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Oh NO! Jennifer, do you know why they’re closing? I get there about twice a year; it’s a fabulous shop; the only place I can look at the harps and music.
Sorry, mistyped email
I am very interested to know which ones he recommended. Of course, you have to consider how well he knows the harp. Congratulations on having the coaching. I always wanted to coach with pianists and they always refused because they wouldn’t know what to say, which puzzled me.
I wanted to mention some repertoire I have studied which has truly changed my playing, more recently: Salzedo’s Variations and Flight. They increased my facility and tone. Daquin improved my consistency. C.P.E. Bach/Lawrence gave me facility and style. Une Chatelaine en sa Tour gave me poetry, Danza de la Pastora gave me art and injury, and Scintillation by Salzedo gave me so much. Without these pieces, I would be a different harpist. So I think that has made these necessary repertoire for my shaping and development. I didn’t think some would make such a difference, but the results told me differently.hi i am astonished that there is a harpist like Olja kaiser,i think she is the most super popular harpist in the world, any body know her?
its funny that she judges Glier,
If you play it true to the original, do you only play the melody and bass line as given? We were expected by the composer to flesh it out, so we have to choose the style we want to do it in, don’t we, and be true to that? That’s why I don’t like mixing editions, because you are shifting esthetic approaches. The Salzedo cadenza is very 1945ish, and is a wonderful document of that style-period. If or when I ever finish it, I hope people will take to my edition. I am finding different harmonies quite possible, and have a cadenza already that is two pages, longer than a diddle up and down, and shorter than the Salzedo or Grandjany. Grandjany’s edition is very early 20th c. French in esthetic, and is a wonderful approach in that sense. If you want to authentic ornamentation, then you have to use another edition or do your own, it seems to me. It’s really very difficult to work out. As much as I love the piece, I have never been able to finish learning the second movement, because I just can’t hold the fragments together-it lacks sufficient continuity, or I just don’t have enough energy to sustain it.
How bracing! Please suggest examples of Russian literature for the harp that you prefer. Do you like Dmitri Smirnov’s music? We are often limited by what is available. However, I think the Gliere can be played genuinely, without sentiment and be good, though it is fairly short.
It depends on how authentic you want to be. If I remember correctly the original score is available from Dover. The Le Dentu edition appears to be very close to the original.
The Grandjany and Salzedo may have their own beauty, but they’re not very true to the original.
Well, in Betty Paret’s First Harp Book, I just love Big Brown Bear, which she follows with the N-E-S-T-L-E-S tune, which they probably stole from her. She has many wonderful tunes in the book, which I hope not to tire of. I love some of Salzedo’s Tiny Tales and his other music for beginners which introduce modern music wonderfully, and some of the Pathfinder Studies which were actually composed by Lucile Lawrence. Apart from baroque or classical tidbits, I like to be able to use classical settings of folk music from many cultures. There are some very nice collections of Hungarian folk songs by Kodaly, which were transcribed by von Wurtzler.
As far as I’m aware (hearsay) it has a reputation for being a decent sounding budget harp. Obviously it’s not going to rival a harp costing many thousands but for the money
it’s apparently good value and definately not a lemon. Why not go and visit one at musicmakers themselves, I understand they have a showroom with their instruments and try it out? It’s the only way to be sure.
