Forum Replies Created
-
Posts
-
Hi Curls,
I will agree with you it is hard to stay inspired and I have had my share of less than inspired performances. Life does interfere and often we get called to perform when we’re feeling sick, injured, or in a bad mood due to a bad performance situation. This past holiday season while doing a Nutcracker run, the dancers with the candy cane hoops kept loosing control of their hoops and they kept flying into the pit. It would have been understandable if it had only happened once but it happened three times! The first one hit me in the face and left a bruise on my cheek, the second time it hit the scroll of my colleague’s cello, and the third time I stood up and caught it mid-air with one hand. Although my colleagues were impressed with my left handed save in the pit, to say the musicians were mad would be an understatement. It really upset me because I love playing for the Ballet and I was so happy to be there. I told them it would be one thing if my cadenza had tanked and it was some lame attempt at payback. But considering that I was playing beautifully for them night after night, year after year, as were all the other musicians; it was reckless regard for the safety of all the musicians who were supporting their performance. It was completely unacceptable and the musicians and I wanted an apology and assurance that it wouldn’t happen again. They apologized and said it was an accident, but none of the musicians trusted them after that. From then on the stage crew stepped out on stage and caught the rest of the flying hoops before they got to the pit.
Staying inspired is difficult especially when conditions are not acceptable or people are nasty and indifferent to your needs. Yes the insipid wannabes do travel in flocks and packs and try hard to shake your confidence in all kinds of outrageously petty ways. I will say that it is a wonderful feeling when you can rise above it and still perform beautifully in spite of it all. It is rewarding when your colleagues know and give you that wink or silent nod of approval. It’s especially rewarding when someone really famous gives it to you, and you know, and everyone else knows how good you really are! : )
Hi Curls,
I only had one lesson with Ann Hobson Pilot when I was auditioning for graduate school.
My audition was on St. Patrick’s Day and a great day to be Irish in Boston! ; )
I was so impressed with Ann and was sure my destiny was in Boston but Cleveland offered me a very generous scholarship and so I stayed there.
Miss Chalifoux was very fond of Ann and always spoke of her with great respect. I remember meeting Elizabeth Remy when she was maybe 12 years old and it was clear she was a brilliant talent. She practiced constantly and put the rest of us to shame with her level of dedication to the harp. I am not surprised that she became so successful.
Maine was so incredibly special and I met so many amazing harpists there.
I always left exhausted and totally broke and completely INSPIRED!
As a performer and a teacher I try to exemplify the best of my training in my own work and in that of my students.
I encourage my students to play with passion and commitment to their musical ideals.
I don’t know if I am playing up a storm but I am working very hard to make a living. Not everyone appreciates a strong and confident harpist, but those who understand it – LOVE IT! I recently had a lovely conductor ask me if I was amplified,
I had to laugh! “No” I said, “I am just very strong!” : )
Hi Curls,
Thank you for mentioning Ann Hobson-Pilot as she is an amazing harpist and teacher.
I will never forget taking a lesson with her 20 years ago in Boston.
I was prepared to play my whole senior recital for her and was proud to start our lesson with Faure’s “Impromptu”. She stopped me half way through and started talking to me about thumb tone. She went on to describe the many colors that could be created with slight differentiations in articulation. She blew my mind. She also taught me about the role of the thumb in creating and shaping melody within a complex figure. I share her pearls of wisdom with my advanced students and am always quick to credit her as she truly “opened my eyes and ears” to the sound palette within our fingertips. I am so glad the harp column is honoring her as she is so highly respected and deserving of serious accolades in the harp world.
I had the opportunity to meet Michael when I played this piece a few months ago. He wanted it to have a real “film noir” kind of feeling. All the musicians dressed up in 40’s type dress and he wanted the harpist to be the “dame”.
He was really nice to all the musicians and had a great sense of humor.
I have been inspired by many harpists and several different pieces at different times in my life.
I guess Judy Loman, Heidi Lewalder, Yolanda Kondonassis, and Alice Giles are my all time favs.
They are all beautiful players, sensitive and strong.
