"Grand Concert pour la Harpe" 
Arranged and edited by Delphine Constantin-Reznik.
Piano reduction by Brian Raby.
The recently rediscovered Swedish harpist and composer Anton Edvard Pratté (1796-1875), once described by his contemporaries as "the Harpking of the North", composed over 200 works and enjoyed an illustrious career as a harp virtuoso, both in Scandinavia and Continental Europe, alongside other illustrious figures such as Elias Parish-Alvars (1808-1849) and Nicholas-Charles Bochsa (1789-1856). Interestingly, a critic compared Pratté´s playing with the latter, stating that Pratté was "the teacher" and Bochsa "the student"!
We are extremely grateful to harpist Delphine Constantin-Reznik for the opportunity for us to be the first to publish Pratté's harp music and for her dedication, hard work, enthusiam and diligence throughout this huge project. It is through her passion for pursuing new repertoire for the harp and researches in Swedish archives which has resulted in the unexpected discovery of the works of this Romantic harp virtuoso and prolific composer who, coincidentally, lived in the very same region and town as she does herself: Norrköping, Eastern Sweden.
Delphine writes:
Please note that this beautiful and large 45-minute work could be performed alternatively as follows: either the 1st movement alone, making the piece a 20- minute Concertino, or by playing the Andante followed by the Rondo Polacca alla Svedese as one piece of approximately 25 minutes. I had the honor to record this Concerto for BIS Records a few years ago, and the album can be found on all digital platforms. Delphine Constantin-Reznik Advanced level. Duration c.45 min.  |
"Carillons"
An exciting original composition for six pedal harps by Eric Crees Eric Crees writes: “Sitting in a café on a busy Sunday summer morning in a Provençal market town, the cathedral bells started to ring, at first delicately then becoming massive and sonorous, evoking various memories of the pealing of bells from churches, amusement parks and in symphonies and operas. The sound of the harp came to mind, in particular the tantalising bell-like harmonics: thus came the inspiration for a six-harp piece that had already been commissioned for the Royal Academy of Music, London.” This is indeed an inspired, original piece – designed to challenge, stimulate and excite all musical passions. Supplied as score and parts. Pedal harps only. Advanced level. Duration c.12 min. |
""Busy Day" (Five Dances for Brass Quintet)"
A new composition from the highly talented Haldon Evans, this is a diverse and brilliant suite of five dances that invokes a day in the life of a busy musician.
As such, the emotional tone of each dance mirrors a mood suggested by a particular moment in time. The movements draw freely on stylised Latin dance rhythms, with elements of Celtic folk music emerging in the finale.
For standard Brass Quintet - 2 trumpets, horn, trombone & tuba.
Excellent recital material indeed!
Advanced level.
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"Sonata RV44 for Bassoon or Violoncello and Harp"
This edition of Antonio Vivaldi’s sonata RV44 in A minor for cello and basso continuo is a version adapted for bassoon or cello and harp, based on the arrangers' Youtube videos and CD recording of the piece. In this edition, all our notations (dynamics, phrasing, fingerings, pedaling, etc.) should be seen as suggestions, as baroque music allows many ways for interpretation.
A fine choice for recital programmes.
Arranged and edited by Delphine Constantin-Reznik and Roman Reznik.
Advanced level.
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"Concertino Lirico for Alto Saxophone, Harp and Strings (Piano Reduction version)"
Composed by John Marson.
Edited by Gabriella Dall'Olio.
Piano Reduction Version. Full string version soon available.
Presented as piano score and solo parts.
Advanced level.
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"Trio for Flute, Viola and Harp"
The composer writes: Work on the Trio began in 2019, for performance by Hiraeth Trio, a Welsh ensemble whose members were at the time studying at the Royal Academy of Music in London. The Pandemic and consequent lockdowns of 2020 had a profound influence on the character and direction of the music. Movement I - Calmo, Animato: A poignant introduction prefaces an energetic dance, largely built on a 3+2+2+2 rhythmic pattern. Movement II - Andante, Scherzoso, Andante: The contemplative, solemn Andante frames a wistful contrapuntal episode, combining elements of both slow movement and scherzo within one structure. Movement III - Vivace: From the dark mood of the previous movement, isolated notes coalesce into an ostinato which underpins fragments of melody, the green shoots of recovery. Thus the final movement signifies regeneration and a gradual return to the hustle and bustle of everyday life. |