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I know this is a jolly old post now but I came across this one the other day. Vaughan Williams – Flos Campi is now known as Flo’s Scampi.
Fearghal
Hi again,
Going by what has been suggested here and from others I think I will get the Breitkopf edition to play from. Cadenza wise – I’m going to have a look at the Reineke cadenzas and the Marius Flothuis cadenzas. It has also been suggested that I try the Nina Rota cadenza in the 1st movement and the John Thomas in the second. How do people feel about using different cadenzas for each of the movements? Is it perfectly acceptable to do that or would the different styles of writing be noticable?
Also, where could I find a copy of the Badura-Skoda cadenzas? This last question is mainly to yourself, Laura.
Thanks agin for the help,
Fearghal
Hi all, Thanks for the replies so far.
I have a book that I bought at the 7th International Harp Symposium (Cardiff 2007) – ‘El Arpa En La Obra De Mozart’ by Maria Rosa Calo-Manzano. This covers the ‘hoot & flarp’ as well as other works. In it, she
Yep, Sorry – should have said I am in Scotland. Defeinitely don’t try it if you have a left-hand drive (shudders at the thought of mechanism damage!)
Now that does sound fun! The strangest I have had to do was when we were playing the Rachmaninov Variations on a Theme of Paganini. I was set in the middle of the stage, directly in front of the conductor and doing a wonderful job of blocking most of the woodwind and brass’ view of the conductor! The only reason for this that I can think of was that the harp has a goodly amount of chords with the solo piano and often has to cue from the piano so the conductor wanted us both to be as together as possible.
Normally I sit between/behind last desk of 1st and 2nd violins but in the last concert I ended up on the other side of the stage, on the 1st raiser right beside trumpets as sound wasn’t carrying through the bass and cello section. Being on the raiser allowed the sound to carry over them.
I know that Stéphane Denève always sets the harps over by the cellos and this does seem to work rather well in terms of projection but until then I have always been used to harps behind the violins.
Hi, there is quite an old, but still very good live recording of the full ballet by the Bolshoi Theatre Orch. I have it back home and will have a listen through and let you know when else the harp is busy. There are a few other places from what I can remember but I can’t remember which movements offhand.
Hope this reply isn’t too late for you.
Land Rovers are actually quite nasty for the harp. They look roomy but it is still a tight squeeze with the tailgate. I actually drive a Vauxhaull Agila and can fit my Salvi Arianna, a cello in a wheeled case, trolley, stool, stand, music bag and at a squeeze my Irish harp in and still drive! Saying that, the curve in the neck of the harp fits round my head whilst driving so I pray I never have to do an emergency stop! That harp is ratchet-strapped in though. I do use an interesting set-up with 4 seat cushions and two foam triangles to support the harp. The back seats are down and the head rests on the front two are off.
Yes, good plan. I had to do that with the Sea Symph. (In one concert I even had to play both parts as best as possible as there was no second harp available. No chance of rests, some killer pedal changes and lots of photocopied page turn helps – though most of those were due to some printer at Stainer and Bell writing double hand gliss’ and continuous chord sequences over page turns. I had 25 photocopied bits attached including the whole 1st and last pages due to this. Anyone know a better publication for the harp part at least?)
Regarding the plan of tippex-ing and ledger lineing – do that if it is your own part as that is what I have done to some of mine. Hire companies are not usually that keen on you doing this though!
I have Dives coming up next season (in the spring) and have a part on order so will have a look and see what needs to be done once it arrives.I was given a recording of the complete Nutcracker by the Bolshoi and their harpist does a very nice set of
Abide With Me was the strangest request I had. When asked why chosen the father of the bride said it was the only hymn he could think of. I asked if he knew the words and when he said no, showed him and played a verse. There was a rather rapid cancellation of that as a request!
What about the Salvi Arianna? That isn’t gilded or Greek-columned. Or the L&H Salzedo – can’t get much more art deco than that!