I heard Heidi play the Handel “Concerto” when I was a teenager and that was my first real inspiration. The Handel had a profound impact on my development as a harpist and is still very special to me. I love the Ravel “Introduction & Allegro”, the Debussy “Danses”, Tailleferre “Sonata”, Faure “Impromptu” and the Salzedo “Preludes”. There is also so much chamber music and orchestral literature that have fabulous harp parts that it is hard to pick. : )
My teacher Alice Chalifoux used to say that ” playing the harp well was 90% perspiration and 10% inspiration.” As a performer and teacher for over 20 years, I completely agree – but I do think there needs to be more inspiration.
I believe natural talent is essential and determination is crucial if you want to be successful in any of the arts. However, the passionate artist burns brighter than others and it is clear in their performances. Inspiration is born of deep desire and searching within one’s discipline -it can also arrive from outside your field in a very unexpected way. Determination comes naturally as it is fueled by passion to be complete in one’s chosen art form.
As a struggling student I worked very hard to catch up with some of my more brilliant colleagues. Some of these musicians were prodigies, some of them work-a-holics, and some of them blessed and lucky. But not all of these musicians became “Successful”. Many of them made other choices that made them happy and found “success” outside of performing. During my student years I learned the value of really hard work and the definition of excellence. To receive a compliment from your teacher or another famous musician was heaven. Working with other outstanding musicians was inspiring and highly motivating. I learned many valuable skills just observing their creative process. I was fortunate to train in a conservatory with so many talented musicians and the Cleveland Orchestra a few blocks away. As a professional harpist, I still learn from my colleagues and listen with a discerning ear. There is nothing more thrilling than hearing or being a part of a brilliant performance- it is transforming and lives within you forever. When you understand what it takes to get there it is even more gratifying. It raises the bar of excellence and you know great artistry when you hear it, see it, and feel it.
Higher education is absolutely imperative to any serious musician. There is a level of musical intelligence that is only attained after years of study and experience with a master teacher. It is also important to study theory, music history, and be surrounded by other excellent musicians from whom you will learn many important things. A great deal is to be learned from other students who are more advanced or experienced than the freshman harpist. A Doctorate of Music is required in academic circles but some instrumentalists can get by with a Master’s degree if they are high caliber performers. It is important for students to consider what they want to do with their talent and choose teachers who can give them those opportunities should they merit them. As long as they have their eyes open to the financial realities of a musicians’ life they will be happy with their decision. If they have illusions of glamorous fame or want to be wealthy, they should consider another occupation. If a student cannot live without music, needs to play the harp to feel complete, then I say go for it.
I have to say these are all valid and important points for students to consider.
I agree with Saul and Carl that there must be a solid foundation. There are always weaknesses in certain areas and I am honest with the students right from the start. Sometimes the students have to start over in certain fundamental points of technique and develop a disciplined manner of practice that will lead to successful performing. This often takes enormous effort and commitment.
This can include a complete re-learning of hand position and finger articulation, and for some an entirely new approach to harp study.
This can be done without dishonoring their previous efforts or their previous teachers. I agree with Elizabeth. You must be honest in your assessment of their abilities so they can find their enthusiasm based in reality and set their goals accordingly. Are they physically, mentally, and psychologically capable
of the many skills and strengths they will need to be successful.
Another point to consider are the realistic opportunities that may be available to this student. Do they have dreams of harp competitions, orchestra jobs, a music education career or just want to play well in addition to another college degree?
There are 13-14 weeks per semester including a jury and the time/practice quotient is a fact of reality. How much work will they or can they do in a semester much less a four year plan? How dedicated are they to their harp career aspirations and do they really have the talent, the drive and the ambition?
The music world is a tough business and often unfair. The most talented harpists don’t always get the job because of other reasons that have nothing to do with talent or experience. But you cannot kill talent as it is recognized by everyone else regardless of a temporary unfair situation. If one door is temporarily shut, then another one will open that inevitably leads to the top. I prepare my students for these realities and make them aware of how to compete and improve their odds of success. I share my professional experiences with them and they learn from me as I learned from my teacher and my friends in the harp world. As an instructor at two major universities, I feel compelled to be very clear about my expectations and what it will take for them to become a high caliber player.
