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As I understand it, though, they will not insure older harps at replacement value, which renders their coverage worthless if that is the kind of harp you have.
I’ve said this before, but I’ll be happy to say it again. The neck is the weakest part of the harp and it must be supported. Having a rigid frame for it is the only way I think it is safe to move a harp in this way. Otherwise, you will be needing a new neck sooner rather than later. Why? Because all the bumps and vibrations will travel into the neck, it will twist and torque just a little, and that is not a good thing. Hopefully, you can make or have made such a frame, or get a longer van. Some people lean the harp against the wall, which would allow it to be next to the seats, I think, but it still must be against padding and firmly strapped to the wall with hooks and belts.
Some things are just not meant for multi-tasking, I think.
My understanding is that there are several Russian schools, at least two in St. Petersburg and more in Moscow. The Erdeli’s have their own school. I suspect they evolved on their own until the mid-20th century when travel became possible.
I think it is important to learn to use rhythm expressively without losing control of it. Teaching specific details, like agogic accents, tenuto, tempo variation are important. The beat has to be constant. Rubato in the usual sense is tempo rubato, slowing or speeding. A little goes a long way, and harp rhythm is heard differently from piano, it seems. We need to have much clearer control of the beat and any modification of tempo. The momentum is important, if you slow down too much over one expressive figure, you lose the momentum toward the next phrase. I think a student should only learn what is written by the composer in expression until it is memorized and well learned, and then modifications can be explored. It will help to listen to other music of the period and genre, particularly other Russian composers. There is no strict answer to this unless the Russian tradition has carried one down through time. In the period in which it was written the left hand would keep fairly strict time and the right hand might vary from that. Slight ritardandi at ends of phrases or sections may be appropriate.
I think it is important to learn to use rhythm expressively without losing control of it. Teaching specific details, like agogic accents, tenuto, tempo variation are important. The beat has to be constant. Rubato in the usual sense is tempo rubato, slowing or speeding. A little goes a long way, and harp rhythm is heard differently from piano, it seems. We need to have much clearer control of the beat and any modification of tempo. The momentum is important, if you slow down too much over one expressive figure, you lose the momentum toward the next phrase. I think a student should only learn what is written by the composer in expression until it is memorized and well learned, and then modifications can be explored. It will help to listen to other music of the period and genre, particularly other Russian composers. There is no strict answer to this unless the Russian tradition has carried one down through time. In the period in which it was written the left hand would keep fairly strict time and the right hand might vary from that. Slight ritardandi at ends of phrases or sections may be appropriate.
I think it is important to learn to use rhythm expressively without losing control of it. Teaching specific details, like agogic accents, tenuto, tempo variation are important. The beat has to be constant. Rubato in the usual sense is tempo rubato, slowing or speeding. A little goes a long way, and harp rhythm is heard differently from piano, it seems. We need to have much clearer control of the beat and any modification of tempo. The momentum is important, if you slow down too much over one expressive figure, you lose the momentum toward the next phrase. I think a student should only learn what is written by the composer in expression until it is memorized and well learned, and then modifications can be explored. It will help to listen to other music of the period and genre, particularly other Russian composers. There is no strict answer to this unless the Russian tradition has carried one down through time. In the period in which it was written the left hand would keep fairly strict time and the right hand might vary from that. Slight ritardandi at ends of phrases or sections may be appropriate.
It is playable, it is a lot of notes. It is at least as difficult as learning the Ceremony of Carols the first time, but easier to play in the end, except it requires more stamina. Ask as much as you can get. It is a rewarding piece to perform, but like a concerto.
My version comes from the original for chromatic harp, Miss Lawrence’s is based on the Renie edition, and so is Salzedo’s version. Considering the fast tempo and that it is a place too easy to have it fall apart, his version does fairly well ensure an effective and exciting performance. Miss Lawrence had a composer make his own version to see what he would come up with, and it was identical with Salzedo’s version.
My version comes from the original for chromatic harp, Miss Lawrence’s is based on the Renie edition, and so is Salzedo’s version. Considering the fast tempo and that it is a place too easy to have it fall apart, his version does fairly well ensure an effective and exciting performance. Miss Lawrence had a composer make his own version to see what he would come up with, and it was identical with Salzedo’s version.
My version comes from the original for chromatic harp, Miss Lawrence’s is based on the Renie edition, and so is Salzedo’s version. Considering the fast tempo and that it is a place too easy to have it fall apart, his version does fairly well ensure an effective and exciting performance. Miss Lawrence had a composer make his own version to see what he would come up with, and it was identical with Salzedo’s version.
Skits may be silly, but what fun. Maybe I’ll incorporate them into my festival if the next conference won’t have any.
