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I start by making my own copy, so that I can use white-out for edits and enharmonic re-spellings. I use enharmonics or edit out unnecessary notes if it is too chromatic at too fast a tempo. If the composer is alive, I contact them to get a score, ask questions, or suggest some edits. Sometimes I re-beam things to make them easier to read, or move things into a different clef, or re-distribute the parts between the hands. I figure out the rhythm before I start looking at the notes. I practise the pedals separately if there is a lot of “choreography”. If there are two harp parts, sometimes I will re-distribute the parts. For new music, I try to get the parts earlier than the usual two weeks we get in the orchestra.
No, it is published by N. Simrock in Berlin, and copyrighted by Schott & Co.in the UK. i am going to get a copy of the Breitkopf and Hartel version tomorrow.
The application form has been amended to allow a choice of a solo and three standard orchestral excerpts, in case there is not enough time to learn the excerpts from Salomes Tanz and the Rachmaninoff Symphonic Dances. The deadline for receiving video auditions has also been moved to March 12.
Western Financial Group insures musicians’ instruments in Canadian orchestras, and they include liability insurance in the package.
There also seem to be a few misprints in my part. I would be curious to know if there is a corrected edition.
There was one obvious misprint 3 bars before 29 in the first harp part. There is a B# that should not be in the chord, and the F# is missing in the lowest space in the treble clef.
Perhaps you could substitute a fast arpeggio or scale glissando to avoid some of the pedal changes. Or suggest to the composer that one of the glissandi be eliminated completely.
Wow, David, that is terrible! In our province, we have stringent Work and Safety rules which are set by the Workmen’s Compensation Board. An orchestra would be in a heap of trouble if someone got injured because of poor stage settings and bad lighting like what you describe.
I also have my own edition, if you would like to email me. You can find my contact info on http://www.elizabethvolpebligh.com.
They are G# seventh chords, as in the previous glissandi. The pedals are set B natural, C flat, D nat., E#, F nat., G#, A flat.
Between 60 and 90 years old, a lot can change, but even in the same age group, there are variations in physical and mental ability. If your students are getting fatigued, they should develop a workout routine to improve strength and endurance. With all new students, I put my hand on the strings an octave lower and ask them to copy what I am doing. At the same time, I talk them through it and correct things. Usually, they have already bought some music before their first lesson, so I work with whatever they have. I make sure that their elbows are out from the body. In 4-note chords or placements, they place the middle fingers first, not from the bottom note up. I recommend using a mirror or making videos of themselves, so that they can monitor their hand and arm placement. Damase’s 10 Etudes for lever harp are good, though not well known. Deborah Friou’s Exercises for Agility and Speed work well to build lever harp technique. Susann McDonald’s Harp Olympics, Renie’s Method for the Harp and Salzedo’s Method for the Harp are great for beginning pedal harp students. Lariviere’s Exercises et Etudes are wonderful. Yolanda Kondonassis’s On Playing the Harp is another very thorough book. There are many choices. For a good list for lever harpists: http://www.celticharper.com/methbooks.html
http://www.vsoinstitute.ca has the audition repertoire up. They used two items from NYOC’s list and PDF’s, so that the students who are applying for NYOC don’t have to learn other repertoire. The selections are excerpts from Salomes Tanz and Rachmaninoff Symphonic Dances. I also have PDF’s of the same excerpts which are edited for enharmonic re-spellings, to eliminate pedal changes and some leaps.
Here’s another general thought, not directed at anyone in particular: Try videotaping yourself while you are playing at home, to make sure you are not making strange faces or leaving your jaw hanging open while playing. A mirror may not work as well, because you have to look up at it to see yourself, and that may alter how you really look when performing.
http://www.vsoinstitute.ca is the new web site. Check for details on how to apply.
