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Harp Concerto in E flat major, Op.98     28:02
1. - I. Allegro brillante
2. - II. Andante
3. - III. Allegro

Concertino for Harp, Piano and Orchestra in D minor     21:43
4. - I. Allegro brillante
5. - II. Andante
6. - III. Allegro brillante

7. Fantaisie for Harp and Piano, Op.39     17:26

Marielle Nordmann (harp)
François-René Duchable (piano, 4-7)
Orchestre Philharmonique de Strasbourg
Theodor Guschlbauer (conductor)


Parish successfully studied with Boscha and Dizi but he may well have been ahead of his time. As a composer and performer he was technically advanced and found innovative ways in which he could use the double-action of the harp, his instrument of choice. From 1834 he lived in Vienna even though he wanted to make his home in London; the musical establishment in England was not ready for the solo harp. Parish's eighty plus compositions for the harp include one of the most demanding harp pieces ever scored as well as a number of concertos, concertinas, a symphony, other pieces for the harp and an unfinished methodology. The last position which Parish held was chamber musician to the emperor in Vienna. ---Keith Johnson,


Eli Parish (1808-1849) was a boy from Teignmouth in Devon who went on to become one of Europe’s most celebrated and dextrous concert harpists, and a prolific composer.

THE year 1818 was a momentous one for the ten-year-old Eli Parish. That was the year he gave his first harp concert, in his hometown of Teignmouth, Devon; and it was also the year that his father was declared bankrupt.

Eli was denied a place at the Royal Academy of Music, but a local landowner paid for him to continue his studies in London with Nicolas-Charles Bochsa, who would have been his professor.

In 1828, Eli left for the Continent, where he adopted the stage-name Elias Parish Alvars, and performed alongside Carl Czerny, John Field, and the Lewy brothers Edouard and Joseph, whose sister Melanie he married.

In 1848, Eli was in Vienna when the city became embroiled in a wave of revolutions that robbed him of his pupils, his concerts, and his livelihood.

His health declined, and the man whom Hector Berlioz described as a ‘magician’, ‘the Liszt of the harp’, passed away on 25th January, 1849.

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