Duo op. 10/3

Rediscovering, studying and analyzing the musical art of Philipp Joseph Hinner means enhancing a piece of the eighteenth-century harp music mosaic. Hinner’s work intrigues for its extraordinary simplicity, for its regularity and harmony; the ordered balance of the parts, symmetry and sense of proportion are essential elements for the author, and give character and unity to his work.

The harp repertoire has long been overshadowed by the keyboard one, which boasts extensive solo and chamber literature, and consolidated for over two centuries. The rediscovery of the history of our instrument, however, is still recent and the research work in the field of harp music is still long.

Hinner, with the apparent simplicity of his opus 10, can thus regain his role in the harp repertoire of the eighteenth century, as well as covering a considerable didactic value today. The part of the first harp undoubtedly presents characteristics of greater rhythmic and virtuosic complexity than that of the second, which consists of a continuous accompaniment interspersed with simple thematic imitated episodes.

Furthermore in the composition are included arias such as Ô ma tendre Musette, a French popular melody of the 18th century (previously set to music by Pierre-Alexandre Monsigny), and «Sentir avec ardeur», taken from the opéra-comique L’erreur d’un moment ou la Suite de Julie by Nicolas Dezéde, as well as themes from Gluck’s Iphigénie en Aulide, which had been all used also by Hinner’s first harp master, Francesco Petrini (1744-1819).

Hinner’s opus 10, originally written in separate parts for two harps, or harp and fortepiano, is presented here updated and completed with its score, for a thorough perception of the work.