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about 30 minutes in after a bit of tuning by Phillipa, I really enjoyed the Hindemith, thanks so much and I really want to show this to one of my students.
They replied to me saying that copyright law means they can’t list these until May 2021, so another year to go for Tournier in the UK as his lifetime dates are born January 5, 1879 died May 8, 1951.
I think you’ll find a glossary of all the symbols at the beginning of the tutor book which contains Chanson de la Nuit.
Good – I also emailed Presto Classical earlier to ask them to stock or catalogue the complete set of yours. they often work on a fulfilment basis, whereby they list but don’t hold actually stock.
The other one I suggest is Music Exchange in Manchester, they didn’t seem to have anything of yours when I looked; I like them and they stock harp music.
As for stockists in the UK with a quick turnaround outside of our well known harp shops, Presto Classical are good, they had a promotion on Ricordi recently. I was already interested in Carl’s editions of the Danses, the Trio Sonata and the Faure’s. For upcoming students these compilations and ‘corrections’ will be of enormous benefit.
https://www.prestomusic.com/sheet-music/search?search_query=harp%2C%20carl%20swansonCarl you have done a tremendous amount of work, well done. I often think I’d like to take some pieces to a local publisher and definitely some orchestral parts, mentioning no names……
Thank you Carl. I am certainly interested and that is what I had always understood. I was introducing the work to a student majoring in ballet who’s never played glissandi on the pedal harp before. One of my books here “Debussy Remembered” relates the premier in 1894 as a complete triumph, the account is by the violinist Gustav Doret who conducted it for Debussy. A later account in the same volume records that Debussy wasn’t very happy with Nijinsky’s ballet interpretation of it and indeed I do find that to be an odd piece.
(.. and I first caught up with you in person at the Ballet in Boston !)
I also have a newer book by David J Code, which has more detail of Debussy’s reaction to the choreography of the ‘Prelude’ and of Jeux in those particular Ballet Russe productions plus the history of Stravinsky and Ravel’s ballets around that time.I noticed for the first time that the second harp’s glissandos between rehearsal marks [9] and [10] are showing B# and Bb at the same time, never seen that before so I’d probably use the B#. Upon closer examination the original manuscript in imslp confirms that is indeed the case, a slip by Debussy asking for 8 pedal settings !! He helpfully wrote into the 2nd harp’s line instructions to set pedals shown in the printed part at [9] and indeed that can been seen in his original score at (8).
http://ks4.imslp.info/files/imglnks/usimg/f/fe/IMSLP411013-PMLP06017-Prélude_à_l’après-midi_d’un_faune.pdfAt about 4:30 in there is a lovely shot of two tall redundant orchestral harps and makes the performance all the more poignant.
Wow you spoke to him – I took a photograph from a distance in the audience. If I’d had a harp in the 1980’s and hadn’t spent all my time windsurfing then maybe I might have seen more of him ! Anyway it reminds me of the time when I was young and thinking this concerto was a wonderful yet normal thing to play !!! I have the overall programme for the harp conference and now realise that I missed that performance, and NZ was the president so obviously was there in the audience. There is a tribute to him in the 1994 programme in which it mentions that his music archives were donated to the London College of Music (near the Albert Hall). I managed to play the opening canons in the 2nd movement quite well a few years ago but that was as far as I got… Oh and by no means secondary, I have always loved the guitar works too (played by Narciso Yepes) and once played trumpet in the orchestra for the Fantasia Para un Gentilhombre. Perhaps the idiom in the Serenata is more guitar like and that’s what makes it so tricky. The Deustche Grammophon is the definitive recording for me.
It looks extremely difficult in certain sections, I’m happy listening to it, without trying to play it, but I wonder where the originals are held, as there are some obvious workarounds to the written part seemingly made by Zabeleta or conversely: recent revisions reflected in the part available nowadays. My ears are fairly well attuned to Zabelata’s performance.
I saw him only twice in the 1990’s, once at his Wigmore Hall, London concert and again at his masterclass during the 1st Harp Conference in Cardiff, UK. I always remember him saying “more with the left hand” to his students.
I would keep practicing orchestral excerpts the day before, to keep the memory working, but practising too much for a recital, thinking one can improve seems to freak the nerves and be counterproductive the day before. You do need to be fresh on the day, so it would be better to distract and calm yourself by getting your clothes and car ready.
