Best Harp Concertos

The harp is an ancient instrument with origins in the antiquity of many civilizations, and the modern orchestral harp is the culmination of a long evolution in form and technology. The ultimate form is the pedal harp (also called the "concert harp" and used by all major orchestras today), a large, modern harp that typically has 47 strings with seven strings per octave, giving a range of six and a half octaves. The double-action pedal system was first patented by Sebastien Erard in London in 1801 and 1802. Earlier pedal harps had a single-action mechanism that produced only sharp notes, the first of which was made in 1720. The pedals change the pitch of the strings, so the pedal harp can easily play works written in any key. This is particularly important in the harmonically complex music of the Romantic period and the classical music of the 20th century. The 47 strings of varying lengths (7 to 150 cm) are diatonically tuned, and the harp usually has seven pedals, one for each root note. The pedals are connected by metal rods or ropes in the harp's column to a pulling mechanism which, with the help of small forks, allows the length of the vibrating part of the strings to be shortened during playing and their tuning to be raised by half a tone or a whole tone.

Due to standardization, double pedal harps reach a height of up to 1.80 meters and a weight of up to 50 kilograms, which can be less depending on the design and materials used. The tension of the strings has increased considerably with the development of the concert harp and requires extensive training of the harpist. The pedal harp is played with the fingertips of the first four fingers (thumb, index, middle, and ring). The little fingers are not used because they are too short to reach the correct position without distorting the position of the other fingers. Plucking with varying degrees of force creates dynamics (loudness and softness). Different plucking techniques can also produce different tones and sounds. Depending on the position of the fingers, different tones can be produced: a full sound in the middle of the string and a nasal, guitar-like sound at the very bottom.

There are several schools of pedal harp technique. The largest are the various French schools. The traditional French school has the player's right arm resting lightly on the harp, with the wrist sometimes only moving the hand away from the string. The left arm moves more freely. There are also specific Russian, Viennese, and other schools throughout Europe.

The harp found its early orchestral use as a solo instrument in concertos by Baroque and Classical composers (Handel, Mozart, Boieldieu, Albrechtsberger, Dussek, Spohr) and in the opera houses of London, Paris, and Berlin. Hector Berlioz began to use it in symphonic music, but he found performances frustrating in countries like Germany, which had few harps or sufficiently skilled harpists. Franz Liszt pioneered the use of the harp in his orchestral music. The French and Russian Romantic composers, in particular, expanded its symphonic use. In opera, Italian composers used it regularly, and Puccini was a particular master of its expressive and coloristic use. Debussy can be said to have put the harp on the map with his many works that use one or more harps.


Here are my favorite harp concertos:

(1) Handel, Harp Concerto in B-flat (1736)

Handel's harp concerto, later bundled with his organ concertos, was originally written for harp to evoke the ancient sound of the lyre in his Alexander’s Feast. Handel's compositions follow a fast-slow-fast outline, an emerging style that later became the norm of the Classical era. After a brief orchestral introduction, the harp takes center stage in the first movement. In the second movement, in minor, the orchestra intervenes only periodically between the harp's reveries. As the pace of the second movement slows, the third movement sets out to resolve the accumulated harmonic tension with an abundance of fifths.

Sarah Ridy: Triple Harp, Barrocade Ensemble

(2) Mozart Concerto for Flute Harp and Orchestra in C major, K 299 (1778)

Mozart's Flute & Harp Concerto is also authentic: it was written specifically for a father and daughter who played these instruments. It is the second of three double concertos that Mozart wrote. It is also the composer's only work to feature a harp. The piece is part of the standard repertoire for both instruments.

Mozart's third stay in Paris, from March 23 to September 26, 1778, was the low point of a nearly year-and-a-half-long journey through Germany and France, undertaken with his mother in an unsuccessful search for a position as a conductor. Apart from his mother's death on July 3, the surviving letters from this period testify to failed performance attempts (only a few works were performed publicly), personal setbacks, and unpaid lessons and composition commissions. Beginning in March or April, Mozart met Adrien-Louis Bonnières de Souastre, Count de Guines, and his daughter, to whom he gave composition lessons.

During Mozart's time, the harp was the fashionable instrument of French high society, with Paris at its center. In addition, thanks to Marie-Antoinette's preference for the harp, the previously male-dominated world of the harp was increasingly conquered by women, which was also reflected in the aesthetics of the compositions.

