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>I wish him well in a very demanding and dog-eat-dog world!
A nice thought, David, but not one he needs. Klinko is not “a’ fashion photographer. He is THE fashion photographer. There is a woman in France who is generally considered a bit better for clothes, but otherwise Markus reigns supreme in commercial photography. He’s the only photog ever to have four photos at once on the billboards in Times Square.
Headshots? If you’re Beyonce and Britney, with a budget to match, maybe. In my other life I constantly hear photographers say things like, “Da*n, I wish I could light like Klinko, but I can’t afford $100,000 for lights.”
Klinko-Indrani have had a pretty big impact on anything you see in a print ad anywhere these days. even if a particular ad is not their work.
Pedal harps were actually pretty much the only kind of harps in general use then, in England anyway.
What’s really interesting to me is that while we are very, very respectful these days of those little pedal harps, they evidently didn’t see them that way at all. If you can lay hands on a copy of Lady Caroline Lamb’s novel “Glenarvon” (about her relationship with Byron), everyone in that book is always leaving harps around on the edges of cliffs or in the back garden. “Hmm, there’s her harp so she must be around here somewhere…”
Meant to say Hasselmans or whoever gave her the music to copy. Since he died in 1912, she might have gotten the score from someone in his family after his death.
Since it is *exactly* a page, I suspect it was an error. Her edition is the oldest published version, so possibly she inadvertently skipped a page when copying or lost one somehow without knowing it.
> If the teacher says that you’re doing everything wrong and you will have to start over(which I’ve heard of, I’m not making that up) then I don’t think that teacher should be considered
Not sure about this as a blanket statement, Carl. I had to start over at Eastman and it was definitely the best way for me, although intensely frustrating at the time.
Well, regardless of whether one is a Salzedo harpist, French school harpist, German technique harpist, or whatever, I can understand not wanting to make huge changes in basic technique when you’re already at conservatory level.
And I can totally understand wanting to go to another country to study just for the heck of it, too. 🙂
I just ran across “The Great Rupert” which features Terry Moore pretending to play a Clark Irish harp. Not a great film, but an interesting look at how one can construct a case for a Clark from newspaper. Also, one of the few harp and tuba duets you’ll ever hear, I’m sure.
My point is that there are many, many schools both conservatories and liberal arts colleges in the US that are not Salzedo, and a few that offer teachers of both methods.
>My one issue is that I prefer not to play Solzedo technique and it seems that amost all American Harp proffessors teach this method. thanks!
Well, you know, Juilliard and Eastman, for instance, are usually not considered very shabby, and they are not Salzedo schools.
I’d have to agree with Saul, regardless of which transcription. It’s just an awkward variation on the harp. Try playing the left hand with the right hand–it still feels cumbersome. it just falls in a range on the harp where the strings make it more difficult to achieve the requisite lightness of the ornamentation.
Should have said I’m not sure if those would fit into your budget. If Stoney End is at the conference, check out their harps too.
Hi, Briggs. I would look into the Kortier harps. He sure can pack a lot of strings into a small package and they are very nice harps. The Camac Aziliz is another option.
If this is a pedal harp student, what about using the left hand from the Susann McDonald solo transcription divided between two hands? That arrangement includes the entire piece and your student would have the melody line to use as cue line. It’s in D, so the violinist could do the original.
>most classical music is played in the key of E
Not exactly. What they probably meant was that on a fully-levered harp, tuning the harp in the key of E-flat in the open string gives you the most useful range of available keys for playing classical music, within the limitations of a lever harp. If you tune in E-flat you can play in the keys from three flats to four sharps, which covers the most commonly used keys better than tuning in C, which gives you from no sharps to seven sharps, but no flat keys at all.
However, I personally would not look to get much good from the levers on a Mid-East harp. (If yours actually work, great, but you’re very lucky if so.) If the levers work, tuning in E-flat would probably prolong the life of the harp a tad since it’s a bit less tension on it, but if they don’t I’d stick to tuning in C and recognize that you just have limitations on what you can do.
