Description
In this newly published collection of sheet music, Ange Hauck has finally written down her own compositions and favorite pieces for harp and other instruments. As she usually plays from memory, some of her very popular pieces are finally available in sheet music form.
An encounter that became an inspiration
Over the years, she has not only arranged melodies for the harp that she has come across here and there. As with a pot into which you pour too much, something always “overflowed” during the “simmering” process, and so new pieces were created from musical ideas.
The strongest impulse came from her encounter with the Welsh triple harp player Robin Huw Bowen and his music. She was “electrified” and knew that she never wanted to do without this music in her life again. Robin became a teacher and dear friend. His influence on Anges music can be specifically named at a number of points, but his music and his style as a whole were very influential.
A versatile collection
In addition to Ange’s well-known original compositions, this book also contains numerous traditional pieces from Wales, which she has arranged wonderfully. All melodies have been notated with chord indications and notes.
From traditional to modern
Ange Hauck’s “Ouvre Moi” is an invitation to explore the world of harp music – from traditional Welsh melodies to modern original compositions. This book offers a wide range of musical styles and techniques that will inspire and challenge the player.
A work of musical friendship
This book is also a testimony of musical friendship and collaboration, shaped by the encounter with Robin Huw Bowen and the support of musical colleagues and friends. “Ouvre Moi” is a conversation starter between all those who want to experience the fascination of the harp or bring it to life.
A practical and inspiring textbook
With chord indications and notes for each piece, Ange Hauck invites you to interpret the melodies according to your own taste and abilities. The collection serves not only as a textbook, but also as a source of inspiration for musicians who want to discover the diversity of harp music.
“Ouvre Moi” is a musical journey that opens the door to new and old worlds of harp music. Immerse yourself in the musical world of “Ouvre Moi” and be inspired by the variety and beauty of the melodies for harp and other instruments.
Foreword
I wanted to write down my favourite pieces in this book, to capture them in a “materialized” form. Since I play everything by heart, my pieces have only been “smoke and mirrors” so far.
Over the years, I have not only arranged melodies for the harp that I have come across here and there. As with a pot into which you pour too much, “something overflowed” again and again while “simmering”, musical ideas came to me and new pieces were created.
The strongest impulse came when I met the Welsh triple harp player Robin Huw Bowen and his music. I was “electrified” and knew that I never wanted to do without him again in my life. And so he became a teacher and a very dear, close friend to me.
I can name his influence on my music at several points, but his music and his style as a whole have had a strong influence on me.
This book therefore contains some traditional pieces from Wales that I have arranged myself.
My experience with drone music and bal folk has also enriched my harp repertoire. So many dance melodies were added and I always try to give the dance the right rhythm through the arrangement, which gets the feet moving and makes the melody dance.
Dance pieces are often short and are played through many times. This is not specifically marked in the notation, but is mentioned here as standard practice. Several melodies are often combined into one set.
For some pieces I offer an “ending”, which forms a nice conclusion after playing through the piece several times.
Harmony markings are notated for accompanying instruments. I have opted for the international spelling, in which the German “B” chord appears as “B”. The German “B” is notated as “Bb”.
To help you assess the level of difficulty of the pieces, small harp symbols are shown in the footer, ranging from one to three harps. But the transitions here are fluid and perception is subjective.
I have omitted fingerings in favor of better readability – also because this collection is not a textbook.
This book was only made possible by the energetic and tireless support of my dear friend and music colleague Keith Macdonald, who put my handwritten notes into Capella with infinite patience and meticulousness. I can’t thank him enough for that – as well as for many years of musical stimulation, inspiration and enrichment.
And last but not least, I would like to thank Michael Hofmann, also a very dear friend of many years, who, with his encouragement, patience and perseverance, as well as his active help, ultimately turned my ideas into this book.
And now I wish you lots of fun and happy discovering!
Ange Hauck, in August 2021
Author:in
Ange Hauck
Because I could already sing “Snowflakes” at the age of one and a half, people thought I was musical. (My grandmother’s tapes as evidence may no longer exist, however). So even in kindergarten, the obligatory recorder was my first instrument.
My school years were later characterized by ten joyless years at the piano. In “musical grammar school” (the child was musical!) I learned what cadences are and how to “reverse” them. – But not what you actually need them for.
This dawned on me, however, when I started picking up guitar chords from friends and belting out the then popular repertoire with them – yes: even around the campfire.
Country programs on “AFN” were the first broadening of my horizons. I still didn’t know that there was a world beyond.
The spark was ignited when I got to know traditional Irish music. A vacation souvenir: a tin whistle. It became the key to a finally exhilarating journey of discovery to “my” music, the traditional music of Europe.
Studies and new circles of friends entered my life – and I got into the “drone scene”: Hurdy-gurdies, bagpipes and nyckelharpa – what a wealth of temptations and what wonder worlds of music and interesting people!
Festivals, musician meetings, course weekends, bal folk…
I learned to play bagpipes and hurdy-gurdies in no time at all, and if there had been a kilometer allowance for turning the crank, I could have been rich.
I had already caught plenty of “drone music viruses”. That’s when the “harp virus” struck. A friend pointed to the VHS catalog and asked: “Look, there’s a harp course. Are you interested in that?”
Shortly afterwards I had a harp on loan and a second course followed. And a quarter of a year later, the most beautiful of all harps was mine. A whole world of harmony possibilities now lay before me and I dived in.
And so the unpleasant times with the piano and cadences were not all for nothing after all.
Yes – hurdy-gurdy and bagpipes have a strong power of fascination and still give me a lot. But the harp has made my life “complete”: completely new, completely different and even more fulfilling. It has become a never-ending “journey”.
