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I have learned to keep students’ repertoire to a level that will challenge them somewhat,
but not overwhelm them. Once in a while, I have miscalculated, and have had to suggest
putting the difficult piece “on hold” until they have had some time to build better
technique. If it is a piece that the student has chosen, and really wants to play, this
approach guarantees that they will still get their wish. You are absolutely right that it is
better to use pieces that the student loves to play. If, however, you are teaching a very
serious student who is planning a career, then they have to learn every kind of repertoire.
whether they like it or not. To play a piece well, when you have no emotional connection to
it, this is like great acting, and it takes practice.
You should get the biggest and best harp you can afford, since some repertoire goes right
down to the low C and up to the high G. You want a harp with a bright sound that can be
heard over the orchestra. And get a travelling trunk and a harp dolly, in case of touring.
There are repertoire lists for symphonic orchestras, but they are probably more difficult
and comprehensive than for most youth orchestras. Berlioz’s Symphonie Fantastique,
Rimsky-Korsakov’s Capriccio Espagnol, Britten’s Young Person’s Guide to the Orchestra,
for example, are standards on professional audition lists. Buy the book “The Harp in the
Orchestra” by Beatrice Schroeder Rose. It is mentioned elsewhere on this list. It has lots of
excerpts, and how to play them. Also, contact the youth orchestras and ask them about
their audition requirements.I believe the levered version of the Harpsicle is called the Sharpsicle. If you look for Harp
Mall online, you will find a plethora of harps available. You may even find an excellent harp
second-hand.
How about Trois Petites Pi?ces Fa?iles by Hasselmans, and Trois Pi?ces Fa?iles by
Grandjany? They are very pretty, and quite manageable for beginners to intermediates.
There are also “pi?ces fa?iles” by Reni?.
Your suggestion to listen to recordings is an excellent one! Suggest that they choose only
recordings made with ensembles that are known for playing in the authentic style of the
composer’s time, preferably with period instruments. Also, there is a very good book by
Neumann on the art of Baroque ornamentation. Individual expression is fine, but I agree
with you that it is preferable to stay within the historical context. Otherwise, your whole
programme sounds the same! Audiences love variety. It also helps to get “back-up” in the
form of a lesson or master class with someone who is an expert in that period, and who is
not necessarily a harpist. There is a growing interest in authentic performance, so there
are lots of CD’s and live performances available that should help your student notice the
differences.
There’s another good book by Burton Kaplan, called “Practicing for Artistic Success”. It’s
not geared specifically for harpists, but there are some very good ideas in it.
Well, actually, Saul, I know it seems counter-intuitive, but it really doesn’t limit your speed.
I’ve tried it both ways. And, of course, there are many lightning-quick harpists from both
schools of thought. I really think it comes down to hand and finger sizes and shapes. What
works well for one person doesn’t always work well for another.
I would also try contacting Judy Loman in Toronto. I don’t know if they are doing this at U
of Toronto, but some universities are starting to use video technology to teach people in
smaller communities. Rita Costanzi and I both teach harp at UBC, and our Dean of Music
has said he would be interested in setting up video-conferencing for teaching.
When we refer to “round” fingers, we mean when both the knuckles are curved in a convex
way. “Flattened” means when, as Carl said, the knuckle nearest the fingernail is flat or
slightly concave instead of curved.
I believe bagpipes play in D major, so all the tunes written for them are in that key. I’m not
an expert in this, so correct me if I’m wrong.
I know that Ada Sassoli was a student of Salzedo’s, maybe even one of his wives. He
dedicated his Variations on an Ancient Theme to her, if I’m not mistaken.
Betty Paret wrote a book for beginning harpists which is still widely used.Sometimes I flatten my fingers to avoid buzzing, or to get a different tone quality when I
play a chord. It is, however, mainly because my fourth finger is rather short, and when my
fourth finger is placed in a widely-spaced chord, my third finger’s knuckle is pulled right
up against the strings. If they are supposed to be vibrating, this can create a problem of
unwanted buzzing or dampening.
Andrew Chan is living in Toronto now, studying with Judy Loman. He is a pedal harpist,
but has taught children on folk harps while he lived in Vancouver. If Sharlene and Maureen
haven’t got space, try Andrew.
My edition of the Handel Passacaille is by the delightfully-named Tiny B?on.(Anyone know
whether Tiny was 6 feet tall?) Also, the Ibert I am referring to is, in fact, Six Etudes, and
not the very lovely set of pieces which includes the Scherzetto.
As to repeats in the Handel Passacaille: It would make sense if you altered the repeat by
adding ornamentation, which is how Baroque opera arias in the A-B-A format are sung.
The repeat is there precisely for the soloist to show off their ornamentation and
improvisatory skills. Actually, I am trying to get away from using editions of Baroque
music more and more now. It’s best to go back to the original score, if one can find it.
