by Floraleda Sacchi

Life

February 28, 1808, Teignmouth, Devonshire, England – January 25, 1849, Vienna

Introducing Parish Alvars is a vast and complex task. The first problem is his personality: his travels were fully reported by the press of the time, but, by using fictitious names in order to create his own character, Eli Parish (also known as Albert Alvars or Elias Parish Alvars) succeeded in hiding many aspects of his life. Another complex question is the historical period in which our protagonist lived: those were years full of social and political changes, with obvious repercussions on the artistic field. While in the preceding centuries a musician was at the service of a lord, now the artist was in full charge of his own creativity and could promote his own works and ideas. The third change, of fundamental importance, is the birth of the modern harp, both from the constructive and technical point of view.
These elements, together with Parish Alvars’ ambition, curiosity, love of luxury and adventure, made it possible for the humble Devonshire boy to shine, like a firework, in the European musical panorama as the perfect synthesis of the romantic artist and hero, just as only Liszt and Byron did.

The beginning

Eli Parish was born in a small port in Devonshire, Teignmouth, on February 28th 1808. Eli was baptized in the local church of St. James’s, West Teignmouth. The baptismal record reports: “Eli, son of Joseph and Mary Ann Parish”. His origins have sometimes been considered Hebraic, but there is no evidence of this supposition. Besides being baptized, Parish Alvars also had a church wedding ceremony – not in the Jewish rite – in a Viennese church in 1842.

The second of the ten children of Joseph and Mary Ann Parish, Eli was introduced to the study of music by his father, an organist, a singing teacher and a music dealer. His father is also believed to have been his first harp teacher. Eli’s first public performance took place in 1818, when he was ten in Totnes, in the same year his father went bankrupt. At the age of 12 he started studying in London with Nicolas Charles Bochsa, but he was not admitted to the Royal Collage in 1822 as he was unable to pay the college fees. A career as an enfant prodige was impossible to support too for his family, so Parish Alvars could keep studying during his adolescence thanks to the help of a few noble families. He also earned some money by playing at balls and parties and travelled to London and back in order to continue his lessons with Bochsa.

Chronology of Travels and Concerts

1828: He finished his studies and left for Florence, invited by Lord Burghersh, a composer, the founder of the London Royal Academy of Music, and also the English ambassador in Florence. He remained in Florence for a year, studying singing with Guglielmo family and composition with Maximilian Leidesdorf. He started using the pseudonym “Albert Alvars”

end of 1829 – mid 1830: back in London, he worked for harp maker Schweiso & Grosjean, 11, Soho Square;

June 1830: North Germany tour (Magdeburg, Bremen, Hamburg and Brandenburg);

Autumn 1830: concerts in Copenhagen and Stockholm;

Spring-Summer 1831: concerts in Saint Petersburg and Moscow, where he remains in the winter;

Spring 1832: concerts in Constantinople for Sultan Mahmud II. He collected a series of popular melodies which he was to publish as “Travel of a Harpist in the Orient op. 62”. Invited by Count Boutinoff, Russian ambassador in Constantinople, he remained in the city for about 3 months;

late 1832: he moved to Vienna and start using name “Elias Parish Alvars” for concert programmes and publications.

Spring 1833: He met in Vienna Sigismund Thalberg and Carl Czerny: he composed and performed regularly with the latter between 1836-1842.

late Spring- Summer 1833: concerts in Hungary, Switzerland and France;

end of 1833: concerts with John Field in Switzerland and North Italy (29 November 1833: concert at Teatro alla Scala in Milan);

1834-1835: living in Vienna and Munich. In Munich, Falter Editions published his first composition for harp under the pseudonym Albert Alvars (composed when he was still using this first pseudonym);

1836-1842: living in Vienna, teaching, appointed solo harpist at Hofopertheater. He studied composition with Simon Sechter and Ignaz von Seyfried and performed several times in the city with Joseph Fahrbach and the Lewy brothers at Hofoperntheater and Kärthnerthortheater;

March 1842: German tour: concerts in Dresden, Leipzig, Frankfurt;

April 1842: concerts in London;

June 1842: concerts in Germany. Franz Liszt wrote: “Our bard has a somewhat rugged appearance; his gigantic figure, with his square shoulders, recalls the mountain peasant. His face is comparatively mature for his years, and from underneath his prominent forehead speak his dreamy eyes expressive of the glowing imagination which lives in his compositions”. (Neue Zeitschrift für Musik, 1842, June);

August 1842: concerts in Milan;

October 1842: He married pianist and harpist Melanie Lewy, who had also been his puil and was sister of the French horn-playing Lewy brothers;

