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The New York City Ballet Orchestra (always) has two harps, and possibly American Ballet Theater. Perhaps they are alone in that. Miss Lawrence used to say one should refuse to combine, only play the first part. A second harpist isn’t paid more than another violinist, are they? But I don’t suppose that works in the real world. If any combined part were to be posted, it should be one by a harpist, like Joan Ceo, who has I think a complete orchestration done.
As for the St. Paul Chamber Orchestra, they have never had a full-time harpist, shame on them. The second harpist with the Minnesota Orchestra has never been full time, that I know of. So I don’t think we stand to lose very much there.
I don’t know how you can attempt to fix it without any knowledge of harps. You might do more damage. You can fix it to differing degrees of usability. But even to cosmetically fix it would probably run over $1,000. At least you must have gotten it cheaply, so you can make something by selling it to someone who can repair or rebuild it. But I am curious about its history, when and how did it get to San Francisco, and what stories it could tell… It must have gone around Cape Horn to get there.
There are two major problems in this piece, playing only on offbeats, and the fugue. You should contact the first harpist to see if he/she will do the edited version by Chalifoux where you alternate hands so you both have something on the beat and the offbeat. The fugue solution is to exchange notes between the right and left hands so it is playable.
I can’t answer that. What is the context? What year, what level, what program, what school, what expectations? Playing musically is always important, and showing progress. One should probably have a short, fast display piece and something longer and more complicated for a jury.
I don’t know if you can play the first movement at 120 for the quarter-note, but it does not have to go any faster than that, and the useful thing is that if the conductor has a watch on, he can take the tempo from the second hand. The third movement is by far the hardest, though, and this is really a very hard piece to do well. As for your age, as long as you can tune and move your fingers, well, Lily Laskine kept it up for who knows how many years. She is probably still playing somewhere.
The Bizet Entr’Acte from Carmen is frequently done, and the Berlioz Trio of the Young Ishmaelites, though it is not too easy.
The Universal Method by Bochsa has a diagram and is in the public domain and you can download Hair extensions it from imslp.org.
I have for a while now suspected that this concerto uses clutch handbags ideas Ravel thought of for his replica watches Roger Federer Branjelina never-written Harp Concerto. Did you know that he promised Salzedo to write one for him, only that summer Salzedo did not return to France, instead founding, with Lucile Lawrence (and her monies) the harp colony in Camden, Maine. I often wonder which was more important. A fur-lined Versace handbag purse mink replica watch summer colony where perhaps thousands of students studied, or a concerto by Ravel? At this point, I would take the Ravel Concerto any day. Of course, he was at that time a not-so-well-known Swiss Watch action composer as he is now. A Ravel Concerto would sustain a lot of solo careers now.
