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It is not available in print, but the Lawrence edition is the closest to it, and that is available from Lyra. Mainly, some of the left-hand fingerings are different and usable.
Obits often have errors. I have been as careful as possible in the ones I have written, but when there is no way to verify information, what can you do?
Not if they are designed to have less reverberation. You would think so, but it doesn’t happen automatically. Camacs have been described to me as deliberately reducing the overtones for more clarity.
I have played on several Salvi harps. They are more muted in character, dark in color, and louder wouldn’t necessarily change that. Just more of it.
A calling card or visiting card is a social nicety, I think it may only have your name on it, to be presented when visiting. A business card, as we call it in the U.S., has your name, your occupation and contact information, and a nice design to it, or a logo or artwork. They are often professionally designed. They are usually printed on cardstock with raised ink for the best impression, or letterpressed. They traditionally are on manila stock, but ivory and other colors may be chosen. The goal is to make a good impression and to make the card worth saving. One also wants a nice case to carry them in, and a display case when performing.
Adults do need to facilitate, but if music is made available, a child may select their own listening and interests quite well. I had an extensive record collection available to me from the age of four, as well as classical radio and occasional concerts, not to mention, most importantly, musicmaking at home.
There seem to be a few errors in this. She was second harp in the Philadelphia Orchestra, whatever her title was; she may have been the only woman at the Met at the time, but she was certainly preceded by Florence Wightman, and Janet Putnam also played there.
It is not good to have cracks, but the important distinction is if they are in the veneer only, or in the sounding board underneath? If only in the veneer, then the veneer can be replaced, if in the sounding board, then both have to be replaced, unless it sounds fine, in which case, just keep playing until it doesn’t.
The idea of a harp is that the strings should ring with multitudes of overtones. It should not sound like a piano or a guitar. Some makers are apparently trying to go in that direction. To characterize a Lyon & Healy harp as overzealously bright would seem to me to be missing the point of it all. They have been the standard for 100 years. Salvi harps have never projected as well because they do not produce all the overtones and are too heavy. I suspect they are even heavier now, though the new board would compensate for that. I believe Venus is using the same type of material, which is a layer of kevlar within the sounding board, which require the use of glues or epoxies to hold it all together. I’m sure a lot of research went into this, but with what goal? Why should a harp be darkened and lose its angelic qualities? That has not been the sound of a harp. Erards had a lot of ring. The pear-shaped sounding-board of the 23 is what produces this ideal tone. Granted, I rarely heard anything but a Lyon & Healy until I was in college. But I have never taken to the sound of any other harp as well. The harp should be no noticable weight on your shoulder. If it is, you will probably end up with physical problems unless you really keep in shape, and even then….
So, a louder Salvi harp may be preferable if not heavier, but it is still a step in the wrong direction, if you ask me.
I am sorry if that came out harshly. I think my underlying point has been, it is hard to believe you have the time to do a blog while preparing, it may be a distraction from your real efforts. It is excellent to be thoughtful about what you are doing, and I recommend keeping a journal of one’s work, to be sure. There is something about the nature of making public one’s preparation for a competition that seems wrong to me somehow, perhaps just because it is customary that contestants appear as unknowns with unknown preparation when they compete, and that is part of the show and excitement of it all. Making one’s preparation public changes all that, it seems to me.
I believe Jane was working on it in 1980 or so. The actual date is not that significant, I don’t think.
The best thing is not to get them. You can do that by practicing a regular amount, and not overdoing glissandos until you have enough callous. You can play them very softly to mark where they are, until the skin toughens. You need to practice them the same amount each day. The blisters come from sudden overuse, and it is a pain when they come off. You also have to watch for white marks under the skin, which means the layers separated underneath, and as they reach the surface of the skin, they will then come off like a blister, and you will have to redevelop the callous.
