Forum Replies Created
-
Posts
-
Thanks for letting me know the column design is different. I have an old picture (maybe 40 yrs old ?) of a harp looking very similar to the Iris, except for the very top (and soundboard decoration). Must be one of the very first Irises (I had heard the Electra had preceded the Iris, and was very similar in design, so I suspected it could be one).
Thank you very much for sharing, for I had never seen one. And I agree, with its two shades of gold, it looks stunning.
Check the ballet score (longer version, with interludes), where there actually is a cadenza to Laideronnette
Thank you very much for sharing !!
Would you happen to know where I can read more about Wagner’s own telling on what is too difficult to play ?Thank you for all your very much appreciated advice. I ended up doing like you said. My idea for the RH comes from a recording where it is all quick figures as well. The Petrucci score for the harp part I was handed is on pages 559-560 (Paris appendix), but that very spot is exactly the same (following triplets are different).
Discovering that massive scene 4 came quite as a shock. I have the feeling it is less notorious (amongst harpists) than the act I, scene 2 excerpts ?Great inspiration !
I tried leaving out the last written note of each beat, both
hands. It’s doable (on blessed days), but musically not flowing. And making that seven
regular notes per beat would be awkward with the singer’s part. I also played with both hands just doing the treble. It is manageable. A 2nd harp could play bottom line one octave higher.So here goes my massively edited solution :
– both hands play eight 16th-notes per beat.
– left hand plays one octave higher than written: 32123212 per beat, up and down on the same strings, playing the exact harmony given by the first three notes of each beat. Running opposite is the right hand: 12321232, playing the exact notes written at each half-beat. That opposite feel is actually in the original part, towards the end. It still gives the impression of broken patterns, as it goes so fast.In the words of Elizabeth, I would describe my editing as just a “brilliant sounding version with the right harmonies”, when no soft editing seems possible and time is short. It is very playable, enjoyable (!), with some possibilities for baton eye contact (!!).
