SM0654 Composers in Georgian London

Composers in Georgian London
for Lever or Pedal Harp
Bonnie Shaljean

Front Cover ImageThis score contains 18 works by Clementi, Arne, J C Bach, Steibelt, Wesley, Hook and Vento together with 8500-words of biographical notes. The book is 69 pages including text

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Contents

Contents    
     
Editorial notes    
Biographical notes    
     
Minuet & Variations Arne  
Gigue in G Arne  
Gavotte in Bb Arne  
Sonatina in C No. 1 Clementi ABRSM Grade 4 - 1st Mvmt
ABRSM Grade 5
Sonatina in G No. 2 Clementi TRINITY Grade 8
Sonatina in D No. 6 Clementi TRINITY Grade 8
Sonatina in G No. 5 Clementi  
Air Suisse Clementi  
Rondo in F Clementi  
Theme & Variations Clementi  
Presto Assai in G J C Bach  
Variations on a Scottish Air J C Bach  
Movement in F Steibelt  
Rondo Steibelt (arr. Horn)  
Movement in D Wesley  
Allegretto Hook  
Sonatina in D Hook  
Divertimento Vento  
     

Extract from the Editorial notes

The term “Georgian” encompasses such a wide time span – well over a century – that musically it can mean nearly anything. There is no grammatically graceful way to break their reigns down individually, but what I am generally referring to here is actually “Georgethe- Thirdian” – the London that Dr. Charles Burney lived in and brought to such vivid life. With bloodthirsty revolution and the Napoleonic Wars in France, rebellious colonies across the sea, uprisings in Ireland, and a king plagued by incipient madness, it was a far cry from the days of Moll Flanders and The Beggar’s Opera.

George, who was the grandson rather than the son of George II, was the first in the house of Hanover to be educated and raised as an Englishman (the original George didn’t even speak the language) and the first of the four to place Great Britain above Germany in his concerns. Among his other accomplishments he played the harpsichord and the flute, and the royal family had strong musical inclinations. Several of the composers in this volume had court connections of one type or another, and if the king’s earnest entreaties had been successful, Haydn would never have left England.

Of course there is no way to do justice in one book to the many composers in the thriving capital during those years (Handel needs an entire volume to himself); nor have I included works written specifically for harp. It was a giant in the late 18th-century drawing room and its music from that time would overflow into an entire library, hence it really requires separate treatment. With one exception, these pieces are transcriptions from keyboard sources and I believe they make a valuable addition to the literature of the instrument. The exception is Steibelt’s Rondo which was adapted for harp by Henry Horn, a popular teacher in the early 19th century who published a tutor (c.1820) titled Instruction Book For The Single And Double Movement Harp from which it was taken.

It is a tribute to the vibrant and cosmopolitan nature of London that so many of the composers who were attracted to it and chose to settle were foreign-born. It is my hope to catch the flavour of period and place by casting glimpses here and there, and to enhance harp repertoire with these offerings.

Sample Page

Sample page

Library Information

Title: Composers in Georgian London
Works: 18 - see "Contents"
Composer: Bonnie Shaljean
Instrumentation: Lever or Pedal Harp
Level: Internediate to Advanced
Grade 4-8 Exam Settings
Format: A4 Ring Bound Score
Weight: 280gm
Publisher: Blue Crescent Music
Printed & Distributed by: Creighton's Collection
First Published: 2004
ISMN: 979-0-57046-344-2
Origin: UK
Our Ref: SM0654