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I have a Zoom, and it is a bit complicated to use, which is distracting when practicing. I would recommend tape instead.
If it’s only for practice, a good cassette recorder will work as well as digital, and they are very inexpensive now. You also need a good microphone with it, though.
I read Harpo Speaks in the last century, for sure. We read everything on the Marx Brothers back then, not that there was so much. I commented on his playing because there is a big difference from his earlier movies. In fact, I remember Marietta Bitter’s son telling me that Harpo came over weekly or more for lessons, perhaps around that time. She was married to Walter Abel, who was quite a movie star as a second lead or character actor. She studied with Carlos Salzedo, as did Mildred Dilling at one time. You should be sure to work that into your article. I can put you in touch with him, if you need, Rod.
I played a piece by Deniz Ulben for counter-tenor, english horn and harp some time ago, and it was a wonderful piece. Settings of Shakespeare sonnets. It would only be available from the composer, I think. She lives in New York. We played it on her debut recital, which was reviewed in the New York Times.
That is an accurate recording. How did you find it? The tempo is at 144 after the opening of the first movement. It’s a very dynamic piece. As Miss Lawrence would say, don’t listen to the quality of the recording, listen to the music!
I have written a piece for flute, oboe and harp. Hovhaness Firdausi? There aren’t many, but I’m sure there is something somewhere.
Lyra made a cassette tape available in 1985, but I don’t think they have any more of them. It will probably be performed at the next Harp Festival of Philadelphia, October 8-11, 2010. I’m sure that is the correct tempo, what is printed. I would advise going over it with a Salzedo-trained harpist so you understand what he is after. You may be looking at the pages that are all pedal slides.
It’s a great piece, well worth learning. His tempi can be very fast, as he could play anything any way he wanted. Sorry I can’t just come over there and do a workshop or something. Maybe Floraleda Sacchi can help you. Judith Liber certainly could. You can learn the notes, but the sounds he wants are certain tone colors. If you have the Modern Study of the Harp, that will guide you in his notation and colors.
Pieces to end a recital with:
Salzedo’s Ballade, Recessional, Scintillation, Variations
Hmm, I can’t think of anything else that is sure-fire. Salzedo was great at endings.
And don’t end with a piece with an ensemble like the Debussy Danses or Trio. A Concerto like the Ginastera, okay.
I usually think about preparing myself. One of my better performances was when I had no time to do anything after rehearsing but get dressed and go on! Dark chocolate, I guess that’s the new ritual, and cola. I did find that a bagel and cream cheese was a nice fuel that went down easy. Heavy food is not good.
I definitely think about making a transition. One is a persona as a soloist, not your ordinary self. You are making magic. I think about cleansing, leaving thoughts behind, dedicating the space, what I want to achieve, mostly what I want the audience to experience. I create a space for them. I tune to them like the harp, and with my program carefully arranged, I serve them a series of delights and stimulations until they are brought to their feet in ovation (or exiting). In fact, my record for standing ovations since I began programming very deliberately for them has been something like 9 out of 10 recitals. I messed up the last one because I ended with Salzedo’s Suite of Eight Dances instead of his Recessional, which has a very rousing ending. The Rumba is not rousing enough.
