Har pColumNovember/Decemn ber 2009 volume 18, issue 3 practical news for practical harpists ISSN: 1083-6128 $6.95

Judith Liber

plus breaking bad harp habits and new concertos take the stage

A soloist is never alone with a Lyon & Healy

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STAFF EDITOR • Kimberly Rowe MANAGING EDITOR • Alison Reese CONTRIBUTING WRITERS • Lynne Abbey-Lee • Maryanne Meyer • Sunita Staneslow • Heidi Sturniolo • Marguerite Lynn Williams MUSIC REVIEW EDITOR • Jan Jennings COPY ASSISTANT • Nadia Noor PUBLISHER • Hugh Brock CIRCULATION MANAGER • Carol Ringenwald DESIGN AND LAYOUT • Kimberly Rowe • Alison Reese

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features a league of her own • 18 18 Judith Liber has learned a thing or Longtime Israel Philharmonic Orchestra harpist two from the many legendary con - Judith Liber talks about performing, conductors, ductors she has worked with. “Only competitions, and much more. a conductor with self-confidence by Sunita Staneslow and vision is able to grant you the freedom to express your musicality,” kick the habit • 28 she says. We’re all guilty of a bad harp habit or two...or three. Find out how to kick 12 common harp habits to the curb.

by Lynne Abbey-Lee

harp concertos center stage • 34 Will a steady stream of newly commissioned harp concertos spice up the solo circuit?

by Marguerite Lynn Williams departments from the editor • 6 advice • 16 Dealing with the disappointment in Israel. How to find a small, lightweight, affordable amp.

harp news • 8 music review • 42 Three international competitions hand out awards. Holiday carol arrangements plus waltzes for lever harp. sounding board • 10 Playing for reality TV is a harsh reality in itself. strange but true • 44 A squirrely intruder. glad you asked • 12 What is the first piece you performed on the harp? classifieds • 45 principal harp profile • 14 Deborah Hoffman of the Metropolitan Opera Orchestra. from the editor a star is not born

With no winner, we all lose.

by Kimberly Rowe

We waited to go to print with this issue of Harp separate stages and two weeks to present, clearly the Column so that we could bring you results of the jury felt that they were not. International Harp Contest in Israel, held at the end It is far from my place to second guess the decision of October. “History will be made” touted the compe - of this particular jury, comprised of soloists whose tition’s Web site, promoting the much-celebrated playing I can only aspire to. (Visit harpcontest- 50th anniversary of the prestigious triennial event, israel.org.il to read about the jury along with the which included appearances by past first prize win - competitors, repertoire, and prizes.) But I must ask, ners such as Isabelle Moretti, Marie-Pierre how does this kind of outcome help satisfy a compe - Langlamet, Alice Giles, Naoko Yoshino, and others tition’s goal of promoting the harp, and in the end, too numerous to mention. is it really fair to competitors? Is it fair to the rest of Sadly, history was not made, and no first prize was us? Wawarded. No one will present New York, London, and I feel cheated. The three finalists—along with the Chicago debut recitals. No one will take home the 17 competitors who didn’t make it to the finals—all 50th Anniversary Lyon & Healy gold harp specially thought they were competiting for the prize of a life - made for this event. And sadest of all, no-one will be time. And those of us following the competition all talk to us crowned “champion” in what has been one of the thought we were watching the next big harp star most prestigious events in the harp community since emerge. Do you like something 1959. We’ll never know the exact reasons why this jury you saw in Harp Following on the heels of the 2008 Lily Laskine didn’t award a first prize. Was it because of notes Column ? Do you wish Harp Competition, where first prize was also not missed? Was it because a level of artistry was not we had done a better awarded, this comes as quite a blow to harpists. achieved? Was it because they simply couldn’t job? Is there a topic Caveat: I wasn’t there. I didn’t hear the competition, agree? We’ll just never know. All we know is that no you’d like us to write and I don’t know most of the competitors. But I’m competitor got the coveted prize, and the rest of us about? We want to sure I’m like many people in having to ask, “What is did not get our “star.” We did not get our champion. know what you think. going on?” At a time when harp teachers continual - The harp world needs its stars. We need fresh, Send your letters and ly tell us that the level of playing has never been new, young soloists to get out there and promote the comments to higher, is it really possible that we can’t find anyone harp. We need record contracts, we need debut krowe@harpcolumn to represent our instrument to the public in the way recitals in major cities, and we even need that spe - .com. Letters intended only a crowned competition winner can do? cially designed new gold harp! Is there really no-one for publication should “There are a lot of bells and whistles attached to out there that is capable of doing that for us? I refuse 9 be addressed “To the 0

