Concerto in B-flat Major Opus 4 Number 6. G.F. Handel ( )

Transcription

1 Concerto in B-fat Major Opus Number 6 G.F. Hande ( ) Transcribed for fu-sized ever harp tuned to Eb or Bb by Darhon Rees-Rohrbacher DFM A Dragonfower Music Pubication i

2 This pubication is printed and distributed by: Afghan Press Music for Harp Cypress, TX Back cover ogo by Stan E. Moreand, Jr. Arranging, typesetting and editing by Darhon Rees-Rohrbacher. Additiona editing assistance by Thom Dutton of Cape Side Music and Mary Radspinner of Meody s Traditiona Music and Harp Shoppe. 05 Dragonfower Music (ever harp version). A rights reserved. Origina copyright Registration fied Oct., 998 #PA as a sma peda harp transcription of this concerto. For mechanicaicensing permission (sound recording) of this pubication, contact Dragonfower Music. The current statutory rate as charged by the Harry Fox Agency in New York City wi usuay appy to such requests. This book is aso avaiabe as a PDF downoad. Downoadabe music is subject to a copyright aws, incuding those that govern photocopying. Thank you for respecting musicians' work by not making photocopies for others There are a number of ega and ethica reasons why copyrighted music shoud not be photocopied. The main reason to avoid photocopying is so that the incentive to compose new works is not destroyed. However, Dragonfower Music understands the pight of harpists and harpers who want to pay ony a few songs from a coection, and prefer not to risk osing or damaging the entire book. Therefore, we aow any owner of an origina Dragonfower Music pubication to make one photocopy of that work for persona rehearsa or performance use ony. You are not permitted to make a copy to give to a friend in order to avoid purchasing an origina book. We ask that you not abuse this priviege. ISBN ii

3 Foreword When Hande wrote his famous 76 concerto for harp, two futes, string ensembe and continuo, the resut was a charming concerto of modest proportions. In fact, it was used as incidenta music for the ode Aexander s Feast, ater revised by Hande for other performances in 79, 7 and 75. By modern standards, we woud hardy consider his opus to be a virtuoso vehice for the concert harp. Hande s notation appears rather sparse on the page compared with ater transcriptions of the work. The origina Hande harp part resembed nothing ike the rather grandiose transcriptions done by harp masters Caros Sazedo and Marce Grandjany. The tripestrung harps of Hande s day had a much smaer bass range than the modern concert harp and were more ighty strung, enabing the performer to dance ighty on the strings. With a respect to the genius of Messrs. Sazedo and Grandjany, certain aspects of their interpretations were heaviy infuenced by the greater range, string tension and technica capabiities of the ate romantic doube-action peda harp. This instrument had not been invented by Hande s time. In this transcription of Hande s famous harp concerto, I have attempted to capture the spirit of the origina version. However, the chords have been fied out sighty, some tastefu ornamentation, passing tones, octave adjustments and harpistic fourishes have been added here and there. I have tried to maintain some of the customary inner voicing that has become traditiona in the performance of this work. First and second ending indications have been added in order to faciitate page turns in some repeated sections. It is not my intent to produce any sort of historicay accurate document that rigidy adheres to the rues of Baroque counterpoint, even though numerous historica sources were consuted in the deveopment of this transcription. Rather, I am providing a more reasonabe soo version of this wonderfu concerto that can be payed on a harp simiar in size to what was avaiabe in the ate Baroque era. It is my hope that students, teachers, and Baroque overs wi enjoy this version. Pease note: Fu-sized ever harps typicay range from 6 to 0 strings. Wherever any bass note exceeds the ow C of the 6-string ever harp, I have indicated that note in parenthesis. However, harps that possess the additiona bass strings shoud pay these notes at a times. This transcription can aso be payed on a -string ever harp (ow C) with ony minor aterations in a few upper notes. Darhon Rees-Rohrbacher Abany, New York Apri 05 iii

4 Expanation of Ornamentation in This Edition Some optiona ornamentation has been incuded in this transcription of the Hande Harp Concerto in order to enhance the performance. Beow is a brief expanation of the intended execution of each ornament. The ower mordent: pay the note indicated, pay the adjacent note beow, and then return to the origina note in this manner: The upper mordent: pay the note indicated, pay the adjacent note above, and then return to the origina note in this manner: The tri: begin with the adjacent note above the indicated note and wigge back and forth rapidy between the two notes in this manner: The turn: begin one note above the indicated note, pay the origina note, pay one note beow and then return to the origina note in this manner: The ong turn: pay the first ong note, then execute the turn as described previousy, beginning one note above the origina note. Detached notes: puck the notes separatey and distincty without pacing them. iv

