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I used the Mudarra as my second piece on my last recital. Opening with the Pierne is very brave, but I can see the confidence you would have from getting through it.
I think her harp playing is very interesting and well done, and her lyrics are quite interesting. As for her “singing”, well, if you ever saw the tv show Friends, when Phoebe “sang” in the coffee house, then you probably can guess what I think.
I love the big paper. Please don’t do anything to discourage publishing on big paper, but they don’t do it much anymore, anyway. It sounds like you don’t have legal-size drawers. I have a legal-size cabinet, and an x-rays cabinet for really oversize scores. It’s wonderful.
I love the big paper. Please don’t do anything to discourage publishing on big paper, but they don’t do it much anymore, anyway. It sounds like you don’t have legal-size drawers. I have a legal-size cabinet, and an x-rays cabinet for really oversize scores. It’s wonderful.
I think it would be more effective to bring scores for the other pieces being rehearsed and to follow along. You could bring some other music that needs markings, perhaps. Reading a book is a possible distraction, and doesn’t demonstrate interest, so better I think to bring nothing and pay attention. As for standing, I would ask the personnel manager. And, we call them pieces, not songs. Don’t ever call them songs unless it is a pops concert.
It is difficult because it is poorly written for the harp, and I don’t think you should worry about being exact, except for an audition.
Wow.
85s have been known to have the eyelets crack, but I thought that had been stopped some time ago. Lyon & Healy will make a kit for you with some of every part so you can buy everything at one time, and have them on hand. That is much better than waiting for each part.
One way of dealing with the politics is to learn how the system works, and make friends with the right people to get what you want. Otherwise, perhaps a letter from L & H spelling out the proper storage of their instruments and the cost of repair and replacement would wake them up.
If you are in Mexico, you might get in touch with Janet Paulus, who might be able to give you good advice on coping. Certainly, quite a few American harpists have held jobs down South.
I knew
You should always know the full part in case they ask you to sight-read it, and to musically know the piece. I believe they do usually ask for the fugue as well as the solo variation. I think you will find the best fingerings in Beatrice Rose’s book. She invented a whole new way of fingering double arpeggios for this part. I’m not sure playing a lot of glissandi would be in taste for Britten, it depends. I’ve never heard anyone do it.