0 the first prize: debut concerts, concerto performances to believe it, and I would like to challenge all the 2

Editor” and include a r

e with orchestras, perhaps recording contracts, and Israel and Laskine competitors, who no doubt feel b contact name and m

e sometimes concert management. The jury has to feel even more distraught about this outcome than any - c

e phone number.

D that the first prize winner is up to the challenge and one, to refuse to believe it as well. / r e

b is ready for a career as a solo artist,”commented Carl The good news is that we have another chance in m e

v Swanson on harpcolumn.com, offering some insight 2010 as we shift our focus to the upcoming USA o

N into how or why this might have happened. “When International Harp Competition this summer in •

n no first prize is awarded, it’s because they feel that Blooomington. Note to jury: please pick a winner. • m u

l none of the finalists are ready for that very big step.” In addition to editing Harp Column , Kimberly Rowe o C Were none of the Israel competitors up for the chal - performs and teaches throughout the mid-Atlantic region p r a lenge? Despite spending two years in preparation and is co-director of the Young Artist’s Harp Seminar. E- H and mastering a list of repertoire that required four mail her at [email protected]. 6

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n n i r m x n e o o e e 4 g e l , e s t A s t i t n n i l a d 0 o y ” e e e e e e s s s r r t t t - - - - f f l ; , . , , . WESTMINSTER APPOINTS HARP ensemble, and an exhibit hall. For more INSTRUCTOR information visit www.harpgathering.com Westminster College recently appointed LOUISE VICKERMAN to its faculty begin - SETTING THE RECORD STRAIGHT ning with the 2009–2010 academic year. In our July/August 2009 news, we Located in Salt Lake City, Westminster incorrectly stated that Nuiko Wadden fol - College is the only private comprehensive lowed Lucy Scandrett as Principal Harpist liberal arts college in Utah. It offers a of the Pittsburgh Opera Orchestra. Mindy music minor, and auditions are required Ball served as the Orchestra’s Principal for entry into the program. Harpist between Scandrett and Wadden. “I am excited to be part of a growing In the Somerset Folk Harp Festival department with the superb facilities of report in the September/October 2009 the Jewett Center for the Performing Arts issue, the photos were incorrectly attrib - and Emma Eccles Jones Conservatory uted to John Sheridan. Steve Johnson was available to the students,” Vickerman the photographer who contributed the said. For more information, visit photos for the article. www.westminstercollege.edu. In our July/August 2009 interview with Alfredo Rolando Ortiz, several facts were HARP GATHERING SET FOR MAY “lost in translation” and need to be clari - The third annual HARP GATHERING fied. Ortiz recorded his first 28 albums for will be held May 14–16, 2010 at the Codiscos, not Nicole Records. He received Sauder Heritage Inn in Archbold, Ohio. the Codiscos recording contract offer Performers and presenters will include months after starting medical school. The Top: Emmanuel Ceysson won first Pamela Bruner, Timother Harper, Frank article incorrectly read that the offer was prize in the ARD Competition in Voltz, Sue Richards, and Gathering direc - received months after starting his profes - Munich. Bottom: Lori Andrews won tors Denise and Michael Grupp-Verbon in sional career. Ortiz was born in the South the Best Smooth Jazz Song at the their duo Tapestry. The event will include American country of Colombia, incorrect - 2009 Just Plain Folks Awards. concerts, workshops, jam session, harp ly spelled “Columbia” in the article. • harpcolumn.com blogs • discussion forums • news • calendar • classified ads 9 0 0 2

