[Lydia Michel]

Thanks for the tip– I’ll check it out 🙂

[Lydia Michel]

Yes and no—- we’re not doing the whole opera, just about five or so excerpts. I listened to

[Lydia Michel]

That I don’t know—- all I’ve been told

[Lydia Michel]

Yes, I have heard of it, but have never actually listened to it or seen the music before. Actually, I considered purchasing it a while ago because it sounded, obviously, interesting 🙂 ! But

[Lydia Michel]

Thanks, these will be good leads. Saul, I was wondering what your pieces were like in style, length, difficulty, etc? Also, has anyone played or heard Roger Boutry’s piece Aquarelles, and what was you opinion of it?

[Lydia Michel]

Thanks for your responses, I’ll look into these. Primarily I’m looking for two pedal harp arrangements, although lever harp stuff can sound very beautiful on two harps. This is pretty much what I’ve used in the past (lever harp duets) on lever and pedal. Again, thanks for the replies!

[Lydia Michel]

Thanks William, I really enjoyed reading through the thread– very interesting! There are so many wonderful different harp personalities in the “harp world,” but it’s great that

[Lydia Michel]

Thanks Sid, I’ll do that 🙂 .

[Lydia Michel]

Hi Rachelle,

You could consider John Weinzweig’s Fifteen Pieces for Harp. I believe he wrote a concerto as well. I studied “Shadows” and “Quarks,” from the Fifteen pieces, and found them to be very challenging since they incorporated effects that are usually only found in modern repertoire. “Shadows” didn’t really have any melody, which is common in this type of music– it was all about the effect of making “shadow-like” sounds. “Quarks” was a blast to play, but again, very untypical. It included alot of percussive effects and a driving rhythm. I had to do a lot of “banging” on the harp, both on strings and soundboard. Both these pieces were programmed for the highschool division of the AHS competition, two years ago, so you should be able to find them at Lyon and HEaly or Vanderbilt. The other piece you really should consider is the Ginastera concerto. This is a staple of the harp concertos, and certainly the most well-known piece of contemporary music written for harp.. The first movement is somewhat impressionistic, but atonal. The last movement is an atonal percussive nightmare. In fact,

[Lydia Michel]

I’ve heard the recording of the Gretchen Van Hoesen with the Gliere, and at first was very impressed. The way she pulls it off is absolutely stunning. However, I would agree with you about the overall quality of the piece itself.

[Lydia Michel]

Hello Jerusha,

[Lydia Michel]

Thank you, every one, for the suggestions. They were all very helpful. And I was able to find out about some great harp music I didn’t even know existed. It’s been fun to pick out my new concerto, and I’ve settled on the Ravel Intro and Allegro. That piece is beyond description beautiful, and I’m forward to learning it this year. Thanks again for the help!

Lydia

[Lydia Michel]

Thanks for the input. I’ve was considering the Ravel, and had heard both the Rodrigo concertos before. I’ll look into the Rota, Widor, and Pierne– I haven’t heard these. I’ll probably stay away from the Rodrigo Aranjuez at this point because there are a couple classical guitatists in my family who are a little overtly crazy about that piece. I guess the guitar version of it is the top played guitar concerto as of

[Lydia Michel]

Hi Lydia,

I know this is an old thread, but I’ve gotta ask how you liked the Masterworks Festival? I was thinking of attending it this year for the first time, but , alas, I didn’t have that much time to spend away from home. I’m definitely interested in trying to do it next year, though. Is it something you would do again? How was the instruction, did you get enough practice time, and does the lake really stink :)?

Thanks, another Lydia 🙂

[Lydia Michel]

Hi Clinton,

I, for one, absolutely love this website!!!!!!!! Actually, I’m more a pianist than a harpist (sorry!), and this site has

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