Thanks for this article, Carl! I just finished performing the Debussy Trio, having made those corrections after consulting Anton Sie, who had a sheet of errata. He had made this sheet after looking at the original manuscript. There was one spot where I was afraid to make the change for fear that people would think I was making a mistake (where the chord is supposed to be one beat later). I will be very interested to see your further articles. I will send you the errata sheet as well.

I would like to join the army of thrilled harpists to say a huge thank you, Carl. The flurry of excitement on reading the article is still going strong and i am still putting the changes into my part. I cannot WAIT to purchase the new edition. Also, I really cannot wait for the rest of the article – sorry to sound rude, but playing the Sonate a lot, I am actually now near DESPERATE for the rest of the changes. Is there any way I can purchase the rest of the article from you in advance of publication? Or do ANYTHING to earn a copy! My trio and I are absolutely chomping at the bit for the next section. Anyway, thank you so much for the clear, faultless presentation. Watch out – you’re giving harpists a good name! (I have also subsequently found your article on playing the first page of the Debussy Danses- again, illuminating and wonderful).

There is someone else who deserves much of the credit for this article, and that is Elizabeth Huntley, the editor of the Journal. When I first contacted her about this, I told her this would make a nice little article, maybe one page or a page and a half, because I assumed that Marie-Claire Jamet’s list of corrections was all there was. Then, as I started proofing the Sonate myself, the list got longer and longer. In a panic I called Liz and told her the article might take up the entire Journal. “Don’t worry” she said, “That’s OK. We’ll deal with it.” The list kept getting longer and longer and she and I decided together that this would have to be divided into three articles.

As I was getting all the musical examples for the first article ready, I called her to say that we really needed to find a way to highlight the changes. “I already know the answer to this(no), but is there any way we could print them in red?” On her own she talked to the printer of the Journal. He said he could do it for an extra $600 and she told him to do it. She is very responsible for this article and the way it is presented, and for that I am eternally grateful. I wish that those of you who appreciate this article would send her a little note of appreciation. Her email address is: elizabethharp@juno.com

Sid- When I first talked to Carl Fischer, I said that I really wanted to have the whole Sonate published with all of the corrections in red. But I have since changed my mind. Several important harpists I showed a few pages to said that in 10 or 20 years no one is going to care about that, and at least one harpist said that, while the red is great for the examples in the Journal, she would not like to read a score with red markings on it.

I am looking forward to the new edition. Thank you for all of your work. I hope we will be able to buy it at the conferences this summer!

Thank you, Carl, for your wonderful contribution to the classical literature of the harp!