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
SPRING/<strong>1974</strong> Example Sa-Cadenza, Petrini Francesco 19 ~-==J}\1u-w~~~h -=r r: ~ ~cl Ltl>lt"m ·--------- ~ .. . - - 4th Concerto in B-flat Major, Op. XXIX by
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