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i just performed it with my orchestra(IPO)-i love it,during my work i found a lot of tricks that helps,in theme of last movement i use B# when it C twice,i use single notes playing by left hand in fast triple passages of right hand.
you can ask me about any particular places,good luck
yeh true.. contrapuntal is very well shown in second movement in particular.. but on the otherhand i still can’t comprehend why he closes the first movement on a clean E minor almost.. there are so many very rich atonal possibilities to create there, which i have to admit i was attempted to change them a good number of times during performance… hehe and don’t remind me of the percussion people… : ) always fighting regarding the timpani rolls being overdone : )
Bonnie, thank you so much for your very informative letter. You certainly know a lot about opera. I am wondering if you are involved in it. I am not a trained singer, but I like to sing when
I hate that by now i take it for granted that i will find the harp at concert venue and don’t have to carry it around…this might sound good… but yesterday i picked up an antique Amati violin to do some guilding works on its back and side… and as i was driving i just passed a flowershop, and stopped to purchase and forgot the violin for an hour or so at the back of my car.
I have never found study away from the harp very profitable. I can’t see developing an interpretation in a week. Playing by necessity is one thing. Why didn’t your professor know about the audition sooner? I guess being a quick study is useful for circumstances, but I only like to perform music I have lived with for a very long time. And those are the performances I like to hear. So many harpists I have listened to were not interesting and didn’t know their music in depth. They could play it with no mistakes, but no artistry. Curiously, in more recent years, I’ve seen quite a few who wring and massage their hands between pieces, and have red, swollen-looking knuckles. To me, that says too much tension, not good technique. (This is not about you, Esmeralda.) Out of all those people I heard, Emily Mitchell played very musically, with interpretation.
true Elisabeth… you can break them up as to avoid difficulty, however in areas where you have the octaves against the Alberti base… its either octaves or just the top line… i remember, with my first professor i used to study with… was just 13 at the time…
i don’t agree that studying a work in a short period of time may create more space for errors due to pressure.
What an old thread i’m bringing up again!!!
just to say, i love the Boieldieu, especially the third… probably cause i’m too much into C minor when performing.
my cat doesn’t love the harp… its more she loves me and she comes around where ever i am whenever i’m at home, which is rare these days…. but the last time she entered my study to listen.. i made sure i’ll always close the door behind me well…. you see.. when i study.. i do so in the dark, expect for white light on the book and harp so i’m not really aware of what’s going on in other parts of the study… the last time the cat came in, she decided she wanted to listen to me by sitting on the piano keys… she just jumped from floor up onto the keys… which obviously created a loud bang on the piano.
The original design of the Salzedo model has an extra-wide sounding board at the bottom end, as did the 11, but the Salzedo was the widest, as I recall, perhaps 21 3/4 inches. The column design is made of elements in numbers of five, five layers to the column, five levels from bottom to top. Recently, L & H added a sixth layer at the bottom of the column for their own reasons. They also narrowed the width of the sounding board to match the 23 for a more ideal sound, someone once told me. I suspect Salzedo’s concept was to capture some of the sound of a straight-sounding board, and combining it with the oomph of a wide bass. Now the effect is somewhat different.
