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Either them, or you will be. I would be if I had to play any Sonata by Krumpholtz. There’s a really odd one that has a sequence of movements, then goes through all of them in reverse order to get back to the beginning.
If it’s not in the book, how will it answer the question???
I believe I always assumed that the chords should proceed as normal, a simple copying error. It’s certainly musically correct.
I haven’t seen it recently, but if you contort your hand, it is possible, as Grandjany must have done it. I always found playing harmonics and regular notes in the same hand to hurt, so I just don’t play those pieces. Only, I used to use this a lot for restaurant gigs. If the regular note is below, you stick out your fourth finger to kind of hook it. It doesn’t lend itself to good harmonics, though. If you can play the harmonics and reach your second finger out over the 3 and 4, try it that way.
That is a new one on me. I have never heard covering the harp recommended at all. In Minnesota, it seemed to be the rule that if the harp was kept covered (all we had was canvas) the strings would break. They need to react to the air. Still, a very light dust cover seems like a decent idea, but not if you have cats who will climb it. Anyone want to make them cheaply?
That book is not that informative. It is mostly about his life. I don’t think it even had a list of works. I was a bit disappointed in it. His music is not too complicated. His background as an organist was informative, I think. He tended to apply color as an organist would use stops, to my ear. His most inventive pieces are the Pastorale, Divertissement, and his very free arrangement of the CPE Bach Sonata and the Children’s Hour. My teacher thought his piece for horn, harp and orchestra was one of his best works. Children at Play is one of his best solos, as is Automne for simpler works. His use of form is much like Tournier’s and Renie’s. His single-movement pieces tend to fall into broad ABA forms with extended cadenzas and figurations. His most modern piece is probably the Children’s Hour Suite. What etudes did he compose? Do you mean the Bach transcriptions? His approach to Bach is romantic, lush chords, flexible dynamics rather than terraced dynamics.
His Fantaisie is apparently much derived from an earlier work by another composer which de Maistre recorded.
His Rhapsodie, to me, is not much different from Renie’s work, except his personality is distinct.
Well, if you’re going to bring up Carter, you might as well bring up Birtwistle. They both make me bring up, if you know what I mean. There are many pieces, but they are not well distributed is the problem. Many composers have written pieces. You might try contacting their representing agencies.
Dance of the Cypresses by Milton Barnes is an amazing piece. The Canadian Music Centre represents him, I think.
Yu-Hsin Huang, in Singapore. I would assume there are a lot of harpists there as they do not seem to seek to import any. Chia-Yuan Liang might be in Taiwan these days.
Mendelssohn’s Songs Without Words, several of which have been transcribed for harp; Faure’s Romance Sans Paroles, Pierne’s Impromptu-Caprice, Grandjany’s Two French Folk Songs, Debussy’s Arabesque. It depends what school you are auditioning at.
I don’t know, but I have been trying for months to get a copy of the harp solo (or duo) from Prokofiev’s Egyptian Nights. There are different scores listed, the Boosey being a Suite only, and the Presser being I don’t know… Can’t seem to get a copy.
I would do only three-four octaves of each type. What do you mean by sevenths? Arpeggios or chord sequences?
The kind of practice I describe makes all these things quite natural.
Quit Volleyball!!!
It ruined my thumbs.
It’s a short-term fun thing to do, it doesn’t begin to have the benefits of orchestra playing experience. If you crave a net game, play badminton.
The difference technically is that other instruments have to change fingerings for every scale and we don’t. Musically, scales have the same importance for us, though we probably use them less often than wind players.
I have heard that scholarships are available from several schools, sometimes to only one harpist at a time or per year. Look at Peabody, Oberlin, Ball State, Boston University, etc. As for a scholarship that will pay you to go where you want, I’ve never heard of such a thing. They are usually tied to a school.