December 1842 and January 1843: concerts in Vienna with Lewy brothers and Melanie at Hofoperntheater;

January 1843: in Prague with Lewy brothers, performing at “Plaitteirs Hall” (on January 28 he played “Grande Fantaisie sur Moïse de Rossini op. 58” and the “Grande Fantaisie sur Lucrezia Borgia de Donizetti op. 78” and on January 30, the “Gran Duo sur Linda di Chamounix de Donizetti pour harpe et piano op. 65”, accompanied by his wife Melanie);

February 1843: concerts in Dresden and Leipzig.
After the Dresden concert, Hector Berlioz wrote: “In Dresden, I met the prodigious English harpist Elias Parish Alvars, a name not yet as renowned as it ought to be. He had just come from Vienna. This man is the Liszt of the harp. You cannot conceive all the delicate and powerful effects, the novel touches and unprecedented sonorities, that he manages to produce from an instruments in many respects so limited. His fantasy on Moses (imitated and adapted for the piano with such happy results by Thalberg), his Variations for harmonic notes on the Naiads Chorus from Oberon, and a score of similar taste, delighted me more than I can say…” (Mémoires de Hector Berlioz, Paris, 1903);

March 1843: Berlin (11 March);

April 1843: Gotha (12 April);

May – October 1843: concerts in Frankfurt, Darmstadt, Mannheim, Karlsruhe, Stuttgart. Berlioz met him again and wrote: “Here [in Frankfurt] I again met Parish Alvars. This man is a magician. In his hands the harp becomes a siren, with lovely neck inclined and wild hair flowing, stirred by his passionate embrace to utter the music of another world.” (Mémoires de Hector Berlioz, Paris, 1903);

November 1843: Birth of his daughter Aloisia in Vienna;

end of 1843 – beginning of 1844: holiday in Naples with his family. He composed the collection of harp pieces “Souvenir de Naples”;

February-July 1844: concerts in London at “Royal Philarmonic Society” and at “Princess Concert Room” where he performed the “Gran Concerto in C major for harp and orchestra op. 60″, some of his most famous Fantasias, the”Overture: The Legend of Teignmouth”, the “Concerto in G minor for piano and orchestra op. 90” and the “Concertino in D minor for 2 harps and orchestra op. 91”;

August 1844: Concerts in Vienna;

September 1844: concerts in Berlin;

October 1844: concerts in Frankfurt;

November 1844-March 1845: holiday in Naples (just one concert on November 26 after his arrival in the city). He was expected in London in February, but fell and hurt himself while on an excursion to Mount Vesuvius and was obliged to stay an additional two months in Naples. During this time he wrote the “Symphony in E Minor PA 1 ms” and finished the “Concerto in E flat Major for harp and orchestra op. 98”;

April 1845: concerts in Vienna on April 8 and 24 at Gesellschaft der Musikfreunde);

late Spring-Summer 1845: concerts in Cologne, Berlin, Leipzig (he performs his “Sinphony in E minor”);

November- December 1845: back in Vienna he performed on November 16 atKonzert-Salon and on December 7 at Gesellschaft der Musikfreunde;

December 1845-February 1846: holiday in Naples;

March 1846: concerts in Leipzig and Stuttgart (“Concerto in E flat major for harp and orchestra op. 98”, directed by Bernhardt Molique);

Spring 1846: concerts in London performing “Concerto in G minorfor piano and orchestra op. 90” and a new Ouverture entitled “Scene from Child Harold’s Pilgrimage” by Byron);

August 1846: Birth of his son Arthur in Vienna

Autumn 1846: in Vienna he was granted the title of Imperial Virtuoso, and started teaching harp at the Gesellschaft der Musikfreunde;

November 1846-February 1847: concerts in Berlin and Leipzig

March 1847: the European political situation was beginning to show signs of instability, so he returned to Vienna, which was subdued thanks to the repressive measures of Metternich;

9 January 1848: he gave a large concert in the Musikvereinsaal in Vienna.

Death

On 13 March 1848 the first riots erupted in Vienna and in April amid the general confusion, the Gesellschaft der Musikfreunde closed suddenly, stopping all payments, and even refusing to pay the salary owed for the last six months. Parish Alvars found himself in serious financial straits. He could not travel to other cities or countries, as they were experiencing similar political difficulties; he had lost most of his pupils, who, as members of noble families, had left town out of fear; musical life had stopped, and the Hofoperntheater burnt down.
During this troubled period, which reached a climax in October, Parish Alvars and his family found refuge in Leopoldstadt, on the outskirts of Vienna (now a part of the city). They lived at Jägerzeil No. 533, on the first floor. On 21 November 1848 he borrowed a hundred florins from his friend and editor August Artaria. His health suddenly worsened, and he died of pneumonia (the documents are however not clear on this point) on 25 January 1849. His wife returned with their daughter to London.