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l d d o o g g g y o o e e e e c c s s I - - - - - f f , ; school taught me how to remain syn - voice of reason during Platformgate, she’s cameras were rolling during the prelude, I chronized with another harpist across an a wonderful harpist who has amazing chided myself—why hadn’t I bothered to aisle, on a platform, whom I could basi - sight-reading and improvisational skills, curl my hair? I knew I was going to be on cally see but not hear at all through the which certainly came in handy due to the television, after all! applause at the end of the ceremony, as last-minute nature of our performance. 8. See the big picture. we played Bach’s Prelude in C Major in Also, the long day of filming would have At the end of the (very long) day, it was unison for the recessional. However, seemed much longer without having a just another gig. Platformgate was through 10 years of on-the-job experi - friend and colleague suffering through resolved, David Tutera was thrilled that his ence, I’ve learned to be flexible and with me! minions had procured two gold harps to adapt quickly when things don’t go as 7. Remember, this is television—it’s all complete his Vision, another couple was planned. So, when the bridesmaids start - visual. happily married, friends and family were ed down the aisle early, we calmly segued My decisions to wear a less-than-cam - dancing the night away, and I headed into “Canon in D.” And when we played eraworthy outfit for the first part of the home with a good story, a few lessons the final chord of the Bach at precisely day and to do my makeup later turned learned, and a wallet full of cash. And if the same time, still each completely out to be not such good ones, as the cam - my 15 minutes of fame consist of a single inaudible to the other, I wanted to stand eras were on from the moment we arrived, shot of me, sans makeup, awkwardly heft - up and cheer! filming such exciting moments as the ing a harp onto a platform and conse - 5. Negotiate. wheeling of the harps into the ceremony quently tripping over the row of roses lin - But how do you ensure that you are room. (That moment, in fact, was so excit - ing the aisle, at least I know it was all in properly rewarded for your brilliant, pro - ing that we were required to repeat it and the name of doing what I love. • fessional performance? Television net - be filmed twice.) Of course, our main con - Maryanne Meyer is Principal Harpist with works, unlike the brides who usually hire cern was preparing music to play togeth - Symphony in C in Camden, New Jersey, and is harpists, are well versed in negotiating er and verifying the order of the ceremo - an active freelance harpist in the Philadelphia contracts with vendors. Don’t just sign ny, so that we would sound good. The tel - area as well as her native Indiana. Season Two whatever they send you. First decide what evision crew was much more concerned of My Fair Wedding airs Sundays at 10 p.m. you want to get out of the gig and work with the way things looked . When the on WE TV. with them to get it. Reality shows like My Fair Wedding contract on the agreement that vendors will participate for a reduced pay rate in return for exposure to a nationwide audience. This means you may not get your usual fee, but you Conservatory of Music shouldn’t play for nothing! Nadia negoti - ated on our behalf and made sure that in addition to the guarantee of at least a “fleeting glimpse” of the harps on air and Jody Guinn due credit at the end of the show and on founding member the Web site, we each left with a wad of of the Salzedo Harp Duo cash under the category of travel/cartage. • M.M., The Cleveland Institute of Music 6. If at all possible, work with good peo - B.M., Colorado State University 9 0 ple! 0 2

• Principal harpist with Opera Cleveland r Obviously, if you take a job like this e b

and Akron Symphony Orchestra m one, you will have no control over the e c e

• $IÀOLDWHGZLWK7KH&OHYHODQG2UFKHVWUDDQG D production company and their relative / r The Cincinnati Symphony Orchestra e competence. It’s a fair bet to say that they b m e will be experienced and capable at their v Perform for Ms. Guinn in a free o job but have no idea how yours functions master class on Nov. 14. N •

and why it’s important. So, being able to For more information contact n m work with another musician who is capa - 1-866-MUSIC or [email protected]. u l o

