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Hi Sam,
I actually just found it also not too long ago. It seems good enough to work on it! I did many ”run-throughs” of the piece, but have not started the real work yet. I haven’t heard of the piece anywhere else. Maybe emailing Mrs. Susann Mcdonald would be worth it to know if she has any info.
Hi!
I know that my teacher performed this fun piece (I am not sure if she played all of it, though) many years ago. I started transcribing it myself and I have found that, altough tricky, it is totally playable. And the Versatile would make a nice pedal study!
Hi Sam,
I actually move the B and D together, and I have never missed it, but here is the only way it works for me:
-On the second eight-note, put the B up to flat, to be able to;
– press down to natural the B and D, but holding them (not locking the pedals)on the 3rd eight-note and then;
– Release the B and D to flat while releasing the G to flat with the right foot.I’m definitely going to try your setting, though, thank you for the advice!
Would any body have transcribed the poem to English (or French) and tried to place it note to note in the last movement? That’s what was suggested in the American Harp Journal”s article. I am doing just that right now and I can’t seem to make the text fit perfectly to the melody. It would work only if I added slurs, but then it would certainly modify the inflexions and articulations of the melody. What do you think of all this?
I just played this sonatines some weeks ago, and I agree very much with the idea that they are long appogiaturas.
However, I just listened to a recording by Catherine Michel, and in this particular 2nd movement of the 3rd Sonata, she plays the appogiaturas fast!
I played the Flotuis Cadenzas with orchestra with great results – in my opinion. The style is appropriate, and it is very much interesting and cute.
If it can confort you, I’ve played Mozart’s Concerto with a blue Salzedo L&H harp… and I had no comments on the harps color…
Harpist are always a little… special… so it’s not a blue harp that will make any difference ;P
My favorite recording of it was made by Harry Christophers & The Sixteen, for their recording of Alexander’s Feast. You can get it for 3 $ on Itunes. It’s worth it! If anyone knows who is the harpist playing, please tell me.
My opinion about the different versions of the concerto is that one should choose the way that appeals most to his hearth. Handel left spaces to be filled by the harpist, so let’s do just that!
I’ve always played the Grandjany version, as it is the most technically challenging, but I made some minor changes to it:
-I have cut out the ALL harmonics, as I feel it sounds too “anti-baroque” for me 😉
– I removed some notes, chords and ornaments and add some other in the second movement.
-I use P.D.L.T. and B.D.L.C almost all the time, to get a “lute-like” sound, and to help for voicing.
-I wrote my own cadenza! Send me an email if you want a free copy and tell me what you think of it. Grandjany’s cadenza is beautiful, but it is wayyyyyy too much unlike the rest of the concerto. Besides that, it is more difficult than the cadenza I wrote (for a competition where I didn’t have time to learn Grandjany’s one 😛 ).You know what? All that reminds me of the debate about playing or not Reinecke’s cadenza for the Mozart concerto!
