Carlos Salzedo (April 6, 1885 – August 17, 1961), was a harpist, composer and conductor, born in Arcachon, France, who was one of the musical elite of his time.
Carlos Salzedo was born Charles Moise Léon Salzedo on April 6, 1885 at 11:30 a.m., two months prematurely. Salzedo's parents, Isaac Gaston Salzedo and Thérèse Judith Anna Silva, he a fine singer, and she a fine pianist, residents of Ciboure, had been vacationing in Arcachon when Mme. Salzedo fell down a flight of stairs, causing the premature birth. Both parents were of ancient Sephardic families. Mme. Salzedo was a court pianist to Queen Maria Christina of Spain. Leon (Carlos) Salzedo played the piano for the Queen at the age of three; and she then dubbed him "my little Mozart."
Salzedo's mother died when he was just five. The family then moved to Bordeaux and a Basque woman, Marthe Bideberripe, was hired as a housekeeper-nurse-governess. Salzedo became deeply attached to her, later sending her checks throughout his life, and liked to think of himself as Basque. His later compositions perhaps reflect that in his habitual use of a five-beat meter, typical of the Basque dance, the Zortzico.
Leon (Carlos) began playing piano at the age of three, and wrote his first composition, a polka called Moustique, which was published, at the age of five. Though lost, the theme reappeared in his later Polka in his Suite of Eight Dances. At six, he entered the St. Cecilia School of Music, where he won first prize in piano and solfège three years later, after which the family moved to Paris. Carlos entered the Paris Conservatoire at nine years old, where he again won prizes in piano (Descontes)and solfège (Schwartz). He continued his piano studies with Charles de Beriot, son of a renowned violinist and a piano pupil of Thalberg.
Salzedo's father, by then a well-known voice teacher, decided Carlos should take up a second instrument, and harp was chosen, because he was too weak to play a wind instrument and his older brother Marcel played violin. Beginners were not accepted at the Conservatoire, so Carlos took lessons from Marguerite Achard. After a few months, he had advanced enough that he was accepted as a pupil by Alphonse Hasselmans, professor of harp at the Conservatoire. After a year of study with Hasselmans, he entered the Conservatoire as a fully-fledged harp pupil at the age of thirteen. In 1901, at age sixteen, Salzedo won the premier prix in harp and piano on the same day, a feat unmatched before and since, and was awarded a Steinway grand piano. While a student, Salzedo free-lanced as second-harpist in the Concerts Lamoureux orchestra as well as the orchestras of the Olympia and the Folies-Bergere. Salzedo also studied composition while at the Conservatoire, ultimately winning great praise from the director, Gabriel Faure.
When Salzedo graduated, he was hired as a solo harpist, first harpist, and solo pianist at the New Casino in Biarritz under conductor/composer Luigini. The following winter he toured Europe with the Concerts Colonne orchestra, followed by solo appearances as pianist and harpist with that orchestra. He made his Paris debut at 18 as a harpist and pianist in 1903, at which time he changed his name to Carlos from Léon-Charles Moise. Also about this time, a stroke paralysed Gaston Salzedo, who handed over his position as synagogue music director to young Carlos. Salzedo also toured in solo performances around Europe, receiving glowing praise in the papers.
In 1909, Arturo Toscanini invited Salzedo to play for the Metropolitan Opera in New York, and Carlos left France for America, without knowing any English. Salzedo was introduced at a soiree to Viola Gramm, a respected pianist and singer. She had studied in Paris. She became romantically involved with Salzedo, who gave her the nickname "Mimine." Together they traveled through the château country of France in 1913, and were married on April 30, 1914. Salzedo wrote a wedding cantata for the occasion, which was performed by his friends.
Salzedo had recently formed the "Trio de Lutèce", with Georges Barrère on flute and Paul Kéfer on cello, which toured extensively in the United States. The trio was scheduled to play in England, so Salzedo and Mimine took the opportunity to honeymoon in Europe; in England, they were introduced to various members of the nobility, and at one point, Salzedo played for the Princess of Battenberg. When World War I began, they moved to Menthon-Saint-Bernard (in the Rhône-Alpes region) hoping to spend time together, but Salzedo was drafted into the French Army.
