Elizabeth Volpé Bligh

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Viewing 15 posts - 46 through 60 (of 954 total)
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  • in reply to: Advice please #238024

    When you try out harps in the showrooms at World Harp Congresses, nobody is judging you. There are sometimes little rooms where you can move the harp to try them out, if it’s too noisy in the showroom. It is a treat to have so many choices. The concerts and workshops will be really inspiring. If you can afford it, I think you would enjoy it immensely.

    in reply to: What's On Your Music Stand? November 2019 #237762

    The Evening Prayer is too chromatic for a lever harp, I think.

    in reply to: What's On Your Music Stand? November 2019 #237430

    I’m playing the harp part for Engelbert Humperdinck’s Dream Pantomime from Hansel und Gretel this week. I did not know that this opera is a Christmas tradition in Germany, even though the only connection to Christmas is the gingerbread house that the witch lives in. So, if any of you have solo harp arrangements of Evening Prayer or the Sandman’s Song from this opera, they’re appropriate for Christmas! (I made my own arrangement quite some time ago of the Evening Prayer. It’s full of pedals, but it’s slow.)

    in reply to: Check a Tournier misprint for me please #234890

    I don’t know if this is what you’re looking for, but here is a Youtube video of the Quatre Preludes for two harps played by Andres Izmaylov and Artemy Izmaylov.

    The second prelude starts at 1:34.

    in reply to: Sight read vs memory for recital #234889

    If you do decide to use sheet music, don’t forget to bring a stand light just in case the stage lighting is insufficient. If you are relying on the music and you can’t see it well enough to read easily, that could cause mishaps.

    in reply to: Mahler 3 #233752

    Oh, I see what happened. There are two pages of responses, and I had only been looking at the first page.

    in reply to: Mahler 3 #233680

    Strangely, I posted an answer here a few days ago, but it doesn’t show up in the thread.
    I checked my part and found that the chords at 72 and 75 in the first movement were only playable by splitting them between the two harpists, and the harmonics were to be played where written. I’m writing this again in case others need these answers.

    in reply to: Mahler 3 #233352

    I just got out my Mahler 3 part, and you’re right about the chords at 72 and 75. They are not possible to play at tempo unless you split them between the two harpists. That section is thickly orchestrated, so, even with the harpists playing brilliantly, the harps are likely to be obliterated.
    The harmonics are played where they are written, as was the custom at the time. After rehearsal number 42, I used the knuckle of my left hand to play the lower harmonic, since I could not play that harmonic with the usual left hand technique.I hope this answers your question.
    I am thankful that composers generally did not go along with Salzedo’s suggestion to write the harmonics where they sound. It makes the music harder to read, and goodness knows it’s hard enough. No disrespect to Salzedo, who was a great innovator.

    in reply to: Children's Suites/Lullaby/Collections #230493

    Manon LeComte has a lovely CD called Jouer, Chanter, Danser, which is dedicated to children. It is full of lovely selections, including the Flagello Berceuse (which means “lullaby”), Berceuse Russe by Tournier, The Musical Snuff Box, Danse de la Poupée, etc. It’s hard to find, but she can sell them directly. If you need her contact info, I can email her for you.

    in reply to: Moldau, Smetana #228428

    If you only have a little while to learn it, you may have to simplify it enough that you can play it smoothly for now. For the long term, practise each hand slowly, paying close attention to any patterns or repetitions that you can find. Listen for even sound and watch for inefficiencies in your technique, if there are any.

    in reply to: STRAVINSKY Symphony in Three Movements #226315

    One of my students is supposed to play two excerpts from the Stravinsky Symphony in Three Movements for her ARCT exam at the Royal Conservatory, and they are allowed to use an excerpt book, but no photocopies. However, neither Helga Storck’s book nor Sarah Bullen’s book include one of the required excerpts from the Royal Conservatory Syllabus. Helga Storck’s book has the 2nd movement from 117 to the fourth bar of 124. Sarah Bullen’s book has from 112 to 120, then from 138 to the third bar of 139, then from one bar before 172 to 177. The RCM asks for the excerpt between 132-134. I think it’s time for a phone call to the RCM.

    in reply to: Playing fast (arpeggios) #224804

    Try this. When you’re turning around at the top, replace the second and third fingers simultaneously just before you play the thumb. Your fourth finger places itself immediately afterwards, just a nanosecond after the other two fingers. I know that this is not standard technique, but it works for me.I tried putting all the fingers on at once, and it not only slowed me down, but sounded choppy. It could be a different story if your hands are bigger.

    in reply to: VSO Institute 2019 #223054

    https://www.vsoinstitute.ca/?fbclid=IwAR0d_XxzNzNvNxmJV2z6Pjusm2wtRSRgOPYgW4dTSGrvaAB_p-3_vJAqk3A

    There was a change of venue, from Whistler to UBC School of Music. Above is the link to the Institute.
    VSOI 2019 June 24–July 3, 2019
    Audition deadline is now: March 3, 2019.

    in reply to: Infant Holy, Infant Lowly #222173

    Marilyn Rummel arranged this carol for three harps. You can find her web site at marilynrummel.ca

    in reply to: Teaching need Solos for lever or pedal – Avondale #222172

    I haven’t written anything new lately, but I plan to get back at it after the VSO hires a new principal harpist, and once our renovation is complete! There’s too much distraction right now. Thanks for the kind words. I’m glad you like the pieces!

Viewing 15 posts - 46 through 60 (of 954 total)