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I like Buxton Orr’s – 3 Diatonic Preludes and Deborah Hemson-Conant’s Natalia.
(Surely this thread has been worked before elsewhere)if you are in a bookshop or find a second hand stall, look for Exercises de Style, although as a French scholar you probably already have this. I had an English translation and have just managed to acquire a French copy. This, for others’ curiosity is a short trivial tale about a man in Paris, jostling for a seat on the bus and making his observations of another person. It is retold 90 times in various styles of language, so tricky to translate and so I am looking forward to learning from the French version. By Raymond Queneau.
There are control issues here and they need to be recognised before you can really address the situation or ask anyone to modify their behaviour.
I am back on this again. I used to think that one should memorise a new piece during the first stage of learning, especially tricky sections and pedalling, but now I think that you might as well stick with the sheet music until you need to polish the piece, make final corrections and improve accuracy, tempo and articulation. All these come together once you start focusing on getting off the page , remembering the pedal changes and dispensing with page turns and gives a freedom with the harp for a more musical performance. Also trying to memorise before your ears know what to expect is too mechanical, the listening stage allows the solfge and the harmony to reinforce the learning and retention and internal thought process as you play.
It was when I arrived to play in an orchestra, unwrapped the harp and the conductor said “ah, what a beautiful sight” and I thought he meant me, although in casual clothes and was momentarily flattered, until I realised he meant the harp! As for playing, I’ve had some good write-ups after tricky orchestral concerts such as Debussy’s Jeux and from Wallton’s Violin Concerto and Mahler 5, but comments can sometimes be a little cliched.
I think it sounds dreadful, just like many of the scam calls I get from India (not harp related) and I wouldn’t get strung along… What if you responded, got drawn into this and took a fake booking, turned up and had your harp stolen?
I suggest you talk to Eilidh, see http://www.harpnyc.com/index.htm
They say “Where there’s a will there’s a way”, talk to them directly to make them aware of your interest, prepare a suitable solo to show them that you can play the harp, organise a reference from your teacher and talk to your family about second hand harps.
This is what I was looking for http://www.harpahungarica.com/articles/kodaly.html
