whom had, at least at one time, the
18
desire to see engraved in this list the result of their
inspiration.
Amid this multitude of minor works there are some
which are musically agreeable, but which do not advance
the technique of the instrument. The following
may be mentioned:
Antoine de Mignaux, who in 1774 published Sonatas
en trio pour harpe, violin, and clavichord, which he
changed into quartets the following year by adding a
viola part, but which has been lost. These sonatas are
dedicated to the Dauphine Marie-Antoinette and to
Mme. Elisabeth. Technically easy, they were no doubt
played by their illustrious patronesses. Johann Schobert
wrote 2 sonatas for harp with accompaniment of violin.
All that can be said of these works is that their composer
seems to have been more inspired in his works for
harpsichord.
Philippe-Joseph Hinner, a pupil of Petrini, born at
Wetzlar in 1754, made his debut at the Concert Spirituel
with the flutist Sallentin. Teacher of Marie-Antoinette,
he dedicated to the Queen in 1775 some sonatas whose
charming titles transport the listener to the shades of the
Trianon merely by reading them; they are: Haughtiness,
The River, The Chatterer, Sophie, The Village Woman
...
Antoine-Jean Gros, musician for Frederic II, established
as professor of harp in Paris in 1 780, published
4 Sonatas en trio for Harp, Violin and Violoncello. He
is a little known composer, whose elegance and style deserve
a better fate.
In 1784, Francois-Joseph Ferdinand Herold (father
of the composer of The Priests' Meadow), although he
was not a harpist, published 4 Sonatas en trio for Harp,
Violin and Violoncello which are extremely interesting.
Mlle. Duverger (wife of J.-B. Anet, called Clery,
valet de chambre of Louis XVI) harpist to the Queen,
was reckoned among the best soloists in Paris, and in
1791 the Register of the Famous alloted to her several
flattering lines: "She played at the Concert Spirituel
several sonatas and a concerto by M. Bach with a taste,
an ease and a precision which won for her the most
enthusiastic applause."
Mme. Clery left a volume of sonatas dedicated to the
queen, more remarkable for their feeling than for their
inspiration.
Patouart fils, a celebrated guitarist, composed a Sonata
for Harp Solo ( in B Flat), well written, consisting
of an allegro and a minuet with its double.
Finally, an amateur, Louis-Charles Rague, left 3 Sonatas
for Harp and Clavichord which, if they add nothing
to technique, have some charming pages. Rague
published also an Art de preluder sur la harpe, which is
not without interest.
One harpist-composer carried into the 19th Century
the technique and the music of the harp from the preceding
century: Francois-Joseph Nadermann. He was
the son of a harp maker for Marie-Antoinette, which
explains why numerous programs and announcements
put Nadermann in the 18th Century, whereas his activities
extended from 1815 to 1835.
AMERICAN HARP JOURNAL