In antiquity, harps and the closely related lyres were very prominent in nearly all cultures. Various types of harps are found in Africa, Europe, North, and South America, and in Asia. Folk musicians often use the term "harper", whereas classical musicians use "harpist". A person who plays the harp is called a harpist or harper. Harp strings are made of nylon, gut, wire, or silk on certain instruments. Depending on its size (which varies considerably), a harp may be played while held in the lap or while it stands on the floor. Some, known as frame harps, also have a forepillar those lacking the forepillar are referred to as open harps. All harps have a neck, resonator, and strings. It is classified as a chordophone by the Harvard Dictionary of Music and only types of harps are in that class of instruments with plucked strings. The first volume of the Poenitz Edition (works for solo harp played by Laura Vinciguerrra) is available on Brilliant Classic 94179.The 'harp' is a stringed instrument which has the plane of its strings positioned perpendicular to the soundboard. Franz Poenitz was not only a virtuoso on the harp (as is clearly evident in the rich and complex writing for his instrument in this music) but also an accomplished painter, one of his creations adorns the cover of the CD. The booklet notes written by a descendant of Poenitz, Mr Andreas Fischer. Includes booklet notes, sung texts and a biography of Franz Poenitz.
#CLASSIC HARP SERIES#
The second volume in a series of Poenitz recordings on Brilliant Classics, following Poenitz’s Works for Harp (9179), also performed by Laura Vinciguerra
World premiere recordings of rare but fascinating repertoire Featuring world premiere performances of a number of pieces, this new disc is an introduction to this forgotten composer, and will be of particular interest to harp music enthusiasts.
#CLASSIC HARP FULL#
In all cases, Poenitz’s ability to write intuitively for the harp is clear, and given full expression by this accomplished group of performers. Der Fischer sees Goethe’s ballad of the same title set in an unusual arrangement for harp and mezzo-soprano, while the evocative Wikingerfahrt may have been inspired by Swedish stories about the Viking Frithiof. In Spukhafte Gavotte (‘Spooky’ Gavotte), Heinrich Heine’s ghostly poem Maria Antoinette is depicted through a suitably eerie arrangement. In the eight pieces, Poenitz’s experience as a virtuoso harpist is evident he makes full use of the instrument’s timbre, colour and lyricism to create evocative music of great delicacy. He began studying composition when he was 11, and continued to write music throughout his career – focusing primarily on works for the harp and harmonium, of which he was also a virtuoso.Īlthough Poenitz’s compositions never achieved widespread fame and were forgotten during the course of the 20th century, this fantastic new collection demonstrates why his works – particularly those for harp – are experiencing a revival of interest. Born in 1850 in Bischofswerder, West Prussia (now Poland), Franz Poenitz made his name as a harpist, performing and touring as a child prodigy from the age of six, before spending most of his adult career as a chamber musician at the Berlin Royal Court Opera.
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