477:, the Metropolitan Opera Orchestra, the New York Symphony Orchestra, the Chicago Symphony Orchestra, the Detroit Symphony Orchestra, the Cleveland Orchestra, the Syracuse Symphony Orchestra, the Rochester Philharmonic Orchestra, the Kansas City Little Symphony, the Boston Philharmonic Orchestra, the Friends of Music (New York), and with multiple choruses. He performed with chamber music societies including the Pittsfield Festival, the International Composers' Guild, the Beethoven Association, the New York Chamber Symphony Orchestra, and the Letz Quartet. Salzedo returned to France in 1925 and 1930, performing concerts each time. During his 1925 visit, he went to London to give the first live broadcast harp recital over the BBC. His last visit to France was for two weeks in 1959, on his way to Israel to judge the first International Harp Contest.
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student of his for the past ten years who had developed into a virtuoso player. The two were married for eight years. A year after their divorce in 1937, Salzedo married
Marjorie Call, another student of his. Call and Salzedo divorced in 1947. Owens writes that Salzedo constantly appeared in public with a young woman, often a favorite student, and that "it was simply a matter of fact that he was a 'faithless husband.'" In her biography of Barrère, Nancy Toff wrote that Salzedo could be "caustic, superior, and disagreeable"; Barrère often apologized to others on Salzedo's behalf.
526:"explain the music before the music starts." From subsequent discussions with Nijinski, Salzedo developed principles of gesture for harpists that enhance listeners' enjoyment. Salzedo also paid special attention to fingerings and pedal markings on the harp music, to the extent that harp composers started to include finger and pedal markings in their scores. Mariette Bitter described his charisma as a teacher: "He could bewitch a young harpist with his charm and understanding inside of a half hour, even though she knew and felt his iron will was lurking underneath."
33:
578:(1927), where he furthered his notations using specific techniques like these. Archambo calls Salzedo's post-1919 compositions part of Salzedo's "mature period" and writes that, aside from his pedagogical pieces, melodies are not supported by traditional harmonies, but are accompanied by sound clusters. Archambo states that Salzedo's main goal in composing was to "make available to the harpist and contemporary composer every possible sound and effect on the instrument."
570:, requires harpists to mute strings with a strip of paper interlaced between the strings. A crescent shape over notes indicates that they should be played with fingernails. Square notes indicate that the harpist should press on the string with one hand and pluck with the other, giving it a sound like a xylophone. Rapid glissandos are represented with arrows in the vertical lines of notes, and "L.V" instructs harpists to "let vibrate". Salzedo collaborated with
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was a board member for the
International Society for Contemporary Music and served as vice-president for a time. In 1928 he helped organize the Pan American Society of Composers, a society for promoting Latin American music. In 1925, Henry Cowell made Salzedo an honorary member of the New Music Society of California's endorsement board.
823:, containing Pathfinder Studies Lawrence/Salzedo (Peer-Southern); according to collaborator Lucile Lawrence, Salzedo contributed the music for "Conflict" and reviewed the remainder prior to publication, but "accepted" a composer credit for all the pieces, the remainder of which were actually composed by Lucile Lawrence
457:, the legendary Russian dancer, with whom he developed a series of esthetic gestures for playing the harp that became an essential part of the Salzedo Method for the harp. In 1918 he formed the Salzedo Harp Ensemble, which was made up of his students. The group was very popular and played for a week at the
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Salzedo's students numbered in the hundreds. Many continue to perform in symphony orchestras including the
Philadelphia, Milwaukee, New Jersey and other symphony orchestras, and formerly occupied the Principal chairs in a great many American orchestras, as well as teaching positions at conservatories
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unit, and happened to be in the same unit as several painters and musicians. He had a sympathetic leader, and was able to organize them into a performing group that sang for soldiers and toured hospitals, for which he arranged traditional French folk songs. He got an extended leave to see Mimine, but
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Salzedo took a great interest in harp design, and worked with Lyon & Healy in
Chicago to produce Salzedo model harps. These harps had an extra 1/8 inch spacing between notes in the middle register to reduce buzzing. Forty Salzedo harps were made from 1931 to 1954. New "Salzedo" harps had started
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until 1937. An average of thirty-five harpists populated the harp colony during each summer in Camden, which started in 1931. Some studied with
Salzedo while others studied with other harp teachers. Salzedo's students had two or three lessons per week. As its popularity increased, up to 300 harpists
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invited
Salzedo, via an agent, to play in the orchestra of the Metropolitan Opera House in New York City, and so Carlos left France for the United States of America, not knowing any English. Salzedo became a member of musical society, where he was often invited to soirees such as those held by Alice
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during a summer in Maine, together they developed a system of esthetic gestures to be used while performing on the harp. Subsequently, he was instrumental in raising money to save
Nijinsky by funding his residence in a Swiss Sanatorium. Aside from touring with his trio, he organized The Salzedo Harp
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Salzedo based his teaching technique on the aesthetics of arm movement, focusing on the movements of specific body parts. He taught that a harpist's elbows should be parallel to each other and the floor, and that a true legato was impossible on the harp. Nijinski once commented that
Salzedo's hands
462:"piece of convenience", while fellow composers praised the work's strength and personality. The Trio performed all over North America, including in Mexico and Canada. The Trio toured regularly until 1937, when Barrère joined the Barrère-Britt Concertino, as it was impractical to travel with a harp.
