Marcel Lucien TOURNIER: Thème et variations – Étude de concert – Vers la source dans le bois – Sonatine: I. Allègrement – Sonatine: II. Calme et expressif – Sonatine: III. Fiévreusement – Féérie – Prélude et Danse – Au hasard des ondes: No. 1 Au Japon – No. 2 En Chine – No. 3 En Afrique – No. 4a En France: L’Éternel Rêveur – No. 4b En France: Vision de Mer – No. 5 En Scandinavie – No. 6a En Roumanie: Nani – Nani – Berceuse pour Sanda – No. 6b En Roumanie: Berceuse du cavalier – No. 7 En Italie: Napoli Tarentella

Ameda Redditi, Harp.

Marcel Lucien Tournier

Marcel Lucien Tournier, born on the 5th of June 1879 in Paris, and died there on the 12th of May 1951, does not have the following he deserves, and we hope this record helps to redress this injustice. It has to be said that the harp, for which Marcel Tournier composed as well as played, is not the most popular of musical instruments. This musician’s career is, however, very distinguished. A pupil of R. Martenot and A. Hasselmans, he wins First Prize for the harp at Paris Conservatoire in 1899. In 1909, as a pupil of G. Caussade and Ch. Lenepveu, he wins the second Grand Prix of Rome as composer of the cantata ‘La Roussalka’, and the Rossini Prize (awarded by the Institute) for the cantata ‘Laure et Pétrarque’ (Laura and Petrarch). As a performer, Marcel Tournier plays for a short period with the Orchestre des Concerts Lamoureux (Lamoureux Concert Orchestra), then with the Société des Concerts (Concert Society Orchestra) and at the Théatre national de l’Opéra (National Opera Theatre).

Then begins his teaching career: in 1912, Marcel Tournier is appointed harp master at Paris Conservatoire: he remarkably molded several generations of harpists. At the same time, he continues to compose. Although he has published a good many pieces for voice, piano, violin and cello, most of his compositions are nevertheless dedicated to the harp, the instrument whose possibilities he expanded considerably by using sound effects such as gliding chords and gliding pedal-notes, homophonic and harmonic combinations. He also simplified the writing of glissandi.

This wonderful selection of pieces played for us by Amedea Redditi, the famous harpist who knew Marcel Tournier well and worked with him extensively, offers a valuable glimpse of the boundless talent of this great composer. We are happy that his work may thus be better known and appreciated.

Ameda Tapella Redditi, born on the 12th of March 1898 in Turin.

A pupil of Carolina Betti Navone at Turin High School of Music, where she obtains her diploma in 1915. She then follows a further training course under the guidance of Marcel Tournier at Paris Conservatoire and there gives several concerts. Back in Turin, she becomes first harpist at the Royal Theatre and is appointed harp teacher at the Conservatoire. She holds these positions from 1922 until 1955. Her artistic activity begins in the 20s and is destined to last for over 40 years. During the winter of 1962-63, she gives a series of concerts in Switzerland with Josef Molnar, the first horn player in Lausanne’s Chamber Orchestra.

She has undertaken several tours of South America, and for several seasons has given concerts in the municipal theatres of cities such as Santiago in Chile, Rio de Janeiro, Buenos Aires, and Sao Paolo.

She also plays on the radio in Italy, Brazil, Switzerland, and Monte Carlo.

Extract from the book: Women and Music in Piedmont 1800-1960 by G. Berruto.