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Thank you. Not only is this book very informative, it is fun and captivating. Certainly suitable for any harpist to enjoy.
Well, yes, I was basically assuming that these examples I mentioned were not playing at a professional level. Of course, we have a free market system, but many professions have minimum standards. That’s why not just anyone can join the musician’s union, at least in NYC, or the harp guilds. And is the Boston guild the only one, or are there others?
In the former environment I was accustomed to, a student would always charge significantly less, even a college student, to be clear that they were semi-professional, and that the client should expect less.
I tend to automatically cite Rimsky-Korsakov, Tchaikovsky and Debussy as examples of mostly faultless orchestral parts.
Pat, I think the state of composition for the harp clearly belies your belief that those
Here is where you can get a facsimile:
I think playing the harp themselves can be misleading. Then they may do something weird, and if they can do it, why not any harpist? Getting it in their ear is the thing.
What pieces do you think they need to listen to and study to train their ear?
There is no really comprehensive guide that would be useful to anyone. If I can cover enough ground clearly enough, it might accomplish that, and if it were used in schools, it would make a difference. Composers have never had a standard reference to use that was widely used. Chaloupka’s book has been out there, but I don’t know how much impact it has had. The big obstacle is getting professors to think it matters enough to make it part of their curriculum.
I have made a chart of chord spacing, though you may think some of the chords are too big. You could send me what you think are the limits, Liz. How the registers work is one of the harder things to explain. Perhaps you can help me with some of the orchestral areas.
I would really like to examine this closely. I do not like the look of the curved pedal slots. It looks like the pedals could easily slide out of position. I would like to hear how the brass neck plate being linked to the body affects the sound. I would like to see how adjustable the mechanism is for regulation. I would like to hear how it sounds!
We should have 48 strings, assuming it is an 00A that was added. The Villa-Lobos Concerto calls for an A-natural in the over-octave or zero-octave. When master composers call for something new, the manufacturers should accomodate them. That is how instruments improved all through the 19th century.
I didn’t mean the score was online, but if you search, you should be able to find the dealer in New York I got mine from. I don’t remember their name. They publish a lot of early music scores and facsimiles.