The flute part clearly shows that it was written for an amateur flutist. Of course, the piece should not be underestimated: even these "simple" passages - like all Mozart's works - must be played elegantly and fluently. In many places, the harp part sounds more like a piano arrangement: Mozart avoids the glissandi and full chords typical of the instrument. However, these "harp effects" are used in the cadenzas. This is one of the most difficult harp concertos. This difficulty does not lie in the virtuosity, but rather in the fact that the voice is very poorly placed. Nevertheless, the concerto is popular because it allows one to demonstrate one's technical strengths, and there are few other concerti for the harp in classical music.

With impeccable classicism, the Double Concerto has the orchestra expose the thematic material while leaving the soloists to their dialogues. After the first joyful movement, Mozart reduces the orchestra to the strings, while also dividing the violas for a silkier texture. The final rondo, tempo di gavotta, a popular Parisian court dance of the time, ends with a cadenza and coda like the previous movements.

Zubin Mehta - conductor; Julia Rovinsky - Harp; Guy Eshed - Flute

(3) Dittersdorf, Harp Concerto in A (1779)

Vienna-born Karl Dittersdorf (1739-1799) spent the first half of his life as a touring violin virtuoso, and the second half as composer and music director at various aristocratic courts. He is one of the main representatives of the Vienna Classical era, and knew Haydn and Mozart personally; hearing their compositions greatly changed his own, initially Italianate style. The attractive Concerto for Harp and Orchestra in A major is a transcription by Dittersdorf himself of one of his five harpsichord concertos. The concerto is a favorite of concerto-starved harpists the world over, and like similar concertos it laid the foundation for contemporaries and slightly later composers to embrace the harp for its own characteristics.

Solist: Rosa Díaz Cotán; Conductor: Daniel Stratievsky; Neubrandenburger Philharmonie

(4) Krumpholtz: Harp Concerto in F major Op.9 No.6 (1782)

Krumpholz was a Bohemian composer and harpist, so this is another authentic concerto. Based in Paris, he was the first composer of the emerging concert harp repertoire to play the instrument himself. He also played a key role in the technological development of the harp. His compositions naturally reflect his mastery of the instrument in more idiomatic and adventurous writing. In Paris and Metz, he worked with harp makers Jean Henri Naderman, his son François Joseph Naderman, and Sébastien Érard to improve the harp's construction. Krumpholz composed 52 sonatas, 6 concertos and many preludes and variations for the harp. The Concerto Op 9 No 6 was dedicated to his pupil Anne-Marie Stekler, whom he married in 1783 and who was to perform it at the Concert Spirituel. The work was highly successful and became Krumpholtz's most popular concerto. Whereas many pianoforte concertos were transcribed for harp, here the opposite happened, as this work was transposed for the pianoforte!

Jana Boušková, Harp; Prague Chamber Phiharmonic Orchestra; Jiri Belohlavek, Conductor

(5) Boieldieu, Harp Concerto in C Major (1801)

François-Adrien Boieldieu (1775 - 1834) was primarily an opera composer, often called "the French Mozart." In 1798 he was appointed professor of piano at the Paris Conservatory. Boieldieu's Concerto in C is one of the finest works in the harp repertoire. The harp's role is one of constant virtuosity. The orchestration is rich, and the work as a whole indicates a theatrical rather than a symphonic temperament. This preference for the lyrical repertoire perhaps explains the abundance of ornamentation and the burst of trills that emerge from his concerto in a delicate virtuosity.

Nadja Dornik; Orchestra Art Ensemble of the Ministry of Defense Stanislav Binicki, Conductor : Pavle Medakovic

https://youtu.be/HSjyMY9pIsA?si=VT15NjjBFLCVb2vU

(6) Louis Spohr´s Concertante Nr.1 for harp, violin and orchestra (1806) 

The fact that Louis Spohr's wife was a harpist encouraged the composer to devote much of his considerable talent to music for that instrument. No other Romantic composer showed such a penchant for new instrumental combinations: a concerto for string quartet and orchestra, a symphony for two orchestras, double quartets for two string quartets, important works for clarinet and, above all, numerous works for harp. The many works Spohr wrote between 1805 and 1811 for his wife, the famous harpist Dorette Scheidler, represent the most important contribution of the 19th century to the repertoire of this quintessential "romantic" instrument. Spohr himself was a violinist, so this concerto, with its unusual combination of instruments, was written to be played together. The masterful instrumentation is particularly astonishing.

