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This thread is so funny! I never thought others had this same experience. And it’s always your longest gigs, too- receptions, anniversaries, parties. The rug pattern mocks you: “Look at my swirly fleur-de-leis! HAHAHAHAHAHAHA!”
David, I’m glad it seems to be turning out OK. You are an example to us all. Your integrity and professionalism went above and beyond what any situation should be. Just remember that old adage; “What doesn’t kill us makes us stronger.”
Georgina- that is one of my all time favorites! The title is “The Three Kings”. My favorite version of it appears on the “Carols for Christmas” DVD by the Royal College of Music (with artwork from the Metropolitan Museum of Art). The soloist is the amazing Canadian baritone Gerald Finley while he was studying there. http://www.youtube.com/watch?v=gKzs9jySpeo
My new favorite is Rosalind Simpson’s “Christmas in Santa Fe” with the Santa Fe Desert Chorale. Beautiful! Rita Costanzi’s “Pastorales de Noel” is also fantastic. I guess I couldn’t leave off Salzedo’s “Christmas Carols in HiFi”. Or Gene Bianco’s “Joy to the World: Everybody’s Favorite Christmas Music”.
My interest in music was always the harp since I was 5, but as fates work their way I played oboe and English horn on a symphonic level. I received a college scholarship and was solo English horn with our regional symphony performing with such greats as Peter Nero, Alicia de Larrocha, Ransom Wilson, and Isolda Jones. I had awesome solos as we played “Symphonic Dances”, “New World Symphony” and Ravel’s “Scheherazade”. I was really good- I had this incredible English horn with an ultra-dark mysterious tone made in Czechoslovakia in the 1920’s that actually had a low B flat key (unheard of these days). I got my first harp when I was 15 and my passion for it only grew as I felt I was spinning my wheels on dead-end double reeds. I finally made the harp commitment and ditched the woodwind world forever- selling my English horn to a museum in Germany. I have never regretted it for a day.
As I’ve posted a zillion times, (but maybe I’ve been using the wrong terminology: loudness vs. projection), my Apollo has so much projection it gets me into trouble; even when I’m trying to play softly. Is the column design the culprit? Saul, are you thinking that irregular surfaces (carving depth) diminish projection? Mathematically speaking, would there be enough surface area in the carved regions to make a difference? Fascinating hypothesis!
Carl, that 2128 is stunning! I’ve checked it out daily since you posted it. It is so gorgeous- what a show harp that would be to take out and about. Trust me- between the DDX and this, I’ve been using positive synergy to psychically channel a big buck lottery ticket to my house- you’d be the first I’d contact! No luck so far, but I’ll keep the faith!
I tell you what, it’s organists that need to be sweating. I played a wedding in a 125-year-old church last Saturday along with the organist. He excitedly explained they had just completely rebuilt the organ with spectacular new digital mechanics and “pipes” (pipe sounds recorded at a famous old organ somewhere and played back on speakers). He said he has no idea sometimes what’s a real pipe and the recording. The musician can play a piece, record it, and have the organ play it back through the organ perfectly. After a church gets enough files on the hard drive, what’s to prevent then from saving a chunk of money and canning the performer? Who would know? I’m glad we play an instrument that cannot be reproduced digitally!
Charlotte Church recorded “Three Welsh Bird Songs- Y Gylfinir”, harp and voice on her album, “Voice of an Angel”. Gorgeous pieces!
Carl – you’ll laugh, but I always think in the most grand and romantic ways imaginable. I had pictured some old WWII era harp that helped motivate the troops in Normandy or Okinawa with thrilling glissandos to “Stars and Stripes Forever”. But it’s got to feel great helping restore any harp that represents our country’s finest!
