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Elizabeth,
Your post reminded me of the Bosch Triptych (painted in 1504) where the harp was placed in hell (with alot of other musical instruments).
I too started out life on an Aoyama – and Orpheus model. And I had alot of puts downs from other players that played more “elite” brands. Saying, don’t use her, she has a cheap jap harp! And I used to get hurt, because I felt that many of them were saying they were a better player based on the expense of their harp and not their playing ability.
And I think its competitiveness. Some harpists are very competitive and will use whatever edge they have over you to try to out compete you! Other harpist, may genuinely not think they are not a good
I have to say it has been brilliant watching this thread evolve, thank you so much to everyone who has posted. What a great community!
Ros
P.S. When I say “teaching style” I don’t necessarily mean Salzedo vs. Grandjany, rather what are they like as a teacher.
A few more questions: What were auditions like? Do you recommend having a
I was thinking that the finish of the harp and the condition of the pedals looked pretty newish, and it got me to wondering if it had been damaged in transit and was grabbed up by an auction service to see if anyone would give a something for it on speculation.
Then I saw the “damaged” violin bow and decided
I have heard one used in recital and one on a recording in the U.S. The Horngacher is ornately decorated with a Prussian feel, to my sensibility. I felt the tone to be somewhat constricted, and that the harp and the sound were on the heavy side. That might be why they last. If you’re not looking for a big, reverberant sound, based on that experience, and you have tons of money to spend, go ahead and get one. I, myself, if I had that much money, would either get a style 3, 11 or a custom-designed harp from Lyon & Healy. The Horngacher used on the recording sounds good, and was very skillfully recorded, and there is no way to know how it balanced against the ensemble, but has a good tone quality. To me, their carving and decoration has extreme elegance, aristocratic air, but is cold, somehow. Or maybe it is just a little too imperial for me.
I think you might only find Ruthenia in a historical atlas, or a very detailed one that gives regional names. It is somewhere toward the southeastern Polish border, and was once briefly independent, I think. Don’t sweat it, and watch some Marx Brothers movies like Animal Crackers.
I haven’t been feeling all that well lately, and I noticed that it does affect what I post, so I apologize for ruffling so many feathers and putting so many beaks out of joint.
The question of plagiarism is an interesting one. Composers often borrow from each other, but usually just fragments of this or that. Grandjany must have felt he transformed the material enough that it couldn’t be considered an arrangement or transcription, or something else. I never heard of Glissando before. Holywell or Morley are the only sources I know of in England.
I am getting much too busy now, putting the Harp Music Festival of Philadelphia together, so I won’t be able to post anymore, or shouldn’t, until this summer.
The question of recording time is complicated. Recording is the first step, editing is the second and more time-consuming and expensive, then production. I was offered a session by a good label, but they wanted me to record everything in two afternoons on consecutive days. I had to pass on it, because I knew I needed more time or more time between sessions. I think it takes several hours, perhaps eight or more to produce a one-hour cd. Studio costs vary considerably depending where you go. It could be anywhere from $40-$150 an hour, and 10-40 hours of editing time at the same rate. If you are signed to a major label, they may not charge for the recording time, but they may charge it against your royalties. It is much cheaper to record in Eastern Europe, but you have to get there, and bring your harp along. That’s what I know about recording.
Has anyone mentioned Harriett E. MacGibbon, Mrs. Drysedale in “The Beverly Hillbillies”? “….studied harp…” is one of the accomplishments listed in her resume.
I didn’t mean hated most, but liked the least. Or, I meant ‘hated’ in a light sense. And I don’t know why my posts are always in white bands like that. I don’t remember doing anything to select it.
I think this thread is far less obnoxious in purpose than “Who is the Best Harp Player in the World”, as if any one person could be given such title, or agreed upon. I think raising people to such a degree, especially without serious consideration, is quite obnoxious. It is considered an American flaw to always assume that someone is the best, or that winners are always the best, such as with the Oscars and so on. There is rarely any one best in any field, unless it is very small. This thread is merely a counterbalance to that one. It certainly was not meant to be a censor magnet. It seems there is nothing crabbier than someone who expects everything to be Hallmark cards all the time. Amiable means, by the way, pleasing, admirable, generally agreeable, friendly, social, congenial. What that has to do with anteaters, I’ll never guess. A curious pseudonym. Maybe I’ll change mine to Cranky Armadillo.
Congratulations to Louise V. for getting it, and thanks Maria for your support.
The funny thing is, when I think back on all the harp recordings I hated most, I can’t think of a worst one, nor anyone like Florence Foster Jenkins. Perhaps it is out there and I just never bought a copy.
Thank you! 🙂 this information has been really helpful…I think I’ll buy some of the Ortiz books, once I get the harp, which I hope will be soon!
eva
