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The first time I ever played in public I was at a workshop and made a horrible mess of what I played. The second time, I froze completely.
The third time, first on pedal harp, someone moved my harp without my knowledge, slipped the pedal flat a step, and by the time I got to the A that was now an Ab, I became so verklempt that I finished playing while simultaneously vowing never to touch the thing again as long as I lived.
The next time I played by myself was actually a wedding, and thanks to the soothing benefits of Inderal and practicing the same 16 pieces for about 7 months, I survived unscathed.
Most recently, I played something as part of a Good Friday service, and after beginning very badly, I began to play the melody line and one bass note per measure only. I got through it, but was horribly nervous. The overall effect was wildly successful, but I felt awful about how I had done.
I performed totally without fear for over 60 years, so this is a very unpleasant situation to confront at this stage of life.
I am finding that less familiar pieces help, because if no one knows what they’re supposed to sound like anyway, no one’s really in a position to complain about how they actually DO sound.
I totally agree with the concept that when you’re not used to play with a large ensemble, the first time is awful. My first, one of those mentioned above, was Copeland’s “Simple Gifts” from Appalachian Spring- the little dutidudutidu part with the flute at the beginning? A Nightmare!
Still, I absolutely agree. I love the harp, and if someone is listening, I’ll do my absolute best and they’ll have to take it as it comes!
Thanks for some very helpful comments, Kay!I’ve done Lariviere with Pozzoli and Lariviere with Bochsa and now, Lariviere with Naderman. To me, Lariviere is a great team player- everything else works better with Lariviere first.
Harmonics on my Wurlitzer S-I-N-G! Harmonics on my teacher’s massive and gorgeous Salvi? For her, fine, for me, not so much.
Suzanne McDonald and Linda Rollo- Graded Recital Pieces, Books 1-5. I get excruciatingly frustrated with myself at times because I don’t progress with pieces as fast as I think I should. This wonderful series gives me beautiful, usable pieces that are full of preliminary skills leading to technique that I need for harder repertoire. EX.- I’ve been working on the first of Tournier’s Six Noels for months. I love it, I practice it, I improve at what I consider a snail’s pace. So I go to Book 2 of Graded Recital Pieces and play Composition #1 for a few days, and after doing so, the Tournier pedaling begins to make more sense to my feet, AND, I have a lovely piece ready to play if I need it.
I’m so happy to have found this series! If you haven’t seen it, try to get a look.
I obviously answered this question backwards. I’ve worked on this Tournier for a LONG time, at least several months. Not expecting to finish it until Christmas. Or maybe Christmas ’14.
OK, maybe my question was too limiting- is anyone playing any of this music at all? Is there any that you think might be adaptable for harp?
I shudder to think what I’m being called when I drive around in my black Ford Flex, but fortunately it makes no difference to me at all. Hope you have great luck with your beautiful new car Briggsie!
I do my assigned Lariviere first whenever I practice. By now they’re semi-memorized and I’m thinking about and focusing on what specifics I need to concentrate on with whatever I do next. Right now the order is Lariviere-Naderman-Tournier-Grandjany, with the Gradjany I’m working on being my oldest piece in terms of practicing and Tournier being the youngest.
I second the suggestion about the Serenade. Mine sounds wonderful, and it’s fairly easy to transport, about 22 pounds I think.
Elizabeth, I am so impressed to learn that your prism computer progressives are working for you! I had bilateral cataract surgery almost three years ago, and the improved vision in each of my eyes has seemed to make my focused vision worse, which naturally makes reading music and seeing strings exponentially more difficult as well. I wear trifocals with different prism correction in each lense, and i could not care less what they look like if I could see well myself! Are there any particular requests/recommendations you made to your ophthalmologist/ optometrist to get your successful result? Have you ever been told that if you blink away your doyble vision your eyes are actually constantly in a state of muscle strain?
David Daniels’ book on orchestral music is a terrific resource for anyone who is an active orchestral performer, and although it is a little expensive it’s also a gold mine of information and a great resource for questions about historical instrumentation. Also a great holiday gift! Harp parts are listed specifically by number and also by unison doubling.
It is quite amazing how soothing it is to practice! We have no power or heat, and absolutey no idea when the power will be back, and I have been using the sunniest part of my day to do Pozzoli etudes and Christmas music. My appreciation for Whitney Dobyns and Sharon Thormahlen and Kim Robertson and Jo Morrison is boundless. I honestly think my fingers get warmer while I’m playing their beautiful, wonderful Christmas arrangements, although I have so many layers of clothing on that my elbows hardly bend at all, causing my technique to be far less focused than I’d prefer. So glad to hear that everything was OK at the Haddonfield store!
Read Kay’s recent post about comparing used and new, and you will find some interesting pro’s and con’s. I have a fabulous elderly 85P that I bought for an amazing price on the Lyon and Healy website. I also have an older Rees lever harp that has an incredible, wonderful sound. Overall, i just prefer to carefully buy used. That said, a new harp can be wonderful too! You are also likely to find that there are many many more harps of all sizes available now than 18 years ago, so more new AND used to choose from. Have fun!
Instead of a “low end” harp, start watching for a gently used “high end” harp! There are often really lovely used instruments available from some of the bigger companies and they are reconditioned and restrung before sale. It’s also possible to find good buys from private sellers. If you can get to a showroom, play some of the harps there, both new and used. You’ll have a better idea after doing so about which harps might work best for you.
Saul, I find that really interesting. Did you play the Tcherepnin piece on the Troubador? Were both intended for Celtic harp?
Could you describe each of these pieces a little?
In my opinion this thread just gets better and better as more people contribute. I really look forward to getting some of these pieces to look at and hopefully play.