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Salzedo's father, by then a respected voice teacher, decided
Salzedo should take up a second instrument, and the harp was chosen because he was felt to be too weak to play a wind instrument, and his older brother Marcel already played the violin. Beginners were not accepted at the Conservatoire, so
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In the 1920s, Salzedo and Mimine began to grow apart, as she was spending more time in Rome, and Carlos was spending more time with teaching, recitals, and "lightly concealed liaisons." They had an amicable divorce in 1926, remaining lifelong friends, and in 1928 Salzedo married Lucile
Lawrence, a
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in 1920 and during his presidency, he organized large harp ensembles in their annual festivals. By 1933 the National Association of Harpists was no longer active. Salzedo founded the Franco-American Musical Society with E. Robert Schmitz in 1920, and was its vice president in 1924. In 1923 Salzedo
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In 1953, Salzedo wrote his Second Concerto for Harp and Orchestra, but he did not complete the orchestration for it before his death in 1961. The harp part and piano score reduction were published by Don Henry at Lyra Music Company. The orchestration was completed by Robert Russell Bennett. On 28
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woman, Marthe Tatibouet Bidebérripé, was hired to care for and help raise the children. Salzedo became deeply attached to her, and liked to think of himself as being culturally Basque. Some writers have attributed his fondness for five-beat rhythms to Basque traditions where they are often used.
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in New York in 1920. He organized the Salzedo Harp Trio in 1919 with Marie Miller and Elsie Sorelle. The Trio de Lutèce was reformed in 1932, with Horace Britt as cellist instead of Paul Kéfer. Bernard Wagenaar wrote a Triple Concerto for the trio, which they premiered. One critic said it was a
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After resigning from his position at the opera in 1913, Salzedo formed the "Trio de Lutèce" with Georges Barrère on flute and Paul Kéfer on cello, which toured extensively in the United States. The trio was scheduled to play in England, so Salzedo and Mimine took the opportunity to honeymoon in
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Salzedo began composing at a young age. When he was twenty-five, he started composing significantly, with Fauré stating that his "Piece Concertante, Opus 27" was promising. In 1917, he wrote Five Preludes for Harp Alone, which broke entirely new musical ground in harp writing. He followed with
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all wrote for the harp in ways that used Salzedo's techniques. Most composers explained the techniques in the music rather than using Salzedo's notation, because no single source compiled the effects and their notations. Specialized harp symbols were not common until 1960. Luciano Berio, Jose
498:, Edgard's wife, wrote the program notes. Volunteers and friends helped with publicity mailings and other secretarial work. In 1927, Varèse ended the guild's concerts, stating that the goals of the guild had been met and it was becoming more common for concerts to feature living composers.
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Salzedo's performances, compositions, and arrangements brought prestige to harp technique and literature. He composed specifically for the harp, in a way that showed how specialized harp music is. He introduced new notations for indicating certain harp techniques, colors, and effects. His
418:, for which he was hospitalized for several months before being finally discharged from the army. In order to get passports (which had not been necessary in 1914) to leave France, Salzedo and Mimine had to prove their identities by marrying a second time in Paris in August 1915.
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Salzedo was involved in many arenas, including the burgeoning "new music" circles in New York, where he co-founded the International Composers Guild with Edgard Varèse in 1921. The Guild presented the most prominent European composers and others in concert, figures such as
283:(Iberian Jewish) families and fine musicians, he a singer, she a pianist. Their first child, Marcel, became a violinist, and military band leader in Paris, and later in CĂ´te d'Azur. During this time, Mme. Salzedo was employed as the summer-court pianist to Queen Mother
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compositions made the harp into a virtuoso instrument. He influenced many composers with his new ideas for the harp's sounds through his work with the International Composers' Guild. Stravinsky used muffled harp chords and notes plucked near the sounding-board in his
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orchestra, followed by solo appearances as pianist and harpist with that orchestra. He made his Paris recital debut at age 18 as a harpist and pianist, in 1903, for which occasion he decided to change his name to Carlos from LĂ©on-Charles Moise. About this time, a
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March 1982, Jennifer Hoult performed the world premiere of the concerto with the American Chamber Orchestra under the baton of Charles Barker. The live recording of this performance is part of the sound recordings collection in the Library of Congress.