Elsa Claveria, Violin Rosa Díaz Cotán, Harp Sebastian Tewinkel, Conductor Neubrandenburger Philharmonie

(7) Parish-Alvars: Concertino for Two Harps in D minor, Op. 91 (1845)

Elias Parish Alvars (1808-1849) enjoyed an international reputation as a harp virtuoso. He was one of the first to successfully exploit the new possibilities of the double pedal harp and set standards in the development of modern playing techniques on this instrument. Parish Alvars composed especially for his instrument, including four concertos for harp and orchestra, a concertino for two harps and orchestra, and numerous fantasies, variations, transcriptions, and etude works. His style is influenced by contemporary Italian opera, but also by Felix Mendelssohn. The present Concertino also exists in a version for harp and piano.

Patrizia Tassini & Nicoletta Sanzin, harp KOMORNI ORKESTER NOVA Ivan Marinović, conductor

(8) Carl Reinecke: Harp Concerto in E minor, Op. 182 (1884)

Carl Reinecke (1824-1910) was a German composer, conductor and pianist who was also an important pedagogue. Among his many students were Grieg, Bruch, Janacek, Albeniz, Sinding, Svendsen, Reznicek, Delius, Arthur Sullivan, and George Chadwick, to name a few. He eventually rose to the position of director of the Leipzig Conservatory and also served as conductor of the Leipzig Gewandhaus Orchestra. He composed in virtually every genre, from opera to orchestral and chamber music. Although his Harp Concerto is in a minor key, it is cheerful and purposeful - Reinecke understood the instrument very well. It is a charming and melodious concerto, romantic and robust in spirit.

Anneleen Lenaerts with the Flanders Symphony Orchestra conducted by Jan Latham-Koenig

(9) Pierné: Concertstück for harp and orchestra Op. 39 (1901)

Gabriel Pierné (1863-1937) was a French composer, conductor, and organist known for his contributions to late Romantic and early 20th century music. Pierné is known as a composer of symphonic works, chamber music, songs, and musical theater. His symphonic works include a piano concerto and the present concerto for harp and orchestra. Pierné's concerto has a very atmospheric, "once upon a time" opening with voluminous arpeggios and delicately drawn themes. It then features a beautifully romantic, broad main melody that is worked out in a lush and sumptuous manner.

Marie-Pierre LANGLAMET, harpe
Orchestre de Picardie, Orchestre National en Région Hauts-de-France
Direction Laurent Petitgirard

(10) Zabel, Harp Concerto in C minor Op 35 (1904 or earlier)

Albert Heinrich Zabel (1834-1910) was a German composer and harp virtuoso. At the age of eleven, Albert Zabel embarked on a concert tour that took him to the United States, England, and Russia. A scholarship from Giacomo Meyerbeer enabled him to study harp with Louis Grimm at the Royal Institute for Church Music in Berlin. Several tours with Josef Gung'l and his orchestra took him to Russia, England and the United States. From 1848 to 1851 he was a soloist at the Berlin Opera. In 1855 he was appointed principal harpist of the Imperial Ballet in St. Petersburg. When the Conservatory was founded in 1862, Anton Rubinstein hired him as professor of harp. Zabel wrote numerous works for the harp, including the present concerto. As a teacher, he was one of the pioneers of the Russian school, which is still famous today. He died in his adopted city in 1910. His three-movement Harp Concerto of 1904 is extremely interesting, moving between sublime and soulful ballet music.

Viktor Hartobanu with the orchestra of the Stella Vorarlberg Privathochschule für Musik in Feldkirch, Austria.

(11) Debussy: Danse sacrée et danse profane (1904)

Claude Debussy's "Danse sacrée et danse profane" is a captivating work for harp and strings that reflects the composer's fascination with non-traditional scales and the exoticism characteristic of his Impressionist style.

The title translates as "Sacred Dance and Profane Dance," and the composition is divided into two distinct sections. The "Danse sacrée" begins with a solemn and reverent atmosphere, evoking a ceremonial quality. The melodic lines of the harp intertwine with the string orchestra, creating a sense of ritual beauty.

Following the sacred section, the "Danse profane" contrasts with a more vibrant, playful energy. This movement incorporates dance-like rhythms and showcases the virtuosic capabilities of the harp. The interaction between harp and strings maintains a delicate balance, illustrating Debussy's mastery of blending textures and timbres.