Salzedo was made head cook for his infantry unit, and happened to be in the same unit as several painters and musicians. He had a sympathetic leader, and was able to organize them into a performing group that sang for soldiers and toured hospitals, for which he composed several songs. He even got an extended leave to see Mimine for his work, but when he returned, a new captain was in charge who did not permit the musical activities. Salzedo also became ill with pneumonia and a form of paralysis, for which he was hospitalized for several months before being discharged from the army. In order to get passports (which had not been necessary in 1914) to leave France, Salzedo and Mimine had to prove their identities and marry a second time in Paris, in August 1915.
During this early period of his adult life, he was very active in musical high society and high society otherwise. He neighbored with the ultra-rich at Seal Harbor in Maine. He counted among his friends Edgard Varese, Josef Hoffman, Leopold Stokowski and Dane Rudhyar. He was sought after for performance at social occasions where he could be quite the life of the party.
On the Salzedos' return to the US in 1916, Carlos rejoined the Trio de Lutèce, but not the Metropolitan Opera, from which he had resigned in 1913. Salzedo and Mimine began spending summers in Seal Harbor, Maine, where Salzedo became friends with Vaslav Nijinsky, a Russian dancer with whom he developed a theory of esthetic gestures for the harp that later became part of the Salzedo method for the harp. In the Twenties, Salzedo and Mimine grew apart - she was spending more time in Rome, and Carlos was spending more time with the increasing number of students who were coming to him for lessons. They had an amicable divorce in 1926, and in 1928, 42-year-old Salzedo married 21-year-old Lucile Lawrence, who had begun her studies with him ten years earlier and developed into a virtuosa in her own right. Salzedo had a very extensive performing schedule in these years, with tours by the Trio de Lutece, the Salzedo Harp Ensemble, and solo appearances. Lawrence served as first harp of the Salzedo Harp Ensemble, a high-profile group, and she also led her own Lawrence Harp Quintette on engagements too small for the Salzedo Harp Ensemble. Salzedo was involved in many arenas, including the burgeoning "new music" circles in New York, where he co-founded the International Composers Guild with Edgard Varese. The Guild was the first group of its kind, and presented the most prominent European composers and others in concert, figures such as Ravel and Casella. This later led to the formation of the rival League of Composers, which was organized to support "American" composers, causing a rift in musical circles not healed for many years. Salzedo was in the forefront of artistic ideas, and social circles. He encountered Martha Graham as the roommate of a pupil, and seeing her genius, he brought all influence to bear on her being given a Rockefeller grant, that was instrumental in the development of her career. He toured with Adolf Bolm, the great dancer and choreographer as a conductor as well as composer. His compositions, performed by major orchestras, reflect a searching, creative mind, with much originality and a timeless freshness. His pieces have a great appeal that does not wane, and show off the harp as an imaginative, eloquent instrument of great drama, and poetry, as well as abstract qualities, and virtuoso display. Salzedo led many fund-raising efforts, raising considerable amounts for the wartime relief of France, to buy a pipe organ in Seal Harbor, with matching funds from John D. Rockefeller, and notably, another was to help Vladimir Nijinsky escape to safe asylum in Switzerland.
He appeared regularly as a soloist with orchestras such as the Philadelphia Orchestra, on tour as a recitalist, harp ensemble leader and flute-harp-cello trio member. His activity in the 1920s alone was astonishing in its energy, and he was a celebrity as well. He was compared to Wanda Landowska by no less a critic than Virgil Thomson, as a pioneer and as a fascinating performer.
He was different in introducing historical music as well as the new, featuring French baroque music extensively on his programs. His performing season would typically include a solo recital; tours with his Trio de Lutece or B-S-B trio (Barrere-Salzedo-Britt), Salzedo Harp Ensemble, and later his Salzedo Concert Ensemble, as well as appearances with orchestras. He was a sought-after teacher as well, privately in New York, and at the Curtis Institute of Music, where he maintained a large department until 1961.
He performed with the major orchestras as a soloist in the Chorale and Variations by Widor, his own tone poem The Enchanted Isle, premiered in America the Introduction and Allegro of Maurice Ravel, the Handel Concerto, the Mozart Concerto for flute and harp, the Triple Concerto by Wagenaar (commissioned by the Trio de Lutece) and the Concerto by Norman Dello Joio for which he contributed the cadenza, as he also did for the Concerto for Harp by Nicolai Berezowsky. His own Concerto for Harp and Seven Winds was introduced by Lucile Lawrence and Lily Laskine, and his Second Concerto was premiered for his 1985 centennial by Jennifer Hoult with the American Chamber Orchestra. (The orchestrations were completed by Robert Russell Bennett with a grant from the Alice Ditson Fund, and stolen immediately after the performance, as yet not recovered.)