They need to know where they stand and how tough it is out there.Many years ago I had a college student who was extremely talented in both harp and science. She had an opportunity for a fellowship with NASA to become an astrophysicist but had dreams of a harp career. I explained to her that she could study harp in addition to her work at NASA but the realities of a music career needed to be faced. To be so brilliant and talented is a rare combination, not everyone has those options. She chose the science career and her father thanked me profusely. I have also had the pleasure of teaching students and watching them blossom and pursue their dreams with great success. They also thanked me for teaching them how to play well and survive financially in the real world. My responsibility to them is to prepare them for the realities of a harp career and send them into the world as prepared as possible for the many challenges they will face.
You have asked an important question that many students need to consider before choosing a university harp program. Although I teach the Salzedo method I was originally a Grandjany method student and feel I have a great understanding of both methods. More than half of my students come to me from other teachers of a different method. When students audition for me at Duke or UNC, I ask them to play a piece that best represents their abilities and then one they are “working on”. I then ask them what they are looking for in a teacher and what they want to do with their harp studies at the university.
Separate from their audition, I encourage students to take a lesson with me to get an idea of my expectations and teaching style. While in the lesson I then get to see their learning ability and flexibility. I would never require a student to “start over” with me but would assess their strengths and weaknesses and offer them my honest opinion and suggestions. I would also give them an idea of my expectations and what opportunities they could have at the university. There are many fine teachers in the USA who teach different harp methods and some universities have more to offer than others including $’s. Consider your ultimate goal as a harpist and also what other opportunities you are looking for after you have completed your degree. Best wishes to you as you consider your options.What a great thread! Alice Chalifoux always taught us to dress well, to be understated yet elegant. The music should always be the focus – not your outfit and not your shoes. We all had to wear the 2 ” naturalizer black pumps when in school. However, as a graduate student I would go to consignment stores and buy designer clothes for performances that were tasteful and elegant. I never had a lot of money but would get compliments from AC on my classic style and thrifty purchases. Once I started performing at country clubs and hotel brunches I had to get more clothes for the gigs. “T.J. Maxx” and “Marshalls” were great stores for low budget outfits and I started building my wardrobe. I must confess I enjoyed beautiful clothes, shoes, and jewelry even on a tight budget. Now that I am older and have been up and down the scale my style has adjusted to a more practical elegance. I love to go “glam” when the event calls for it. I wear 3″ inch heels all the time when I perform because I am so short- legged and they help me reach the pedals with ease. I dress differently when I play in the pit orchestra than on stage with the orchestra. My favorite gig outfit is a black velvet pantsuit from Chicos. I prefer dresses when performing as a soloist, and try to match my clothes to the event.
I find my students are already comfortable in their sense of style and yet I urge them to be practical and appropriate. I have taught students in lessons who were fresh from soccer practice or tennis and I could care less. As long as their hands were clean and their shoes were changed it was never discussed. It is important that they are comfortable at the harp and connected to themselves mentally, emotionally, and musically, regardless of their attire.
The most important thing is to PLAY WELL but there is nothing wrong with looking great when you do it. I always appreciate people who take care of themselves and take care in their appearance. The audience absolutely appreciates it and takes it as a compliment when you care to look your best.
Whenever I play a harp lecture / demo I try to tailor my remarks to the type of audience I have. If I am playing at a nursing home or for the local chapter of a social club I will keep my remarks brief and hopefully entertaining. If I am playing for a group of harpists, I will get very involved in my remarks and engage them musically and technically on a much deeper level.
I try to pick repertoire that suits their age and interests. When I play for children I love to engage their imaginations and ask them what they thought about and what they felt when they heard the music.”Chanson dans la Nuit” is always a winner for that very reason. I always explain the sound effects before I play it and then ask if they heard them in the piece. I try to balance my programs with both serious repertoire and some lighter fare and maybe something quite fun. Most audiences don’t care about your extensive knowledge of harp repertoire but want to get a glimpse of your personality as a performer. I have found that being genuinely enthusiastic about your program invites your audience into your performance in a most authentic way.
