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I have an Avee and I really like it a lot. It is light to carry, not tiny, and sounds very good. I bought mine off the extra bargain harps page and had it upgraded with Camac levers.
I can’t think of one thing I’d change about it.
Good luck in your decision making!
The harpist about whom I was speaking was Nancy O’Brien. She was extremely helpful, and as I posted previously, her description of my harp was spot on.
I’m away from where my paperwork is, but when I bought my 85P I was dealing with the salesperson at L&H who is also a harpist.
She gave me a perfect description of my harp, and it never failed me from the moment the harp arrived.
I wish I could tell you her name, but if you called the CPO department, I’m sure she’d be helpful.
I got my email today, and it’s already been ordered! Available on Amazon, for a very appropriate price, IMO.
Can’t wait until my teacher reads it, so I can borrow it and read it myself!Hi Alison, Could you please indicate where this hard and fast rule resides? I have to say that in all of the years of study I’ve put in, I’ve typically found that there is a relationship between tempo and duration, and that the difference can be and sometimes is reflected in the printed version of pieces.
As with so many musical questions, I wonder if there is some theory book that says “hard and fast” and some other music theory book that says maybe ok in one version or another.
Kodaly makes a major issue of teaching duration as being totally divorced from tempo, but I can’t remember any references to the printed note.
Thanks!
Jan, please accept my apology for not remembering that it was you who originally sent it to me. I apparently mislabeled the folder.
When you tune a harp every day, you have very little to do. If you do it less frequently there will be more that you have to fuss with.
I’ve always been fascinated by the phenomenon of pitch memory in wood instruments. I don’t know why it’s true, but an instrument does remember what its pitches should sound like if it’s tuned and played regularly.
Anne, I bought the most beautiful 85P last year from the L&H CPO section.
If I were looking for Concertino, I’d find out if there were any 85s there and play them first. I think Kay Lister’s is an 85 Concertino, and she’s really thrilled with it.
My little 85 had to play a wedding on a mushy rug behind numerous bride’s maids last week, and everyone in church was absolutely amazed how much sound came from it.
You’re in a great situation because you can play new harps and the CPOs when you visit.
Oh, incredible. She died in 1947 I think. What a terrible loss. She really had the sound in her blood. Perfect for “small” harp.
Is this version of The Little Fountain the one in “Danses Pour la Dauphine”?
If so, I have a question about the second harp part. There is no tempo marking in the first harp part, but in the Harp II part, the tempo is marked “Andante”.
Is that marking intended to refer to the difference in the sound of the notes in each part? It doesn’t seem to make sense to be playing the second part andante and the first part at a tempo that would be considered fast, but it also doesn’t make sense that an editor would be referring to the overall speed of the piece and be meaning the relative duration of the notes.
Any opinions on this?
This was what we knew of harpists when I was a very young child. All of the TV harpists that I remember were beautifully dressed, beautiful hands and arms, beautiful position and posture.
The Musical Snuff Box was played frequently on an early morning radio program in the NYC area, but never as beautifully as this. Still, it is another of my childhood memories.
I wonder about the techniques of this recording. It sounds to me as though something happened in the orchestra that was either out of balance with the harp, or somehow caused the distraction to the harpist. The second statement is flawless.
THis is wonderful to watch and hear, and I love it!
