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I definitely like that last answer. I was going to suggest that we might come up with a communal guide so it is less personal, and less of a tirade.
Yes, I think it is inappropriate unless the students are giving you gifts, beyond inexpensive harp trinkets or engraved pencils. I think I may have been given practice records,
Probably the Beon. Wait a minim, can you translate that into Americanese? You’re giving me the hemi-demi-semiquavers!
I might be repeating myself, but in preparing her edition, Lucile Lawrence did go back to the urtext, retained as much as she could of Salzedo’s ideas, while keeping it to the original. She was quite knowledgeable about baroque music. Doubling the bass line in octaves is quite characteristic, and makes for a much better sound on a concert-grand harp. That is why her edition has such a simple cadenza, because some experts felt that is all that was done in Handel’s time (I don’t agree). So, while full sounding, it is an “authentic” edition.
What isn’t clear in the urtext edition I have is whether the sections have repeats or not. They have doublebarlines, but no repeat symbols. However, I think the characteristic thing to do is to repeat each variation either as an echo or with (differing) ornamentation. The Tiny Beon has been the standard edition for years despite errors. I recall they were corrected somewhere, perhaps in a Journal article. I have the Magistretti and it is of interest, but I would get the original unless you are learning it for a competition.
There are a couple of pieces by Dean Roush that might be after that date, and Acrostic Paraphrase by David Del Tredici. I have published three pieces recently. Steve Sametz has written Angelus. Jan Friedlin published several harp pieces, and there are several by Ami Maayani which are very good for competitions.
Many people find the Gliere to be of inferior musical quality, especially Russian musicians. I would sooner one did the Reinecke or Widor. The only truly fine performance of the Gliere I’ve heard was that of Gretchen Van Hoesen.
The real problem is the glissando up on page five, which appears to have the wrong pedals. To sound like harpists play it on recordings and have the next one come out right, it needs a d-sharp, c-flat, b-natural, e-flat, f-natural, g-flat, a-natural. (Why don’t we have harp notation available here). Then you make an f-sharp and d-flat for the next one.
You can learn a lot simply by reading the posts on the Salzedo vs. Grandjany thread and other related ones. Most harpists play 1 with their thumbs. The only very different thumb technique I have ever seen is the Russian, with its preparatory dip.
The mystery man is Salzedo, I think. Harpo did go to him, and Salzedo did not want to spoil what he was already doing. I believe that is described in Dewey Owens’s biography of Salzedo, “From Aeolian to Thunder.” Harpo also had frequent lessons with Marietta Bitter, or at least came to visit her often. I think you can see some changes in his playing over the course of his movies and shows, not counting the ones with stunt hands.
If you really want to go Vegas or Hollywood or just plain strikingly unusual with your harp, especially an electric one, I have a friend who will design extraordinary fiber optic lighting for your harp, that can even turn different colors for each note, or whatever you like. The business is called Conservation Lighting International.