5 Performance Notes The harper wi note that some sections of each movement are marked tutti and others soo. Each tutti section refers to paces where the orchestra woud be paying with the harp shoud this arrangement be used in actua orchestra performance. In a soo rendition of the concerto, these tutti indications can be ignored. A modest cadenza that is within the technica capabiities of most high intermediateeve harpers has been incuded in this transcription. However, the harper may substitute any cadenza of his or her choosing, as desired. Since a true Baroque cadenza is a dispay of individua stye, improvisatory ski and technica prowess, there is no such thing as a definitive version of the harp cadenza. Sma ornaments such as upper mordents, ower mordents, tris, and turns have been indicated throughout. These are optiona and may be omitted by the performer. The harper shoud aso fee free to add other tastefu ornaments. It was the custom during the Baroque period for the performer to dress up the da capo section of the main theme with interesting ornamentation or fourishes; not to do so was considered dreadfuy boring as we as styisticay inappropriate. Page turns have been panned at reasonaby manageabe paces in the music. However, the performer shoud fee free to photocopy any page as desired in order to tape a fod out page onto this book, if needed, to eiminate the page turns competey. Suggested fingerings, dynamics and tempo markings have been incuded as a matter of convenience. However, the performer shoud aways use whatever fingerings, dynamics and tempo best faciitate performance, no matter what this book says. Tabe of Contents First movement pp. - Second movement pp. 5-8 Cadenza (optiona) pp. 9-0 Third movement pp. - v

6 Arr. D. Rees-Rohrbacher Concerto in B-Fat Major Opus Number 6 (First Movement - Lever Harp Version) G. F. Hande Andante aegro q 7 & bb Tutti M M j { Fix E n 5? bb n f Πfi Π_ J fi _ { Soo & bb f? bb F Πfi fi ΠJ b.d..t. b.d..t. fi 5 ord. & bb M M p f p F K?b b _ p J 9 & bb?b b & F _ j j & bb _ _ M _ _ M J n p F p F & bb E n _ _ 5 05 Dragonfower Music. A rights reserved.

7 & bb _ _ & bb _ n n F _ n? 8 & bb _ n n p _ n _? bb E n _ n _n _ n _ J & bb _ Tutti n Œ Œ n j _ n _?b b J_ n_ fi p j _ n _ n _ & bb. _. _ n. b.. b _. Soo F n _ n { { { E f E _? bb f Œ Œ # fi Œ F s { { fi { fi 7 & bb # Ÿ. # Ÿ. # F s b J ĵ p E? bb _ J n fi Œ J b E f 5 f Œ J # fi _ fi F J # J

8 _ & bb J f p?b b _ J fi J # J J # & 5 & bb # _ f & bb _ n P 8 & bb n #_ Tutti ΠΠj _ n # Soo J nn b E n f F n F & bb p? J _ # n F n. E f Πj & bb f? bb. j. J 5 & bb _ p f p f _? bb 8

9 & bb j p P? bb _,,,,, _, _, _, 5 _ & bb _ F _? bb J _ J _ J _ J & 5 & bb _ Tutti & bb f _ j_? J _ + + ( _ fiœ 57 ) + & bb _ J F P F Œ Œ j? bb ĵ J _ + + _ ( _ + fi P fi j 6 ) & bb _..... _ n Soo. n _ { E nd time aargando? bb n ƒ F E n 5 n _ ( _ Œ _ ) ( _ ) ( _ _ { 65 ) ( _ )

10 _ Ó_ _ 5 Larghetto q 66 & bb Tutti Œ #.. j.. j.. j Fix?b b F s F & bb #.. j.. j Ÿ.. J Soo. # j?b b f + + _. _ F j. +_ & bb. m m. m. Œ. J Œ Œ # Œ #?b b _. J Œ _ 8 & bb. T.. J # j Ÿ. # n #_? bb n F n _ - bb & Œ Œ. -. n Ó_ Œ Ó Œ? bb _ 6 Hande Harp Concerto - Second Movement (Lever Harp Version) 05 Dragonfower Music. A rights reserved.