Baldwin-Wallace College does not discriminate on the basis of race, C ble, cooperative, and commiserative is a

creed, age, disability, national origin, gender or sexual orientation p r big plus! Not only was Nadia the contact in the administration of any policies or programs. a H and negotiator for this gig and a strong 11

H

1

2 Harp Column • November/December 2009 L K H B g i a l o e l t i n i l a h d a n n e i

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a a r f c n n ? u r l d a h h c k n a a r w o o t o v e e r r h p a l d d o o y e e e s s s r t - - - - f . , , ticularly at Christmas time! Is this merely a British The tune went through a few changes in Viking phenomenon? I don’t know, but the cold totally hands before it came to me, and I put it through numbed my poor fledgling fingers, and increased my more changes—that’s the nature of folk music! I love anxiety—it was like playing under anesthetic! the way the simple arpeggios in the introduction and However, I also remember the candlelight, the hush interlude flow easily from my fingers—it’s still one of that fell over the audience and my classmates, the my favorite tunes to play.” beautiful church, and my own sense of pride—a gift —Beth Kolle; Seattle, Wash. to my own spirit at Christmas! —Alexander Rider; Canterbury, U.K. “The first piece I performed in front of an audience for harp was a piece called ‘Stars’ by Susann Lorna Govier “If it wasn’t ‘Silent Night’ for the church Christmas McDonald. I played it for the Wisconsin State Music pageant, it was ‘The Harp That Once Through Tara’s Association juries. I was 12 years old and I remember Halls’ from Mildred Dilling’s Old Tunes for New dressing up, as if it were for church on Sunday, being Harpists book, also at church. To this day my father particularly nervous, and practicing the whole morn - occasionally asks for ‘The Harp That Once Through’ ing before playing for the judge. I did just fine.” (his idea of an abbreviation), and I actually had a —Lorna Govier; Tucson, Ariz. request for it years ago at the Century Plaza Hotel in Century City from a dinner guest who owned an “Oh wow! It was ‘Rock Me Mommy’ from the enormous chain of tire stores here in Southern Salzedo’s Tiny Tales . I remember Miss Chalifoux California. One never knows when these tunes will watching me play it and saying, ‘Dear, don’t rock the come in handy!” harp!’” • —Ellie Choate; Lakewood, Calif. —Ardis Billey; Cleveland, Ohio Ardis Billey

“The first piece I performed was a Celtic melody Got a question? called ‘The Fair-Haired Child,’ which I had first heard Do you have a question you’re dying to ask other harpists? E- played by a Norwegian band called Bukkene Bruse. mail your question to [email protected]. 9 0 0 2

r e b m e c e D / r e b m e v o N •

n m u l o C

p r a H 13 principal harp profile Deborah Hoffman Metropolitan Opera Orchestra

What’s your favorite opera ? Do you open and the other harpists rushed in, grabbed their have a favorite orchestral work? harps and joined in. You can imagine my relief at Manon Lescaut and Tannhauser being rescued in the nick of time! are both wonderful to play because they have such demanding and How do you pass the down time in rehearsal? emotionally satisfying harp parts. Often I sit and listen and observe the rehearsals One of my very favorite operas even when I’m not playing, especially when there is actually has no harp at all: a conductor that I find inspiring. Of course, some - Rigoletto! I can’t say that I have a times I read. If there is a long period of time without favorite orchestral work. How can playing I can sneak away out of the pit. We have a one choose among Beethoven, great cafeteria at the Met, and everyone from set Mahler, Haydn, Mozart, Brahms, designers to stagehands to superstar singers hang and so many others? out there.

