AHJ, Vol. 7 No. 1, Summer 1979

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sliding the wood up and down, the string sound was either increased or decreased. In 1786 Naderman took Krumpholtz's idea and implemented it as a series of doors at the square openings of the rear body frame. A pedal placed at the bottom center of the harp caused the doors to open and close. The "Sourdine" was a muting device, controlled by another pedal which was located on the left side o( the harp. This pedal was connected to two rods which ran parallel to each other on either side of the center strip of the harp. The center strip, located on the sound board, is the section from which the harp strings come through and on up to the tuning pins in the neck of the harp. Krumpholtz designed his pedal mechanism in the following manner: 1. A long cord ran between each string, moving crosswise between both rods and attached at the top of the kneeblock to a spring and, at the bottom, to another spring. 2. Between both these rods and connected to the cord there were pieces of leaJher. 3. With the motion of the pedal the entire ladderlike structure moved, causing the leather-tipped cords to press upon each string and dampen it. Veq' little is known about the circumstances of Krumpholtz's suicide except that it was clearly an act of desperation. His wife had, by his own admission, surpassed him as a concert harpist. Her continued infidelities finally proved too much for him to bear. He was only 45 years old when he drowned himself in the Seine. 18 :fortunately for the harp world, Krumpholtz remained a teacher to the very last months before his death. He gave instruction on the harp to a young student by the name of Plane. When Krumpholtz died, Plane recognized the legacy which needed only gathering and publishing. He performed this task shortly after Krumpholtz died and called the work Principes Pour la Harpe. The Principes is a concise method for playing the harp and gives specific exercises and technical data for developing skills. Short models and examples are offered, together with brief but clear explanations of methodology. It must be remembered that the organization of the material is the work of Plane. His intent was to give sequence to his teacher's ideas and he assures the reader that he has remained faithful to his master's technique. • • • • • • * * • • * • A further installment on the Principes of Plane is planned.-JW 3 W. H. Grattan Flood, The Story of the Harp (New York: Charles Scribner's Sons, 1905), p. 117. 4 Grove's Dictionary, vol. 4, p. 860. 5 Ibid., p. 859. 6 lbid. This appears to be the first public mention of Krumpholtz. 1 F. J. Fetis, Biographie Universe/le des Musiciens, 2nd. ed., vol. 5 (Paris: Impression Anastatique, 1875), p. 122. 8 Die Musik in Geschichte und Gegenwart, vol. 7 (Kassel: Barenreiter-Verlag, 1958), col. 1841. 9 lbid. 10 lbid. ''Grove's Dictionary, p. 859. 12 Willi Apel, Harvard Dictionnary of Music, 2nd. ed. (Cambridge, Mass.: Belknap Press of Harvard University Press, 1969), p. 377. ' 3 Fetis, Biographie Universe/le, p. 123. [I have taken the liberty of translating the original French of Professor Pratt's manuscript. -JW] 1 •Flood, The Story of the Harp, p. 117. 1 5 The Larousse Encyclopedia of Music, English edition, edited by Geoffrey Hindley (London: Hamlyn Publishing Group Ltd., 1971), p. 262. 16 International Inventory of Musical Sources [RISM], Series A: Einzeldrucke vor 1800, vol. 5 (Kassel: Barenreiter-Verlag, 1975), p. 170. 11 J. George Morley, Harp Playing (South Kensington, London, 1918). 18 Grove's Dictionnary, vol. 4, p. 860. KRUMPHOL TZ: A Bibliography of Works with Harp Jane W eidensaul Readers who are interested in the total compositional corpus of Krumpholtz, republications of the various works, and the locations of libraries which hold the original source material are referred to Repertoire International des sources musicales: Einzeldrucke vor 1800, ed. Karlheinz Schlager, vol. 5 (Kassel: Barenreiter, 1975). The RISM series is held by major public and university libraries with special music resource collections. The original spellings have been preserved in this bibliography, and only the first apparent printings have been listed in the interests of space. Precise dating is generally impossible. Vocal Music 8 FOOTNOTES 1 Grove's Dictionary of Music and Musicians, 5th ed., edited by Eric Blom, vol. 4 (London: St. Martin's Press, 1954), p. 859. 2 Roslyn Rensch, The Harp: Its History, Technique and Repertoire (New York: Praeger Publishers, 1969), p. 109. Op. 1. Le songe de Luci. Romance, avec accompagnement de piano ou harpe. Paris: Naderman. Instrumental Works Six sonates [E-flat, B-flat, F, C, A-flat, E-flat] pour la harpe avec accompagnement de violon. Paris: Cousineau, author. AMERICAN HARP JOURNAL
