Forum Replies Created
-
Posts
-
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.
I think Israel is widely considered the most important. I don’t know about the Laskine, but it is fairly recent, as is the USA. One difference is that Israel is every three years, so you have up to three years to prepare, and only two with the USA.
I believe Gladys Hubner gave the first performance with string quartet, and that version may have been written for her.
Okay, found 209, I’ve never seen a transcription of that one yet, and I would never pick that one for harp, with all those repeated notes. But, I guess some people like to play them.
Dewey Owens did a very fine transcription of K113, and I haven’t found 209 yet, but if they are paired, he probably did that one, too, and they are available to purchase.
I would use a recent edition, Kirkpatrick or later, such as Gilbert, so that the ornaments are correct. However, you must then adapt it to the harp as well. I’m not sure which Sonatas those are, off hand, but there are some good editions published, such as those of Dewey Owens.
The Competition may have a list.
