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This is great advice, with today’s technology the important info can be sent within seconds to the appropriate authorities.
I have a harpist colleague who had a pedal harp stolen several years ago.
She contacted the FBI, gave them the serial number and other identifying information, and they found it soon after on a loading dock headed for South America.
If the right people are looking for it, it can be found very quickly.
I hope they find it soon!
Oh this makes me sick, as if it weren’t tough enough to be sick with cancer!
I hate con artists and swindlers who prey on the vulnerable, there must be a special hell for people like this!
I hope they get them and that her harp is found very soon!
Thank you for posting this Christine, I hope everyone keeps their eyes open for this harp .
Saul, we come from the same school of thought about professional codes of conduct and manners with other harpists. I remember very well my teacher would not tolerate “diva” behavior and expected us all to support each other as colleagues in the harp world. There were harpists who became world class international harpists at my conservatory and there were hard working students without such accolades and everyone got along fine. There were lots of differences in personality but there was always a level of professionalism with one another, even if you weren’t best friends. We shared gigs, subbed for each other, and helped each other professionally in the community. I have always tried to carry that work ethic with me and tried to be friendly and generous and share whatever gigs I couldn’t do with other professionals in my area including “hungry” newcomers who introduced themselves.
I remember all too well being young and hungry, but I would never presume to poach work from other professional harpists.
I would ask to be put on their sub list for freelance work.
I gave recitals, I took every gig that was offered to me, I helped other harpists whenever I was asked and I paid my dues.
I understand everyone’s opinions on this thread and can appreciate their perspective and work philosophy regarding freelance work in their area.
But I am talking about something else here that is manipulative and predatory in the freelance harp world.
There is an air of entitlement that some people have that is extremely unprofessional and disrespectful to others.
It is absolutely “Mean Girl” behavior and it is shocking when someone goes after your hard earned work and does it with such brazen arrogance.I totally agree with Carl, you just can’t believe how “LOW” some people will go.
Have you ever read the book “If You Give A Mouse A Cookie?”
The freelance music business is precarious enough, but when music is your only source of income this kind of “predatory pricing” is not acceptable in the professional freelance world, even though some people get away with it from time to time.
We are not deck builders or house painters we are highly educated and talented professional musicians often with several college degrees in performance.
I have not only had undercutting happen with weddings but also with established “cartage rates” for union gigs.
This “ONE” harpist tried to steal an opera contract from me a few years ago by letting it be known that she would play for less cartage.
Not only did she infuriate me but the percussionists too.
When all the other musicians got wind of it they backed me up and recognized what a slimy snake she was to try and slither her way into my job. We had a collective bargaining agreement and the union president went to bat for me against the management at that time and offered to pay me the difference out of his own personal account if necessary.
We won that battle and the management has since changed and things are much better now; but I have not forgotten it and neither have any of the other musicians.
Some people think they can steal work from established professionals who have earned their success because they have an inflated ego or an “agenda” and think they can get away with it.
Professional freelance musicians remember when someone has been unfair and played dirty, and there is always payback.The Erard is incredible, but an instrument only sings most beautifully, when it is played by the hands of a master who knows it well.
You have a beautiful touch on this harp, your Bach is sublime and your Liszt is quite spectacular.
You are very much at one with this harp, and the music pours out of you through the strings with natural elegance.
Fabulous job Sylvain, really fine playing!Very impressive, absolutely fabulous!
Thank you for sharing these performances.
Sylvain you are spectacular!
Magnifique!Oh… but it is about a price, a very nasty price you are being forced to pay for being too good and too threatening to a “queen bee” or a “wanna-be”.
Some people are really good at pretending to be angels in public while they stab their competition in the back in private.
In fact , some harpists are so desperately insecure that they will stop at nothing to undermine and hurt other harpists who have fairly won their success. Some people have to feel that they are “top dog” all the time and cannot tolerate the talent of others who have paid their dues. I have not only lost work from other harpists who have undercut my rate, but I have also had them stalk me, slander me, disrupt my performances, and road rage me and try and cause a wreck on opening night.