11 _ & bb?b bf p 0 & bb Tutti. J Ÿ. J. n f. J.. _J?b b _ E n _ + + _ + +_ + +_ Soo & bb. j _ m Tutti n n. j. j E?b b n F E n 5 _ n n ( _ ) & bb. j. j. n. _ n _ j? bb _ n + _ _ _ ( ) + +_ + Soo & bb # Ÿ #. j m n n. j #. n? bb C _P s n p Ó _ 6

12 7 & bb n Ó jn n n Œ# _ Ó n #_ j C?b b n Œ n n C s P _ 8 Tutti & bb Ó #_ n _ j Ÿ... j #_ n J _?b b n F n & bb n. n. j J #. # n J n #. Ÿ. #_. J C?b b n.. j s f.. J _ E f 5 b 6 Soo m & bb n b.. ĵ n E f b n _... j. j. b F C n C n? bb b P + _ _ + _ + _ + ( _ E f 50 ) + & bb #. _. _ + # p Ÿ. j n n. F j. n b B F n s? bb n _ 5

13 _ & bb Ÿ n. # Ÿ.. n. # n. _ Ÿ.. _ E n F s?b b _ b _ 58 & bb b _ j_ b b Ó J Ó_ _ j b Ó E f B?b b f _ f 6 & bb Ó_ j Ó Tutti #.. J ƒ _?b b _ _ & bb.. j. j Ÿ U ". j _? bb. j _ J U ". _ End of movement 69 ( ) If continuing on, add these measures. & bb Œ n n Adagio Œ.. J Attacca U.. Insert optiona cadenza here. F Omit measure otherwise.? bb Œ Œ P _ U.. Fix a F s s n _. fi 7 for cadenza Fix a F s after cadenza 8

14 9 Hande Harp Concerto - Optiona Cadenza - Lever Harp Moderato e rubato e RH & bb Soo LH Œ RH LH LH Œ simie Œ P RH?b b LH RH _ Ó _ Arp. ad ib. _ LH Ó _ RH LH & bb Œ Œ Œ # # _ Œ cresc.?b b _ Ó Ó _# & bb _ _ Œ _ # _ # _ # _U n n F E n Acceerando P? bb fi Ó. Ó. U Œ # _ 5 Aegro moto & bb RH j j j j j j j # LH? bb RH Œ # b #Ó 8 & bb b # # # b # RH. #. # RH LH RH E f f LH RH LH?b b _ Œ # # #... Œ w _. w LH _ 05 Dragonfower Music. A rights reserved. LH

15 _ Cantabie & bb Ó Ṷ # # - RH? bb Œ # P LH.. _ J.. _ J _.. J u b.d..t. & bb #?b b _. #. J _ # ord. _ 8 & bb # _ _ # _ _ # # # Œ f? bb # # # F n 5 F fi Ó n & bb Moderato Œ. # j _ # #?b b _ o # 7 & bb # # n _ giss. LH U _ _ Œ _ n n f _ o? bb n _ o U _ n _ 0 F n,,, (A Fs to nat.)

16 Aegro Moderato e & bb Tutti J 8 {?b b 8 F { & bb J J F P?b b F Soo & bb.. J _?b b f & bb J J F P? bb F & bb _ poco a poco cresc. _ p? bb 6 Hande Harp Concerto - Third Movement (Lever Harp Version) 05 Dragonfower Music. A rights reserved.

17 _ & bb n J J?b b J E n f p _ 0 & bb. Tutti n. f?b b J - & bb _. n. _ n. Soo. b m. { { E f?b b _.. { { F 6 & bb m m f? bb p F 0 Tutti m & bb m m F p F f? bb fi

18 & bb _ p?b b _ poco a poco cresc. 7 & bb _ # _ # _ m F F s P?b b.. Soo & bb #?b b 5 Tutti _ & bb _. _ _m. n f F n _? bb _ j J 9 Soo & bb P _ n_? bb _ 5 m

19 _ & bb j F p?b b 57 & bb j _ _J - F?b b _ 60 Tutti & bb. J?b b _ f _ 6 & bb _ ƒ? bb E Ÿ & bb. (to meas. 9).... {. _. nd time poco ra. Arp. chord? bb.. { ( _.) _. 70. ( )

20 About the Arranger A native of Ceveand, Ohio, Darhon Rees-Rohrbacher hods BMus, MA and DMus degrees. Initiay trained as a cassica vocaist and pianist, she began her harp studies after moving to Upstate New York where she foowed a muti-faceted career path as harper, arranger, singer, teacher and piano accompanist. Her musica skis have taken her from the most forma, orchestra concerts to very intimate chamber performances wearing historica costume. She is a we-known harp composer whose arrangements are sod internationay. Darhon is aso a nurse (RN & MSN) who pursues her interest in heaing arts as a coege nursing instructor.

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