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I have only ever played Nutcracker with a second harpist ONCE in my entire career (& that was at a training orchestra course). I don’t think I could play it with two now I have played the combined part for so long….
The Utah Symphony owned a Salvi Arianna. We purchased it right after I joined the orchestra in 1999 & owned it for 10 yrs before it suffered a disaster right before a dress rehearsal for Ein Heldenleben by falling off a riser & being totalled 🙁
It held up fine in this climate, it was stored at the hall in a temperature controlled (but NOT humidity controlled) environment, we used it for subscription runouts (before & after we acquired a temperature controlled truck) & even took it on tour to Europe so it was subject to many environment changes. I didn’t experience any problems with inlay or wood cracking.
So does Schott have two editions floating around in the rental part pool? My copy had your (original Korngold) indications printed in the part. If your nice clean engraved part is wrong & it is more recent then they do need to correct it. BTW, we just had James Ehnes here in Nov. for the Walton concerto, that was a fun part & he’s an absolutely fantastic player!
Hi Elizabeth, we played this not too long ago so I pulled out my part. My edition is also published by Schott but seems to have the corrections you are talking about (I have 2 Ab’s before #40, I have an E 3 after #49, no 8va before #94 & the 8vb is printed in the LH after #106), leading me to believe that your earlier version is the correct one.
Yes, in my orchestra there is not one member who does not have a college degree, most have advanced degrees (Master’s, a few DMA’s) in addition to their undergraduate degree. My first degree was a BA (not a BMus) which would have given me some degree of flexibility if were to not pursue music/orchestral playing as a career.
I adopted a 3 yr old Shih-tzu about a year ago from the county shelter, he loves the harp & when I start tuning it he comes running from wherever he is in the house & plops himself down on the chair next to me. When I teach he gets quite indignant that I’m now sitting in “his” chair & tries to jump up on the student’s lap which isn’t very helpful! My husband plays trumpet & when he practices he doesn’t mind a bit, when he first heard the trumpet he would sit up on his hind legs & peer up the bell, really funny!
Summerhays Music Store in Salt Lake City has a rent-to-own program on their inventory of Camac harps: http://www.summerhaysmusic.com/Products/Harps/index.html
We are prohibited from bringing any sort of reading materials onstage during services (rehearsals &/or concerts) or using electronic devices such as iPhones or iPads It’s not considered professional behavior & is specifically banned in our work rules.
If I have a long tacet or movement(s) where harp is not required I can leave the stage during rehearsal & fortunately we have monitors (tv screens & sound speakers) backstage so I know what’s going on.
Same thing happened to me a few years ago while I was tuning the 6th Oct F on my Salvi at work, snapped right off! I kept the tuning key with the permanently wedged in end of the tuning pin as a souvenir of my other-worldly strength that day! Luckily my stage manager & his well stocked tool box was able to extract the broken pin without further incident!
There is one harp part in Rachmaninoff’s “Symphonic Dances”, not too technically challenging but fun to play. Nothing in the Beethoven, Brahms, Mendelssohn, Haydn or Tchaik. pieces you listed.
I believe one of her pieces is “Awuya” by Sally Beamish, written for me in 1998 & which I premiered in Glasgow. Sally recently checked with me to see if Keziah’s performance would be a US premiere but I have since played it here at the Deer Valley Music Festival so it will not, but it will be an East Coast premiere & a very cool piece to hear!
