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I play the Mozart from the original, but I use a lot of Salzedo’s clever fingerings. I did the one-handed trills in the second movement. I have used both the Reinecke and the Rota cadenzas, sticking with the same composer for each performance. It is not unusual for people to cherry-pick cadenzas from different composers for different movements, but they should not be of glaringly different styles. I don’t think there are any errata in the original.
I just charge per hour, no matter what it’s for, though my twice-yearly student recitals are free, other than the potluck food that everyone brings. It’s not okay to send a bill for something that was neither disclosed nor agreed upon. It’s also not okay to charge for one’s own personal time. That’s why I do not answer the phone during a lesson. Not that I have ever done this, but if I had taken along a student to look at a harp, I would have timed when the lesson on selecting the harp ended. In fact, if the student had to wait around for me, I would consider that time discounted from what I could charge. Therefore, if we spent a half-hour looking at the student’s harp and a half-hour looking at mine, then there would be no charge at all. I wish our time spent in waiting rooms could be billable!
I just charge per hour, no matter what it’s for, though my twice-yearly student recitals are free, other than the potluck food that everyone brings. It’s not okay to send a bill for something that was neither disclosed nor agreed upon. It’s also not okay to charge for one’s own personal time. That’s why I do not answer the phone during a lesson. Not that I have ever done this, but if I had taken along a student to look at a harp, I would have timed when the lesson on selecting the harp ended. In fact, if the student had to wait around for me, I would consider that time discounted from what I could charge. Therefore, if we spent a half-hour looking at the student’s harp and a half-hour looking at mine, then there would be no charge at all. I wish our time spent in waiting rooms could be billable!
I just charge per hour, no matter what it’s for, though my twice-yearly student recitals are free, other than the potluck food that everyone brings. It’s not okay to send a bill for something that was neither disclosed nor agreed upon. It’s also not okay to charge for one’s own personal time. That’s why I do not answer the phone during a lesson. Not that I have ever done this, but if I had taken along a student to look at a harp, I would have timed when the lesson on selecting the harp ended. In fact, if the student had to wait around for me, I would consider that time discounted from what I could charge. Therefore, if we spent a half-hour looking at the student’s harp and a half-hour looking at mine, then there would be no charge at all. I wish our time spent in waiting rooms could be billable!
Hi, Clinton! There is one spot in the 6th song (Lied der Frauen) where the score indicates a glissando but the harp parts show it as a strangely-voiced arpeggio. That was the spot I was wondering about. Everything else seems okay. We start rehearsing it next week, so I’ll post anything else I discover.
It never hurts to memorize them, but it is not required for most parts. Orchestra harpists are expected to play with the music in front of them, especially for the bars of counting. The really difficult pieces feel a lot better when they are memorized, and some sections go by so fast that it is impossible to read them anyway. For example, I have memorized sections of R. Strauss tone poems and Tchaikowsky ballets.
Oh, and Clinton, are there mistakes in these Lieder? There are some very odd chords here and there. But that’s not unusual in R. Strauss.
I love Henriette Renié’s Method for the Harp. It’s very thorough, and full of excellent advice. Salzedo’s Method for the Harp is also a good book, and uses the pedals a lot more. Many people buy it especially for the pieces at the end, which include Chanson dans la Nuit.
I love Henriette Renié’s Method for the Harp. It’s very thorough, and full of excellent advice. Salzedo’s Method for the Harp is also a good book, and uses the pedals a lot more. Many people buy it especially for the pieces at the end, which include Chanson dans la Nuit.
I love Henriette Renié’s Method for the Harp. It’s very thorough, and full of excellent advice. Salzedo’s Method for the Harp is also a good book, and uses the pedals a lot more. Many people buy it especially for the pieces at the end, which include Chanson dans la Nuit.
I re-distribute that section so that there isn’t so much jumping and it becomes easier to watch the conductor. The first harpist takes the top line of the first and second part, and the second harpist takes the bottom lines of each part. I’ll send you my PDF file, Sharon, so you can see what I mean. This is a concept that comes in handy in various pieces.
But back to the topic! A very chordal piece is the famous “Largo” from “Xerxes” by Handel. It may not work on lever harp without some re-voicing, but it definitely works on pedal harp.
But back to the topic! A very chordal piece is the famous “Largo” from “Xerxes” by Handel. It may not work on lever harp without some re-voicing, but it definitely works on pedal harp.
I just heard Judy Loman on CBC talking about “Be Still My Soul”, which is part of the piece “Finlandia” by SIbelius. Judy hosted a show called “My Music” in which she played pieces that meant a lot to her for various reasons.
