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Sylvia
ParticipantMost of my calls come from my own referrals…people or places I’ve played before, and the booklets don’t seem to do much. I like to make enough to buy the groceries and cat food.
Sylvia
ParticipantI wonder if Roger is writing for solo, orchestra, small ensemble, or what?
Another thing no one has mentioned is it has to be enough to lug a harp in for.A good place to look for examples would be to first look at listings of harp parts. (I couldn’t find a link on Lyon&Healy or Holywell, but maybe someone has links for the music catalogs.) See what composers (forget Wagner) wrote harp parts, and then go to IMSLP and look at the parts.
I don’t like writing that is linear, chromatic, fast repeated notes (no sonority), right hand so low you have to be a gorilla to play it, and tricky rhythms. Lots of harmonic changes often have to be dealt with by using enharmonics….because you can’t change two pedals on the same side at once (yes, I know the E, but it’s awkward). Vibrating strings is what we’re dealing with, and they have to have time to vibrate to get the sonority. You can’t bang on them like a piano, or just blow or bow the note and leave it behind.
I agree that we should encourage composers, but I also agree that there is much written that is unplayable or doesn’t sound beautiful, so no one wants to hear it again.
Sylvia
ParticipantPhil has not replied to me, and his email address isn’t on the forum. My Strauss is already scanned and sendable. All he has to do is contact me.
Sylvia
ParticipantIt is nice that you want to use the harp in your piece, and I commend you for that.
The audio doesn’t play for me. (does it play for anyone else?)
The writing does not look harpy to me. No arpeggios or chords?
Linear writing and intricate rhythms are not what I would want to see.Sylvia
ParticipantSend me your email, please.
My email is harpsylvia@aol.comSylvia
ParticipantJust 2 cents worth about the purse. I always use a purse with a long strap so it goes completely over my head (the strap is diagonal across me) and leaves both my hands free. It can’t fall off, and purse snatchers can’t grab it and run (as they can if the strap is just resting on one shoulder.
Sylvia
ParticipantI wondered why you’d wear a suit outside in the heat. Don’t men have alternate clothing for outdoor weddings?
Those people were trash, and the wedding planner (if that was the creature snipping at you when you arrived) was very unprofessional. You’re lucky you got paid.August 19, 2013 at 6:59 pm in reply to: Monteverdi – Vespers for the Blessed Virgin 1610 – Jurgens edition #61821Sylvia
ParticipantYes, I’m aware. That info is on the web whenever you look him up.
August 19, 2013 at 6:18 pm in reply to: Monteverdi – Vespers for the Blessed Virgin 1610 – Jurgens edition #61819Sylvia
ParticipantThis was on ISMLP, where you’ve probably already looked…
I don’t see a harp part, so maybe it’s figured bass.General Information
Work Title Vespro della Beata Vergine
Alternative Title Vespers
Composer Monteverdi, Claudio
Opus/Catalogue Number SV 206
Movements/Sections 14
First Publication 1610
Language Latin
Dedication Pope Paul V (Camillo Borghese, 1552–1621)
Piece Style Baroque
Instrumentation Voices: 2 sopranos, 2 tenors, 2 basses + 2 mixed choruses (SATTB)
Orchestra: 2 flutes, 2 tenor recorders, 3 cornets, trumpet (B♭), 3 tenor trombones, bass trombone + 2 violini da brazzo (violins), 3 viuole da brazzo (violas), bass viuola da brazzo (cello), contrabasso da gamba (double bass)August 19, 2013 at 6:05 pm in reply to: Monteverdi – Vespers for the Blessed Virgin 1610 – Jurgens edition #61818Sylvia
ParticipantI’ve never heard of the Vespers, so I’m no help at all. BTW, Kalmus is a great place to get harp parts!
August 19, 2013 at 3:22 pm in reply to: Monteverdi – Vespers for the Blessed Virgin 1610 – Jurgens edition #61815Sylvia
ParticipantI believe there is a harp part for the opera Orfeo.
I think Clinton works for Kalmus.
http://www.efkalmus.com/poe.phpSylvia
ParticipantI use a thick oval piece of leather that was part of a key chain when I have a long stretch of glisses…found it in the junk drawer.
As for talking to harpists in situations as you describe, I learned long ago to just NOT. Seemed like even a compliment would be taken the wrong way.
In your case, probably the problem was that you played the job and she didn’t.Sylvia
Participant….because the octaves are stretched on the piano. (to continue his explanation). If we stretch our octaves…. They would be in tune with the piano, but the harp will be out of tune with itself. These guys were back in the days of the tuning fork (probably no one here knows what that is). By the time I came along, my teacher had a strobe tuner.
Sylvia
ParticipantI think you shouldn’t worry about it. She’s obviously nuts…this is her thing.
I’d just smile and say….Thank you. I’m glad you enjoyed the concert….and proceed with packing up or whatever.Sylvia
ParticipantI’ve been tuning with a strobe for decades now, whatever temperament that is. My teacher meant do not go to a piano and tune note for note, if that’s any clearer. He has, bless his heart, long since passed away. BTW, he was a student of Salzedo, so I assume that Salzedo passed the info on to him.
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