Yes, there are a ton of videos of this at YouTube. Some fast, tricky parts, but also notes that can safely be left out. Harp and keyboards do play together at times. This piece is just gorgeous, and I think/hope you will enjoy playing it.
Forum Replies Created
rosalind-beck on April 4, 2014 at 1:05 am · in reply to: Professional orchestra and harp moving #62930
I am very fortunate that the Orlando Philharmonic production/stage crew moves my harp in my Lyon & Healy trunk along with the other equipment such as tympani, percussion, music stands, and chairs, etc., between the various locations in and out of town where we rehearse and perform.
Elizabeth’s fingering is definitely the way to go. Elizabeth, you are a jewel, and we all benefit so much from your generosity. I’m getting ready to play this in about 10 days. In fact, I was thinking of posting a message to the Forum about recommended strategies and tips for waiting through the approximately 3.5 minutes between the start of the piece and when the harp comes in . . .
David, glad you have made a wise decision. Back in the day, my sister and brother-in-law used to cross the border frequently when they traveled from Guadalajara (where Neil was a medical student at the university) home to Philadelphia to visit family. There were numerous instances where they were held by the Mexican border authorities merely to be shaken down for money when they had done nothing wrong and had broken no laws. The border officers were very poor, like many of their countrymen, and looking to extract money any way they could.rosalind-beck on December 28, 2013 at 12:26 am · in reply to: Seating situation during symphony performance #62736
I think the key word here is “long,” as in entire movements, or during pieces where it might be impossible to leave the stage. Our orchestra recently did the Shostakovich Violin Concerto. The harp only plays in the first of four movements. It is really not appropriate to leave the stage after the first movement. So, it’s either be comfortable in a chair with a back on it, move from your bench to a chair behind or alongside it, or tough it out. I usually use a “chair,” actually a “drum throne” with a back on it.rosalind-beck on December 28, 2013 at 12:18 am · in reply to: Many Moods of Christmas Harp Parts #62755
Used to play this all the darned time, but not in many years. I manually cut and pasted the lute part in to achieve integration that way. More recently our orchestra has played Jeff Tyzik’s “Holiday Moods.” I think there are four suites of them, so they are a definite homage to the Bennett “Many Moods.” The Tyzik parts are computer-generated and fairly easy to read and play.rosalind-beck on December 28, 2013 at 12:03 am · in reply to: A vastly simplified harp part for John Rutter’s TOMORROW WILL BE MY DANCING DAY #62765
David, I played this several years ago and worked very hard to learn it. Also did a fair amount of editing to make it more playable, i.e., judicious elimination of notes especially in the left hand to enable connections rather than jumps. I would greatly appreciate having a copy of your version. I’ll e-mail you. Thanks! P.S. Both conductors I played your “Sleigh Ride” part for responded with smiles!rosalind-beck on October 28, 2013 at 1:35 am · in reply to: Hindemith Concerto for Flute, Oboe, Clarinet, Bassoon, and Harp #61966
Clinton, I continue to admire and appreciate your thorough knowledge of harp repertoire. I will pass this information on to my principal wind-player colleagues. Our first oboist is the one who brought this work to our attention. Sincere thanks as always!rosalind-beck on October 5, 2013 at 12:26 am · in reply to: Hand position requirements for older beginners #89828
Elizabeth, yes, you do have to cut older students some slack. If they are trying their best, but still can’t achieve an ideal position or articulation, you need to accept that. There should be improvement over time as their flexibility increases from playing the instrument, but there will be limits to what they can do. My adult students will tell me when they have physical problems/conditions that prevent them from modeling textbook form. I try to work with them to advance their technique in a way that is individually possible for them.rosalind-beck on October 5, 2013 at 12:20 am · in reply to: Test routine! (everything you check when you try harp before you buy it) #77398
Lili, I make it a point to play in keys with lots of sharps to check the regulation, especially in the upper octaves. I play excerpts that test both extremes of the instrument, very high and very low. Most harps will sound good in the middle, but only the best have clear bass notes and full high notes. I also check to see how much space exists between the bottoms of the sharp discs and string nuts, especially under the curve of the neck. This is an area that is notorious for notes that become too sharp over time. If there is insufficient space when the harp is brand new, there’s no way to adjust the regulation to compensate for poor construction.
I also find that harmonics that pop out easily seem to indicate a good-sounding instrument.
Subjective feeling/raw emotion: I ponder whether I could see myself owning and being happy with a particular instrument. Does it just feel right? There’s an indefinable chemistry that draws you to a particular instrument, that makes you feel like you’re home, or could be after a short break-in period.
I was just about to suggest that David contact you when you graciously responded! Would you be so kind as to send it to me (Rosalind Beck), also? You should ask David for the part he created for the Leroy Anderson “Sleigh Ride” in return.rosalind-beck on August 20, 2013 at 1:26 am · in reply to: Monteverdi – Vespers for the Blessed Virgin 1610 – Jurgens edition #61824
Thanks Clinton and everyone. I’m thinking Jurgens must have added the harp part. I’m awaiting scans of a couple pages from our music director’s score. From those I hope to be able to ascertain the challenge this part might pose. Our librarian says the part is rental, so I won’t be able to get my hands on it as far in advance as I’d like.rosalind-beck on August 19, 2013 at 5:51 pm · in reply to: Monteverdi – Vespers for the Blessed Virgin 1610 – Jurgens edition #61817
Clinton, is there ANYTHING that can stump you regarding harp literature?? I think not!! Many thanks as always for the benefit of your encyclopedic knowledge.rosalind-beck on August 19, 2013 at 5:50 pm · in reply to: Monteverdi – Vespers for the Blessed Virgin 1610 – Jurgens edition #61816
Sylvia, I did play the opera Orfeo a long time ago with a college orchestra. I’m still curious as to how the Vespers harp part compares to Orfeo.