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three years later, after which the family moved to Paris. Léon-Charles entered the Paris Conservatory at age nine, where he again won prizes in piano and solfège. He continued his piano studies with Charles de Bériot, son of the renowned violinist
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for two harps and voice, specifically for Nina Kochetz to sing with. Using the note-alphabet correspondence he developed for Olga's name piece, Salzedo composed songs for his students as wedding presents. These pieces are called
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He co-founded the International Composers' Guild with Edgard Varèse in 1921, and founded the National Harp Association to promote the harp. In addition to forming a summer harp colony, first in Seal Harbor, then later in
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When Salzedo graduated, he was hired as a solo harpist, first orchestral harpist, and solo pianist at the New Casino in Biarritz under conductor/composer Piero Luigini. The following winter he toured Europe with the
216:. His compositions presented the harp as a virtuoso instrument. He influenced many composers with his new ideas for the harp's sounds, and was influential in New York's new music scene through his work leading the
336:, professor of harp at the Conservatoire. After a year of study with Hasselmans, he entered the Conservatoire as a fully fledged harp pupil at the age of thirteen. In 1901, at age sixteen, Salzedo won the
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in 1924. He continued to teach privately in New York City until his death. He developed new techniques and notations for these techniques, which he used extensively in his compositions after 1919.
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paralyzed Gaston Salzedo, who handed over his position as synagogue music director to young Carlos. Salzedo also toured in solo performances around Europe, receiving glowing praise in the papers.
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in harp and piano when he was just 16. He started his solo recital career at age 18, and was brought to the United States of America six years later, to perform as solo harpist with the
2032:
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On the Salzedos' return to the US in 1916, Carlos reunited with the Trio de Lutèce. Salzedo and Mimine began spending summers in Seal Harbor, where Salzedo became friends with
787:, Carlos Salzedo with Lucile Lawrence (Schirmer), containing text on improvisation, sight-reading and modulating in commercial music, with original compositions by Salzedo
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Salzedo became the chairman of the National Association of Harpists in 1919, and was the editor-in-chief of its publication until 1933. He was also the president of the
243:, flute and Paul KĂ©fer, cello. After being drafted into the French Army during World War I, Salzedo returned to the United States and continued touring with the trio.
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Ditson. It was at such a soiree that Salzedo was introduced to Viola Gramm, a respected pianist and singer. They became romantically involved, traveled through the
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would come to the colony in a single summer. Salzedo was teaching at Camden until his death in 1961, after which Alice Chalifoux took over as head of the colony.
630:(1950) for a student who injured her hand. The themes for the pieces were based on her name. During this time he mostly composed small pieces and arrangements.
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in 1918, which were dedicated to the memory of Claude Debussy, and exemplified his Impressionist musical style. Also in 1918, he composed a symphonic poem,
279:, were vacationing in Arcachon when Mme. Salzedo fell down a flight of stairs, causing the two-month premature birth of Salzedo. Both parents were of noted
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1955:
809:, Lawrence/Salzedo (Schirmer), containing the music Preludes for Beginners by Salzedo, and tone colors with notation, with photos and text by Lawrence
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said the work had "extraordinary refinement, delicate explorations in sonority, and nice balancing in timbre" while Herman Devries, writing for the
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Carlos took lessons from a chanced-upon teacher, Marguerite Achard. After a few months, he had advanced enough that he was accepted as a pupil by
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517:, and later, was most notably able to raise sufficient funds to aid Vaslav Nijinsky and his family to escape into safety in Switzerland.
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Serebier, Richard Felciano, and Robert Capanna used special symbols for harp techniques, with some similar or identical to Salzedo's.
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During this early period of his adult life, he was very active in musical high society and high society otherwise. He neighbored the
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Ensemble, utilizing his students, which toured extensively, often in collaboration with singers from the Metropolitan Opera.
291:. Young LĂ©on-Charles played the piano for Maria Christina at the age of three, which led her to dub him "my little Mozart."
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for the occasion, which was performed by his friends. Gramm was often referred to as "Mimine", Salzedo's pet name for her.
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when he returned, a new captain was in charge who did not permit musical activities. Salzedo became seriously ill with
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Europe; in England, they were introduced to various members of the nobility. When World War I began, they moved to
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589:(1926) because contemporary repertoire lacked a harp concerto. He dedicated the composition to Lucile Lawrence.
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for harp and orchestra. Shelley Archambo characterizes the works from 1910 to 1918 period as impressionistic.
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817:, Carlos Salzedo (Schirmer) with tone colors and text in English and French, and Five Poetical Studies, music
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country of France in 1913, and then were married on 30 April 1914, in New York City. Salzedo wrote a wedding
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1963:
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445:. He was sought-after for performances at social occasions where he could be quite the life of the party.
311:(Mosquito), which was published when he was just five years old. Though lost, the theme reappeared in the
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566:(1919), where he introduced his notation system for indicating his specific tone colors. One technique,
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At seven, he entered the St. Cecilia School of Music of Bordeaux, where he won first prize in piano and
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494:. Two wealthy patrons ensured the finances of the guild, while Salzedo conducted many of the concerts.
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used all of Salzedo's published harp techniques. Other works to include Salzedo's techniques are
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wrote it was "just another of those modern things." In 1932, Salzedo arranged Manuel de Falla's
275:, France. Salzedo's parents, Isaac Gaston Salzedo and Thérèse Judith Anna Silva, who resided in
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228:
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in harp and piano on the same day, an accomplishment unmatched to this day, and was awarded a
2061:, MSS 7835, L. Tom Perry Special Collections, Harold B. Lee Library, Brigham Young University
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LĂ©on-Charles, having begun playing piano by the age of three, wrote his first composition, a
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585:(1921) based on the telephone numbers of four of his students. He stated that he composed
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1907:
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1920:(1st ed.). Lake Tapps, Washington: Salzedo Committee of the American Harp Society.
