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Poor you, it’s very worrying and a timely reminder to all of us to be careful….. hope this site helps you understand the timeline and to seek out the hand specialist as a priority. I wouldn’t plan anything for 2-3 months, perhaps longer, it’s often our own urgency which creates more anxiety about injuries, maybe plan some masterclasses instead. How awful.
http://ask.metafilter.com/86358/What-healing-process-and-timeline-can-I-expect-following-crush-injury-to-fingersFor junior pupils, there are really small Single action harps – in Germany there are 2 manufacturers (Herstellen) perhaps more and a retailer called Glissando. The Fischer harps have a really small single action harp with 5 wooden pedals, for children aged (5-10) omitting D and G actions, and a 7 pedal version, similar wooden pedals. They have a great sound, I’m told…
http://www.musikhaus-fackler.de/fisherharps/harps/harpsf.htm
Reidel – have a 7 pedal single action with brass pedals, but with 40 strings hard to say whether it’s smaller than other makes of double actions.
http://www.konzertharfenbau-riedel.de/produkte/harfen/einfachpedalharfen/
If I had more room and the dosh I might get one or at least recommend one to a junior school. Haken means hook/levers, Darm is gut, einfach is simple/single.Calmness is a luxury and happens if you don’t need to worry too much, then you become the player instead of an actor – so I guess that if you are prepared and enjoying the occasion, calmness with alertness and focus bring it all together. The pain of the harp is that the logistics of just getting there in one piece, parking and getting inside and then hanging around a lot often distracts us from the normal daily routine so I try to allow myself plenty of time to get there early and plan the rest of the day to my convenience.
Yesterday we were treated to a recording of Faure’s original liturgical version from circa 1888 or 1893 and it was really lovely, I kind of felt I’d gone to heaven and momentarily wished I could stay there…… I would say the organ has a greater voice over the orchestra and yes harp was audible, just. Steven Cleobury’s direction I think.
http://en.m.wikipedia.org/wiki/Requiem_(Faur%C3%A9)It must have been a bumper evening. I’ve stopped reacting with disdain to the onslaught and started enjoying the banter. The confused questions prevail so now I just pause take a breath and try to find a reasonable or humorous answer and heard myself saying : “it’s MY instrument”, “in my car”… and then after removing overly helpful guy’s arm from harp neck: “well, just stand there”(which puzzled him) and a few weeks ago “yes it’s an octave” and “something like that, I’m still working it out myself, think I’ve just about got the hang of them by now!” You know the questions…..!! Thank god I am not a celebratory.
didnt anyone explain, the glissandi which work best play the chord and hide the unwanted notes enharmonically… so thinking thro…
the ROOT chord of Emin has E G B E and then, in order to hide the other notes we set Cb to double B and Fb to double E.
now A and D strings can’t be hidden or doubled, unfortunately, and don’t belong in the chord. The compromise is to leave D natural to make it sound like 7th chord, sounds better than D# in the scale, the A is a leftover and can’t be matched in this example.
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here’s an easier example in the key of Gb
set Gb, Bb Db for the root chord; hide other strings by setting F# A# C#
so E is the only oddity, nothing can be done to hide it, so leave it natural and tolerate it.I had one like that when I first resumed playing – he was consistently ruthless with all his orchestra’s & his conducting students and so several amateur wind players gave up or left but he was and is still as sweet as pie and very friendly off-stage, oblivious to the effect he had on others, & so I put his behavior down to nervousness and adrenaline in the moment, over anxious to get every note perfectly maybe but all the same it made rehearsals and performances terrifying and unpleasant. For harp that’s a no go – if the part is terrifying why compound the problem.
well when you get into glissandos, you find that the plain keys and sevenths are not particularly colorful, the prominent glissandos used by the French composers are often diminshed vii’ths, we’ve probably explored this elsewhere on the forum, listen to opening of L’Apres Midi, Balakirev’s pages of glissando’s in the La Bayadere and Ravel’s Tombeau de Couperin, Intro and Allegro…. I’ll keep thinking and adding to this post. Your composers as Elizabeth VB suggests would gain a lot from looking more closely at the harp and other examples……… Walton on the other hand just used glissandos as the flourish in an upbeat not always prominent, even in Henry V’th not in contrast to the orchestra or solo.
would this help ? For Eb major, at least put down D# and G# and for Eb VIIth wouldn’t the flattened 7th need a Db so you’d use C#, then you are already ahead. And if not then then move C# and F# for E major straight(F#C#G#D#) and match up with… well you already have Ab, B natural needs fixing, E natural, how does that sound ?? (not at the harp right now) Perhaps I shall consult Scholomitz’s little pink glissando book if I can find it.
Steve at L&H said they actually made some semi-grand 100’s up until 2007 – they are very different in spacing as well as size.
I have often bought bona fida parts from the publisher they are usually most obliging and Holywell have a good stock too.
I can help – email or friend me as I can never find others profiles…… Alison.
Also OUP hold ALL their stock in the USA somewhere perhaps they can help.Thank you all, I am browsing the pdf of the score on imslp, it certainly saves a trip to the library and to Elizabeth, it would be very useful to see a part with the enharmonic corrections, especially as I don’t have the technology to make tidy edits.
Maya, ask Gabriella and Jacquez for advice and also the student at the RAM from San Diego, Richard knows him…….. I would say that the cellists usually succeed in strapping a cello into adjacent (paid for seat) but a cello is slimmer – I would wrap it very carefully with good padding and a dirt-proof polythene wrapper & let the strings down so that it’s prepared in case you are told that it has to be put in the hold and loaded last thing (so that means you take it to the gate but they might not let it into the cabin)
I had a student who took a tiny lap harp, so small that it would slide into the overhead lockers but unless the flight is emptyish and you can secure it upside down over 2 spare seats, as the harp is wider, the airline might say no.
Failing that Pilgrims could get you a small ply crate with a foam cutout interior -look on their second-hand list http://pilgrimharps.blogspot.co.uk/.
Be quick because they are closed for two weeks over Xmas. If you haven’t actually bought a seat, or they refund you, then haulage might be slower but cheaper…….
Whatever – wrap it, measure it and weigh it and speak to the airline again beforehand.
