carl-swanson

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  • Participant
    carl-swanson on · in reply to: Morning Serenade from Romeo and Juliet arr Dulova #228029

    If it is out of print, I can make you a copy. Check with Vanderbilt first though. They may very well have it, since it was published by Lyra, and they own Lyra.


    Participant
    carl-swanson on · in reply to: What to do with an old Aoyama? #227534

    Where is the harp now? What country, state, city?


    Participant
    carl-swanson on · in reply to: Need Harpmobile Recommendations #226713

    I’m on my fifth Dodge Grand Caravan in a row! I think they are the greatest for carrying instruments. I can get up to four harps(concert grands!) in my car. The seats right behind the driver are now bucket seats that fold completely into the floor. You could have both of them up if you needed to carry passengers, and still get one harp into the car, plus all the other stuff.


    Participant
    carl-swanson on · in reply to: Lois Bannerman #226558

    I studied with her for one year, and at that time she and her husband John Senior lived on a 350 acre farm in Fairfield. After I went off to college they moved to Westport, but I never saw that house. John died from Emphysema. He apparently was a heavy smoker, which I didn’t know.

    The musical library is incredible. Shareshten wants to keep everything for the moment, but make it available to any harpists that want to look at it, and to be able to make copies of things that are out of print. I went down last week(to Jensen Beach Florida) with a former student of mine and we spent 10 to 12 hours a day for 5 days making the list and putting an inch or so of music in large manila envelops, which will then be stored in music drawers that she is going to have made. There are 50 envelops of music!


    Participant
    carl-swanson on · in reply to: Lois Bannerman #226463

    Wendy- You do know don’t you that John died last June. Very sad. Such a talented harpist. I’ve become friends with his daughter Shareshten. I went to the memorial service in December and was just there again last week to organize the music she was left. She has all of the music of Marion Bannerman, Lois, and her father John. The list that I made is 37 pages long!


    Participant
    carl-swanson on · in reply to: Lois Bannerman #226452

    Oh my gosh, I don’t remember seeing that. I wonder where all those photographs that were in the attic room are now?

    Whenever I stayed overnight there, Alice and I usually ended up in that attic room. She liked to watch the 10 o’clock news there. I remember so many pictures tacked to the wall of the different summer classes. Salzedo and Alice too were big on having an annual group photo taken. But I don’t remember that one of the float and Salzedo in a devil costume.


    Participant
    carl-swanson on · in reply to: Lois Bannerman #226368

    Gosh Catherine- I don’t remember seeing any photos of her up in Camden. All I remember seeing were those group photos of each years summer students.

    Oddly enough, I never heard her perform. I don’t even remember her sitting at the harp and demonstrating, although it’s very possible she did.


    Participant
    carl-swanson on · in reply to: Lois Bannerman #226333

    Some of you may remember this name, and that of her mother, Marian Bannerman, who was the big harp teacher on Long Island(New York) for decades, and who taught, among others, Nancy and Barbara Allen, and Sarah Bullen. Lois’ son John was himself a very fine harpist. So there were three generations of important harpists in this family.


    Participant
    carl-swanson on · in reply to: How Would You Notate This? #226093

    The last one is the way any harpist would play it.


    Participant
    carl-swanson on · in reply to: Can we make flat notes on lever harps ? #225840

    Levers can only raise the pitch of a string when they are engaged(flipped up). For this reason, the standard way of tuning lever harps is in the key of E flat, meaning, when none of the levers are engaged, the harp is in E flat. In that key, you have 3 flats available to you (B flat, E flat, and A flat). That’s as far in the flat direction you can go in this tuning. With this tuning, you can play (in the flat direction) in the keys of F, B flat, and E flat major,and their relative minor keys, and in the sharp direction G, D, A, and E major, and their relative minor keys. You can of course also play in C.

    If you tune in the key of C, then you only have sharp keys available to you. Your teacher can, and should have explained all of this to you.


    Participant

    Adrian- If the ensemble you are talking about( Quintette instrumental de Paris) is the one that Pierre Jamet was in, then I would suggest you start by contacting his daughter, Marie-Claire Jamet. She inherited all of that music and I’m sure still has it. She may also be able to point you to articles that have been written about the ensemble over the years.

