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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.
Meanwhile, I have no such policy, require only payment in advance of continuing lessons, 24 hour or more for cancellations, etc.
Meanwhile, I have no such policy, require only payment in advance of continuing lessons, 24 hour or more for cancellations, etc.
Well, I would really like to hear from this teacher and find out her reasoning and whether the policy is working for her.
Well, I would really like to hear from this teacher and find out her reasoning and whether the policy is working for her.
Well, I would really like to hear from this teacher and find out her reasoning and whether the policy is working for her.
I have yet to hear any cadenzas as effective as the Reinecke in the Salzedo edition. The second-movement cadenza literally caused the audience to gasp at its tonal beauty. It conveys the spirit of the Mozart so well, and fulfills the possibilities of the two instruments, really without leaving style. There is little he did that is not possible in classical style. Perhaps nothing. I have heard some so dull and lacking in any pizazz that they detracted from the performance. I have not heard them all. But the Reinecke have star quality. As for the Salzedo edition, he neatly trimmed and pruned Mozart’s lines so they are consistent, smooth and flowing. The things he removed I have rarely heard played well when left in.
One could certainly play it in “period style on a period instrument” but that would simply remove all the improvements made in music since then, and reduce it to salon proportions and little significance, in my thinking. The only thing I might do differently from Salzedo, and only because I have worked on my one-hand trill a great deal, is to play that bit as written, because I had trouble getting the orchestra to cooperate with his re-orchestration. If you have the markings, he has the first chair violins play the harp left hand pizzicato so we can do a two-handed trill which matches the flute better. He also cuts out some of the wind duos that always obliterate the harp solos in the third movement.
Interestingly, I was commissioned to create a version for flute and harp duo with orchestra that I think works quite well. But it’s really not much easier, just good for a professional duo to use.
Because there is no real technical difference in working in different keys, other than string tension, the main reason is musical. When you work in a key for a long time, you build a memory of it, and that is a good thing to have, musically. The more distinct keys are to you, the more musically you will play in each one. C-sharp minor is very different sounding from D-minor, for example.
