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If they didn’t leave those holes in the back, that make it such a good cubby-hole, it might be less tempting…
It may not always be practical, but Miss Lawrence was of the firm opinion that one should only play the one part given, and not do any combining. Miss Chalifoux, on the other hand, I think was more practical about it, or else she just enjoyed
Hopefully the cortisone will take care of the inflammation. When you resume playing, you must check your position, and make sure you are not pushing your wrist in enough to put pressure on the tendons. If you lay your arm out flat, and close your fingers, the back of your hand will go up a little, and your wrist will be in the right position. You should see any creases in your skin. Nor should it be bent the other way.
I have not heard an instrument that can compare to a fine Lyon & Healy harp in an orchestra. The two harps they made for the Philadelphia Orchestra are about the finest I have ever heard. I would go with a specially ordered new harp from them if you haven’t already purchased a new harp. I hear the new Salvi’s have have a bigger sound, as do the Venus, but it’s a different quality. The Camacs I’ve heard so far
Do you have the score? You might be able to play some of the ntoes, but it will sound different. Are they too cheap to hire two more harpists?
And who would organize that???
Oy.
There are so many competitions now, how does a harpist decide which to go for? And how on earth can he or she pay for all that travel??
Using old pedal harps to be more “authentic” is just plain silly. I did so once to play with a baroque orchestra. One can alter one’s tone on a regular pedal harp if needed. But authenticity is sooooo overrated. I can’t bear to hear “period” orchestras. Or barking reconstructionist harps that sound like a dog. They may have low tension, but they give me high anxiety.
Just because only a melody and bass line were given, doesn’t mean we don’t know what to play. It doesn’t take a tremendous amount of study to find out.
PA is hardly a significant composer, even though he wrote so well for harp. Some more 20th-century concerti I have come across are the ones by Pizzetti and Van Delden, which is quite a showy one. Harry Somers wrote a good Suite, and the one by Moreno-Buendia is awesom, but good luck getting a copy.
I attended in 1982, and had a wonderful experience. I don’t think it is the same kind of program now, but it is the same teacher. I played principal harp in the Festival Orchestra, and we toured to Ontario and Lincoln Center. It was a six-week program then.
