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-65%Spohr Fantasia in C minor for Harp op. 35—
$27.95
$9.78The Story
Editor: Nagasawa, Masumi
Instrumentation: Harp
Language(s): German, English
Product format: Performance score, Urtext edition
Instrumentation: Harp
Binding: Paperback
Pages / Format: IX, 34 S. - 31,0 x 24,3 cm
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Louis Spohr’s Fantasia op. 35 from 1807 comprises one of the standard works for solo harp repertoire today. It was composed in Gotha, where Spohr’s wife Dorette received harp lessons from the court chamber musician Johann Backofen. On the young couple’s concert tours at that time, Dorette not only performed new compositions by her husband for this instrument, but also fantasias by her teacher. The influence of Backofen’s works on Spohr’s Fantasia is unmistakable.
This new Urtext edition by harpist and musicologist Masumi Nagasawa presents the two fantasias by Spohr and Backofen accompanied by a detailed Foreword (Ger/Eng) and Critical Commentary (Eng). The edition also contains a score of Spohr’s Fantasia with fingering and further historically informed performance markings provided by the editor. In addition, a comprehensive Performing Practice Commentary (Eng) is included, in which the performance of this piece, originally written for the single pedal harp, is conveyed on the modern double pedal harp in accordance with the performance practice of Spohr’s time (including fingering, tempi, ornamentation, pedalling techniques such as glissandi, etc.).
This new Urtext edition by harpist and musicologist Masumi Nagasawa presents the two fantasias by Spohr and Backofen accompanied by a detailed Foreword (Ger/Eng) and Critical Commentary (Eng). The edition also contains a score of Spohr’s Fantasia with fingering and further historically informed performance markings provided by the editor. In addition, a comprehensive Performing Practice Commentary (Eng) is included, in which the performance of this piece, originally written for the single pedal harp, is conveyed on the modern double pedal harp in accordance with the performance practice of Spohr’s time (including fingering, tempi, ornamentation, pedalling techniques such as glissandi, etc.).
Details & Craftsmanship
Every detail has been carefully considered to bring you the perfect product.
Details & Craftsmanship
Every detail has been carefully considered to bring you the perfect product.
Details & Craftsmanship
Every detail has been carefully considered to bring you the perfect product.
Description
Editor: Nagasawa, Masumi
Instrumentation: Harp
Language(s): German, English
Product format: Performance score, Urtext edition
Instrumentation: Harp
Binding: Paperback
Pages / Format: IX, 34 S. - 31,0 x 24,3 cm
| Â |
Louis Spohr’s Fantasia op. 35 from 1807 comprises one of the standard works for solo harp repertoire today. It was composed in Gotha, where Spohr’s wife Dorette received harp lessons from the court chamber musician Johann Backofen. On the young couple’s concert tours at that time, Dorette not only performed new compositions by her husband for this instrument, but also fantasias by her teacher. The influence of Backofen’s works on Spohr’s Fantasia is unmistakable.
This new Urtext edition by harpist and musicologist Masumi Nagasawa presents the two fantasias by Spohr and Backofen accompanied by a detailed Foreword (Ger/Eng) and Critical Commentary (Eng). The edition also contains a score of Spohr’s Fantasia with fingering and further historically informed performance markings provided by the editor. In addition, a comprehensive Performing Practice Commentary (Eng) is included, in which the performance of this piece, originally written for the single pedal harp, is conveyed on the modern double pedal harp in accordance with the performance practice of Spohr’s time (including fingering, tempi, ornamentation, pedalling techniques such as glissandi, etc.).
This new Urtext edition by harpist and musicologist Masumi Nagasawa presents the two fantasias by Spohr and Backofen accompanied by a detailed Foreword (Ger/Eng) and Critical Commentary (Eng). The edition also contains a score of Spohr’s Fantasia with fingering and further historically informed performance markings provided by the editor. In addition, a comprehensive Performing Practice Commentary (Eng) is included, in which the performance of this piece, originally written for the single pedal harp, is conveyed on the modern double pedal harp in accordance with the performance practice of Spohr’s time (including fingering, tempi, ornamentation, pedalling techniques such as glissandi, etc.).
