Orchester Probespiel Test Pieces for Orchestral Auditions HARP Ed. Ruth Konhäuser & Helga Storck
	Contents:	See Contents below
	Instrumentation:	Pedal Harp
	Level:	Advanced
	Format:	9" x 12" bound score
	ISMN:	9790001081443
	Publisher:	Schott
	Edition/Year:	2012
	Origin:	Germany
	Our Ref:	UM1335
	Buy this music now £29.50 +p&p
	Other music by Helga Storck
	Other music by Ruth Konhauser

CONTENTS
Bela Bartok	Musik fiir Saiteninstrumente, Schlagzeug und Celesta
	Concerto for Orchestra
Hector Berlioz	Symphonie Fantastique op. 14
Benjamin Britten	The Young Person's Guide to the Orchestra
Anton Bruckner	Sinfonie Nr. 8 c-Moll
Gaetano Donizetti	Lucia di Lammermoor
Cesar Franck	Sinfonie d-Moll
Hans Werner Henze	Ondine
Ruggiero Leoncavallo	Der Bajazzo
Pietro Mascagni	Cavalleria Rusticana
Maurice Ravel	Alborada del Gracioso
	Tzigane
	Klavierkonzert G-Dur
Bedfich Smetana	Mein Vaterland
Richard Strauss	Don Juan op. 20
	Salome op. 54
	Salomes Tanz
	Ein Heldenleben op. 4
Igor Strawinsky	Symphony in Three Movements
Ambroise Thomas	Mignon
Peter Tschaikowsky	Schwanensee op. 20
	Der Nußknacker op. 71
Giuseppe Verdi	Ein Maskenball
	Die Macht des Schicksals
	Aida
Richard Wagner	Tannhauser
	Die Meistersinger von Nurnberg
	Tristan und Isolde
	Die Walkure
Carl Maria v. Weber	Aufforderung zum Tanz op. 65

Orchester Probespiel
Test Pieces for Orchestral Auditions
HARP
Ed. Ruth Konhäuser & Helga Storck

Preface

For many years orchestras and conservatories have wanted a practical and easily accessible edition of the orchestral passages required at auditions. An orchestral musician is expected to know and to have mastered not only the solo literature of his instrument but especially the opera and concert repertoire as well. The present edition contains those passages which a musician is expected to have at his or her command before being accepted into an orchestra. Unlike the many existing "orchestral studies", this collection focuses on the material commonly used in auditions. It thus forms a foundation for the practical training of young orchestral musicians, and serves professional musicians as a means of practicing difficult passages.

This project was initiated at the behest of the German Music Council and the German conservatories. It is based on statistical studies carried out by the German Union of Orchestras and on many years of professional experience gained by the editors themselves, all of whom are members of orchestras and conservatory staffs.

The following editorial principles underlie the entire series: The original text of the music and the original metronome marks have been taken over without modification; editorial additions are enclosed in square brackets. Measure numbers and rehearsal numbers or letters have been included from the orchestral material. Cuts at the beginning, middle or end of a passage are indicated by intervening slashes.

It goes without saying that the passages included here should always be viewed in the overall context of the piece in question. To augment these studies we strongly advise studying the scores and listening to the music.

C. F. Peters, Frankfurt B. Schott's Sohne, Mainz

Editor's Preface

The present collection contains the most common audition pieces for harp which were suggested and discussed in consultation with harpists of renowned orchestras and the "Vereinigung Deutscher Harfenisten e.V." (registered society of German harpists). Passages for two harps in the operatic literature have been omitted as in orchestras with two harpists these are usually coordinated. Pedalling has been omitted, occasionally (e. g. in "Salome's Dance" by R. Strauss) in favour of clarity and the individuality of the player. With regard to the works by Richard Wagner, it is noteworthy that his writing is not always suited to the instrument. There is evidence that Wagner approved of stylistically appropriate arrangements (similarly Strauss and Tchaikovsky).

A word to those responsible for harp auditions: before the performance, please bear in mind that the harpist, as a rule, must play an unfamiliar instrument; quite on the contrary to all other instrumentalists, who always bring their own best instrument to an audition. Harps are built differently. The sound box may be wide or narrow, above all the seven pedals are often adjusted differendy on each instrument. As a result it is sometimes difficult to play a passage with much pedal movement - e.g. "Feuerzauber" by Wagner or "Tzigane" by Ravel - at the first attempt on the audition instrument. A suitable practice time is therefore recommended. Concerning the performance of the solo pieces, it should be considered that the artistic standard of the candidate will be better displayed if either the concerto or the solo piece may be chosen freely; so only one piece should be set. The freely chosen work should, however, belong to a different stylistic period.

Example 1: set piece: Mozart concerto
free choice: solo work from another period, e. g. Hindemith sonata, Faure impromptu or Spohr fantasy

Example 2: set piece: Hindemith sonata
free choice: concerto from another period, e. g. Handel concerto (original), Debussy Danses or the Mozart concerto

Editors Ruth Konhauser and Helga Storck