What’s your favorite hall to play in? What do you think is the main difference between I love playing at the Met, which being successful as an opera harpist versus an orchestral has great acoustics and feels like home to me. player? I think as an opera harpist I’ve felt more freedom What has been your most memorable performance? to be expressive and soloistic. You have to have a All of the performances with Carlos Kleiber were sense of the voice, of breathing and rubato to accom - memorable. His Otello , Rosenkavalier, and Boheme pany well. Of course you must have this in solo performances are the highlights of my career thus playing also. far. In addition to playing with the Met, you’re a soloist Who is your favorite conductor? with the Orchestra of St. Luke’s, you teach at the Let me say that my top three favorites under Manhattan School of Music and the Aspen Music whom I’ve performed are Carlos Kleiber, James Festival, and you recently finished a CD of Chopin tran - Levine, and Claudio Abbado. scriptions. How do you juggle everything? It’s funny to be asked that question. I actually feel What funny stories do you have from your years as a that I’m very lazy! I’m always thinking that I should Principal Harpist? be practicing more, or going to the gym, or cooking 9 0

0 This is actually a terrifying story: In Siegfried , instead of going for take-out. 2

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e there is a famous moment when Siegfried has finally b m

e arrived on the top of the mountain, after bravely Harp seems to play such an integral role in opera— c e

D coming through the Ring of Fire (the “Magic Fire when you play you really play because often the harp / r e

b Music” from the end of Walkure ) and sees Brunnhilde. takes center stage, second only to the diva onstage. Is m e

v He falls in love at first sight and goes to kiss her. At that stressful? Has it prepared you to be a better soloist? o

N this moment, the six harps alone begin to play alter - What I find most stressful is sitting for long peri - •

n nating arpeggios up to the top of the harp. I was the ods of time and then playing a huge solo (like Lucia m u

l only harpist in the pit at that moment, the other five or Rusalka ). You must develop nerves of steel! Of o C had taken a break and lost track of the time. I began course the orchestra and ballet repertoire have these p r a to play, trying to manage all the notes myself as best terrifying moments, too. I think playing opera has H I could. As I was playing, the door to the pit flew been so important in my development as a soloist in 14 that you must be so completely generous and extroverted in expression in opera. The communication of the human voice has had a profound effect on my playing, even though the sound world of the harp is so completely different from that of grand opera. • Deborah Hoffman has been Principal Harpist with the Metropolitan Opera Orchestra since 1986. She is also solo harpist with the Orchestra of St. Luke’s in New York City and a former member of the Pittsburgh Symphony. She pursues an active internation - al career as both soloist and chamber musi - cian. She records for Arabesque Records and recently completed a recording of original transcriptions of Chopin works. Hoffman is chairperson of the harp department at Manhattan School of Music and has been a faculty member since 1997. Editor’s Note Principal Harp Profile highlights the Principal Harpist of one of the world’s great orchestras in each issue. Is there a principal harpist you want to know more about? E-mail [email protected]. Louise Trotter

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web: www.louisetrotter.com H 15 advice question: Can you suggest a small, light - weight, affordable amp?

Weighing in at nine pounds and This amp has an effects dial with eight preset digital in the shape of a laptop with a flat effects: two reverb effects, two delay effects, two cho - panel speaker that literally flips up, rus effects, and two flange effects. One caveat—these the Traveler FlipTone v.25 is an are very subtle effects. The really nice feature of the excellent choice for a small, light - FlipTone is that it has a built-in rechargeable battery Wweight, adequate amplifier. The that lasts five hours. I have used mine at many a golf $500 price tag may or may not course wedding ceremony. qualify it as affordable. The amp comes with a carrying case, so you can The FlipTone has two channel literally sling it over your shoulder—no separate trip inputs, one for your harp and the to the minivan needed! The FlipTone also has a jack other for a vocal mic or other instru - that allows the user to connect an extension speaker, Adrienne Bridgewater ment. Channel two also accepts a as well as a jack to connect to other amplifiers or stereo input for your CD or MP3 player. Each input mixing consoles. It’s perfect for a small to medium jack accepts either an XLR or quarter-inch input and size room or outdoor event when a bit of a volume each has its own volume control. boost is all that’s needed. There are three equalization knobs (bass, —Adrienne Bridgewater, freelance harpist midrange, and treble) which control both inputs. Scottsdale, Ariz.