One of my young students performed at Duke Chapel this morning and her mother told me that a 4 year old handicapped boy in a wheelchair and his grandfather approached her after the concert. She explained a few facts about the harp, played twinkle twinkle and invited him to make a “glis”.
He was absolutely radiant and beamed to his grandfather that he loved it.
The grandfather mentioned to the mother of my student that he had watched several other harpists but no one had ever invited him to come near the harp much less allow him to touch it. He was impressed that my student was so naturally accepting of him and willing to take a few moments to “make his day”. I did not teach my student to do this, it came to her naturally as she is a great kid. I bet that little boy will always have a great feeling about the harp and harp music. I bet the grandfather will never forget the kindness of a young harpist to his grandson.
Performing for the general public is always a great opportunity for sharing our beautiful instrument.
You just never know how you might touch someone and truly make their day!
WOW I didn’t know I was so unusual, I guess performing to the general public has made me more friendly to non musicians and the harp-less animals of the world. Maybe I have been playing in orchestras too long and have learned to make music with even the most cantankerous of animals. ; 0
Some of my best memories of demonstrating the harp have been to small children who have never been exposed to it before. To see a child light up when getting to play a glissando or get to be “the star” for a moment is very rewarding. I also enjoy playing for the elderly and the sick who are very grateful for the opportunity to hear beautiful music and have a bit of grace and elegance in their day. You never know how your harp performance can affect someone or make their day. I have also met some wonderful people while giving such a program. Regarding dogs and ponies, I can only say you don’t know what you are missing. My dogs are usually at my feet when I am practicing and offer the occasional yawn or grunt of approval for my entertainment. In fact my dogs are better than a lot of people I know! I guess I was hoping to hear some interesting and amusing stories from other professionals who are out there sharing their harp in the real world.
Hi Saul,
I got the same one. In fact I still get a lot of these and worse. I am glad you are bringing it to everyone’s attention.
Harp teachers are an easy target for these people as we are usually gentle people. Spammers and scammers are one in the same. They hide behind their computers and unleash all kinds of treachery for the rest of us to deal with.
Beware of wolves in sheeps clothing, things are not always as they appear.
When I was in college I subbed for another harpist for “High Tea” at the Stouffer’s Inn on the Square (now the Ritz) in Cleveland, Ohio. Dressed in my Laura Ashley dress with 2″ pumps and pearls, I was every bit the the english garden harpist. A middle aged gentleman with bleached yellow hair came in and sat down directly in front of me while I played my sets. He requested irish music and coyly asked if I knew anything from Camelot. After playing “If ever I would leave you” he asked me to join him for tea. He was extremely charming and had a devilish mischief in his eyes that was quite captivating. I chatted with him during my break and he asked me if I had ever been to the British Isles. He was witty and clever and I was truly impressed with his charisma and charm. Ultimately he asked me if I wanted to see the etchings in his room. Although I graciously declined his invitation I could see that he was amused that I didn’t know who he was. He thanked me for the beautiful music called me “lassie” and left the lobby where I was playing. I still didn’t know who he was until I was loading out my harp at the front door. Repleat with cape, top hat, and cane, he came swiriling down the stairs singing from Camelot. He smiled and winked at me, blew me a kiss, and then got in his waiting limo. As my jaw hit the ground I turned to the smiling bellman and said OMG that’s Richard Harris! Laughing at my star-struck expression I exclaimed that I didn’t know who he was until that moment. Yeah he said, we all watched you turn him down – he wanted to make sure you remembered him. As the limo drove passed the window rolled down and he tipped his hat to me and said “Goodbye M’lady.”
Hi Rosemary,
My kids are 10, 12,and 15. Your postcards inspired a trip to the atlas!
They all remarked that Tasmania is cool! They wondered if you had seen any Tasmanian Devils?
Hi Rosemary,
Thanks for the postcards from Tasmania my kids really loved them! I was at the Virginia Harp Center to drop off a harp that a friend is selling there on consignment. I loved trying out all the harps – it was really fun and of course I ended up buying lots of music. I felt like a kid in a candy store. I did look at the harps for you while I was there but it appears you hit the jackpot. It’s funny, sometimes the harp finds you. Enjoy !