Salzedo is well-considered history's great harpist. He was as highly regarded as a pianist and conductor by his colleagues as he was by harpists. Recordings he made evidence an unparalleled virtuosity, with a signature style of clarity, facility, articulation, and subtle phrasing. His transcriptions and compositions are quite original. He was a progressive spirit, seeking new resources in the harp, inspiring and creating new works and creating new styles of music. His composing progressed from French Romantic to Impressionist to a new style uniquely his own. Many harpists objected to his innovations, provoking a backlash that continues into present times, yet his influences and contributions remain definite. While a few harpists have equaled his virtuosity, Heidi Lehwalder, Alice Giles, neither is a composer as well, nor conductor. As a teacher, he was a Moses leading his people into a new world. He raised standards of strength, facility, quality, and thus his students were widely sought-after for positions of influence.
He influenced many composers with his new ideas for the harp's sounds and notation. They are reflected in such signature works as the Concerto for Harp by Alberto Ginastera, the Serenade no. 10 and Parable by Vincent Persichetti, the Suite for Harp and Chamber Orchestra by Harry Somers, Divertissement by Wallingford Riegger, the Divertissements by Andre Caplet and many other works.
His artistic ideas led to the designs of two harps still manufactured by Lyon & Healy, the art-nouveau style 11 and the art deco Salzedo model. The Salzedo model harp is based on the number 5, his favorite number, and has five stripes of each color on the sounding board, five sections of the base, five parts in the column, etc., for striking effect. Salzedo harp Style 11
He founded the harp program at Curtis Institute, and the Salzedo Harp Colony in Camden, Maine with Lucile Lawrence, and served early on the faculty of New York's Institute of Musical Art (later known as Juilliard). He was a National Patron of Delta Omicron, an international professional music fraternity.[1]
Salzedo's students number in the hundreds. Many are deceased, several are currently performing in symphony orchestras, including the Philadelphia, Milwaukee, New Jersey, Santa Fe Opera Orchestras, and teaching at conservatories and universities. A partial list of notable Salzedo students at the Curtis Institute of Music include Lucile Lawrence, Alice Chalifoux, Edna Phillips, Marilyn Costello, Marjorie Tyre, Lynne Wainwright Palmer and Judy Loman.
He died on August 17, 1961, in Waterville, Maine, at the age of 76.[2]
The Art of Modulating Carlos Salzedo with Lucile Lawrence (Schirmer) text and music
Conditioning Exercises Carlos Salzedo (Schirmer)
The Harpist's Daily Dozen (Schirmer, Lyra)
Method for the Harp Lawrence / Salzedo (Schirmer) music, text by Lawrence
Modern Study of the Harp Carlos Salzedo (Schirmer) music and text
Pathfinder to the Harp, containing Pathfinder Studies Lawrence / Salzedo (Peer-Southern) only contributed music for "Conflict" according to Lucile Lawrence.
Compositions for Cello, Flute, Piano, Trombone, Voice(many early works were published by Costallat, but have apparently vanished)
Berceuse for Cello and Piano, opus 72 (1907) Caprice Scherzando for Cello and Piano (1908) Invocation for Cello and Piano (1908) Piece Concertante for Trombone and Piano, opus 27 (1910) Rivalite de Fleurs for Voice and Piano, opus 25 (1911) Four Choruses in Old Sonata Form for 3 mens voices/choir and harp, organ or piano (1914) Prelude to Olaf Bolm for Piano (1926) Breaking in the New Year for Piano (1935) Offrian for Cello (1951) Volute and Rondel for Flute (1951) Marya Freund for Piano (1956) Enigme for Piano (1960) [edit] Original Compositions for Harp (alone or with other harps, and other instruments or voice)Ballade op. 28 (1910)(later revised) (Trois Morceaux no. 1) Paraphrase (Cadenza) for Liszt's Second Rhapsody (a solo showpiece or cadenza for orchestral performance)(1910) (Schirmer/Lyra) Jeux d'Eau (1911) (Trois Morceaux no. 2) Variations sur un theme dans le style ancien (1911)(Trois Morceaux no. 3) (Leduc) (a later edition revised by Salzedo was published by Lyon & Healy) Chanson Chagrine (1914) (Lyra) Five Preludes for Harp Alone (1917) (Carl Fischer) (to be performed in this order) (original title: Pentarhythmie) Lamentation Quietude Iridescence Introspection Whirlwind Five Preludes on the name of Olga (Samaroff-Stokowski) (1917) Embryon Eveil Fete au village Hallucinations Fraicheur (Schirmer) The Enchanted Isle, a tone poem for Harp and Orchestra (1918) (Lyra) Bolmimerie, for seven-harp ensemble (1918) Brise Marine, for soprano, oboe, horn, bassoon, six harps (1918) Modern Study of the Harp: Five Poetical Studies for Harp Alone (1919) (Schirmer) "(Flight)" "(Mirage)" "(Inquietude)" "(Idyllic Poem)" "(Communion") Poems of Sara Yarrow, for soprano, oboe, horn, bassoon, six harps (1919) Ecstasy Despair Humility Preludes Intimes (1919) (Boosey & Hawkes) tenderly emoted dreamingly profoundly peaceful in self-communion procession-like Burlesque-Sentimental (1920) Five Sketches on Friends of Mine (1920) Kyra Alanova Dane Rudhyar Edith Sullivan Sara Yarrow Edgard Varese Four Preludes to the Afternoon of a Telephone, for harp duo (1921) Audubon 530 Plaza 4570 Prospect 7272 Riverside 4937 Poem of the Little Stars (1921) (Lyra) Recessional (1921) (Lyra) Sonata for Harp and Piano (1922) (Society for the Publication of American Music, Lyra) Four Pieces for the Modern Irish Harp (1924) Sarabande variee Bi-tonal jig Pavloviana Prelude Nocturne Three Poems of Stephane Mallarme, for soprano, harp, piano (1924) Las de l'amer repos ou ma paresse offense Feuillet d'album (soprano solo) Une dentell s'abolit Nocturne to Ursula, for oboe (1925) Concerto for Harp and Seven Wind Instruments, harp, fl/picc, cl A, ob, hn, bsn, trp C (1926) (Lyra) (three movements) Preludes for Beginners, harp, published in Method for the Harp (1927) (Schirmer) (No titles for I-XI) XII Fanfare XIII Cortege XIV La Desirade XV Chanson dans la nuit Pentacle, suite for harp duo (1928) (FC) Steel Serenade Felines Catacombs Pantomime Preambule et Jeux, harp solo, fl, ob, bsn, str quintet (one movement) Prelude Fatidique, harp solo (1930) (Schirmer, Lyra---published with Suite of Eight Dances) Prelude in the Nature of an Octave Study (editor's title) (1930) (Lyra) Untitled work, harp, brasses, strings (1930) Musique des Troubadours, soprano, harp, viola d'amore, viola da gamba (1931) Triptic Dance, harp duo or trio (1931) (Lyra) (published as a transcription from Pierre Beauchant, a pseudonym) Short Stories in Music, harp (1934) Series I and II (Elkan-Vogel) The Dwarf and the Giant The Kitten and the Limping Dog Rocking Horse On Donkeyback Raindrops Madonna and Child Memories of a Clock Night Breeze, harp solo or ensemble On Stilts Pirouetting Music Box Behind the Barracks At Church Goldfish The Mermaid's Chimes Skipping Rope Scintillation (1936) (Elkan-Vogel) Tiny Tales for Harpist Beginners, two series (1936) (Elkan-Vogel) In Hoop-Skirts The Little Princess and the Dancing Master A Little Orphan in the Snow Lullaby for a Doll The Cloister at Twilight A Mysterious Blue Light Funeral Procession of a Tin Soldier The Chimes in the Steeple A Lost Kitten Pagoda of the Dragon Panorama Suite (1937) Noon Moonset Expectation The Birth of the Morning Star Waltz Vieni, Vieni (1938) (a suite of harp solos) Sketches for Harpist Beginners, two series (1942) (Elkan-Vogel) Rock Me, Mommy Imitation Echo Huntsman's Horn Lost in the Mist Hurdy-Gurdy Poor Doggy Tuneful Snuff-Box Pagan Rite Beethoven at School The Organist's First Steps A Young Violinist Falling Leaves Royal Trumpeters A Lonely Bell Baby on the Swing Mourners On the Tight Rope Pierrot is Sad Choral Second Harp