AHJ, Vol. 7 No. 4, Winter 1980

complished at measure 38. The B section then continues
in block chord style to a pianissimo unison
cadence on E above middle C, a dominant preparation
for the return of Section A and its A major
tonality.
A drive to the climax is created, beginning at
measure 70, by a return to block chord style, accompanied
by the directions sempre crescendo and poco
animato. A pungent dissonance strikes the ear on the
second beat of the first, third, and fifth measures of
this homophonic section when the second treble rises
to E against the first treble F-sharp and the third
treble D, forming a "tone cluster."
A colorful use of the Phrygian cadence appears
between measure 77 and the conclusion of the piece.
The normal progression in such cases is vii 6 - I.
:
Fig. 1. Phrygian cadence.
The D of the vii 6 chord is heard only in the preparatory
IV~ chord, however, and is chromatically embellished
with E-flat and C-sharp leading to the chord of
resolution, A major, in the following manner:
Fig. 2. Britten's adaptation.
The harmonic rationale for the progression is made
clear in the following quotation from Grove's Dictionary,
which defines Phrygian cadence:
A survival from the system of modes: a cadence in the
Phrygian mode, but harmonized in later music, where the
closing chord of a major key is a triad, not on the tonic, but
on the dominant of the relative minor, with the third sharpened
... .3
The concluding A major chord, considered in the
light of the above quotation, thus serves as the dominant
of D minor, the relative minor of F major,
which is the opening tonality of the succeeding piece.
"There Is No Rose"
"There Is No Rose" begins on the prepared tonality,
F major. The basic structure consists of verses of
various lengths in Middle English followed by musical
refrains to Latin texts. The harp accompaniment
Winter/1980
1980 CATALOGUE
HARP PUBLICATIONS
3437 Tice Creek Drive, No. 2
Walnut Creek, California 94595
Telephone: (415) 935-3338
EIGHTEENTH CENTURY -HARP SOLOS
J. -B. Cardon Sonata No. 1, Op. VII
J. -B. Cardon Sonata No. 2, Op. VII
]. -B . Cardon Sonata No. 3, Op. VII
J. -B. Cardon Sonata No. 4, Op. VII
J. B. Krumpholtz Sonata No. 1, Op , XII
J. B. Krumpholtz Sonata No. 2, Op , XII
J. B. Krumpholtz Sonata No. 3, Op XII
J. B. Krumpholtz Sonata No. 4, Op, XII
J. B. Krumpholtz Sonata No. 1, Op. XIII
J, B. Krumpholtz Sonata No. 2, Op. XIII
J. B. Krumpholtz Sonata No. 3, Op. XIII
J. B. Krumpholtz Sonata No , 4, Op. XIII
J. B. Krumpholtz Sonata No. !, Op. XVIII
J. B. Krumpholtz Variations on an Air of Marlborough, Op. X
J. B. Krurnpholtz Van·a1ions on an Air by Mozart, Op. X
J, B. Krumpholtz Variations on "Jay du bon 1abac", Op. X
W A. Mozart
Concerlo for Flute and Harp, K. 299, harp
part
A. Vivaldi/Lawson Concerto No. 5, Op. III from "L'Estero
Harmonica" arranged for Harp
EIGHTEENTH CENTURY-VOICE AND HARP
J. B. Krumpholtz Five Songs for Voice and Harp, Op. X
NINETEENTH CENTURY -STUDIES AND SOLOS FOR HARP
R. N. C. Bochsa Grande Sona1e in E Flat
N. B. Challoner Sonata No. 1, Op. II
N. B. Challoner Sonata No. 2, Op. II
N. B. Challoner Sonata No. 3, Op. II
Cramer/Chatterton Air wilh Variations on "Rousseau's
Dream"
F. J. Dizi Tazah b'Tazah, a Hindustani Air with
Varialions
Gallenburg/Bochsa A Favorite WalLZ
F. Godefroid Harpe Eolienne
F. Godefroid Melancolie
A. Hasselmans Ballade
A. Hasselmans Gitana
F. -J. Naderman Sonatinas, Book 2, Op. 92
C. Oberthtir Orpheus, ConcertsrUCk, Op. 253, Harp
and Piano parts
Reisiger/Bochsa Weber's Lase Waltz
Schubert/Godefroid Waltz No. 2 in A Flat
A.H. Zabel Concert Erude No. 1
A.H. Zabel Concert Erude No. Z
A.H. Zabel Concert Etude No. 3
TWENTIETH CENTURY -HARP SOLOS
K. Attl Longing
M. Delmas Priere
J. Dubez Deux Chansons Sans Paroles
H. Reni~ Esquisse
B. Taxman Three Pieces for Solo Harp
M. Tournier
G.B. Vamos
G.B. Vamos
L. Vick
1. .. Meditation" 2. "Chordal Piece"
3. "Fligh('
T rois Preludes
Gypsy
Legend of rhe Redwoods
Fragment or "The Gemle Harp"
$4.00
4.00
4.00
4.00
4 00
4.00
4.00
4.00
4.00
4.00
4.00
4.00
4.00
3.50
3.50
3.50
4.50
4.00
5.00
4 50
4.00
4.00
4.00
4.00
4.00
3.00
3.50
3.50
3.50
3.50
6.00
7.00
3.00
3.50
3.50
3.50
3.50
3.00
3.00
3.00
3.00
3.50
3.50
3.50
3.50
3.50
TWENTIETH CENTURY -HARP WITH VOICE OR INSTRUMENTS
W. Ellis Christmas Camara or "The Na1iviry of
Chrisc'' for SATB, Harp, Flute and
Organ (Piano or Harpsichord may be
substituted for Harp) 5,00
W. Ellis Lierle Lamb, Who Made Thee? for
Women's or Children's Voices-
Soprano I, Soprano II and Alto (Organ
or Piano may be substituted for Harp)
I.SO
D. Morton
Tears Idle Tears, a Trio for Soprano, Oboe
and Harp on a poem by Alfred Lord
Tennyson, 3 pts
6.00
TWENTIETH CENTURY-CELLO AND PIANO
G. B. Vamos Circus, a Suite for Piano
G. B. Vamos Cello Concerto ind minor for the Student
Cellist (includes cello and piano parts)
4.00
7.00
REVIEWS:
H. C. Robbins l ,don. Notes (Music Library Assoc.), Vol. 33/3 (March 1977).
O
John Ma,son. Musical Times Vols. 114/1567 and 117/1599 (London,
Sep 1973 and May 1976).
Walter Manin. NATS Bulletin (Oct 1976).
Etc.
27