Hmm, I thought this kind of harassment behavior was reserved for dirty corrupt politicians and crazy jealous high school ex’s.
It wasn’t long ago when the economy was so bad that annual freelance gigs disappeared and summer weddings were few and far between. Some harpists undercut and low-balled established rates and hurt everyone so they could have a few extra weddings. There will always be harpists who do this, especially those who are still on Daddy’s payroll and don’t have mouths to feed or mortgages to pay or who just do it for “bully sport”.
I had a woman call me not to long ago wanting to hire me and complained about the terrible harpist she had heard at a friends wedding. When she asked her friend how she found the harpist she mentioned that “she was so much cheaper than the other harpists, I thought I was getting a great deal.”
In the end it is a question of quality and if the “lowest price” is what the brides want then that is what they will get.
To have quality music for one of the most important days in your life is worth a few extra dollars.
There will always be the “budget brides” and there will always be the “budget harpists”, and harpists who play dirty to get ahead.
You can’t control the bad behavior of other harpists and their lack of professional ethics, but you can control how you play and do business.
Play beautifully and consistently and good work will find you!I have posted about my Toyota Sienna before on previous threads but I have to say I still really love my Sienna.
My back seats fold down into the floor and I can easily column load my Salzedo, all my equipment and travel very comfortably with my three teenage children and all their backpacks and stuff.
When your harpmobile double-duties as the family van, you have to love your vehicle.
You will be glad you got the entertainment package when your kids can watch their favorite movies with headphones in their comfy captains chairs and you are listening to beautiful music up front and everyone is happy for once.
Automatic doors on both sides, safety locks on the windows from the drivers side arm rest are just a few of the safety features that matter in a family car.
I am sure your local car dealers would be delighted to show you all the many bells and whistles you can get installed if they are not already installed from the previous owner.
I have driven other harp cars mostly station wagons and the only other one that I liked was the Ford Taurus wagon, but that was before I had three kids.
I did test drive a Honda Odyssey but I didn’t like it, too boxy and confining.
One of the things I enjoy the most about my Sienna is the way it drives, it is a smooth ride and easy to manage.
My family loves my car, it is especially comfortable for long trips and that is a real test for a family car.
I bet there are a lot of great deals out there now, good luck hunting for the best harpmobile!I completely agree with you that every harp is unique and it is important to try as many different harps as possible before making a decision. I have heard raves from 26 owners and I have also heard of some disappointments.
I have played a spectacular gorgeous 23 that was a truly sublime instrument, a tribute to its famous owner.
It was effortless to play and after two hours I still wasn’t tired.
I have to agree my Salzedo is not the lightest harp to move, but I have owned a heavier harp that was a dud, and I have moved many that were much heavier.
I also own a Camac Clio that I use for my hospital playing and it is light as a feather and easy to move.
I know several Camac owners who love their harps for their brighter tone and lighter weight on the shoulder.
I have heard some great 85CG’s that impressed me with their full tone and projection.
I heard a student audition on an amazing 100 that had a huge tone, it really impressed me for a smaller size harp.
She was thrilled to have found “her instrument”.
I have been fortunate to have a great Salzedo harp and I have been really happy with it.
I love the sound of it, how it projects so easily, and I love how it feels to play it.
Again, I really believe it is important to consider your professional needs and requirements for sound, and then try as many harps as possible until you find the one you really love. : )
I have a Salzedo model that I LOVE!
I use it for most of my orchestral playing because it has a huge beautiful sound that projects easily and with clarity, especially in the bass.
I am petite in height 5′ 2” and a smaller size harp would have been physically easier for me to play.
However, because I am smaller, I wanted a harp that would give me everything I asked of it and not limit me in any way.
Since I bought it in 1985, I have become quite strong and my harp has opened up beautifully.
The 5th octave and neck are not wide spaced like some, but it suits my small hands and I am happy with it.
My harp has some scratches and dings because it has been moved so much and has weathered the pit wars, but after all these years it still has a beautiful resonance that is distinctively Salzedo.