Op. 2. Recueil de douze preludes et petits airs pour la harpe. Paris: Cousineau, author, Sieber. Op. 3. Quatre sonates [E-flat, c, F, E-flat] pour harpe avec accompagnement d'un violon, contrebasse, et deux cors. Paris: Cousineau, author, Sieber. Op. 4. Deux concerto [E-flat, B-flat] pour la harpe avec accompagnement de deux violons, alto et basse, deux hautbois, deux cors ad libitum. Paris: Cousineau, author, Sieber. Op. 5. Deux duo [F, B-flat] pour deux harpes, dont la seconde partie peut etre executee Sur le piano forte, ou sur le clavecin a jeux de buffle. Paris: author, Naderman, Mme Oger. Deux duo pour deux harpes . . . arranges en simphonies concertantes avec accompagnement de violon, flute, basson, deux cors et contre-basse ... oeuvre V. Paris: author, Cousineau, Salomon. Op. 6. Deux concerto [F, E-flat] pour la harpe avec accompagnement de deux violons, alto, basse, et deux hautbois, deux cors ad libitum. Paris: author, Cousineau. Op. 7a. Cinquieme concerto [B-flat] pour la harpe, lequel a ete execute par !'auteur le jour de <strong>No</strong>el de l'annee 1778 au Concert spirituel et dans lequel est renferme !'air de O ma tendre musette, en variation .... Paris: author, Naderman, Mme Oger. Op. 7b. Deux sonates ... arrangees en duos pour harpe et piano par Gatayes. Paris: author, Mercier. Op. 8. Six sonates [B-flat, G, F, E-flat, F, c] pour la harpe dont Jes cinq premihes avec accompagnement d'un violon OU flute obligee tres faciles a executer, elles peuvent aussi se jouer seules .... Paris: author. Op. 9. Sixieme concerto [F] pour la harpe avec accompagnement de deux violons, deux hautbois, deux cors, une flute, taille, et basse. Paris: author, Cousineau. Op. 10. Recueil contenant differens petits airs varies, une sonate et un petit duo pour deux harpes. Paris: author, Naderman. Receuil de petits airs varies pour la harpe dont celui de Marlborough, J'ai du bon tabac, et un par !'auteur avec accompagnement d'un violon et autres airs de chant ... oeuvre X. Paris: author, Naderman. Op. 11. Deux simphonies [F, G] pour la harpe seule ou avec accompagnement de deux violons, deux cors, une flute et une basse. Paris: author, Cousineau. Op. 12. Quatre sonates non difficilles [F, E-flat, G, F] pour la harpe seule ou avec accompagnement d'un violon et violoncelle. Paris: author, Naderman, Cousineau. Op. 13. Les quatre premieres sonates [B-flat, F, C, G] detachees de la collection de pi~ces de differents genres distribu~es en six sonates d'une difficulte graduelle pour la harpe, et praticable sur le forte piano avec accompagnement d'un violon ad libitum. Paris: author, Naderman, Cousineau, Le Due, Boyer, Imbault, Deroullede, Mme Le Mercier. Op. 14. Les deux dernieres sonates [E-flat, c] de la collection de pieces de differents genres. Paris: author, Naderman. Op. 13/14. Collection de pieces de differens genres distribuees en six sonates d'une difficulte graduel!e pour la harpe et le forte piano et dont Jes quatre SUMMER/ <strong>1979</strong> premieres sont avec accompagnement d'un violon ad libitum. Paris, author, 1786. L'amante abandonnee. Air parodie en francais et en italien sur !'adagio de !'oeuvre XIV, avec accompagnement de harpe ou de forte piano, d'un violon et contrebasse ad libitum. Paris: author, Naderman, Cousineau, Le Due, Mercier, Sieber, Imbault, Deroullede, Boyer. Op. 15. Quatre sonates en forme de scenes de differens caracteres. Paris: author. Dem, sonates en forme de scenes di mezzo-carattere pour la harpe praticables aussi sur le forte-piano, avec accompagnement d'un violon ad libitum ... oeuvre XV. Paris: author, Naderman. Op. 16. Quatre sonates [C, F, G, E-flat] chantantes et peu difficiles pour la harpe seule ou avec accompagnement d'un violon et basse. Paris: author, Naderman. Op. 17. Trois sonates pour la harpe, dont la premiere en forme de scene ' avec accompagnement de violon ad libitum. Paris: author, Naderman. Op. 18. Deux sonates en forme de scenes de differens caracteres, d'une difficulte graduelle, pour la harpe, praticables aussi sur le forte piano. Paris: Naderman. Instrumental Works with Harp Published without Opus Number Three favorite sonatas [B-flat, F, C] for the pedal harp with an accompaniment for a violin ad libitum ... selected by Ph. J. Meyer junr. London: Robert Birchall. Andante du celebre Haydn [Hob. I:53 11 ] arrange pour la harpe, avec accompagnement de violon ad libitum. Paris: Naderman. A favorite sonata (E-flat] for the harp. London: Lavenu & Mitchell. Avec Jes jeux dans le village. Air with variations for the harp. London: Robert Birchall. La musette favorite avec variations . . . et un air irlandois varie. [Performing medium uncertain.] Paris: Cochet. Jer recueil d'airs en variations pour la harpe, par differents ma'itres de cet instrument. [The first collection contains a rondeau of Krumpholtz, varied by him.] Paris: Sieber fils. A NOTE FROM THE EDITOR The name of Patricia Jaeger was inadvertently omitted as the author of the article ''The Evening Harp Class for Beginners: One Teacher's Way," which appeared on p. 28 in the Winter 1978 issue of this magazine. We regret very much that this happened and wish to be sure that Ms, Jaeger receives credit for this informative and helpful article. 9
Page 2 and 3: You Have The Right To Demand The Fi
Page 4 and 5: THE AMERICAN HARP JOURNAL The Offic
Page 6 and 7: * * * * * facilities. There are shu
Page 8 and 9: .Jane B. Weidensaul Haydn. 2 Howeve
Page 12 and 13: 10 Holliger's Sequenzen uber Johann
Page 14 and 15: trary, waiting a little longer will
Page 16 and 17: 14 Business and the Creative Arts A
Page 18 and 19: 16 The role of performing arts to b
Page 20 and 21: REQUIRED READING FOR HARPISTS: ROSL
Page 22 and 23: Scientific Practice by Jane B. Weid
Page 24 and 25: Elaine Humphreys Emmy Hurlimann Kum
Page 26 and 27: of the Society's goals and services
Page 28 and 29: 26 Obituaries A. Z. Propes The harp
Page 30 and 31: THE HARP STUDIO Quality repairs at
Page 32 and 33: -~4"'......,. t-' - .:..... ,.:-
Page 34 and 35: 32 the difficulty and hazard of tra
Page 36 and 37: Figure 1 M~irin Ni Sh~ and Pupils a
Page 38 and 39: 36 him to just that. He accepted th
Page 40 and 41: 38 Mary O'Hara welcome. "A singer w
Page 42 and 43: 40 AMERICAN HARP SOCIETY, INC. SIXT
Page 44 and 45: 3 :00 PM to 4:00 PM Workshop: The E
Page 46 and 47: REGISTRATION - RESIDENTS (Housing-m
Page 48 and 49: RESIDENTS (Housing-meals package) m
Page 50 and 51: SKETCHES OF NEW MUSIC by Marion Ban
Page 52 and 53: 14. Are beginning harp students acc
Page 54 and 55: 52 Deiro's HARP CENTER Folk & Stude
Page 56 and 57: 54 Octave 1st 2nd 3rd 4th 5th 6th 7
Page 58 and 59: 56 BJ\,,, MM. 12a, d, g. 13. Two. 1
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Dr. Shirley Meyer Blankenship Artis
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WINNING HAND! Iron
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Music Camp last summer Lisa's perfo
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64 WRITE FOR OUR CURRENT BROCHURE C
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CHAPTER ACTIVITIES Each chapter is
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Dubuque are organizing a one day co
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FOR THE RHYTHM HARPIStS V-er1fe Mil
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Still time to sign up for the Harp
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74 IRISH HARP Books, Music, and Rec
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THE MAGAZINE COLLECTOR At last! A m
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78 CECILE CEO SIEBEN, B.M., M.M. 22
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80 PENNY HOWK BEAVERS, B.M., Michig
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AHJ, Vol. 7 No. 1, Summer 1979

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