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I recently bought a new Horngacher model Harmony. Price is about 58.000 euro (German VAT not included).
The Orchestra model, in maple, is a cheaper. about 48.000 euro (german VAT not included).
I use BowBrand gut strings and Galli wires.
The difference between old and new Salvi harps is first the different shape of the soundboard. It is the same idea of the Apollo: a larger
Luigi Maria Magistretti (Milan 1887-Milan 1956) was pupil of Angelo Bovio, the most important italian harp teacher of his age.
After his degree in the Conservatorio of Milan Magistretti started an internetional career as soloist and in the 1910 he was appointed professor at the Klindworth-Schwarenka music school in Berlin. With the beginning of the first WW he had to come back in Italy. After the end of the ww he started again his concertistical activity.
He pubblished the 51 esercizi giornalieri and a Tema e variazioni dai capricci di Paganini.
He pubblished the studies of his teacher Angelo Bovio.
Dear mr. Zlatkovki
The prelude by Enescu is the first mvt.of his Piano Suite op. 3 n.1. You can find the suite in free download version at this web page:
http://imslp.org/wiki/Category:Enescu,_George
The idea to start with a Sonata could be good, maybe a harpist could open with one of the sonatas by Naderman, Krumpholtz or Dalvimare (I definitley would prefer Dalvimare because I love his sonatas).
Dear Sam
My teacher at the music school always used to tell me that speed-technique and sound-technique are both essential for a harpist. She taught me that you need to “push” (exactly like prof. Volpé Bligh wrote) and release the strings in the pianissimo too and expecially when you are playing in the high
Dear Sam
My teacher at the music school always used to tell me that speed-technique and sound-technique are both essential for a harpist. She taught me that you need to “push” (exactly like prof. Volpé Bligh wrote) and release the strings in the pianissimo too and expecially when you are playing in the high
Dear Sam
My teacher at the music school always used to tell me that speed-technique and sound-technique are both essential for a harpist. She taught me that you need to “push” (exactly like prof. Volpé Bligh wrote) and release the strings in the pianissimo too and expecially when you are playing in the high
Dear Mr. Zlatkovski
I agree with you that the chronological sequence could be expected and not original. Anyway my personal point of view is that at the
Dear Esther
I think you are studing the M. Grandjany’s transcription of the “Siciliana” by Respighi. This edition is strictly based on the piano
In my professional life I’ve played many Obermayer and Horngacher harps and I didn’t noticed a remarkable difference between the two mechanics except that the first are older (and often more noisy) than the second.
Recently I decided to afford the expense and I bought a Horngacher Harmonie. The mechanics is definitely heavier than Salvi or L&H but the action is accurate and smooth.
I agree with mr.Swanson about the weight of the instrument, but I have to say that the Horngacher harps have a low point of balance and I feel much more confortable to play a Horngacher than a Salvi (but maybe it is just because I’m a man and I don’t suffer the weight of the instrument).
Right about the pedals I think that the first impression for a player (of corse not for a technician) depends to the tongs (I don’t know if that’s the right technical word) of the pedals at the bottom of the
