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When it comes to composers who wrote well for harp Debussy is always the first name that comes to mind for me. What I find interesting is that even things he wrote for piano can often work wonderfully on harp. Clair De Lune, 1st Arabesque, La Fille Aux Cheveux De Lin… all could have been written for the harp they work so well on it.
I don’t play them, so I can’t give an opinion, but I thought I would just add to your list. Glen Hill at Mountain Glen Harps makes beautifully carved custom cross strung harps.
Yes, I’m working on some Lauper music for my own enjoyment, although I am currently working on Time After Time. True Colors is definitely on my list of pieces I would love to arrange eventually.
“In the 18th Century that drab green was a common color for harpsichords. The color was called ‘Merde d’oie.’ I’m not kidding.”
I have to admit, although I don’t care for green harps I actually kind of like those green Harpsichords. I remember Derek Bell playing a green Zuckermann that I thought was very nice.
But on a harp that color wouldn’t be my first choice.
Can we PLEASE drop all the This School of Playing vs. That School of Playing snipping?
Certainly, there are people who adhere to different methods and schools of playing who are obnoxious. But many of us don’t hold any delusion of superiority due simply to what method we learned or adhere to.
However, when people insist on pointing out their ideas of the flaws and pitfalls of a system in retaliation for what someone else said it is still rather insulting to those of use who don’t hold these views. It makes no difference if you are talking French, Russian, Salzedo or what ever.
An academic discussion about the strengths and weaknesses of a method are one thing, but this always digresses into personal territory and those of us who would rather not get involved tend to get hit with the stray arrows.
There are terrible players in all the schools of playing, and fantastic players in all the schools of playing, and for many of us we just want to play to play and don’t give a fig about what school someone else either chooses or ends up in out of circumstance. The sniping back and forth isn’t necessary, and the overgeneralizations are definitely not needed.
Just a thought. If you are having trouble finding them, wouldn’t anyone who buys one of your harps have trouble finding them when they need to be replaced?
Wouldn’t it make sense to string with strings that most people would have easy access to?
I ask because one of my harps uses carbon fiber strings and although I know where to get them I often have to special order them and it takes a while and is a major pain. I dread having to replace strings on that harp, unlike my other harps were if I don’t have a replacement on hand for some reason I can have one within two days by mail, or a couple of hours if I really need it fast and am willing to drive a bit to the nearest harp store across the bay.
Not certain about Camac Pedal harps, but their lever harps definitely have their own wrench. The wrench for my Camac lever harp doesn’t fit any of my other harps, and the wrench that fits all my other harps doesn’t fit my Camac lever harp.
Too bad too, I don’t really like the Camac wrench. I prefer long handled wrenches and the only one I can find for the Camac is a ‘T’ style wrench.
I have a copy and I agree, it is an excellent book. There are three books I have come to rely on when I need a refresher or have a question about technique. Salzedo’s ‘Method for the Harp’, Yolanda Kondonassis’ ‘On Playing The Harp’, and a little over a year ago I added ‘Harp For Today’.
I got a copy just out of curiosity to check it out and didn’t expect to come back to it as often as I do.
I have a copy and I agree, it is an excellent book. There are three books I have come to rely on when I need a refresher or have a question about technique. Salzedo’s ‘Method for the Harp’, Yolanda Kondonassis’ ‘On Playing The Harp’, and a little over a year ago I added ‘Harp For Today’.
I got a copy just out of curiosity to check it out and didn’t expect to come back to it as often as I do.
I have a copy and I agree, it is an excellent book. There are three books I have come to rely on when I need a refresher or have a question about technique. Salzedo’s ‘Method for the Harp’, Yolanda Kondonassis’ ‘On Playing The Harp’, and a little over a year ago I added ‘Harp For Today’.
I got a copy just out of curiosity to check it out and didn’t expect to come back to it as often as I do.
