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I don’t think etudes and exercises by a non-harpist to be a good idea, generally speaking. Pozzolli, on the other hand, are harmless etudes. Almost no etudes develop both hands equally, and are thus basically useless. There is no point in training to become a 19th-century harpist with all their limitations. Use orchestra parts as etudes.
Good old-fashioned library cards. Make them sign out the piece, and you hold the card telling you who borrowed it and when. Your collection is no doubt too valuable not to do it. Keep a stack of index cards by your studio door and use them for signing out everything. And put a due date on the card too, give one to the student and keep one. I wish Miss Lawrence had done that, she lost so much important music.
Good old-fashioned library cards. Make them sign out the piece, and you hold the card telling you who borrowed it and when. Your collection is no doubt too valuable not to do it. Keep a stack of index cards by your studio door and use them for signing out everything. And put a due date on the card too, give one to the student and keep one. I wish Miss Lawrence had done that, she lost so much important music.
Good old-fashioned library cards. Make them sign out the piece, and you hold the card telling you who borrowed it and when. Your collection is no doubt too valuable not to do it. Keep a stack of index cards by your studio door and use them for signing out everything. And put a due date on the card too, give one to the student and keep one. I wish Miss Lawrence had done that, she lost so much important music.
Magistretti was at one time a major Italian pedagogue. I don’t know his exercises. Some of his works seems good, not much different from other harpists of the period. I wouldn’t seek them out.
The best single set of exercises I know is the Conditioning Exercises of Carlos Salzedo, which you can use for all of your life.
It was a Russian edition by Dobrodinsky, I think, and Lyra should still have it, I would think. It is probably under methods or collections or orchestra parts. I don’t know if all the cadenzas are complete. I would also get the complete parts.
The position of your hands will also make a difference. Just playing the strings where the harmonics are, in the center, will add to your volume a noticable amount. Having space in your hand, between your fingers, a rounded palm, will help, too. Definitely sit angled toward the audience, behind the first violins is a good spot.
I hate to hear how European harpists pressure each other to only use certain editions and not others. The
Boyau? Who are they?
It’s no wonder university harps sitting unattended all summer break strings. With no tuning and all the changes in humidity and temperature after several months of many people playing them it is no wonder. I think it is a complete waste to use gut strings in the first and second octaves unless you are very wealthy or want dull notes.
You have found a harp that could be a real gem. It will have a warmer, richer tone than any new harp. That said, major repairs are very tricky, and can change a harp. If you are a harp major at Eastman, you should have a concert grand. This would be a good second harp to have. You could sell the Daphne to repair this one if you were also getting a grand. Frankly, I feel that
Meanwhile, I have no such policy, require only payment in advance of continuing lessons, 24 hour or more for cancellations, etc.
