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Well, all I can say to this is that I know the student Carl was referring to and his most
frequent teacher, and I assure you that she would easily qualify for any certification
program anywhere.
Nancy Lendrim is the harpist with the Toledo symphony, I think. She is a magnificent
player, very musical.
If you have a lever harp, other good exercises/etudes are leDentu’s Douze etudes et un
theme varie by Naderman, the easy Damase etudes (10 etudes faciles et progressives) and
the Pozzoli etudes (not all the pieces in this book work, but about 80% of them do.)I have used the Friou and the Holy with my students, but in both cases if they are the kind
of student who will do exercises and etudes, they run out pretty quickly.I don’t use the Salzedo font, myself, but I believe you would attach the bracket as an
articulation or measure expression. It’s basically a text letter (the bracket key, I think) in
the Salzedo font and you would resize it by changing the font size.
I myself prefer to draw brackets with the line tool. If you do a lot of brackets (I don’t
include fingering so I don’t need them a lot), your best bet is to use the shape designer to
create a vector shape that can be pulled in different directions to alter the angle of the
bracket. (You’ll need to duplicate it each time to avoid changing the angle on all your
brackets, I think.)
If you don’t know how to use the shape designer, ask in the Finale forum. They are very
helpful, for the most part. (I haven’t had occasion to use it in the past few versions and
things are pretty different now, so I don’t feel confident telling you how to do it.)
Hi, Evangeline.
Denise, I believe that Mary Brigid Roman, who teaches at Florida State University, was a
student of hers before going to Eastman. She might be able to help you out.
Oil gilding is used on Erards and most earlier harps. L&H, Wurlitzer, Carl’s harps are water
gilded. (I believe Howard Bryan uses oil gilding now, but am not totally sure about that.)
L&H in their heyday brought water gilding to a very high state of perfection–you won’t
find many twentieth century gilders to equal their best work.
New gilding, whether water or oil,
Actually, I would presume that Carl’s gilder uses water or oil depending on what was on
the harp orignially.
Bronzing is giving the harp a gilded effect by applying a powder made of ground up metal
to the harp. It looks something like matte gold, at least when new, but will turn quickly if
the lacquer is compromised at all. It’s applied over size, like oil gilding.
Again like gilding, the currently available bronzing powders don’t give the same effect as
old bronze does, because the metal used to be stamped in a way that left lots of pointy
edges to catch the light and now the bits are rounder. Bronzing powder is very dangerous
if you happen to inhale any, but it’s available in many art stores–much easier to come by
than real gold.
Tacy, what you say about your harp is interesting. The Browne and Buckwell harps I have
seen were entirely done in oil.
re Bronzing: Wurlitzer used to offer a bargain finish that was a combination of bronzing
with a bit of water gilding on the highlighted areas.
Just a caution about hiring a general gilder–you would need one who does seriously
museum quality restoration and who has a very thorough understanding of water gilding.
The average frame/architectural/sign gilder does something quite different.
FWIW, the older L&H harps are double-gilded with double leaf in a weight which is, alas,
no longer available.
One other thing about cleaning–in most cases the problem is the dust and oil that has
adhered to/damaged the lacquer, and there’s no easy solution to that, even from a pro.
AFAIK, there is really no way to remove just the lacquer without taking the gold with it. I
recently saw a video from the Cleveland Museum of Art in which their curator said flat-out
that while restoration techniques for micro-removal of the upper layers of varnish on
paintings have become very much more sophisticated in recent years, there still isn’t much
they can do about removing just the lacquer from gilding.
Last time I checked a factory regild from L&H was $20,000. I presume it’s substantially
more than that now.