The Oslo Philharmonic with harp soloist Birgitte Volan Håvik and chief conductor Klaus Mäkelä

(12) Saint-Saëns, Morceau de concert, Op.154 (1918)

The "Morceau de concert" by Camille Saint-Saëns (1835-1921) is a single-movement work that showcases the composer's melodic inventiveness and mastery of orchestration. The piece is characterized by its expressive and lyrical qualities, allowing the harp to shine both melodically and virtuosically. Saint-Saëns, who was an accomplished pianist and a lover of exotic instruments, often incorporated the harp into his compositions. The first main theme is wistful and evocative, almost like a Vaughan Williams tune with its folksy feel and wind orchestration, and before the upbeat, if slightly understated, finale, the sparkling scherzo section plays to the harp's filigree strengths.

The National Symphony Orchestra of Uzbekistan.
Zlata Kryachkova / harp /
Tigran Shiganyan / conductor

(13) Gliere, Concerto for Harp and Orchestra in E flat major (1938)

Reinhold Glière (1875-1956) was a Russian composer and conductor known for his contributions to late romantic and early 20th century music. Born in Kiev, Ukraine, he studied at the Moscow Conservatory under such notable composers as Sergei Taneyev and Anton Arensky. Glière's extensive body of work includes symphonies, ballets, operas, chamber music, and concertos. One of Gliere's most notable works is the Concerto for Harp and Orchestra, composed in 1938. This concerto is a romantic and lyrical work that demonstrates Glière's melodic craftsmanship and skillful orchestration. Glière explores the rich tonal palette of the harp, showcasing both its melodic and virtuosic qualities. The concerto is in three movements: Allegro moderato, Andante, and Allegro giocoso. This is a lively and engaging concerto.

Moscow City Symphony "Russian Philharmonic"; Conductor -- Sergey Tararin; Soloist -- Elizaveta Bushueva (harp)

(14) Rota, Harp Concerto (1946)

The Italian composer Nino Rota (1911–1979) was best known for his prolific work in film scoring. Rota's collaboration with film director Federico Fellini brought him widespread recognition. He composed scores for many of Fellini's iconic films, including "La Strada," "Nights of Cabiria," "La Dolce Vita," and "8½." Rota's music played a crucial role in enhancing the emotional depth and atmosphere of these films. In addition to his work with Fellini, Rota collaborated with other renowned directors, such as Luchino Visconti ("The Leopard") and Francis Ford Coppola ("The Godfather" trilogy). His compositions are characterized by melodic richness, a blend of traditional and modern elements, and a strong connection to the visual narrative of the films.

Beyond film, Nino Rota also composed symphonies, operas, chamber music, and ballets. Nino Rota's Harp Concerto was composed in 1946. Rota combines orchestral color with the harp's unique timbre, creating a captivating dialogue between the soloist and the ensemble. Rota's Harp Concerto typically follows the traditional three-movement structure found in many concertos. A very refined work, full of melodic charm.

Orchestra degli allievi del Conservatorio di musica "Arrigo Boito" di Parma
con la partecipazione di allievi del Conservatorio di Mantova, ISSM di Reggio Emilia e della University of Georgia (Hugh Hodgson School of Music)
Agnese Contadini, arpa
Alberto Martelli, direttore

(15) Ginastera, Harp Concerto (1956)

Alberto Ginastera (1916-1983) was an Argentine composer considered one of the leading figures in 20th-century classical music. Ginastera's compositions reflect a blend of traditional Argentine folk elements and avant-garde techniques. His early works were influenced by the rhythms and melodies of Argentine folk music, incorporating elements such as the use of indigenous instruments and rhythms. As he evolved as a composer, Ginastera embraced various modernist and atonal styles, contributing significantly to the development of contemporary classical music.

Ginastera's compositions span a variety of genres, including orchestral works, chamber music, ballets, and operas. His Harp Concerto is a fascinating fusion of folk-inspired nationalism and various modernist tendencies. The three-movement concerto is based on a fast-slow-fast scheme, with an extended cadenza in the final movement. The outer movements are upbeat and colorful, with sonorous harmonies wrapped in seductive rhythms. The slow central movement is a ravishing nocturnal soundscape worthy of Bartók's "Night Music."

Emily Hoile | Cornelius Meister | WDR Symphony Orchestra

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