Main works

“Tema e Variazioni PA 1” (Munich, 1834)
“Sehnsucht” or “Romance melancholique op. 27” (Milan, 1835)
“Tema e Variazioni op. 29” (Vienna 1836)
“Favourite Sultan’s March op. 30” (1836)
“Scenes of my Youth” (Vienna, 1837, series of Romances)
“Grande Fantasia sul Moïse di Rossini op. 58” (Vienna 1837)
“Fantaisie sur Oberon by Weber op. 59” (Vienna 1837)
“Gran Concerto in C major for harp and orchestra op. 60” (Vienna 1837, published in 1842 by Ricordi) – (dedicated to Queen Victoria)
“Travel of a Harpist in the Orient op. 62” (1843-1846)
“Gran Duo sur Linda di Chamounix de Donizetti pour harpe e pianoforte op. 65”
“Grande Fantaisie sur Lucrezia Borgia de Donizetti op. 78”
“Gran Concerto in sol minore per arpa e orchestra op. 81” (1842)
“Serenata op. 83” (Naples, 1843-1844)
“Il mandolino op. 84” (Naples, 1843-1844)
“Il pappagallo op. 85″ (Naples, 1843-1844)
’”Ouverture The Legend of Teignmouth”
“Concerto G minor for piano and orchestra op. 90” – dedicated to Franz Liszt
“Concertino in D minor for 2 harps or piano and harp and orchestra op. 91”
“Sinfonia in E minor PA 1 ms” (Naples, 1845, performed in Leipzig)
“Concerto in E flat major for harp and orchestra op. 98” (Naples, 1845, performed in Leipzig in 1846)
Ouverture, scene from “Child Harold’s Pilgrimage” by Byron
“Gran concerto in C minor for harp and orchestra PA 2 ms”
“Grande Fantasia su I Capuleti e i Montecchi di Bellini e Semiramide di Rossini PA 2 post”

Use of Special Harp’s Techniques

Title

Difficulty

Special techniques

Sehnsucht or Melancholic Romance op. 27  (firmata Albert Alvars)

2

etouffés

Theme and Variations op. 29

3

harmonics

The Sultan’s Favourite March op. 30

2

etouffés, notes played near the soundboard, trills

Souvenir of Milan, Grand Fantasia op. 31

3

pedal slide, harmonics, etouffés

Introduction and Variations on a Theme by Bellini op. 32

2

etouffés

Theme and Variations op. 33

3

etouffés, trills

Concertino in E Minor for harp and orchestra op. 34

3

glissandos, harmonics

Fantasia op. 35

3

harmonics, trills

Introduction and Variations on Bellini’s Normaop. 36 (orchestral accompaniment ad libitum)

3

harmonics

Divertissement on Bellini’s Beatrice di Tendaop. 38

2

Grand Fantasia on Favourite Italian Arias for harp and piano or two pianos op. 39 (in collaboration with Carl Czerny)

3

Introduction and Variations on Bellini’s I Capuleti e i Montecchi op. 40

2

Scenes of my Youth, Romances (First series) op. 42

2

Souvenir of Bellini’s La Sonnambula op. 46

2

pedal slide

Scenes of my Youth, Romances (Second series) op. 48

2

harmonics

Souvenir of Donizetti’s Gemma di Vergy op. 49

3

Chorus of the Greek Corsairs, March op. 53

2

harmonics, etouffés

Scenes of my Youth, Romances (Third series) op. 56

2

Grand Fantasia and Virtuoso Variations on Italian Themes op. 57

3

glissandos, etouffés

Grand Fantasia on Rossini’s Moïse op. 58

3

glissandos, harmonics, etouffés, notes played near the soundboard, three-handed technique

Fantasia on Weber’s Oberon  op. 59

3

harmonics, trills

Grand Concerto in C Major for harp and orchestra op. 60

3

pedal slide

Grand Fantasia op. 61

3

three-handed technique

Travel of a Harpist in the Orient (Nos. 1 – 6) op. 62

2

etouffés

The Plaint of a Young Girl, Song without words op. 64

2

Grand Duo on Donizetti’s Linda di Chamounixfor harp and op. 65 (in collaboration with Carl Czerny)

3

Fantasia on Themes from Lord Burghersh’s L’Eroe di Lancastro op. 66

2

harmonics

Grand March op. 67 (orchestral accompaniment ad libitum)

