virginia-schweninger

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  • in reply to: Solo Christmas piece for Christmas Eve service #222936

    The first arrangement that comes to mind is “In the Bleak Midwinter” arranged by Sunita Staneslow and published by Mel Bay. You will find it in her book of 16 Christmas songs, “Christmas Eve.” There are many arrangements that you’ll love. They are written for Celtic harp but I play them on my pedal harp. These arrangements are lovely, interesting and tend to be open or sparce – not cluttered!

    Enjoy.

    Virginia Schweninger

    in reply to: Clifford Wooldridge #214269

    Hi Karen,
    I don’t know about the part you’re looking for but I think I saw Mr. Wooldridge’s Introduction & Allegro for two harps at the Virginia Harp Center in Midlothian, VA. In 1970 he and I played the World Premier of that piece together at the Beverly Wilshire Hotel in L.A. He had big hands and his parts seemed to really give you a stretch! At the time he was Manager of the Hollywood Lyon Healy store where I bought my first gold 23. He was sweet, patient and a fine harpist. Good Luck!

    in reply to: Lost Flute Part for Reverie arr. Carman HELP!!! #190583

    Thank you, Patricia Jaeger. I emailed Faith Carman and she was kind enough to scan the flute part and email it to me! Saved the day. It’s a lovely arrangement. I really enjoy her pedal markings as they are very intuitive. Thanks again! Best, Virginia

    in reply to: Little Fountain #83489

    After you have learned the part as thoroughly as all of the above folks have suggested . . . you sit on your stool with a very comfortable back, relaxed arms and shoulders, free your neck and notice that your arms are relaxed and as well as your fingers. The breathe out and throw caution to the wind. With a relaxed free hand you let your fingers flow without interference from your brain.

    You have acquired the muscle memory you need. Now let go of the tension and let your fingers fly. Don’t hold anything back. It will be almost as if you fingers are flying. Stay with it and enjoy. It’s like stepping on the gas pedal of a really nice sports car. Just hold onto the steering wheel and focus.

    The speed will be there if you have done your work . . . and you allow yourself to relax and let go.

    Enjoy.

    V

    in reply to: Fashion Sense #86644

    As an artist in the public eye, what we wear when performing is hardly a superficial or shallow issue. We do our students a great dis-service if we do not guide them. I have seen many students’ self-respect grow when they discover how to “dress for success.”

    in reply to: Fashion Sense #86608

    Even though I haven’t taken lessons with her in years, I’ll never forget her.

    Thank you for that, Jerusha. My teacher, Mimi Allen, taught me that and like you, she is always with me. To pass that gift on is very important.

    in reply to: Fashion Sense #86606

    Who cares how they dress?

    It’s a matter of respect. . . for their teacher and for themselves. There is much more to learn than just how to play the harp.

    in reply to: Harp camps?? #87119
    in reply to: Wurlitzer Harps??? #147607

    The first Wurlitzer harp came into my life over 20 years ago, a Starke Model A from about 1915. My husband restored it for me and I used it as my gig harp for many years until it just wasn’t staying in tune for me. Fortunately we had moved to Virginia where I discovered harpmaker, Howard Bryan. I took my harp to him and he gently revealed that the soundboard was seperating from the soundbox (or vice versa) and the harp needed an overhaul! When the harp came back to me several months later, she was back to her original beauty and even better! They had replaced the board, repaired the box, touched up the gold and wow! That little straighboard Wurlitzer could hold her own with most concert grands! She goes everywhere with me.

    The Wurlitzer BB that Laurie Galster referenced in her response to this string was in Mr. Bryan’s workshop ready to be shipped. I got to play it and couldn’t believe the ease I felt when playing it! That is when I decided to replace my beloved L&H 23 with a Wurlitzer Semi-Grand. I loved my 23, but because of shoulder and wrist/hand problems, it had become difficult for me to play and cart around. Laurie’s Wurlitzer Semi Grand was a bit smaller, lighter and soooo much easier for me to play that I put my order in for the next BB Bryan came across.

