Marson, John
The Book of the Harp - The techniques, history and lore of a unique musical instrument
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1 The Harp prior to the Pedal Operated Mechanism in the Eighteenth Century2 Inventors of the First Pedal Systems and Appearance of The First Method (1762)3 Harp Makers, Composers, Method Writers and Female Predominance4 Approaches to Strings and Tuning and the Use of Different Materials5 Seating and Playing Positions6 Hand Positions, Gestures and Movements7 Principles of Fingering, Tone Production and Care of the Hands8 Introduction to the Pedal Mechanism, Design Ideas and Single and Double Action Harps9 Eighth and Ninth Pedals, Damping Techniques, Harmonics as Played and Notated10 Effects Examined and Ensembles of Harps11 Modulation, Style of Performance and How to Practise12 Health and Harp-Playing13 Matters Ignored in Methods, Glissando Pedal Settings14 Later Advances in Harp Design and Decoration; Modern Aids for the Player15 Beginnings of the Pedal Harp Repertoire and Harps in London in the 1790s16 Later Repertoire to mid Twentieth Century, and Ensemble and Orchestral Use of the Harp17 The Harp and Spiritual Awareness: The Use of Language Pertaining to the Harp. Celtic Symbolism18 The Harp and Religion: King David and Angels19 Social Connections, from Royalty to Street Musicians20 Poetic and Literary Associations and Representations: the Harp as an Aid to Romance21 Discordant Voices22 The Harp in the Theatre and CinemaEnvoi: The Harp as an Emblematic or Ornamental Device. A Recent Scientific Achievement and Maintaining Ideals
`With more harpists than ever before, the harp is an instrument which has successfully demonstrated its staying power and important role both in music and beyond,` claims John Marson. His Book of the Harp is a unique and definitive work distilled from a wealth of experience: a lifetime`s study and research and an outstanding professional career.
John Marson traces the development of the harp from its earliest origins thousands of years BC to the invention of the pedal harp in the eighteenth century and the harps of the twenty first century. He examines the writings of many forgotten exponents of the harp (inventors, players, composers) and provides a fully comprehensive view of every make, model and modification to the present day. The Book of the Harp is a rich source of information, entertainment and anecdote on everything from strings, tuning, principles of fingering and tone production, historical influences, designs, techniques and methods, to the harp’s literary associations and those with the theatre and cinema, its Celtic and religious symbolism, virtuoso players and its appearance in the poetry of Milton and novels of Jane Austen.
Both historical and practical, The Book of the Harp is an authoritative source of entertainment and a fascinating study for student, professional musician and interested reader alike.
About the author
John Marson has enjoyed a glittering career during which he has been principal harpist of the London Symphony Orchestra, the BBC Symphony Orchestra, Professor of Harp at the Royal College of Music and soloist and freelance.
He has worked with countless musical stars including the Beatles, Leonard Bernstein, Pierre Boulez, Benjamin Britten, Charlie Chaplin, Bing Crosby, John Dankworth, Duke Ellington, Benny Goodman, Martha Graham, Hans Werner Henze, Herbert von Karajan, Otto Klemperer, Zoltan Kodaly, Liberace, Lorin Maazel, Neville Marriner, Pierre Monteux, Jessye Norman, Laurence Olivier, Luciano Pavarotti, Gennadi Rozhdestvenski, Frank Sinatra, Georg Solti, Leopold Stokowski, Igor Stravinsky, Joan Sutherland, Georg Szell, William Walton, Stevie Wonder and countless others.
In 1964 John Marson co-founded, with Michael Jefferies, the United Kingdom Harpists Association (later United Kingdom Harp Association) and edited its magazine for many years.
Ausgabe: Lehrbuch
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