Forum Replies Created
-
Posts
-
I have convinced myself that I need just one more new harp, and there are a couple very fine brands that I’ve played and am considering, but the truth is that once you’ve owned and played a Thormahlen there is just something about them that you can’t forget.
I unexpectedly have an old Thormahlen Swan visiting me today, and no matter how ridiculous it may sound, just strumming through a scale or two on that beautiful old harp just brings that old feeling right back again.
I would not give up my Serenade if someone offered me three times what I paid for it, and even though I’ll be playing the other brands that I’ve been considering, I can’t wait to get to Somerset to play some of the different Thormahlen styles that will be there.
I cannot figure out the configuration of the tailpiece from the drawings duplicated here, but would a Wurlitzer harp that is in original condition be likely to have this?
If I look down through the back of my harp, I see a piece with a shape somewhat like one of the shapes in the picture, and it looks as if it is under the pedal extensions.
My sound board is very thin with very slight bellying.
Jerusha, have you played a Koa Dusty? There was one at Somerset last year that was a dream, but they’re not making Koa harps now, and I’m trying to decide whether I’d like the Bubinga harp as much.
Forgot that yours was Bubinga Deb L. Yummy!
Somewhere, I have a recording of Harry Belafonte singing God Bless the Child. Yummy TWICE!
If you are using you new harp “mostly for Medieval music” the authentic sound is the untempered scale, so whether it sounds as your ear wants to hear it or not, it is what that style of music should sound like if played as it sounded in its original form.
I think it would be interesting to leave the intonation alone and enjoy it as it is. That’s probably what I’d do if it were mine.
Hi Jerusha- I really love everything I’m doing. I’m just doing the first Noel now and may add one other.
The Naderman Sonata sounds great on the Wurlitzer, and I know how lucky I am to have two pedal harps in my house! The character of the piece fits hand in glove with such a beautiful looking harp.
Interesting about Noel #5. I’ll have to ask about it in my next lesson. Thanks for the tip!
Naderman Sonata #1, Tournier Six Noels #1, Grandjany Le Bon Petite Roi d’ Aventot – please forgive fractured French, and The Trees They Grow So High and The Rocky Road to Dublin, both in anticipation of having something under my fingers for Somerset.
Robin you are ABSOLUTELY right! This is a very definite trend and if a cute little editor on The Knot says it’s a good idea, well, gee, i guess it’s gotta be, right? Oh dear.
Doesn’t anyone make a glare shielding transparent “skin” for the iPad? If not, someone should.
I remember when the original iPad came out, one of the eBook competitors made a big deal of their non-glare screen.
Apple should have caught up with that by now.
I had a very unpleasant harp related experience a few weeks ago, and since then I’ve had the two best, most relax lessons I’ve had in years. Go figure.
I’d like to see composers be honored by having orchestras required to make use of the numbers of harpists indicated by the composer’s score, whether unison doubling or not, instead of hiring/using one harpist and expecting h/h to play, with two hands, two feet, and one brain, a part intended for three or more players.