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and universities. A brief list of some of the most notable students of Salzedo includes
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region) to have more time together, but Salzedo was soon drafted into the French Army.
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Salzedo's mother died just two years later when he was five. The family then moved to
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2012:
1921:
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356:, approved Salzedo for a counterpoint class after he wrote a Bach fugue from memory.
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1935:
659:. Lucile Lawrence inherited most of his music, papers, correspondence and property.
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655:, at the age of 76, while adjudicating Metropolitan Opera regional auditions at
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745:, Lynne Wainwright Palmer, Reinhardt Elster, Marjorie Tyre, Edward Druzinsky,
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production again sometime in the early 1980s and were in production in 2023.
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1542:"Salzedo: Second Concerto for Harp and Orchestra (Harp and Piano Reduction)"
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1988:
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At Josef Hoffman's invitation, Salzedo founded the harp department at the
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grand piano. While a student, Salzedo freelanced as second harpist in the
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Carlos Salzedo was born Charles MoĂŻse LĂ©on Salzedo on 6 April 1885, in
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commissioned Salzedo to write a piece for harp and chamber orchestra;
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in New York City. He toured extensively with the Trio de Lutèce, with
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675:(1929). BartĂłk also used them along with chromatic octaves in
1989:"Salzedo – Professional Pedal Harps – Lyon & Healy Harps"
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with many orchestras. He performed as a soloist with the
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as well as the orchestras of the Olympia theater and the
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2011:(online ed.). Oxford : Oxford University Press.
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was a suite of five pieces for two harps, which the
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1918:Pentacle: The Story of Carlos Salzedo and the Harp
1894:Carlos Salzedo (1885–1961): The Harp in Transition
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932:
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2009:Monarch of the Flute: The Life of Georges Barrère
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1987:
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2190:Members of the International Composers' Guild
583:Four Preludes to the Afternoon of a Telephone
465:From the 1920s onward, Salzedo appeared as a
208:(6 April 1885 – 17 August 1961) was a French
1954:
1815:
1548:
801:(exercises), Carlos Salzedo (Schirmer, Lyra)
669:. Schoenberg used flat-handed chords in his
587:Concerto for Harp and Seven Wind Instruments
2140:20th-century French male classical pianists
1934:
1819:
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266:
31:
1900:
1827:
749:, Marilyn Costello, Margarita Montanaro,
687:The Young Person's Guide to the Orchestra
678:Music for Strings, Percussion and Celesta
513:in Seal Harbor, with matching funds from
2042:Dewey Owens collection on Carlos Salzedo
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628:Diptych, Two Pieces for Right Hand Alone
259:, he founded the harp department at the
1981:Carlos Salzedo: From Aeolian to Thunder
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429:. He counted among his musical friends
16:French musician, composer and conductor
2185:20th-century French conductors (music)
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1983:. Chicago, Illinois: Lyon & Healy.
1915:
1833:"Margarita Csonka Montanaro Biography"
1823:
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1557:Second Concerto for Harp and Orchestra
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771:List of compositions by Carlos Salzedo
2165:French emigrants to the United States
1978:
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597:described as "ultra-modern" in 1931.
352:. The director of the Conservatoire,
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2006:
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448:
1903:"Esteemed NSO Harpist Sylvia Meyer"
1572:"Music Recording - Second concerto"
1559:. New York, NY: Lyra Music Company.
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405:Salzedo was made head cook for his
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651:Salzedo died on 17 August 1961 in
14:
2206:
2180:20th-century French Sephardi Jews
2026:
1901:Bernstein, Adam (30 March 2005).
698:Alberto Ginastera's Harp Concerto
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2085:
2046:L. Tom Perry Special Collections
637:
503:National Association of Harpists
373:America, first marriage, and war
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2150:French male classical composers
1892:Archambo, Shelley Batt (1984).
1885:
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2160:French male conductors (music)
509:Salzedo raised money to buy a
227:Salzedo began studying at the
218:International Composers' Guild
1:
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2066:Recordings by Carlos Salzedo
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481:Music groups and fundraising
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2059:Salzedo Harp Colony records
2037:International Harp Archives
793:, Carlos Salzedo (Schirmer)
533:in 1924. He also taught at
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10:
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2145:French classical composers
2130:Basque classical musicians
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599:Elizabeth Sprague Coolidge
206:Charles MoĂŻse LĂ©on Salzedo
105:Harpist, pianist, composer
51:Charles MoĂŻse LĂ©on Salzedo
2135:French classical harpists
1956:"Lynne Wainwright Palmer"
1916:Bitter, Marietta (2010).
1826:, pp. 245–249, 191;
798:The Harpist's Daily Dozen
531:Curtis Institute of Music
475:Boston Symphony Orchestra
328:and a pupil of Thalberg.
261:Curtis Institute of Music
109:
101:
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2054:Brigham Young University
2035:on archive.org from the
2033:Scores by Carlos Salzedo
1936:"It's All in the Family"
1806:, pp. 135, 114–131.