2

etouffés

The Farewell, Romance op. 68

2

Souvenir of Besnate or The Lament, Song without words op. 69

2

Impromptu in the Form of a Fugue for piano op. 70

2

Illustrations of German Poetry, First part: “Traum am Bache” by Schnezler op. 71

2

Illustrations of German Poetry, Second part: “Gretchens Gebet vor dem Bilde der Mater Dolorosa” op. 72

2

Fantasia on Donizetti’s Belisario op. 73

2

Souvenir of Donizetti’s Don Pasquale for harp and piano op. 74

2

Scenes of my Youth, Fantasia op. 75

3

glissandos, etouffés, three-handed technique, trills

Fairies’ Dance op. 76

3

trills

Souvenirs of Italian Operas: Ernani by Verdi op. 77

2

Grand Fantasia on Donizetti’s Lucrezia Borgia op. 78

3

glissandos, three-handed technique, trills

Grand Fantasia on Donizetti’s Lucia di Lammermoor op. 79

3

three-handed technique

Souvenir of Donizetti’s Dom Sébastien op. 80

2

Grand Concerto in G Minor for harp and orchestra op. 81

3

trills

Rêveries op. 82

3

pedal slide

Serenade op. 83

3

fluid sound, harmonics, pedal slide, trills

Grand Study in Imitation of a Mandolin or The Mandolin op. 84

3

three-handed technique, trills

Souvenir of Naples: Il pappagallo op. 85

2

harmonics, three-handed technique

Souvenirs of Italian Operas: I Lombardi alla prima Crociata by Verdi op. 86

2

Souvenir of Portici, March op. 87

2

etouffés

Souvenir of Taglioni, Rondo op. 88

2

Souvenir of Pischek, Fantasia op. 89

2

trills

Concerto in G Minor for piano and orchestra op. 90

3

Concertino in D Minor for 2 harps or harp and piano and orchestra op. 91

3

Souvenirs of Italian Operas: Lucia di Lammermoor by Donizetti op. 92

2

Souvenirs of Italian Operas: Marino Falieroby Donizetti op. 93

2

Souvenirs of Italian Operas: L’Elisir d’amoreby Donizetti op. 94

2

Souvenirs of Italian Operas: Il Giuramento by Mercadante op. 95

2

Second Souvenir of Donizetti’s Dom Sébastien op. 96

2

Illustrations of Italian Poetry (Nos. 1-3) op. 97

2

Concerto in E flat Major for harp and orchestra op. 98

3

Works without opus number

Theme and Variations PA1 (firmata Albert Alvars)

3

Fantasia on the Last Theme by Bellini for flute and harp PA2 (in collaboration with Joseph Fahrbach)

3

Fantasia and Virtuoso Variations on a Theme by Ricci PA3 (orchestra or string quartet accompaniment ad libitum)

3

glissandos, three-handed technique

Introduction and Variations on a Theme by Herz PA4

3

Il Pescatore, Barcarola for voice and harp or piano PA5

1

Ouverture to Parish Alvars’ Opera The Legend of Teignmouth for piano four hands PA6

2

Three Original Melodies PA7

1

Souvenir of Bochsa PA8

3

trills

Barcarola PA9

2

harmonics

Hungarian March PA10

2

etouffés

Heimweh, Romance for voice and piano PA11

1

Posthumos works

Last Thoughts: Melody; Funeral March PA1 post

2

etouffés

Grand Fantasia on I Capuleti e i Montecchiand Semiramide PA2 post

3

glissandos, harmonics, three-handed technique, trills

Lights and Shadows PA3 post

2

trills

Fantasias on Donizetti’s La Fille du RégimentPA4 post

2

Fantasia on Donizetti’s L’Elisir d’amore PA5 post

2

Manuscripts

Symphony in E Minor for orchestra PA1 ms

Concerto in C Minor for harp and orchestra PA2 ms

3

Arrangements

L’espagnole for harp and violin (Lafont – Czerny) PA1 arr

3

La Partenza, La Promessa, L’Orgia (Rossini – Liszt) PA2 arr

2

Three Romances (Schubert) PA3 arr

2

Two Nocturnes (Field) PA4 arr

2

Twelve Favourite Arias (various composers) PA5 arr

1

Wedding March for harp and piano (Mendelssohn) PA6 arr

1

Ballabile from Les Huguenots (Meyerbeer) PA7 arr

2

“D’un sacro zel l’ardore” from Les Huguenots(Meyerbeer) PA8 arr

2

“Nobil Signor” from Les Huguenots(Meyerbeer) PA9 arr

2

Aufforderung zum Tanze for harp and piano (Weber) PA10 arr

2

Gran Marcia militare imperiale for harp or piano (Donizetti) PA11 arr

2