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“Proper to the music of the Baroque” is key. 16th notes need to sound like 16th notes regardless of interpretation.
If the Prelude in C is performed at tempo, circa 112=quarter, then the pedals need to move swiftly where it seems they are being moved at the same time by both feet, or in swift succession by one foot.
I don’t teach this piece to beginner or moderate students because I believe students are better served to work on repertoire that will prepare them for this piece so they are not stuck in that quasi learning “hell” of never being able to play w/o mistakes and never achieving tempo. On the pedal harp, usually one foot progresses better than the other that causes an imbalance when attempting repertoire that is too advanced. I appreciate the efforts of others to make simplified arrangements of the classics, but I wonder if the student ever attempts the original. The proof of progress is for the student to learn on-level repertoire so the student advances fully equipped to handle the difficulties of advancement. This also reduces greatly the effects of tension and stress from trying to do something one is simply not ready to do.
None. Not on the lowest C and D. All concert grand harps are designed this way. It was explained to me that there is not enough room to provide linkage for these lower extremities. The lowest notes have to be tuned specifically to flat, natural or sharp which means you will not be able to change the pitch of these notes while playing except in-between movements or pieces. I tune my low C and D to natural instead of flat. I find I use them more often in natural. You can, however, use enharmonics. You may already know this, but say you need a low C natural and you also need a low C#, tune the low D to Db and play the Db in place of the C#. Do realize that the lowest octave of the harp does not have the clarity, or flexibility of the piano, not to mention a harpist’s right hand can’t reach these notes. Use that octave for pedal tones, or the end of a gliss.
Brook,
I prefer the original because a simplified version is not what Bach wrote. It looks like Gretchen has done her research to find good arrangements. Comparison will let you know how far the arrangement has strayed from the original.Gretchen, follow the base line on the second page to find where the added measure fits in. The base line goes from F, to F#, then to Ab. It’s in-between these two measures F# & Ab that the added measure appears.
Andelin: Listen to it again to hear what Bach composed when you play the prelude as a solo. (Even his wife’s (Anna Magdalena) Klavierbüchlein (1725) does not include this measure.) As I explained to Gretchen, there are lots of arrangements of the Prelude in C, Bk 1. Often they are loosely based on Bach’s manuscript. The Schwenke that includes this measure is a copy not an autograph. It was felt that Bach left something out because the base line wants to progress upwards by half steps. When it makes a skip, it feels like something is wrong, but this is the genius of JS Bach not to do what is expected.
Harpist use enharmonics to divide the pedaling between the feet. I don’t use an enharmonic in M12 because I get the C# in the previous measure with my left foot, and then the Bb as written also with the left foot, but you could use an A# for the Bb with the right foot, and get the C# with the left foot. In M22, I use a Gb for the F# with the right foot, and a D# for the Eb with the left. Likewise in M28. I use a D# for the Eb with the left foot, and my right foot gets the F#. If you are not comfortable using both feet at the same time, you can play as written, but you may lose time trying to accomplish pedaling with only one foot. This prelude is for more advanced players because the pedaling is chromatic.
Hmm, the Prelude in C, Bk 1, is only 35 measures. Not sure where you’re picking up extra measures unless an introduction has been added. With the added measure, it would only be 36 measures. There are a lot of editions that are arrangements loosely based on Bach’s manuscript. The added measure fits in-between Mm 22 and 23. I’ve attached a copy of the added measure. It’s the measure at the bottom with the stain (sorry about the stain.)
I assume you are referring to the C major Prelude, Bk 1 (there are 48 preludes with accompanying fugues in all). Enharmonics are often used to ease pedaling and spacing of notes within the hand since harpists only use four fingers distinct from the pianist’s five. It’s not mandatory, but sometimes a passage can’t be played any other way but enharmonically on the harp. In the case of either, or, it gives you performance options from original manuscript. I’m assuming your other edition is for piano. Regarding the missing measure, or rather added measure, the Schwenke copy (1783) inserts this measure, in-between Mm 22 and 23, that has become generally accepted despite its non-authenticity. The Wagener-Volkmann autograph (Royal Library-Berlin, 1732) does not include this measure. Your piano edition probably includes the measure. You can play the prelude with or without this measure, but it is becoming more common not to play the measure unless you are playing the Charles Gounod melody version composed over this Bach prelude, then you need the added measure.
Why don’t you look at repertoire that is better suited for your hands? Gary Schocker has written some fun yet musically appealing works like Lessons I Learned from My Cat, My Kingdom for a Harp, Quest-Reunion, or Waves that will give you a chance to make a splash, but not overly tax your hands. Also, Tournier wrote some smaller works that are very gratifying to play like Berceuse Russe, as well as Grandjany and Salzedo. Look at Hasselmans’ Guitare, Patrouille, or Reverie. Beautiful repertoire.
Carl Swanson has a new edition of the Debussy Trio fully researched. Check with his score. I’ve got a copy of it, but can’t find which means I lent it to a student and didn’t get it back!
The piece is a fantasy and should have that improvised feeling, but Saint-Saëns’ markings are very specific and suggest steadiness. If students realize that the accel between 2 & 5 is not all that fast, they’ll be able to adjust the largamente tempo so they don’t run into a brick wall when they get to the solo at 6. This is extremely important for left-handed harpists who struggle with RH dexterity.
