Tuesday, 30 October 2012

Fiona Clifton-Welker

Creighton's Collection now stocks harp music by Fiona Clifton-Welker

Sheet Music - available at Creighton's Collection
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Harping on book oneHarping on book twoSparks from the harp Volume 1Harp to Harp
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Sight Reading Excercises for Harp Grade 1Sight Reading Excercises for Harp Grade 2Sight Reading Excercises for Harp Grade 3Sight Reading Excercises for Harp Grade 4

Fiona Clifton-Welker: Profile & Catalogue of works

Wednesday, 24 October 2012

Monika Stadler - London Recital - 18/11/2012

SUNDAY 18 NOVEMBER 2012 at 3.30pm
Lecture Recital Room
Guildhall School, Silk Street, Barbican, London EC2Y 8DT

An Afternoon of Strings and Strudel with Austrian Harpist and Composer
Generously supported by the Austrian Cultural Forum London

“Internationally-recognized harpist Monika Stadler brings a breath of fresh air and new dimensions to the world of harp music with her compositions, in which she combines elements of jazz, classical, world, folk and improvisational music to form her very own personal musical signature.”

The Programme will include works from her new CD, Away For A While, as well as music by Rodrigo, Piazzola and Rollins.

Monika Stadler is one of the most creative and unique solo harpists in Europe. She studied classical harp at the Vienna University of Music (diploma with highest honours), and jazz harp with Deborah Henson-Conant, in the USA, where she won several awards at international jazz harp competitions. After engagements with the Vienna Symphony Orchestra, she now only performs as a soloist, or in duet or trio formations, exclusively playing her own projects. Apart from her intensive schedule performing throughout Europe, USA and Japan, she also teaches many jazz & improvisation workshops for harpists worldwide, including her work as Jazz Harp Professor here at the Guildhall School.

She has released 9 CDs as well as several music books available from Ceighton's Collection.
For more information, visit www.harp.at

“My music is very personal, drawn from being connected with nature, from the rhythms of life, from the experience of inner moods, of the environment, and of silence.”

from: harp@gsmd.ac.uk or call 07854 871440

Musikalische Hand-Stücken für die Harfe

New from Adlais Music Publishers

Musikalische Hand-Stücken für die Harfe
Volume 1

Johann Andreas Kirchhoff 
(1722 - 1799)
Edited Helen Davies & Poul Høxbro

This volume contains four "lessons for harp"

1. September 1790
2. October 1790
3. November 1790
4. December 1790

View at Adlais on line or view at our shop


Harpist and composer Johann Andreas Kirchhoff was one of a number of German virtuosi employed at the Royal Opera House in Copenhagen in the 18th century. Contemporary written sources indicate that he was one of the greatest exponents of the harp of the time and that he was held in very high esteem, both in Denmark and internationally.

Kirchhoff was born in Wiessenfels, Saxony, on 27th March 1722. Little is known about his early life and education, but he spent some time in employment as court musician to the Duke of Weimar.

He also established himself as a soloist on the European music scene and it was on one of his foreign tours that he arrived in Denmark in 1758. He was on his way from St. Petersburg to England by sea, but when his ship was becalmed in the Sound between Sweden and Denmark, he went ashore. Hearing of the dangers of a sea voyage over the Kattegat at that time of year, he decided to spend the winter in Copenhagen. His fame had gone before him and he was presented to the reigning king, Frederik V, who was captivated by Kirchhoff’s harp playing and offered him a position at court, ensuring him that he would be held in the highest esteem. Kirchhoff was much taken by the King’s kindly disposition, and decided to settle in Denmark. In 1760 he was honoured with the title of “Royal Musician” and he played at the Royal court until his death.

Kirchhoff was a member of the Royal Opera Orchestra from 1772 – 1786 and in 1779 he was given Danish citizenship.

Theatre critics of the time singled out Kirchhoff for the brilliance of his playing in the orchestra – “…Herr Kirchhoff, whose harp playing is indispensable to this opera, and who delights his audience…” … “the only reason to see this piece is for the joy of Herr Kirchhoff´s playing…”. He was obviously a wonderful musician, and a great audience favourite.

