Hi everyone. I am a harpist from New Zealand who is doing a research on Harp Pedagogy. I
Hi! Your project sounds most ambitious and interesting! The first thing you must do is acquire Natalya Shamayeva’s (i’m not sure if that spelling is correct, offhand) book, ‘The devlopment of harp music in Russia in the 20th century’. You also need to understand that like the French and Salzedo school, the way in which technique is taught and learned is very specific. I know for a fact that like in France, there is great emphasis on exercises and etudes- my first teacher was a student of Maria Korchinaka in London (where she moved after the revolution) and I know she worked on the Bochsa celebres etudes ( I saw her copy, still with Korchinska’s markings). You should also look at the pedagogical music of Nikolay Parfyonov and Mchedelov (I will check these spellings for you!). Skaila kanga said in a masterclass that, scales are learnt in every combination of fingerings, 12, 12, 12,; 3,4 3,4 3,4; 2,3 2,3 2,3 etc. etc.
Thank you for your replies. I will look into the references you guys suggested for sure!
By the way, I’ve come across an article from AHS Teacher Forum lately, and the author said that her Russian Method teacher taught her to replace with both 4th and 3rd fingers
What is audible in the Erdeli school is that they never break chords, and play rather aggressively.
There is a St. Petersburg school in which the thumbs play with circular motion. It may be a preparation before placing, which I have seen, or a rotation from the string, which I have not seen.
Russian players tend to play strongly overall, it seems.
Regarding the date of your question, my post seems to be a bit of late. But I will give you some information about Russian method. It is good if you get a book by Vera Dulova ( The art of harp playing). There is a chapter dealing with russian harp school and method.
My teacher has had a masterclass with Vera Dulova and she has learned me this movement of the thumb. I really like it this way, because it feels and sounds much better than the French way.
I’m very interested in the Russian School because there is a great emphasis on good sound production. About a month ago I have ordered the Russian books of Alla Yashneva (I’ve found this on this threat) and I like them very much. Alla has told me that in Russia they work with Grossi and Bochsa too.
I would like to know whether there are other method books concerning the Russian School in English, French, German or Dutch. I cannot find them. I hope there’s someone you can give me this information.
Yes. A slight “crisping” of the wrist as one plays a chord is in Salzedo training as well. I knew one Russian student who played with a circular preparatory movement of the thumb. I don’t know what school that is called, but it is specific to St. Petersburg. I can’t imagine if we had different schools in different cities.
I wanted to say to the person who implied that playing with relaxation is the ultimate goal, that to me, it is an intermediate goal, followed by playing with full strength and rich tone color, to create artistic effect. I think a lot of harpists today aim only for facility and maybe personal expression, at least that is how it appears to me. Those who can reach for it, should try to be artists as well. That probably means, at some point, to transcend one’s schooling, too, while being faithful to it.
- You must be logged in to reply to this topic.