1570:Salzedo, Carlos (1982).
1555:Salzedo, Carlos (1966).
814:Modern Study of the Harp
776:Pedagogical publications
692:Variations for Orchestra
672:Variations for Orchestra
564:Modern Study of the Harp
267:Early life and education
237:Metropolitan Opera House
231:at age nine and won the
212:, pianist, composer and
2175:Impressionist composers
1896:. University of Kansas.
780:In alphabetical order:
747:Beatrice Schroeder Rose
2195:Spanish male musicians
2170:French music educators
1993:Lyon & Healy Harps
1962:. 2010. Archived from
821:Pathfinder to the Harp
791:Conditioning Exercises
605:premiered in 1929. In
471:Philadelphia Orchestra
317:Suite of Eight Dances.
2050:Harold B. Lee Library
1979:Owens, Dewey (1992).
1873:Lyon & Healy n.d.
785:The Art of Modulating
560:Five Poetical Studies
558:Salzedo included the
549:Five Poetical Studies
396:Menthon-Saint-Bernard
246:In consultation with
2007:Toff, Nancy (2005).
1770:, pp. 103, 106.
765:List of compositions
191: 1937;
164: 1928;
1908:The Washington Post
1782:, pp. 108–109.
1746:, pp. 99, 101.
1623:, pp. 138–139.
1287:, pp. 137–138.
1167:, pp. 155–157.
1116:, pp. 400–402.
806:Method for the Harp
733:, Lucile Lawrence,
619:Seven Popular Songs
595:Milwaukee Senetinel
553:The Enchanted Isle,
515:John D. Rockefeller
443:Ossip Gabrilowitsch
346:Orchestre Lamoureux
334:Alphonse Hasselmans
2155:Composers for harp
1734:, pp. 95, 97.
1483:, pp. 73, 75.
1459:, pp. 84, 88.
1387:, pp. 31, 40.
666:Symphony of Psalms
607:The New York Times
427:Seal Harbor, Maine
229:Paris Conservatory
96:Paris Conservatory
1816:Harp Society 2010
1722:, pp. 59–61.
1531:, pp. 87–89.
1495:, pp. 82–83.
1435:, pp. 63–65.
1399:, pp. 69–71.
1347:, pp. 41–42.
1263:, pp. 61–62.
1215:, pp. 40–41.
1191:, pp. 64–65.
1179:, pp. 61–62.
1065:, pp. 37–48.
1025:, pp. 50–51.
965:, pp. 38–42.
854:, pp. 36–37.
727:Florence Wightman
694:by Elliott Carter
653:Waterville, Maine
449:Return to America
439:Leopold Stokowski
326:Charles de BĂ©riot
203:
202:
2202:
2102:
2101:
2100:
2090:
2089:
2088:
2081:
2067:
2022:
2003:
2001:
1999:
1984:
1975:
1973:
1971:
1951:
1949:
1947:
1931:
1912:
1897:
1880:
1870:
1864:
1854:
1848:
1847:
1845:
1843:
1820:Harp Column 2014
1813:
1807:
1801:
1795:
1789:
1783:
1777:
1771:
1765:
1759:
1753:
1747:
1741:
1735:
1729:
1723:
1717:
1711:
1705:
1699:
1693:
1687:
1681:
1675:
1669:
1660:
1654:
1648:
1642:
1636:
1630:
1624:
1618:
1612:
1606:
1600:
1594:
1588:
1587:
1585:
1583:
1567:
1561:
1560:
1552:
1546:
1545:
1538:
1532:
1526:
1520:
1514:
1508:
1502:
1496:
1490:
1484:
1478:
1472:
1466:
1460:
1454:
1448:
1442:
1436:
1430:
1424:
1418:
1412:
1406:
1400:
1394:
1388:
1382:
1376:
1370:
1364:
1363:, pp. 31–32
1354:
1348:
1342:
1336:
1330:
1324:
1318:
1312:
1306:
1300:
1294:
1288:
1282:
1276:
1270:
1264:
1258:
1252:
1246:
1240:
1234:
1228:
1222:
1216:
1210:
1204:
1198:
1192:
1186:
1180:
1174:
1168:
1162:
1156:
1150:
1144:
1138:
1132:
1126:
1117:
1111:
1105:
1099:
1093:
1087:
1078:
1072:
1066:
1060:
1054:
1048:
1042:
1032:
1026:
1020:
1014:
1008:
1002:
996:
990:
989:, p. 16–17.
984:
978:
972:
966:
960:
954:
953:, pp. 9–10.
