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well I’m ashamed to say I never wrote her a letter. After i went back to school in September it sort of went away….looking back at my thread I’m surprised to notice how much it got to me. funny what we forget. but I don’t doubt that it will be a problem next summer so maybe its time to start drafting that note……thank you all for all the advice; I’m sure its not only help for me !! Alex
I couldn’t fathom playing the “in paradisium”(faure; requiem) WITH shoes! boo hoooo. oh and I didn’t turn up with no shoes i just slipped them off when i thought nobody was looking!*shneaky. I am SO clever…ahem…must practice with shoes on yesh….
mmm I come from this in a seriously amateur point of view because i don’t really have the capability of playing much of this repetoire (with a few exceptions)… As for the variations it has just come into my mind thatt sphor of course wrote his pieces for a little nadermann harp, on top of that tuned DOWN a semitone (in order to achieve better tone when playing in the sharp keys of his violin harp duos) so i guess it would have been SO much easier on the harp of his day. I think Albeniz can be very effective on the harp,especially “torre bermeja”. i do also see what you mean about the Hasselamans; very twee. Why don’t you try and read Natalya Shameyva’s develpoment of harp music in Russia; it has some really interesting sounding pieces in it. speaking of russian what about the tchaikovsky lullaby or the khatchaturian (though that might be abit unsophisticated; but i like it) i also think the petite suite by david watkins is very descriptive and fun.Debussy’s “en bateau” adn ” fille aux cheveux to lin” is something i like to hear/ play on the harp…
If you are going to play pieces by harpists, Salzedo and Grandjany are good, but what about Hasselmans? I know that alot of it is
the irish harp centre would be absolutely ideal as they run summer courses; http://www.irishharpcentre.com
hello virginia! for some reason the computer’s gone a little crazy and has enterd me as somebody called Joyce White?
and made the web adress go funny; its adress is; http://www.irshharpcentre.com. Alex Rider
I’m doing the Bochsa 40 etudes at the moment and I actually think they allow a good deal of room for musical shaping, as well as building technique. My teacheris also drilling me on Handel’s tema con variazioni (ed. Hans.J. Zingel- Mainz und Schott), as it is really rather tricky in places, so she does what Jeralee does, and if I am finding a part difficult, then she’ll make an exercise out of that passage and write out similar patterns and fingerings. I did the Pozzoli, and grossi too.The Pozzoli was fun, but in comparison with the Bochsa the Grossi is really rather dull! but I supoose it is still good for me..so i do a little grossi and more bochsa each time I play- I treat the etudes like pieces so if I’m not getting it right, I just practice until I do. i.e the fingerings in etude 3 which are really tripping me up! 🙁
ooooh. Dunno? I know that she studied with Alberto Salvi whilst she was at Northwestern, Illinois. He was Italian and in all probability studied wioth one of the Itlaian conservatory teacher or a teacher trained in the French style. p.s-where abouts in the UK are you? I am choosing my uni and i want a harp friendly one? any thoughts? Alex
$5000?!? Is this a standard cost for something like this? :)I hope you do it Steven, it sounds wonderful.
but what is the American approach? there werre people like Holy and Lastner as well as the french. it must be very hybrid.
but what is the American approach? there were people like Holy and Kastner as well as the french. it must be very hybrid.