I LOVE the POWER of my harp, it’s depth and range of color give me freedom as a performer.
I raise my bench and strap on my heels and am never disappointed regardless of the venue.
Often I do not need a “mic” in big productions because I project so well with my Salzedo that I don’t need one.
I have heard from fellow musicians that they recognized my harps’ beautiful sound before they saw me on stage, and that they could finally hear the harp part.
I also own an old L&H 11 that has that beautiful “old gold” sound. I use it for chamber music and solo performances and it is also quite beautiful. It has a thinner board and is very responsive even with a lighter touch, but it doesn’t have the powerful impact of my Salzedo in a larger orchestra.
I have heard other Salzedo’s that also have a terrific sound, and their owners are equally thrilled. It really depends on your professional requirements and personal taste in sound. I would play a lot of harps until I knew the sound I liked best.
Regardless of make and model, you have to have a great instrument and you will know it when you find it; but ultimately it is the power and the touch of the performer that brings the instrument to life.
Good luck in your Salzedo quest!
Hi Audrey,
We always celebrate St. Patrick’s Day at my house!
My children wear the green and enjoy the day with special treats.
I actually spent yesterday rehearsing and then performing with the “Irish Tenors” in a St. Patrick’s Day Concert.
The tenors were in fine form, enchanting the audience with their beautiful singing and charming Irish brogue.
What a fun concert and a great way to celebrate Irish heritage. ; )WOW, what a FANTASTIC performance!
THRILLING SYNERGY, fantastic rhythm, really tight!
AWESOME MUSICAL CHEMISTRY!
I LOVED her raised eyebrow and affectionate smile at the end. ; )
FABULOUS!
It’s great that you have already performed it before so it will be in your ear as you prepare it. You will need to get busy on the first movement. The “Allegro Molto” at 10 is fast at tempo, and the whole section up to 65 can be tricky with the pedals. At measures 83 – 100 it also gets a bit tricky, best to memorize it so you can watch the conductor. The second movement is beautiful writing but it is exposed and you have to work very closely with the soloist. Careful of your pedals here – so you don’t jam up the soloist with the wrong harmony. Measures 90-100 are tricky if your eyes are on the page, I would memorize it so you can watch the conductor. The third movement is pretty straight forward as long as you are comfortable counting to 10, 32-36 are critical – watch your pedals! I hope you have a great organist and percussionist, because you will be depending on each other. It also helps if you have a good conductor! : )
Being an experienced orchestral harpist I am sure you will be just fine.
You still have lots of time, good luck!Donna,
Thank you for posting your experienced professional opinion on this delicate issue.
It is a relief to hear the wisdom of your thoughtful and straight-forward remarks.
For those who have seen a few senseless tragedies, it is hard not to speak up when there is an opportunity to be helpful in an appropriate way.
Thank you for speaking with such clarity.
Elinor,
I absolutely agree with you, we are not psycho therapists. We are not trained or qualified “to do” anything but teach music.
I am not suggesting she meddle in her students’ personal problems.
There are boundaries between a teacher and a student that are to be respected.
However if the student is “cutting” herself and continues to do so, then she needs to seek professional advice from someone who is qualified to give it. I am not suggesting the teacher presume to offer her “treatment”.
I was simply trying to offer a helpful suggestion to a teacher who was feeling concerned about the well being of a student.
I would not be able to ignore this serious problem if it continued. I am hoping that this student is not hurting herself and that there is some other explanation for the marks on her arm.
Life can be difficult at times and students can have problems that interfere with their harp lessons.
In 25 years of teaching I have witnessed students having personal issues in their lessons due a myriad of problems. Sometimes it is flunking out of school, an accident, a really bad break-up, an illness, a divorce, a death in the family etc.
I am always interested in the well being of my students and offer a supportive ear if they ask for it. Yes we are certainly qualified to teach the harp to our students, but hopefully there is a bit of kindness and support gracefully delivered in the lesson.