    He also has a DDX (must be like yours David) that has been completely restored (you can see it on his website). When playing that harp you feel almost weightless. So I give my thumbs up to Wurlitzers, particularly if they’ve been brought back to life by Bryan.

    in reply to: Fingertips (help) better to bandage or just stop playing? #88180

    A couple decades ago a stand-up bass player turned me on to something that helped him and his wife, Kathryn Julliet (harpist) who were both recording musicians at NBC. This has saved me from soreness and blisters ever since. He told me to protect my fingertips with TINCTURE OF MYRRH. . . .right out of the bible. You can purchase this as an essential oil cut with a little alcohol at a good health food store (or order it at a pharmacy). Put a drop or two on your fingertips and rub it in BEFORE you begin to play. Your fingers won’t feel any different to the touch, but will be resistant to soreness and blisters. Or, if you suddenly find yourself with sore fingers, stop, put it on right away. I have all gut strings and have found no affect on them at all. I also give my new students a small bottle which lasts forever and seems to protect them right from the start.

    in reply to: lever harp vs. pedal harp #145070

    Frank Voltz performed on his lever harp at the Southeastern Harp Weekend in Asheville in October. He also gave several really wonderful workshops discussing jazz stylings (in hymns), loving levers, etc. He broke down a lot of barriers for people and was a completely engaging teacher and performer.

    in reply to: Majoring in Music? #87352

    I used to make my living full-time performing, but began a business with my husband and the harp took to the backseat. We moved to Virginia a few years ago looking to get away from the fast pace of L.A. and haven’t looked back. I am back playing my harp, teaching and performing as much as I can/want and love playing more than ever.

    We are near a college town with a population of around 70,000 (peak season) and there is only one other professional harpist here. Her story is amazing, and we could all learn a lesson from her! She did not MAJOR IN MUSIC but had a child to support so she TAUGHT HERSELF how to play. She began to sing and tell stories with her Celtic harp, she played for weddings, etc. and managed to make a living. She eventually got herself on our State Council for the Arts list and became artist in residence in many schools statewide playing her harp and being her charming self.

    She became the first CMP and virtually brought therapeutic harp music to our University Hospital. She plays for weddings, restaurants, workshops, charities, libraries, parties, festivals, you name it! I never do a gig (often referred by her) that someone doesn’t tell me a story about her loving contribution to their hospital stay or family wedding.

    She’s created a couple of CD’s, bought a house and sent her daughter to college.

    Her secret? She cleverly cultivates all of her gifts, shares them joyfully, drives a lot and works her guts out.

    in reply to: Salzedo vs Grandjany #84360

    Ignore everything she said. I can’t tell you how many students come to me with injuries inflicted by past teachers! At my 1st meeting with a college sophomore last year she said she really wanted to play Song in the Night. I could see she had a ways to go, but we got to right work. She just played it and many other pieces at her recital and did a GREAT job of it. Now she tells me her previous teacher said she’d NEVER play it.

    Other students have come to me because they want to sell their harps after giving up years ago when a teacher said they had no talent, or made any number of other demoralizing comments. We just dust ourselves off, start over and relax with a joyful approach utilizing tools that have worked for many . . . French school, Salzedo, Alexander Technique, whatever seems to suit their hands, their goals and their previous training. We have fun, work hard and make music.

    in reply to: Salzedo vs Grandjany #85583

    Ignore everything she said. I can’t tell you how many students come to me with injuries inflicted by past teachers! At my 1st meeting with a college sophomore last year she said she really wanted to play Song in the Night. I could see she had a ways to go, but we got to right work. She just played it and many other pieces at her recital and did a GREAT job of it. Now she tells me her previous teacher said she’d NEVER play it.

    Other students have come to me because they want to sell their harps after giving up years ago when a teacher said they had no talent, or made any number of other demoralizing comments. We just dust ourselves off, start over and relax with a joyful approach utilizing tools that have worked for many . . . French school, Salzedo, Alexander Technique, whatever seems to suit their hands, their goals and their previous training. We have fun, work hard and make music.

    in reply to: Corelli Giga #88750

    I assume the Giga was written for harpsichord, but Corelli wrote so much for the violin, was it ever played by strings? From what larger work did Giga come? and was it originally in B flat? I’m doing a lecture concert this week and would love to have a little background information, but can’t find much. Thanks.

Viewing 15 posts - 1 through 15 (of 21 total)