948:
942:
936:
930:
924:
918:
912:
906:
900:
891:
885:
879:
873:
867:
861:
855:
849:
843:
837:
702:Sergei Prokofiev
683:Benjamin Britten
647:Death and legacy
624:Wedding Presents
615:Chicago American
603:Preamble et Jeux
535:Juilliard School
379:Arturo Toscanini
362:Concerts Colonne
196:
194:
190:
169:
167:
163:
142:
140:
136:
132:
79:
60:
58:
35:
21:
20:
2210:
2209:
2205:
2204:
2203:
2201:
2200:
2199:
2110:
2109:
2108:
2098:
2096:
2086:
2084:
2076:
2065:
2029:
2019:
1997:
1995:
1969:
1967:
1966:on 9 March 2018
1945:
1943:
1928:
1888:
1883:
1871:
1867:
1859:, p. 116;
1855:
1851:
1841:
1839:
1831:
1814:
1810:
1802:
1798:
1790:
1786:
1778:
1774:
1766:
1762:
1754:
1750:
1742:
1738:
1730:
1726:
1718:
1714:
1706:
1702:
1694:
1690:
1682:
1678:
1670:
1663:
1655:
1651:
1643:
1639:
1631:
1627:
1619:
1615:
1607:
1603:
1595:
1591:
1581:
1579:
1576:catalog.loc.gov
1568:
1564:
1553:
1549:
1540:
1539:
1535:
1527:
1523:
1515:
1511:
1503:
1499:
1491:
1487:
1479:
1475:
1467:
1463:
1455:
1451:
1443:
1439:
1431:
1427:
1419:
1415:
1407:
1403:
1395:
1391:
1383:
1379:
1371:
1367:
1359:, p. 121;
1355:
1351:
1343:
1339:
1331:
1327:
1319:
1315:
1307:
1303:
1295:
1291:
1283:
1279:
1271:
1267:
1259:
1255:
1247:
1243:
1235:
1231:
1223:
1219:
1211:
1207:
1199:
1195:
1187:
1183:
1175:
1171:
1163:
1159:
1151:
1147:
1139:
1135:
1127:
1120:
1112:
1108:
1100:
1096:
1088:
1081:
1073:
1069:
1061:
1057:
1049:
1045:
1033:
1029:
1021:
1017:
1009:
1005:
997:
993:
985:
981:
973:
969:
961:
957:
949:
945:
937:
933:
929:, pp. 6–9.
925:
921:
913:
909:
905:, pp. 6–7.
901:
894:
886:
882:
874:
870:
862:
858:
850:
846:
838:
834:
830:
778:
773:
767:
755:Heidi Lehwalder
743:Alice Chalifoux
649:
640:
611:Henry Prunières
576:Method for Harp
572:Lucile Lawrence
544:
523:
483:
459:Capitol Theatre
455:Vaslav Nijinsky
451:
375:
285:Maria Christina
269:
248:Vaslav Nijinsky
241:Georges Barrère
199:
198:
195: 1947)
186:
182:
179:
171:
168: 1936)
159:
155:
152:
151:Lucile Lawrence
144:
141: 1926)
128:
124:
121:
87:
81:
77:
68:
62:
56:
54:
53:
52:
42:
39:Musical Advance
26:
17:
12:
11:
5:
2208:
2198:
2197:
2192:
2187:
2182:
2177:
2172:
2167:
2162:
2157:
2152:
2147:
2142:
2137:
2132:
2127:
2122:
2107:
2106:
2094:
2074:
2073:
2062:
2056:
2039:
2028:
2027:External links
2025:
2024:
2023:
2017:
2004:
1985:
1976:
1952:
1932:
1926:
1913:
1898:
1887:
1884:
1882:
1881:
1865:
1849:
1837:Instant Encore
1828:Bernstein 2005
1808:
1796:
1794:, p. 113.
1784:
1772:
1760:
1758:, p. 103.
1748:
1736:
1724:
1712:
1700:
1688:
1686:, p. xxv.
1676:
1674:, p. 246.
1661:
1649:
1647:, p. 119.
1637:
1635:, p. 116.
1625:
1613:
1601:
1599:, p. 138.
1589:
1562:
1547:
1533:
1521:
1509:
1507:, p. 354.
1497:
1485:
1473:
1461:
1449:
1437:
1425:
1413:
1401:
1389:
1377:
1375:, p. 115.
1365:
1349:
1337:
1335:, p. 198.
1325:
1323:, p. 139.
1313:
1311:, p. 213.
1301:
1299:, p. 212.
1289:
1277:
1265:
1253:
1241:
1239:, p. 148.
1229:
1217:
1205:
1203:, p. 134.
1193:
1181:
1169:
1157:
1145:
1143:, p. 399.
