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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.
Most oboists I dealt with came over to the harp to get my A. And, of course, you can’t retune at that time.
I remember Robert Barlow telling me about getting together with the Russian harpists, probably from the Bolshoi, in the 1980s, when he was harpist with the American Ballet Theater Orchestra, and how they showed him all kinds of cadenzas. Zabel wrote many, I think.