I use a Crate Limo battery-oper - of a speaker stand by myself. My solution has been ated amp, along with an equalizer. the Bose PA system. It is top-of-the-line, expensive, This amp is lightweight and small, but worth every penny. It makes the harp sound fan - but it’s not inexpensive for a bat - tastic! After performing for over twenty-five years, I tery-operated amp. However, I’ve prefer to put good money into equipment and never Ifound it to be the best value for the think about shopping again. money. It runs for hours on a single To get the best deal, do a lot of price comparison. charge and has never died on me. It Scour online customer reviews. Also, ask other is also efficient for large audiences harpists about their experiences with the equipment. and for playing outdoors, as long as You’ll want equipment that handles the harp’s wide I get the amp off the ground. I place range of notes (standard guitar equipment hasn’t cut Anne Roos it on top of an Ultimate Support it for me). The goal is to make your harp sound as Telelock speaker stand. The key to using a small amp good—or better—than it sounds without amplifica - is to raise it above the ground so that the sound car - tion. Don’t settle for less. Taking your time to dili - ries. gently research what is out there will help you to find 9 0

0 As for amps that run on electricity, I have yet to the best equipment for your needs at the best price 2

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e find a great one that is lightweight. They tend to be possible. b

m much too heavy for a woman to lift and require a cart —Anne Roos, author of The Musician’s Guide to e c e

D for rolling to its destination once out of the car. I Brides: How to Make Money Playing Weddings / r e

b could not begin to lift one of those up to place on top South Lake Tahoe, Calif. m e v o N Talk to us Coming Up: •

n Do you have a question about playing the m u l harp you want to see here? Do you have an

o How do you stay afloat and find work C

p answer to a question we’ve posed? E-mail r a

H [email protected]. during this economic recession? 16 Although amps that plug directly into a wall outlet are the lightest amps on the market, I prefer amplifiers powered by a W! rechargeable battery. They weigh a bit NE more but are far more versatile for the gig - www.harpmusicdownloads.com Aging harpist. Being able to set up wherev - er you want regardless of AC power avail - Specializing in arrangements & ability trumps every other consideration. original compositions by Who likes being tethered to a wall or run - Anne Sullivan for pedal harp, ning long extension chords? Mike Nielsen lever harp and harp ensemble After a few years of using a Carvin of a large pedal harp is anyone’s guess. Stagemate (34 pounds, 100 watts, 10-inch I know the AER Compact 60 has a bril - • No-hassle downloads bass speaker, $400), I tried downsizing to a liant reputation, sounds great, and weighs straight to your computer! Crate Taxi (20 pounds, 15 watts, eight- only 18 pounds. But at $1,000 and no bat - • No shipping charges! inch bass speaker, $250). The Carvin had tery power, I would still recommend the • Never out of stock! great sound but weighed a ton. The Crate Limo (or the Carvin Stagemate) over the Taxi was lightweight but the sound was AER. Still, it might be worth it for anyone FEATURED NOW... not adequate for the bass range. concerned about the sound quality of the Finally I settled on the Crate Limo (32 amps mentioned in this response to actu - Christmas solos & duos pounds, 50 watts, 10-inch bass speaker, ally take their harp to a dealer who sells Peace for three harps $400). This is now my main amp and both AER and Crate products and listen to Allegro, from Mozart’s Eine seems able to handle everything that my them in action connected to your harp. • Kleine Nachtmusik for four harps 34-string Camac Aziliz can generate. I —Mike Nielsen, freelance harpist and play large venues and can fill them with keeper of the Harplust List, www.wedding www.harpmusicdownloads.com those 50 watts of power. Whether or not harper.com/harplust the Limo would suffice for the bass range Dover, Del. 9 0 0 2

r e b m e c e D / r e b m e v o N •

n m u l

LYONLYON & HEALYHEALY o C HarpmakersHarpmakers toto thethe worldworld sincesince 18891889 p r a H 17 interview a league of her own 9 0 0 2

r e b m e c e D / r e b m e v o N •

n m u l o C

p r a H 18 As the International Harp Contest in Israel turns 50, we catch up with its longtime music director, Judith Liber. A music legend in her own right, Liber shares tales from her remarkable career. by Sunita Staneslow

