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I found a better way to clean the strings, which is to wash one’s hands with a bit of mild dish detergent or soap, shake off the drops, then slide your hands and fingers up and down the strings and between them, then wipe it dry with a clean cloth. That way, you remove the oil without much moisture, and any soap film left behind may prevent it from building up. It doesn’t seem to harm coated gut or nylon strings.
Get that furniture out of that room, or move your harp, pronto. And get professional help, or a new house!
I have seen some written material on this, but don’t remember where. You might be able to look up the Wurlitzer patents, or some of Lyon & Healy’s for guidance. I think they are thicker in the center for strength, but sometimes have ribs for reinforcing the sounding board.
The best edition, in my view, is the one by Lucile Lawrence. The edition published by the Bohemian publisher does not distinguish between editorial additions and what is in the original. I haven’t seen the Ut Orpheus edition to compare. The ornament you first encounter in the first movement is a turn, which should sound graceful, but not overly slow, as in all notes of equal value. There are also appoggiaturas which will sound like two eighth-notes, only connected very gracefully and expressively.
It should be published. The one in that video is wonderful, and perhaps preferable to the standard one.
I don’t know when they got slower, but tempi in olden days were very fast. It wouldn’t surprise me, what you say, as playing is also getting louder and louder. It’s not particularly musical.
Libraries can do their own binding if necessary, at least they used to… a trade paperback such as this is acceptable.
Thanks for the enthusiasm!
Thank you so much for that link, I will study it. Sometime I will post my syllables for all the half-steps that avoid repetition of vowels.
I’m confused already, Pat. I can solfege the CPE Bach Sonata, but I can’t get the right syllables to come out.
My ears are unreliable. If I give in to the urge to tune the uppermost notes a little sharp, I have left the barn door open, and soon everything is much too sharp. I use the tuner, and add no more than five cents. As for the bass, it is rather like if you prefer sweet cream or sour cream. To me, stretched tuning sounds sour, and my harp rings more sweetly tuned by the tuner. My teacher, Lucile Lawrence, on the other hand, always used stretch tuning, and would match the harp to the piano if it was in tune. It seems to add dimension, and some power, but I feel the tones are stronger with all the harmonics aligned.