1133:
1118:
1106:
1094:
1079:
1067:
1055:
1043:
1037:, p. 21;
1027:
1015:
1003:
991:
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844:
831:
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825:
824:
818:
810:
802:
794:
788:
777:
774:
769:Main article:
766:
763:
731:Casper Reardon
714:Paul Hindemith
706:Darius Milhaud
648:
645:
639:
636:
626:. He composed
581:Salzedo wrote
543:
540:
522:
519:
482:
479:
450:
447:
435:Josef Hoffmann
414:and a form of
374:
371:
350:Folies Bergère
268:
265:
201:
200:
184:
180:
177:
176:
175:
174:
157:
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149:
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119:
118:
117:
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113:
111:
107:
106:
103:
99:
98:
93:
89:
88:
82:
80:(aged 76)
76:17 August 1961
74:
70:
69:
63:
50:
48:
44:
43:
36:
28:
27:
25:Carlos Salzedo
24:
15:
9:
6:
4:
3:
2:
2207:
2196:
2193:
2191:
2188:
2186:
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2178:
2176:
2173:
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2158:
2156:
2153:
2151:
2148:
2146:
2143:
2141:
2138:
2136:
2133:
2131:
2128:
2126:
2123:
2121:
2118:
2117:
2115:
2105:
2095:
2093:
2083:
2082:
2079:
2072:
2068:
2063:
2060:
2057:
2055:
2051:
2047:
2043:
2040:
2038:
2034:
2031:
2030:
2020:
2018:9780195170160
2014:
2010:
2005:
1994:
1990:
1986:
1982:
1977:
1965:
1961:
1957:
1953:
1942:. 1 July 2014
1941:
1937:
1933:
1929:
1927:9781456336660
1923:
1919:
1914:
1910:
1909:
1904:
1899:
1895:
1890:
1889:
1878:
1877:Archambo 1984
1874:
1869:
1862:
1861:Archambo 1984
1858:
1853:
1838:
1834:
1829:
1825:
1821:
1817:
1812:
1805:
1804:Archambo 1984
1800:
1793:
1792:Archambo 1984
1788:
1781:
1780:Archambo 1984
1776:
1769:
1768:Archambo 1984
1764:
1757:
1756:Archambo 1984
1752:
1745:
1744:Archambo 1984
1740:
1733:
1732:Archambo 1984
1728:
1721:
1720:Archambo 1984
1716:
1710:, p. 46.
1709:
1708:Archambo 1984
1704:
1698:, p. vi.
1697:
1692:
1685:
1680:
1673:
1668:
1666:
1658:
1653:
1646:
1641:
1634:
1629:
1622:
1617:
1611:, p. 26.
1610:
1605:
1598:
1593:
1577:
1573:
1566:
1558:
1551:
1543:
1537:
1530:
1525:
1519:, p. 86.
1518:
1513:
1506:
1501:
1494:
1489:
1482:
1477:
1471:, p. 92.
1470:
1469:Archambo 1984
1465:
1458:
1457:Archambo 1984
1453:
1447:, p. 67.
1446:
1445:Archambo 1984
1441:
1434:
1433:Archambo 1984
1429:
1423:, p. 61.
1422:
1421:Archambo 1984
1417:
1411:, p. 48.
1410:
1409:Archambo 1984
1405:
1398:
1393:
1386:
1381:
1374:
1369:
1362:
1358:
1353:
1346:
1345:Archambo 1984
1341:
1334:
1329:
1322:
1321:Archambo 1984
1317:
1310:
1305:
1298:
1293:
1286:
1285:Archambo 1984
1281:
1275:, p. 56.
1274:
1269:
1262:
1257:
1251:, p. 42.
1250:
1249:Archambo 1984
1245:
1238:
1233:
1227:, p. 68.
1226:
1221:
1214:
1213:Archambo 1984
1209:
1202:
1197:
1190:
1185:
1178:
1173:
1166:
1161:
1155:, p. 45.
1154:
1153:Archambo 1984
1149:
1142:
1137:
1131:, p. 43.
1130:
1129:Archambo 1984
1125:
1123:
1115:
1110:
1104:, p. 77.
1103:
1098:
1092:, p. 40.
1091:
1090:Archambo 1984
1086:
1084:
1077:, p. 75.
1076:
1071:
1064:
1059:
1053:, p. 21.
1052:
1047:
1040:
1036:
1031:
1024:
1019:
1013:, p. 49.
1012:
1007:
1001:, p. 39.
1000:
999:Archambo 1984
995:
988:
983:
977:, p. 59.
976:
971:
964:
959:
952:
947:
941:, p. 10.
940:
935:
928:
923:
917:, p. 32.
916:
911:
904:
899:
897:
890:, p. 91.
889:
884:
877:
872:
866:, p. 30.
865:
860:
853:
852:Archambo 1984
848:
841:
836:
832:
822:
819:
816:
815:
811:
808:
807:
803:
800:
799:
795:
792:
789:
786:
783:
782:
781:
772:
762:
758:
756:
752:
748:
744:
740:
739:Edna Phillips
736:
732:
728:
722:
719:
715:
711:
707:
703:
699:
695:
693:
688:
684:
680:
679:
674:
673:
668:
667:
660:
658:
657:Bates College
654:
644:
638:Personal life
635:
631:
629:
625:
620:
616:
612:
608:
604:
600:
596:
592:
588:
584:
579:
577:
573:
569:
565:
561:
556:
554:
550:
539:
536:
532:
527:
518:
516:
512:
507:
504:
499:
497:
496:Louise Varèse
493:
489:
478:
476:
472:
468:
463:
460:
456:
446:
444:
440:
436:
432:
431:Edgard Varèse
428:
424:
419:
417:
413:
408:
403:
401:
397:
391:
389:
385:
380:
370:
368:
363:
357:
355:
354:Gabriel Fauré
351:
347:
343:
339:
335:
329:
327:
322:
318:
314:
310:
306:
301:
297:
292:
290:
286:
282:
278:
274:
264:
262:
258:
257:Camden, Maine
252:
249:
244:
242:
238:
234:
230:
225:
223:
222:Edgard Varèse
219:
215:
211:
207:
178:Marjorie Call
173:
172:
146:
145:
115:
114:
112:
108:
104:
102:Occupation(s)
100:
97:
94:
90:
85:
75:
71:
66:
49:
45:
40:
34:
29:
22:
19:
2069:playlist on
2044:, MSS 7763,
2008:
1996:. Retrieved
1992:
1980:
1968:. Retrieved
1964:the original
1960:Harp Society
1959:
1944:. Retrieved
1939:
1917:
1906:
1893:
1886:Bibliography
1879:, p. 44
1868:
1863:, p. 44
1852:
1840:. Retrieved
1836:
1811:
1799:
1787:
1775:
1763:
1751:
1739:
1727:
1715:
1703:
1691:
1679:
1659:, p. v.
