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There is a basic problem with using software. You cannot extract your music from software without using hopefully another software. You have no real ownership of it anymore. If you can learn to make a neat score by hand, you should do that and scan it or photocopy it. That’s what the composer Steven Paulus did. I lost a lot of work by having to change computers or update software. At best, you can hopefully export to a pdf file so you have a permanent copy. But to make any revisions, you would have to input it all over again. I have yet to see a software that could produce scores as well as a fine publisher does.
That is great. She was an important harpist, and her book is important. Another source for ideas on fingering patterns is the ABC of Harp Playing by Salzedo and Lawrence, which is half beginner exercises, and half about orchestra parts and cadenzas.
Quinine can prevent muscle spasms. The prescription strength may be too much, but I found you can buy quinine extract online. It is also in Tonic Water, and if that gives you relief, then use that. There are also muscle relaxer drugs, but they can have side effects.
Let me revise my response. As much as I would treasure such a painting, the Curtis Institute archives are the best place for it, I think, or else a museum. I don’t know if they would want a painting by Bloom or not. It would certainly be good cover art for the American Harp Journal. Perhaps the library in Camden, Maine would want it. But I’m sure Curtis would value it, and keep it safe.
One should always seek out the best-possible teacher. If one is not suitable to them, they will let you know or recommend someone else. I thought I knew it all at ten years of playing and could teach. I was wrong. I could teach basics. After twenty years, I could do a pretty good job teaching. After thirty years, I could do a very good job teaching. After fifty years, now I think I might know what I am doing. Lucile Lawrence was 73 when I began studying with her, and she was great. So maybe by the time I am 73, I will be great at it, too. She always taught beginners, no matter how old she was. Her last youngest student, Helen Gerhold, now plays in the Philadelphia Orchestra.
There are simply too many people teaching who don’t know what they are doing. Unfortunately, we have no credentialing system, other than getting degrees, so uninformed people really don’t know how to choose or look.I hope Mr. Shipman can have Harp.com and Vanderbilt Music stock copies of this vital text. It should also be collected by libraries.
I am very interested in this portrait. The artist was part of a committee that founded a Salzedo Scholarship Fund in Boston, of which I was a long-term beneficiary.
Lucile Lawrence created a collection of Salzedo’s music in the library of the Mannes College of Music, which would be one appropriate home for it. So would Boston University, which has a Lucile Lawrence memorial studio. Ball State University, where her student, Elizabeth Richter taught, is another suitable repository.
Lise Nadeau Harmon retired several years ago. I have some contact information, but I don’t know if it is up to date or not.
Of course, the archives of the Curtis Institute of Music have all of Salzedo’s manuscripts and papers, so that, while not accessible to the public, is the most logical place to put the painting. They sometimes do exhibits on him and do have other artwork of Salzedo.There are professional harp movers in Manhattan, see what they will charge you. Or you can try a car service that has station wagons.
I have no doubt that the Theme and Variations are by Handel. There are figures in it that are typical of his harp music. I could not find any other composer of the time who could have written this. It is beyond Meyer’s scope. The Pastorale sounds like Handel as well.
It is customary, expected, that a performer or editor will add notes to “realize” the bass line, whether figured or not. If you are using the Zingel edition, then play his notes. A baroque composer did not expect people to play only the bass line and a soprano line. You are supposed to fill in the harmony. And with Handel, that can be surprisingly tricky. You need to know a lot of his music to do it well.
There’s nothing suspicious about Zingel’s story of the source. It may well be that the missing Sonata by Telemann was also destroyed in the same library.I thought I posted a video link. https://www.youtube.com/watch?v=V_zvmhjXZzI
I thought Jamet, it’s a blonde, but it seems to be a different orchestra than hers. She gets a lot of sound out of what looks to be an Erard. It didn’t remind me of Nordmann, but it might be her.I played Petrouchka in school and had no problem with it, given a few months of preparation. It is playable.
All chords on the harp are broken, either quickly, brisee, or arpeggiated, unless marked otherwise. In modern music you can choose to play them flat, but it will sound awkward and ugly (in some opinions). Chords are broken because it makes them easier to hear, is expressive, is musical tradition, they last longer, and it is unique now to the harp. Pianists used to break chords much more, and stopped doing it in the 1920s or so. Because it is tradition, you certainly do so in traditional music. Call it “period style” if you have to. Only the eighth-note fast-moving chords might be flat. And when you break them, the top note lands on the beat, not after.
I forget how many of them I had, but I never liked them or found them comfortable to play. If you love his music, then you may love them. I disliked it enough to no longer have his music, I think, which is rare, because I keep almost everything. It’s the kind of very peculiar British music, like Rubbra and others, that may only appeal to certain people.
