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dc.contributor.authorRussell, Jessica
dc.date2015-05-01
dc.date.accessioned2016-02-19T15:38:38Z
dc.date.available2016-02-19T15:38:38Z
dc.identifier.urihttps://repository.tcu.edu/handle/116099117/10428
dc.description.abstract  The Paris Conservatoire trains musicians of the highest quality, and the harpists of the Conservatoire are no exception to this legacy. The transition from the nineteenth to the twentieth century, in particular, saw a group of brilliant and talented harpists begin their careers from the springboard of the Conservatoire. Among these were Henriette Renié and Carlos Salzedo. The Conservatoire also trained other great musicians who composed brilliantly for the harp. The presence of virtuosic harpists at the Conservatoire provided a source of inspiration for composers such as Gabriel Pierné and Jacques Ibert to build upon.   This paper accompanies a solo harp recital that focuses on music by harpists and composers who studied at the Paris Conservatoire. The selected works for the program include Légende by Henriette Renié, Variations on a Theme in Ancient Style by Carlos Salzedo, Concertstück, Op. 39 by Gabriel Pierné, Entr’acte by Jacques Ibert, and Grand Study in Imitation of the Mandoline by Elias Parish Alvars.   The purpose of the subsequent historical and compositional analysis of the selected works is to provide a broader perspective for both the performer and audience members in the context of a solo harp recital. Such detailed analysis enriches the recital experience for audience members. Understanding the historical context and stylistic components of the music guides the performer in his interpretation of the music. For the performer, this analysis is an essential component of the recital preparation process.  
dc.titleThe Legacy of the Paris Conservatoire and Its Harpists: A Solo Harp Recitalen_US
etd.degree.departmentMusic


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