1652:
1640:
1628:
1616:
1604:
1592:
1580:. Retrieved
1578:. LC Catalog
1575:
1565:
1556:
1550:
1536:
1524:
1512:
1500:
1488:
1476:
1464:
1452:
1440:
1428:
1416:
1404:
1392:
1380:
1368:
1352:
1340:
1328:
1316:
1304:
1292:
1280:
1268:
1256:
1244:
1232:
1220:
1208:
1196:
1184:
1172:
1160:
1148:
1136:
1109:
1097:
1070:
1058:
1046:
1041:, p. 59
1030:
1018:
1006:
994:
982:
970:
958:
946:
934:
922:
910:
883:
878:, p. 6.
871:
859:
847:
842:, p. 3.
835:
820:
812:
804:
796:
790:
784:
779:
759:
735:Sylvia Meyer
723:
718:Ernst Krenek
710:Anton Webern
691:
676:
670:
664:
661:
650:
641:
632:
627:
623:
618:
614:
606:
602:
594:
590:
586:
582:
580:
575:
567:
563:
559:
557:
552:
548:
545:
528:
524:
508:
500:
484:
464:
452:
423:Rockefellers
420:
404:
392:
376:
358:
338:premier prix
337:
330:
316:
312:
308:
293:
270:
253:
245:
233:premier prix
232:
226:
205:
204:
78:(1961-08-17)
61:6 April 1885
38:
18:
2125:1961 deaths
2120:1885 births
1946:15 February
1940:Harp Column
1824:Bitter 2010
1684:Bitter 2010
1645:Bitter 2010
1633:Bitter 2010
1373:Bitter 2010
1357:Bitter 2010
1333:Bitter 2010
1309:Bitter 2010
1297:Bitter 2010
1273:Bitter 2010
1261:Bitter 2010
1237:Bitter 2010
1201:Bitter 2010
1165:Bitter 2010
1102:Bitter 2010
1075:Bitter 2010
1039:Bitter 2010
1023:Bitter 2010
1011:Bitter 2010
975:Bitter 2010
963:Bitter 2010
915:Bitter 2010
864:Bitter 2010
568:con sordino
400:RhĂ´ne-Alpes
120:Viola Gramm
86:, Maine, US
41:, July 1924
2114:Categories
1857:Owens 1992
1696:Owens 1992
1657:Owens 1992
1621:Owens 1992
1609:Owens 1992
1597:Owens 1992
1529:Owens 1992
1517:Owens 1992
1493:Owens 1992
1481:Owens 1992
1397:Owens 1992
1385:Owens 1992
1361:Owens 1992
1225:Owens 1992
1189:Owens 1992
1177:Owens 1992
1063:Owens 1992
1051:Owens 1992
1035:Owens 1992
987:Owens 1992
951:Owens 1992
939:Owens 1992
927:Owens 1992
903:Owens 1992
888:Owens 1992
876:Owens 1992
840:Owens 1992
828:References
751:Judy Loman
511:pipe organ
137:;
84:Waterville
57:1885-04-06
2092:Biography
1672:Toff 2005
1505:Toff 2005
1141:Toff 2005
1114:Toff 2005
681:(1936).
574:to write
542:Composing
416:paralysis
412:pneumonia
377:In 1909,
309:Moustique
281:Sephardic
214:conductor
92:Education
591:Pentacle
521:Teaching
492:Honegger
407:infantry
398:(in the
342:Steinway
296:Bordeaux
289:Biarritz
273:Arcachon
67:, France
65:Arcachon
2078:Portals
2071:YouTube
1998:5 March
1970:8 March
1842:26 July
1582:26 July
562:in his
467:soloist
388:cantata
384:château
321:solfège
315:of his
307:called
277:Bayonne
210:harpist
197:
185:
181:
170:
158:
154:
143:
127:
123:
110:Spouses
2015:
1924:
753:, and
716:, and
488:BartĂłk
473:, the
367:stroke
300:Basque
298:and a
133:
2104:Music
313:Polka
305:polka
220:with
187:(
183:
160:(
156:
129:(
125:
2013:ISBN
2000:2018
1972:2018
1948:2016
1922:ISBN
1844:2023
1584:2023
696:and
490:and
441:and
193:div.
166:div.
139:div.
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