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Indeed a lovely piece – I have seen Susann McDonald and Linda Wood do a two harp version with Diane Bish on her TV series – Sylvia Kowalczuk does the string version on “Masterpieces for Harp and Orchestra” –
I am wondering, is it true that there is a version for harp and string ensemble? If so, does anyone know where this score is available online? I think the version on harp.com is for harp and organ.
Thank you.
Does anyone know if we can use any type of strings (Bow brand etc.) on the Horngacher harps or only the ones on the website (Pirastro)?
Thank you Rod and Julia.
Julia, how is the sound of the Horngacher like? Is it big? Which model do you play on?
I traveled from Philadelphia to New York about once a month for lessons with Mildred Dilling in her New York apartment during the 1970’s.
I constantly play the air harp. My partner recently commented to me, “I know you do that because of the harp, but other people on the street are going to think you are just schizophrenic.”
Well, I don’t normally expect to be impressed by sound quality when I surf youtube for harps – however, apropos this discussion, last night I ran across a video which is listed as Grandjany – Fantasy on a theme of Haydn – there is no video, and the notes are a bit vague as to who the harpist is or when it was recorded
My harpist friend and I adapted a Jill Justice arrangement for Lever and Pedal Harp Duet of As The Deer (1984 Maranatha Praise, Inc). We also played a Daniel Burton arrangement of Amazing Grace for harp and piano (2001 Jubal Press)
As far as I can see, these responses boil down to two grounds for scales: finger dexerity and authority (the French do them, the Russians do them, Salzedo did them, everybody says to do them). The trouble with the latter argument
Thank you for the response, but my question was narrower in scope than your answer. I’m not asking about the value of technical work or etudes, but specifically, scales and arpeggios. The reason the question about scales arises is that scales are a good deal easier on harp than they are on some instruments. Since, with the exception of melodic minors (where the fast pedal change needed is needed at the top of the scale), all you do is set the pedals, start on the right string and play the right number of octaves, you don’t need to do as much jumping around as you do playing a scale on most other instruments, keyboard, wind or string. That’s why the question arises. I’m not opposed to scales per se, but I can’t specify what they would do for a harp student other than contribute to general finger agility, and there are other ways to get at that.
I also wouldn’t contest that the Russians and French produce great harpists. But the French are not producing great musicians in general, despite their wonderful system of musical education. At the moment, there are few French soloists on any instrument other than harp who rank in the very top (the Labeque sisters, perhaps, and Natalie Dessay, although vocalists are a bit different). Nor is there any French orchestra that figures in lists of the best (I know those lists are highly subjective, but they give a rough guide and it seems significant that no French orchestra seems to get cited by anyone as one of the world leaders). I not knocking the French system, but if the way they teach is the best, it seems odd they aren’t producing more world-class violinists, pianists or orchestras. There may be reasons other than the system itself that accounts for their production of good harpists (e.g., the esteem in which the instrument is held in France).
Sorry. Airline change. Now appears that I would be traveling by Delta Airlines. Again, all constructive information is greatly appreciated!
