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Susan Drake recorded it for her collection ‘Echoes of a waterfall’ on the Hyperion label. Gabriella Dall’Olio recorded it on Claves! Alex 🙂
Juliet- I am so glad that you have been inspired. Frances always inspired me, and she changed my life. As well as being
I quote Francis Poulenc: ‘More butter in the sauce’. I agree that the spreading chords encourrages a rich and round
My old teacher Frances Kelly, is a fabulous harpist and teacher. She is also one of the worlds leading exponents of
I played;
Dussek- Sonatines,
Grandjany-deux chansons populaires francaises and the Three Preludes which are lovely.
Renie-Feuillets d’Album (Esquisse,dande d’aurefois, Angelus)
There’s quite a lot of nice stuff by Andres that I played too,- Rimambelles, Aquatintes, Automates, Petits Pas…. All big books with lots and lots of material in. And they are always suitable for both kinds of harp.
Although I never played them, what about the Tournier preludes- they seem very nice.
Hmmmm. I don’t know much! I know that she worked for the Opera in Lyon, and taught there for much of her career; I will ask my teacher, she will probably know, many of her friends studied with her. : D
David- You should start a thread about your memories of Jack! : ) I personally like Horngacher ‘Philharmonie harp’ and I also like the straight soundboard harps of Obermayer and Lyon and Healy made in the 1900’s-1920’s…Pity I don’t like the sound of German harps….But I had lessons on a straight soundboard LH (c.1904) for four years. What a sound. I love the LH Salzedo and would like to own one….My favourites however are the French Erard Gothic harps. Not so much the decoration as the wonderful, graceful proportions of the instruments. The sound of these harps is warm, woody and projects well. Pity they don’t regulate so nicely. If you want to hear a good Erard harp, listen to Maria Callas’ famous recording of Visse d’arte from Tosca. Lovely.
Tayce- I wasn’t saying that people don’t know things that are’t taught. I just would find it hard to teach myself the more difficult disciplines of music alone. I had to think reallyhard about my degree. The truth is had I studied, French, German or European studies, I know that I could not focus on the harp and practise as I much as I would want. I still have doubts, but I’ll just have to see what happens when I get there. If I’m not satisfied, or I feel I have no future in the harp or in music in general, I will change my course. Louise, I too read Blair’s book, and I found it fascinating, but depressing!.
