Forum Replies Created
-
Posts
-
It is very tricky to know when one is overpracticing something. 100 times in one day is way too much, I think. 50 times is probably a good maximum. After a while, I doubt one makes progress.
I don’t think this pieces works that well on the flute, because it goes below the range. I have heard various ways of dealing with it, the best being having a b-flat foot on the flute, but it is marvelous with a good violinist.
It has some tricky parts, is rhythmically tricky, and it lays in the hands similarly to Hindemith’s Sonata, as I recall. Stokowski made a splendid recording of it in which the harp is quite prominent. Balance is very tricky with the harpsichord.
I think you have to buy or sell quite a few of their harps to become a dealer. And then you might get 10% off. Not that much. If you want a real discount, buy one second-hand.
I have always worked from the solo piano transcription by Alfred Cortot. Dewey Owens did a transcription direct from the score some years ago, but I prefer the Cortot.
I have not seen another edition of Gliere’s Impromptu, it is not a very substantial piece, but effective in the right place on a program if you don’t make too much of it.
Danse du Moujik is not terribly interesting music, and I don’t find Tournier’s Images to be very challenging, good student material, or filler on a program.
Faure’s Une Chatelaine en sa tour is a small masterpiece. We are so lucky to have it in our repertoire. It is difficult, but not awkward with my fingering and pedaling, just challenging.
Harpists should measure the innate value of pieces, and Une Chatelaine is a good one to use as an example of the best value.
What a good question. Everyone should check the fine print of their insurance policies for natural disaster coverage.
If you want to become a good professional harpist, then you need to change plans and spend the next year studying intensively with a strong teacher, then entering a music program after a couple of years of preparation. Many people have done this, but it only works in the right circumstances, and with lots of intensive practice, until you are 30.
Sometimes they have had five students recently. In Salzedo’s time, it was as many as 12 or more, with two teachers in the early years, Florence Wightman, and Lucile Lawrence.
