Italian Vincenzo Maria Graziani (1874) was, like his contemporary Englishman Parish-Alvars, a virtuoso composer-harpist. Of Neapolitan origin, this «Paganini of the harp» pushed further the technical evolution which Bochsa had begun-and developped t [+]Italian Vincenzo Maria Graziani (1874) was, like his contemporary Englishman Parish-Alvars, a virtuoso composer-harpist. Of Neapolitan origin, this «Paganini of the harp» pushed further the technical evolution which Bochsa had begun-and developped the technical aspects, the harmonic effects, the arpeggios and the bright ranges of the instrument.He taught the harp in Roma and trained an entire generation of harpists to whom he dedicated most of his compositions. Opera inspired the largest part of his themes - often in a spirit of critical irony, as was common among other composers of the period.
The Serenata, a quartet for harp, flute, oboe and bassoon (1846), which took its inspiration from two melodies of Bellini's Pugni, was dedicated to Fanny Elssler(1810-1884).
Moses Prayer (1883), for solo harp is a theme and variations piece inspired in melodies from Rossini's Moses.
For solo harp Three Love Songs Without Words (1862)harp solo,
are memoeable for the beauty of their melodies.
The Notturno e Tempo di Waltz (1858)harp solo, consisits of introduction - as invitation followed by the waltz.
The Carnavale di Venezia (1880) for harp a memory of his friend Nicolo Paganini.Its famous theme appears after an introduction and is followed be a sequence of virtuoso variations.
The Duetto (1853), inspired by Bellini's I Puritani for harp and bassoon after the themes follow a number of variations - both instruments merrily sharing them.
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