parts for Short Stories in Music (1942) Behind the Barracks Memories of a Clock On Donkey-Back Rain Drops Night Breeze The Mermaid's Chimes Skipping Rope Tiny Tales for Harpist Beginners, second series (Elkan-Vogel) Processional The Clock-Maker's Shop Winter Night The Dandy Chimes Little Soldiers Mysterious Forest Little Jacques Grandmother's Memories Frere Jacques The Art of Modulating (1943)(Schirmer) Lullaby Reverie Carillon Grandmother's Spinning Wheel Florentine Music Box Petite Valse Suite of Eight Dances (1943) (Schirmer) dedicated to Lucile Lawrence Gavotte Menuet Polka Siciliana Bolero Seguidilla Tango Rumba Mimi Suite (1946) Mimi Awakening Incandescence Obsession (harp or piano) Wedding Presents (1946–52) Garlanded Chimes Vers l'Inconnu In the Valley In the Month of Maie Shadow of a Shade Idee-fixe Desir Interlude for the Theatre Vision Carol-Paul Cadenza (and editing) for the Berezowsky Concerto for Harp (1947) (Elkan-Vogel) Prelude for a Drama (1948) (M. Baron) Diptych, Two Pieces for the Right Hand Alone (1950) Reflection Interference Conditioning Exercises (1951) (Schirmer) Mardi-Gras Patrol for harp ensemble Conflict (in Pathfinder for the Harp, Peer) Elyze (1952) Second Concerto for Harp and Orchestra 1953-1961(Lyra), also known as Symphonic Suite (dialog for harp and orchestra) Chanson dans la Nuit, second harp part (Schirmer) Rumba and Tango (Suite of Eight Dances) second harp parts (Schirmer) [edit] Original Paraphrases, Arrangements for the harpAnnie Laurie Believe Me, If All Those Endearing Young Charms Blink to me only with one eye Concert Variations on: Adeste Fideles Deck the Halls Good King Wenceslaus O Tannenbaum Silent Night Deep River Diatonic Variations on The Carnival of Venice Dixie Parade I Wonder as I Wander Jingle Bells Jolly Piper Londonderry Air Paraphrases on Christmas Carols: Angels We Have Heard on High Away in a Manger Away in a Manger (to the tune of Flow Gently, Sweet Afton) The First Noel God Rest Ye Merry Gentlemen Hark! The Herald Angels Sing It Came Upon a Midnight Clear** O Little Town of Bethlehem We Three Kings of Orient Are What Child is This (Greensleeves) Short Fantasies on A Basque Carol A Catalan Carol A Neapolitan Carol A Noel Provencale Song of the Volga Boatman The Last Rose of Summer Traipsin’ thru Arkansaw Turkey Strut Two New Wedding Marches: Meyerbeer, Gluck The Suite of Eight Dances edition by Lyon & Healy is not the same as the original, hence not authentic.
[edit] Transcriptions of works by other Composers (for harp alone unless otherwise indicated)Albeniz: La Fete-Dieu a Seville (orchestra part created for Leopold Stokowski) Bach, J.S.: Bourree (Schirmer/Lyra) Polonaise et Badinerie (flute and harp) (Lyra) Sixth French Suite (harp duo or ensemble) (Lyra) Beethoven: Adagio from Moonlight Sonata (Schirmer) Boccherini: Sonata in A Major (flute, cello, harp) Brahms: Lullaby (Elkan-Vogel) Waltz in A-flat (Carl Fischer) Cady: Oriental Dance (harp duo) Candeille: La Provencale (Tambourin) (harp quartet) Corelli: Giga (Solos for the Harp Player, Schirmer) Couperin: Concerts Royaux (flute, harp, cello) Sarabande Dandrieu: Le Caquet (harp duo) Play of the Winds (harp duo) (Lyra) Daquin: L'Hirondelle (harp duo) Debussy: Ballade II from Trois Ballades de Francois Villon (voice and harp duo) Children's Corner Suite (harp, flute, cello) (Lyra) Clair de Lune (harp solo) (Schirmer) Clair de Lune (harp duo) (Southern) Danseuses de Delphes (harp duo) En Bateau (Lyra) First Arabesque (Solos for the Harp Player, Schirmer) La Cathedrale Engloutie for harp ensemble (published as harp duo) La Danse de Puck (7-harp ensemble) La fille aux cheveux de lin (Lyra) Les Cloches (soprano and harp duo) Les Ingenues (soprano and harp duo) Voiles (harp duo) De Falla: Seven Popular Spanish Songs (voice and harp duo) (American Harp Society edition) various works collected and titled by Salzedo as Suite Espagnole (flute, cello and harp duo) Dahlgren: The Maid and I (soprano and harp duo) Donizetti: Cadenza and solo from Lucia di Lammermoor (Elkan-Vogel) Durand: Chaconne (Solos for the Harp Player, Schirmer) Duparc: Invitation au Voyage (soprano and harp duo) Dvorak: Humoresque (harp solo—C. Fischer, or duo) Enescu: Sept Chansons de Clement Marot (soprano and harp duo) Faure: Dolly Suite (flute, harp, cello) Gluck: Gavotte from Armide (Lyra) Gavotte from Iphigenia in Aulis (Lyra) March of the Priests from Alceste (Lyra) Granados: Spanish Dance no. 5 (harp duo) (Southern) Grieg: A Vision (soprano and harp duo) Springtide (soprano and harp duo) Guion: Alley Tunes—Three Scenes from the South (flute, harp, cello) Handel: Concerto for Harp in B-flat, edited extensively and original cadenza (Schirmer) in modern style, also edited in period style in ms. Concerto for Oboe and harp Largo (C. Fischer) Largo (fl/vln/vla, cello, harp) Sonata in D (flute, cello, harp or harp duo) The Harmonious Blacksmith (Elkan-Vogel) Haydn: Theme and Variations (edited) Hue: Jeune Chansons sur des vieux airs (soprano and harp duo) Kjerulf: Ingrid's Song (soprano and harp duo) Lara: Concert Fantasy on Granada (Southern) Lie: Snow (soprano and harp duo) Locatelli: Trio Sonata (flute, harp, cello) Lotti: Sonata in G Major (flute, harp, cello) Malotte: The Lord's Prayer (Schirmer) Marcello: Toccata in C Minor (7-harp ensemble) Martini: Gavotte (harp duo) (Lyra) Massenet: Meditation from Thais (violin and harp) (Baron) Menuet d'Amour from Therese (Heugel) Mendelssohn: On Wings of Song (harp duo) (Lyra) Spinning Song (harp duo) (Lyra) Spring Song (Schirmer) Sweet Remembrance (Songs Without Words, no. 1) (Fischer) Wedding March (Elkan-Vogel) Meyerbeer: Coronation March from Le Prophete (Elkan-Vogel) Mozart: Concerto for flute and harp, edited and revised orchestration, edited cadenzas by Reinecke (Southern) Nin: Granadina (cello and harp) (Lyra) Offenbach: Barcarolle from Tales of Hoffman (Fischer) Pescetti: Sonata in C Minor (Schirmer/Lyra/Colin) Prokofieff: Prelude in C Major (Leeds/Lyra) Rameau: Gavotte from Le Temple de la Gloire (Schirmer/Lyra) La Loyeuse (harp duo) (Lyra) Les Sauvages (harp duo) Menuet Chantee (soprano and harp duo) Rigaudon and Tambourin (Solos for the Harp Player) (Schirmer) Rameau: Pieces de Clavecin en Concert, Suites I and II (flute, harp, cello) Ravel: A la maniere de Faure, Chabrier, Borodin (flute, harp, cello) Cinq Melodies Grecque (voice and harp) (Lyra) Piece en forme de Habanera (solo instrument or voice and harp) (Lyra) Prelude (Durand) Sainte (voice and harp) Sonatine (as Sonatine en Trio) (flute harp and cello) (Lyra) Rimsky-Korsakoff: Revised Cadenza for Capriccio Espagnole (ABC of Harp Playing, Schirmer) Rubenstein: Melody in F (Fischer) Saint-Amans: Ninette a la cour (harp duo) Saint-Saens: The Swan (violin or cello and harp (Schirmer) Scarlatti: The Cat's Fugue (harp duo) Sierching: Sylvelin (soprano and harp duo) Telemann: Sonata in F (flute/recorder, harp, cello) (Lyra) Tchaikovsky: Cadenza for the Nutcracker (Lyra) Thomas: Cadenza for Mignon (Lyra) Valensin: Menuet from Symphony no. 1 (flute, harp, cello) Wagner: Magic Fire Music from Die Walkure for one or two harps (Leduc) Wedding March from Lohengrin (Lyra)
- From Aeolian to Thunder, a biography of Carlos Salzedo by Dewey Owens, published by Lyon & Healy 1992
- Pentacle, a biography of Carlos Salzedo by Marietta Bitter, preface by Saul Davis Zlatkovski, to be published by the American Harp Society 2010
| Persondata |
| Name |
Salzedo, Carlos |
| Alternative names |
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| Short description |
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| Date of birth |
April 6, 1885 |
| Place of birth |
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| Date of death |
August 17, 1961 |
| Place of death |
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