    I just did a little poking around on the internet and found this:

    A la suite de sa première rencontre avec Claude Debussy, en 1917, Pierre Jamet développa l’exploration des possibilités sonores encore inconnues de la harpe, en suscitant la curiosité et l’intérêt de nombreux compositeurs : la ballade dans le goût irlandais pour harpe et orchestre composée pour lui par D.-E. Inghelbrecht est un exemple. La période 1912-1922 représente dix années de recherches personnelles, rencontres avec de nombreux artistes et compositeurs, concerts en solistes…
    Le répertoire de musique de chambre avec harpe s’est élargit surtout à partir de la naissance du ” Quintette Instrumental de Paris ” en 1922. En effet, trouvant que les sonorités de la flûte, de l’alto et de la harpe, dans la Sonate de Debussy, étaient une réussite, René Leroy, à la suite d’un concert avec Pierre Grout et Marcel Grandjany, eut l’idée d’ajouter un violon et un violoncelle. Digne des illustres quatuors à cordes comme ceux d’Eugène Ysaye ou Lucien Capet qui eurent beaucoup de succès à la fin du siècle précédent, le ” Quintette Instrumental de Paris ” fut admiré pendant plus de 35 ans pour la richesse et la variété de ses timbres.
    Il est composé à l’origine de René Bas au violon, Pierre Grout à l’alto, Roger Boulmé au violoncelle et Marcel Grandjany à la harpe. Ce dernier ne fit que quelques répétitions puis partit pour les Etats-Unis : il fut remplacé en 1924 par Pierre Jamet. La seconde guerre mondiale a coupé leur élan : entre les années 1940 et 1944, Roger Boulmé mort à la guerre fut remplacé par Marcel Frecheville, Pierre Grout par Etienne Ginot et René Leroy par Gaston Crunelle. Dès 1945, les musiciens ont le désir de reprendre les concerts et choisissent ensemble de renommer le ” Quintette Instrumental Jamet “. Cette nouvelle formation est composée de Gaston Crunelle (flûte), René Bas (violon), Georges Blanpain (alto) et Robert Krabansky (violoncelle) et poursuivra une brillante carrière jusqu’en 1958. René Bas et Pierre Jamet restent donc le noyau de cet ensemble. Les deux flûtistes ont chacun à leur manière un rôle déterminant dans l’évolution musicale du quintette. Les trois formations ont un dynamisme qui permit de nombreux enregistrements dont quelques extraits vous sont proposés dans ce double CD.
    Les programmes initiaux de l’ensemble comportent des œuvres spécifiques pour cette formation. Ces musiciens passionnés de musique de chambre et ayant la volonté d’exhumer de nombreuses œuvres, interprètent, tel que le décrit Florent Schmitt dans un article sur le Quintette Instrumental Jamet, ” des quatuors avec ou sans harpe, avec ou sans flûte, en trios à cordes, en trios sans violon et sans violoncelle comme la sonate de Debussy, voire jusqu’au plus simple duo, témoin de l’astucieuse et magnifique sonate de Ravel pour violon et violoncelle…Il embrasse plusieurs siècles d’histoire de la musique, en partant de Couperin, Rameau, Petrini… “. La Sonate pour flûte, alto et harpe de Debussy est le premier grand succès du quintette qui s’enrichit à chaque saison d’apports nouveaux.
    Le concert à cinq opus 7 de Joseph Jongen, créé le 3 décembre 1923, ouvre les voies vers la création. Beaucoup de compositeurs suivront : le Quintette Instrumental assurera environ cinquante créations dont une vingtaine sont encore éditées et jouées aujourd’hui. En dehors des œuvres enregistrées dans ce disque, peu de temps après leur création, citons Robert Casadessus, Jean Cras, Yvonne Desportes, André Jolivet (dont la partie de harpe a été écrite avec Pierre Jamet), Arthur Honegger, Jacques Ibert, D.-E. Inghelbrecht, Vincent d’Indy, Charles Koechlin, Daniel Lesur, Fransceco Malipiero, Jacques Pillois, Jean-Guy Ropartz, Henri Tomasi, Marcel Tournier… ” Ce fut un apostolat, tant nous étions tous possédés par cette création. Nous fûmes après des années de travail, récompensés par les nombreux compositeurs qui loin d’être insensibles à nos efforts, nous ont laissé des œuvres impérissables avec lesquelles nous avons fait le tour de toutes les capitales du monde (à peu près 1800 concerts à notre actif). ” (Pierre Jamet, bulletin AIH 1985).
    Le quintette connaît alors une renommée internationale : France, Suisse, Belgique, Allemagne, Italie, Espagne, Portugal, Grande-Bretagne, Hollande, Suède, Pologne, Autriche, Yougoslavie, Egypte, Maroc, Algérie, Canada, Etats-Unis. On ne peut qu’admirer aujourd’hui la passion de ces musiciens passionnés qui ” partaient avec foi à travers le monde pour faire quelque chose de nouveau ” (Pierre Jamet bulletin AIH 1968).
    Florent Schmitt écrit : ” les cinq virtuoses, par une persévérance et un labeur incessants, sont arrivés à un tel point d’entente et de fusion qu’ils n’en forment pour ainsi dire qu’un seul et unique, mais combien séduisant et émouvant ! “. Un nombre impressionnant d’articles de presse font l’éloge de leur grand professionnalisme, mettant en valeur la qualité dans la conception même des programmes, leur soucis de compréhension des œuvres, leur incomparable et exceptionnel talent dans l’exécution.

