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The difficulty of maintaining the site in its current form only goes to show the value of a print publication, such as yours.
Speaking of Hester, it is really creepy to have an anonymous spy watching everything, a Big Sister who is my friend whether I like her or not. That blows.
Is there any way you can be your own department? One consequence is in who sits on juries and auditions. I doubt that inclusion of harp would result in greater participation. String players don’t think about us and don’t know the literature.
The harp is in the chordophone class of strings, separate from bowed strings, which are in the lyre family (which includes guitars and lutes).
I don’t see how to edit my profile. How public is the information on this site going to be? Do we want the whole world to see what instruments we have? Will the content be restricted to members?
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.
