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Though I know this wasn’t the original topic, I do think there are orchestral opportunities for non-majors that could be available depending on the area. Pops orchestras, community groups, youth symphonies without a young harpist — often these groups go under the radar unless they are willing to pay a harpist. Usually that’s not in the budget so they don’t program music with harp, or they just go without. It’s unfortunate, because it is such great experience for a younger player.
At least in my experience at two larger schools, a student continuing on harp could be accepted to the major studio – especially if they are willing to do a minor in music (which may not be too many classes). Or be taught by the graduate assistant, registered in a minor course.
It’s my understanding that Ms. Williams was also the sub for Sarah Bullen when she was on sabbatical a few years ago.
And I think it’s awesome! Everyone’s been saying it was a fair audition, and it’s great to see two harpists doing so well!
Congratulations to everyone who auditioned! The list was intense.
Excerpted from N. Shameyeva’s The Development of Harp Music in Russia: XXth Century:
The Concerto by R. M. Gliere (1938)
From the 14th to the 30th of November, 1938, the Second Decade of Soviet Music was celebrated in the concert halls of Moscow. Along with the new compositions by A. Khachaturian, V. Muradeli, S. Prokofiev, R.M. Gliere’s Concerto for harp and orchestra was performed by the Honoured Arist of the Russian Federation K. A. Erdeli and conducted by L.P.Schteinberg (23 November 1938).
(p. 46)
The paragraph goes on with a quote by Erdeli about
Hi Emily,
I found the article and can scan and send it. Do you have a preferred email address?
Katherine
You can also refer to “Writing for the Pedal Harp” by Inglefield/Neill or even the Chaloupka “Harp Scoring”. The Inglefield covers a great deal with an accompanying cd of examples. The Chaloupka is short and sweet.
Good luck! 🙂
I don’t know. I think the friends may refer to the harp ensemble work and the narrator on the last piece? I wish I had written more down at the time.
As far as getting the recording, I could send you that track when I cut them into MP3’s (currently an audacity file on my computer). You can email me, kdenler at indiana dot edu and I will send it when I’m done. (Hopefully by my lesson on monday…)That would be REALLY cool.
What I was studying at Illinois, the Roslyn Rensch collection included two boxes of vinyls, including a Renie recording – the cover read “Enregistrements prives de Henriette Renie dans ses oeuvres et Liszt Mozart Schubert Debussy Busser”. However, the disc itself is a different recording, all live, titled “Henriette Renie et Les Amis”.
Side 1
0. Female introduction
1. ?
2. Danse des Lutins
3. Piece Symphonique
4. ?
5. Contemplation, harp ensemble version (?)Side 2
0. “Side two”
1. Liszt Consolation No. 3
2. Liszt Liebestraum
3. ? (John Thomas? Introduction and variations)
4. ? (Narrated piece, with female voice same as side 1).Sam, I’m glad you asked about this. I’d forgot about copying the disc to my computer. I’ll ask about the titles I don’t recognize (I’m fairly certain the ones on side 1 are her transcriptions).
I should mention I compared the recording of Danse des Lutins of mine and the AHS and they are different (different tempi and different intonation issues).I found another really cool recording in the Rensch collection, Johnson and Koziova Music for Two Harps. It has a two harp version of Debussy Danses and of Ravel Introduction et Allegro.
I know a few players there, crossmyharp@gmail.com is my email. Please contact me for their information 🙂
I always worry about sounding pretentious. I think it’s easy to do in an informal, written setting. But I also am addicted, and I love seeing some of the discussions on different things! Also, I think it’s really great to see such a nice mixture of different ages and styles of harp playing. Since I’m still in school, I’m around so much *serious* music. Especially the topics of “what makes a good teacher/student?” were great to hear such diverse feedback 🙂
How beautiful! I just looked and the Musical Snuff Box is available from Lyramusic.com
🙂 Wonderful recording!
I also didn’t read everything in the original thread —
but “Udder Balm” is supposed to be amazing for cracking and callouses, it can be found at an animal feed store or somewhere like Farm and Fleet (if you have them where you are). It is used for cow udders that become dry/chaffed from milking. Apply at night, and wear gloves to sleep in. I guess it’s also great for people who have extremely hard callouses.
Ralph, I used one of those carts over the summer (Kim Rowe’s actually :)) and it was AMAZING!! I really, really, really wish that I could afford one, they’re just so great!
For now, I use a Lyon and Healy cart, but honestly, I will soon probably purchase a Vanderbilt cart because of the straps and wheel assembly on my current L&H cart.
The clip-straps are just too difficult to maneuver when I’m trying to quickly move my harp (as in a parking lot/loading zone) by myself. The velcro really doesn’t wear any worse over time, and I would guess that the clips have about the same life expectancy since they can break.
The wheel assembly rod (what the wheels are fixed on) broke probably 3 years after I bought the cart and my dad had to replace the axel. The axel is now bent slightly again and I’m worried it might break while the harp is on it on stairs or something.
That is just my experience however, and I’m sure the fact that the harp is around 10 years old doesn’t help! Also, I was young when I got it and thus probably wasn’t as kind as I am now. 🙂
Also, the harp column has done tests on carts — I’m sure you could request a reprint of it! 🙂
Hi! Just do a google search and when the results show the webpage, select “translate”. It isn’t the greatest translation (reflects the german grammar) but it’s understandable 🙂
If you feel like sharing, I would love to see a finished version of your thesis! crossmyharp@gmail.com
I love new bow brands — I think of them as “buttery”.
It does sound like you may have gotten bad strings – let them know and they’ll send you new ones.
Other things to consider — sometimes the inside of the tuning pin can be rough, or if you don’t have it completely vertical as you lace the string it can damage the string. Also, be careful as you tie the string – maybe you accidentally crimped it?
Good luck!
Shelby,
A lot of technique differences come from different string tensions — smaller harps, be they south american, folk, or older single-action harps are going to require less force for the string to vibrate fully. Modern instruments require more force, and thus you use your entire digit, with hand, wrist, forearm, bicep as support.
Lighter tension does mean certain repeated passages or oscillations are much easier… which is why folk music has awesome ornamentation 🙂