He continued to tour abroad and was especially appreciated in Sweden and France. He received various other offers of employment and one especially lucrative offer of 2,000 rigsdaler a year came from France, but he refused saying that “King Frederik V has won my heart and I cannot be ungrateful.”
Despite ill health in old age, Kirchhoff continued to play and write for his beloved instrument. Writing of him in 1825, A.T. Elmqvist says:

“He frequently said that although he had visited many countries and many royal courts, he had never found such a good country as Denmark. Here one could live in complete security and no honest person had anything to fear.”

Kirchhoff died on 24th February 1799.

He was known as a composer as well as a virtuoso, but it had long been assumed that most of the music he wrote for the harp had been lost – and he himself is consequently almost forgotten. Research in Danish academic libraries, particularly in the Johan von Bülow Collection held at Sorø in the Bibliotheca Academiae Soranae has led to the discovery of many “Hand-Stücken für die Harfe”. Every one of them is in the form of a small suite and the collection is a treasure of charming, original harp repertoire.

The little iconographic evidence we have, coupled with the character of the music he wrote, would indicate that Kirchhoff played a hook harp. This harp had been developed in Germany and remained popular in northern Europe long after pedal harps had been invented. Hooks were fitted into the neck of the instrument to enable the player to manually raise the pitch of the string by a semi-tone by turning the hook with the left hand.

Since these “Hand-Stücken” were written for such an instrument, they are eminently suitable for the modern lever harp.

One definition of “Hand-Stück” is a “lesson”, and since Kirchoff wrote one of these a month from September 1789 – October 1793 (as well as more at a later date) it may well indicate that he was writing for pupils as well as his own performances.

Apart from adjusting a few very small rhythmic discrepancies we have chosen to remain faithful to the original manuscripts, hence the absence of phrasing, fingering and tempo markings.

Special thanks to Bibliotheca Academiae Soranae and librarian Ann Furholt Pedersen and to the The Danish Music Museum – Musikhistorisk Museum and The Carl Claudius Collection, Dr. Phil. Lisbet Torp (Head of Collections) and Marie Martens (research librarian).

Copyright ©2012 Helen Davies

Tuesday, 16 October 2012

The Clarsach Society Folios

Creighton's Collection are delighted that we are now printing and distributing The Clarsach Society Folios. The latest to be added to our web site is Folio 18: Beginner's Choice a selection on arrangements of traditional tunes and original melodies by Anne Macdearmid.

Tunes in the Book:
Suo Gân (Lullaby) - Welsh traditional
Bonnie George Campbell (Seòras Caimbeul Eireachdail) - Scots traditional
Chevy Chase - Northumbrian Air
Lisa Lân - Welsh Air
Evening Bells - Russian Air
Winster Galop - Northumbrian Air
Lullaby (Tàladh)
The Merry-go-Round (A’ dol mun cuairt)
Fiesta! (Cuirmeachd)
Golly Walk
Reverie (Bruadair)
The Music Box  (Am Bocsa Ciùil)

Buy this music now    £12.00 + p&p

We are currenttly working on more new Folios

Other Folios we already print and disribute are:-

Folio 18
Folio 40
Folio 41
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Lullabies, Airs &
Dances Vol 1
Lullabies, Airs &
Dances Vol 2

Folio 42
Folio 43
Folio 44
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A Tapestry of
Scottish Tunes V1
A Tapestry of
Scottish Tunes V2
A Tapestry of
Scottish Tunes V3

Folio 45
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Flying Fingers   

Tuesday, 2 October 2012

Franz Poenitz (1850-1912)

We have just added two CDs of the music of Franz Poenitz (1850-1912) to our shop along with the new Adlais publication of his duet for two harps Spukhafte Gavotte (op 75) - The Ghostly Gavotte.

