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I have published three pieces, and Salzedo did publish pieces after 1950. Dean Roush composed some wonderful solos, and there is the entire output of Ami Maayani, plus other wonderful Israeli composers. I’m not sure how one looks based on dates, but if you go through the harp music catalogs, most of the names you don’t know are likely to be recent composers.
One necessity is arranging for course credit or the equivalent both for study and practice time. The students in a serious track should get at least one free period a day for practicing. The most famous school program is at Cass Tech High in Detroit. You could ask Pat Terry-Ross how it works.
Congratulations! Getting harps is the biggest problem.
It is a pitfall for many harpists who think they can never change a fingering in a piece. It is one thing if it is by a very exact and particular composer such as Salzedo, and another in most others. My teacher always said, you don’t divide the music between hands like on the piano on the harp, you play with whatever is available that is most comfortable, and use your ear to create unity of sound. That works well with modern music, certainly.
I don’t think the students should be penalized, unless they simply didn’t practice, but maybe the teachers should?
Does the ABRSM also examine and license teachers?
He was a harpist and commercial arranger/composer who published several works with Salvi in the 1970s and 80s, who died young around that time. His music is attractive, as far as I can recall.
Let us be cautious, as the news story tells us no facts at all, and basically smears her for their commercial purposes. She may be an innocent party caught in a scam that used her or any number of variations on any number of scenarios. “Just the facts, Ma’am.”
“Now I’ll never get away with that international smuggling scheme I’d planned…”
as one harpist thought