    If you need this translated let me know. I can do it for you. I would suggest you poke around some more on the internet and perhaps contact some of the people who come up there. The person who wrote the above is named Anne Ricquebourg and I know her. I don’t have her email address but I’m sure I could get it. I could also contact Marie-Claire if you want. I studied with her father Pierre Jamet, and she and I are good friends.

    Carl Swanson


    Participant
    carl-swanson on · in reply to: Erard Harp For Sale Discussion and Advice #225518

    Where are you? What country are you in? My advice is: don’t even think of buying this harp if you want something that is, and will remain playable. Everything about this instrument, especially the mechanical parts, is obsolete, and most technicians can’t or won’t work on it. If it ever does need major work, like a new neck or soundboard, it will be prohibitively expensive to get fixed, if you can find anyone at all who will work on it. At the very least, if you are still determined to buy it, first find out if there is a technician or repair facility that is accessible to you who would be willing and able to maintain it if you bought it. If there is, then have them look at it for you before you buy it to tell you exactly what condition it is in.


    Participant
    carl-swanson on · in reply to: First Time Teacher #225046

    Kelsi- Stick to the basics. If you are starting beginners who have never studied a musical instrument before-children or adults, it doesn’t matter-then you have two things that you will have to teach: 1) how to play the instrument, and 2) how to read music. Treat them as separate issues, even though they will overlap a bit.

    Concerning playing the instrument, find material to work with that you like, err on the side of it being too easy rather than too hard, and focus on getting the student to develop the right technique(hand and arm position, finger motion, etc.) immediately. With the right technique established from the very beginning, the student will be able to advance into harder repertoire. If you let a lot of things slide at the beginning, you (or someone else) will have to fix a lot of problems later on. Teach the student how to practice. Most of the time, they don’t know how. Don’t assume they will figure it out. They won’t. Set little goals that the student can meet for the next lesson. That way you and the student will establish a track record of success. Don’t assign too much material. Assign less, then teach the student how to learn it, and let them know what you expect when they bring it back next week. As soon as you can, get them to play performances( in church or school, or just for family). That is a huge positive lift for a student just starting out. You can have little recitals once or twice a year in which everyone plays, including you. As soon as is possible, include a set of etudes in the plan. That is by far and away the best way to develop technique. Students who regularly play etudes learn music faster and more securely. Etudes will be good for both learning to play the harp AND learning to read music.


    Participant
    carl-swanson on · in reply to: Playing fast (arpeggios) #224809

    Elizabeth-What do you mean, it’s not standard technique? In French method, that is the standard way of placing at the advanced level. I call it placing in sequence, and it means placing only one or possibly two fingers at a time ahead of the note you are playing. Placing in blocks of 4 fingers at a time is necessary for lower level students, and also for anyone at any level just beginning to learn a piece. But then, as you get more comfortable with the piece, you change over to placing in sequence, i.e., one note at a time ahead of the note you are playing. This type of placing avoids or minimizes buzzes, and avoids muffling strings that were just played. It’s an advanced technique and requires great accuracy and precision.


    Participant
    carl-swanson on · in reply to: American Harp Journal #224566

    I hope that someone reading this can come up with the Winter 1998 Journal.

Viewing 15 posts - 1 through 15 (of 2,160 total)