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MR DAVIS SIMPLY ITS THE SELFISHNESS, SHE CONSIDERS THAT
SHE WILL BE THE FIRST PERFORMER AND THE LAST ONE, AS TV STATIONS EXCLUSIVLY. TILL HERE ITS UNDERSTOOD, BUT WHAT IS YOUR OPINION IF WE ARE TALKING ABOUT PUBLISHED WELL KNOWN MUSIC AS FOR EXAMPLE THE CADENZAS FOR CONCERTS AS MOZART OR HANDEL, I KNOW MANY HARPIST DOSENT LIKE TO GIVE THEIR COPY TO OTHERS BECAUSE THEY DONT LIKE THE OTHER HARPISTS ARROUND THEM TO PLAY THE SAME, I AM NOT LIKE THOSE BUT WAS OBLIGED TO BE LIKE THEM . ITS BAD YES ITS
Paul Keep all things in perspective at all times. Everyone has a bad day (even Dick Cheney!) and unfortunately our little brains churn up a great deal of garbage in the form of questions that can’t be answered. When the going gets tough, just relax, take a few deep breaths and know that tomorrow will be better. If very much in doubt, crawl into bed under the covers and go to sleep. I quarantee the sun will be out somewhere the next day. Enjoy the music, enjoy the earth, enjoy the people, strive for peace and contentment and live. Sounds sappy right? But it works….
HELLO MR DAVIS SAUL, I AM NOT SURE EXACTLY WHAT DO YOU MEAN, BUT I HOPE UNDERSTOOD CORRECTLY, IN RUSSIAN SCHOOL, WE RAISE HANDS TOWARD OUR BODY OR TOWARD OUR NOSE , THE IDEA THAT THE RESONANCE WILL BE MORE BEUTIFUL
BY LETTING A SPACE TO THE STRINGS TO
HI CAN YOU IMAGINE I COME TO CLASS TO PRACTICE EVERY TIME AND FIND HARP WITHOUT TUNNING, THE TEACHER GIVE HER
STUDENT THE LESSON AND THE HARP NOT TUNNED, HOW CAN
THEY PLAY
The people you’re playing with may be jerks. Harpists have a different
burden in chamber music, and other instrumentalists have expectations
that don’t necessarily match. Be prepared as a boy scout, and
especially think about playing rhythmically. Explain to them that your
arpeggiated chords finish with the beat on the top/last note ( I hope
they do). Use the rehearsal to know what to do to prepare for the next
one. I guess you were disoriented by the presence of the other players.
What piece is it? Preparation is your best insurance, and have some
pride in yourself, man. Don’t let people get you down. If you don’t
think you’re good enough, then as Simon Cowell says, “Gear up your
game!” Maybe you need to take lessons again, or more, or with a
different teacher. Maybe the piece is a little beyond your experience,
in which case it won’t be once you’ve done it. Doing something you are
unaccustomed to is difficult in itself. You have gotten good advice in
response to your post. Has it helped?I have always owned Lyon & Healy harps (2), but I remember when the
Paragon model came out from Venus, it was quite impressive, and I was
quite tempted by it. It provoked a lot of discussion in Miss Lawrence’s
studio. I also like the design of several other of their models. I
would only encourage Venus to not feel defensive, even if people seem
to be against them. Just stand firm on the quality of your work. It
must be tiring to have to deal with people’s attitudes all the time,
but life is full of challenges, alright. It’s not easy to be a harpist
who doesn’t have the orchestra job either. Reading the posts on this
site, I can tell when someone is writing casually or seriously, so I
imagine most people can sense the difference, at least, I certainly
hope. Please, by all means, make great harps. We need them.I know that this is late but for future readers.
A BETTER QUESTION IS WHAT IS THE BEST
HARP FOR ME!!!!!
Every body plays differently!
I sugest you try as many differernt harp as you can.
You should decide what your top price is and try as many differernt brands
and models as you can.
You should also look at used harps as well.
It is best if you have a good technician look over a used harp.
Now you can decide what harp is best for you!
I am very happy with my concert harp. BUT I SAID I WOULD NEVER OWN
THE BRAND OF HARP I HAVE!!!!!!!
It was not new or the brand I want or model or finish.
But when I played it I fell in love with it.
It responded well under my hands and my style of playing, and ever one tell
me what a beautful it sounds.
But when a friend play it
This is certainly a long thread and very interesting. I only want to mention I attended a solo harp recital by a winner of a major competition. Out of the 12 works on the program, 10 were transcriptions. After the initial amazement over the incredible technique proving this person could play ANYTHING from the piano on the harp, suddenly in the middle of the first half I realized I really wasn’t enjoying the music very much. Which is why I attend recitals, not to marvel over technique. After the third Chopin transcription I decided if I wanted to attend a piano recital, I would have gone to a piano recital. I left at intermission because the remainder of the program was all transcriptions. I am not against transcriptions, but all things in moderation. And definitely, the transcription needs to at least sound as good as it does on the original instrument. Otherwise, you do the composer an injustice.
I would like to know, in English por favor, how many harpists in Latin
America consider themselves Salzedo harpists? And how many of all of
you relate to Salzedo as a Hispanic artist? Did you know that, born in
Southwestern France, his family on both sides, Salzedo and Silva, were
very old, large and well-known Sephardic families of Spain and
Portugal, forced to leave by the Inquisition. Many of Salzedo’s pieces
reflect a Latin esthetic as well as French and American. To name a few,
his Suite of Eight Dances, Scintillation, Pentacle, Concerto for Harp
and Seven Winds, Second Concerto for harp and orchestra, and others,
including transcriptions/arrangements and settings of Granada by Lara,
Christmas songs from Catalonia and the Basque, and others.The sound is the most important reason, followed by its appearance and
quality of workmanship, which is hopefully reflected in its reputation.
Measuring the sound can be tricky. I think responsiveness to any kind
of touch is important. I think a harp should have some kind of warmth
to it, and be even in character from top to bottom–no changes of
register like a voice or other instruments–all one voice. Then
consider price and availability. Some harps have become popular, but
it’s not based on real quality, it seems, but other more shallow
reasons, perhaps appearance, price, ease of purchase and newness, or
just lower price. Harps are also individual, and you can find gems and
clinkers anywhere. Make sure the materials used are acceptable. Harps
should be made of wood, traditionally speaking, with metal mechanism.
In America, spruce and maple are the best because they are rich and
strong, and bright and warm. Also consider how long you want it to last
and if you are going to be professional. If you are going to be
professional or hope to be, you need an elegant instrument of beautiful
design and sound, and sturdy manufacture. If you are a student who will
only play at home, you have a wider range of choices. If you are going
to study, but maybe not play when you are adult, then you can buy any
harp pretty much. Some require more maintenance than others. Talking to
a technician or a very experienced professional (offer to pay for their
time) is a good way to know about different brands, models and so on.
The sales people can guide you to the right size and match what you
decide you want with what is available.