Franz Poenitz: Songs and Hymns with harp

Mezzo-Soprano - Sophie Marilley, Harmonium - Claudio Brizi,
Harp I - Laura Vinciguerra, Harp II - Susanna Bertuccioli

Track listing  
1. Fantasia in G-Flat, Op. 65 (1902)11:40
2. Der 13. Psalm Davids, Op. 30, for Mezzo-Soprano and Harp (1892)04:34
3. Spukhafte Gavotte, Op. 75, for Two Harps (1907)07:34
4. Der Fischer, Op. 28, for Soprano/Tenor and Harp (1891)06:55
5. Intermezzo for Two Harps05:59
6. Friede in Jesus, Op. 22, for Mezzo-Soprano, Harp and Harmonium (1889)04:25
7. Weihnachtslied, Op. 60, for Mezzo-Soprano, Harp and Harmonium (1900)03:02
8. Wikingerfahrt, Op. 80, for Two Harps (1913)09:43

Franz Poenitz: Works for harp
 Laura Vinciguerra - harp
with Roberto Petrocchi - Clarinet & Paolo Franceschini - Violin

Track Listing  
1. Todestanz der Willys, Op. 2408:20
2. Italienische Romanze, Op. 2704:34
3. Drei leichte Stücke, Op. 29: Ständchen01:39
4. Drei leichte Stücke, Op. 29: Die Spieldose01:45
5. Drei leichte Stücke, Op. 29: Wiegenliedchen01:43
6. Romanze 1862, unpublished01:59
7. Romanze for violin and harp (unpublished)04:20
8. Klänge aus der Alhambra - Fantasy, Op. 6810:43
9. Gebet, Op. 6702:32
10. Zwei Salonstücke, Op. 26 for violin and harp: Im Frühling02:03
11. Zwei Salonstücke, Op. 26 for violin and harp: Venetianisches Gondellied04:08
12. Nordische Ballade, Op.3314:37
13. Capriccio, Op.73 for clarinet and harp08:59
14. Elegy in memoriam Franz Poenitz, Op.1705:37

Spukhafte Gavotte Op.75
Duet for two harps  
Spukhafte Gavotte Op.75 (1907) is subtitled ‘On a poem by Heinrich Heine’. The words ‘spuk’ (‘spook’) and ‘gavotte’ point to Heine’s poem Maria Antoinette, a ghostly work that depicts the queen in the Tuileries Palace: in ceremonial fashion, her courtiers prepare their mistress for her daily reception although the guillotine has already relieved them all of their heads. One can only speculate as to whether Poenitz was actually referring to this poem; for a court musician in contact with the emperor, such as an act would have been rather provocative!
©Andreas Fischer 2012.
Translation Richard Evidon

John Thomas Welsh Melodies

Creighton's Collection has just finished engraving the last five John Thomas Traditional Welsh Melodis for solo harp for Adlais Music Publishers. So for the first time all 24 are now available in new digital engravings.

or see more information at

Alawon Traddodiadol Cymreig - Traditional Welsh Melodies

Adlais 045 Ffarwel y Telynor - The Minstrel's Adieu **
Adlais 061 Bugeilio'r Gwenith Gwyn - Watching the Wheat
Adlais 062 Clychau Aberdyfi - The Bells of Aberdovey
Adlais 063 Codiad yr haul - The Rising of the Sun
Adlais 064 Dafydd y Garreg Wen - David of the White Rock
Adlais 065 Llwyn Onn - The Ash Grove
Adlais 066 Merch Megan - Megan's Daughter
Adlais 089 Serch Hudol - Love's fascination
Adlais 093 Syr Harri Ddu - Black Sir Harry
Adlais 118 Nos Galan - Deck the Halls
Adlais 119 Y Gadlys - Of Noble Race was Shenkin
Adlais 149 Merch y Melinydd - The Miller's Daughter
Adlais 157 Rhyfelgyrch Gwyr Harlech - Men of Harlech
Adlais 158 Ar Hyd y Nos - All through the Night
Adlais 162 Morfa Rhuddlan - The Plain of Rhuddlan
Adlais 163 Pêr Alaw - Sweet Richard
Adlais 165 Tros y Garreg - Crossing the Stone
Adlais 167 Codiad yr Ehedydd - Rising of the Lark
Adlais 196 Cwynfan Prydain - Britain's Lament
Adlais 197 Ymadawiad Y Brenin - The Departure of the King
Adlais 198 Riding over the mountain **
Adlais 199 Y fwyalchen - The Blackbird
Adlais 200 Dewch I'r Frwydyr - Come to Battle
Adlais 201 Torriad y Dydd - The Dawn of Day
** Original melody by John Thomas