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I found, via video, that a shirt by itself is not enough, there needs to be a cover like a jacket or sweater or vest or something.
So, if you do use etudes, be they Pozzoli or Bochsa or Naderman or Salzedo or whomever, how do you use them? How do you practice them? What is your goal and where do you perform them if you do?
Okay, but what can guys wear other than a tux or business suit? What can we wear to be colorful or flashy in a hotel lounge or reception? What can we wear for concerts that allows freedom of movement and breathes unlike a tux?
No, I am not loading it sideways. The soundboard leans back against a softly padded rubber handle, so the column is in the font . It comes with bungies that I wrap around it, and it is secure. There is no cradle, so if you require that, then this cart will not do.
Hello Paul:
I have a copy of the music to the Renie Trio. I can check for publication information and forward that to you. Have you contacted any European distributors? You may also want to contact a few harpists who worked with Renie, to see if they have extra copies they might let you purchase. If you discover the work is out of print and the publisher is not interested in reproducing a copy for you, I would be agreeable to providing you with a facsimilie copy, as long as we have approval from the publisher to Xerox.
Best regards,
Lynne Aspnes
hi again , i have been heard from some body that there are harps made in china, how real is this information?
I don’t know if I have heard the Apollo, but as I said, this harp was clear and even, very pleasant, but didn’t produce larger dynamics.
We obviously disagree on the extent of etude use. The Mozart is, in some places, quite pianistic. Not as much, the Handel. Exercises do not have to be boring, it depends a lot on how they are constructed. We also have clearly different experience, as I learned a great deal of technique from repertoire, and even more from exercises, and much less from etudes.
I don’t miss the point of repetition in etudes, one page of it is good, but four or five pages if the same figure is not. Of course, what you say about all the great harpists of the twentieth century being raised on etudes is just not true. You would have to exclude, as far as I know, pretty much most of the pupils of Carlos Salzedo, Lucile Lawrence, perhaps Alice Chalifoux, Lynne Palmer and others.