Judith Liber is in a league of her own. The former I had ever considered living. I had very little orches - Principal Harpist with the Israel Philharmonic Orchestra tral experience, but I went and played for the world- (IPO) is a giant among harpists. Both Zubin Mehta and renowned conductor, Pierre Monteux. I was given Leonard Bernstein have said that Judith Liber is one of the Tristan and Isolde to sight-read at the audition! At the Jgreatest orchestral harpists in the world. She has worked end, Maestro Monteux said, “You know how to play with the best musicians of our era including Bernstein, the harp. The orchestral repertoire you will learn. I Mehta, Lorin Maazel, Itzhak Perlman, Georg Solti, Sergiu will see you in Tel Aviv.” I was offered the job and Celibidache, Daniel Barenboim, and Claudio Abbado. She then immediately turned it down! Israel was half has taught some of the world’s finest harpists. A pillar of way around the world and I was only 23 years old. Opposite page: strength and a model of exacting and high standards, The audition was in August, and in October I was to Judith Liber discuss - Liber has focus, determination, and talent. begin the fall season. But I looked at the program es a Mahler sym - I first met Judith Liber in 1985 when I studied with her and it was a symphony of stars. The greatest musi - phony with leg - in Tel Aviv. As soon as I finished my first lesson, I couldn’t cians of the time were performing. My father told endary conductor wait to get home to practice. To me, that is the mark of a me, “Look, you have studied since you were age 5. Leonard Bernstein. great teacher—someone who inspires you to be your best. Don’t you think you should at least give this oppor - “I learned more She is one of those people that can break her neck (literal - tunity a try?” Ten days later I was in Tel Aviv. about music from ly) and still maintain the same grueling schedule—teach - I arrived on Yom Kippur Eve. I had no idea what him than anyone or ing, traveling, and organizing the International Harp that meant. I had read and studied the Bible, but in any school,” she Contest in Israel. I honestly don’t know how she does it all. knew little about Jewish culture. I went outside for a says. More than 20 years later, it is still hard to keep up with walk the next day, and there was a beautiful blue her. She now lives part of the year on Lake Como in north - sky. It was the Day of Atonement, a day of fasting, ern Italy, but I tracked her down for this interview amid the holiest day of the Hebrew calendar and there her arrival in Tel Aviv for the birth of her third grandchild, were no cars, no people out. Dead silence. It was like as she was working non-stop for the 50th anniversary of I was in some kind of strange film. I started to the competition and organizing the arrival of students panic—where are the people? That was my introduc - from Italy for lessons. Oh, and hosting guests and getting tion to the Jewish religion and the people of Israel. a root canal. Up close, she is warm and charming and has The next day was different. Everyone was out and a wonderful laugh. She is also a great cook and makes a the city was back to life. 9 0 0

perfect cup of coffee. HC: When did you realize that you had made the 2

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HARP COLUMN: Let’s start from the beginning. right decision to join the Israel Philharmonic b m e

How did a Lutheran girl from Ohio end up in Israel? Orchestra? c e D

JUDITH LIBER: I had graduated from Oberlin in JL: I knew within two weeks that I had found my / r e 1961 and was studying at the University of Illinois for place in music. The first piece I played was the b m e a master’s degree. During the summer of 1963, I Concerto for Orchestra by Bartok. I realized that I was v o attended the Salzedo Harp Colony in Camden, a soloist. The harp is heard. It is meaningful and sig - N •

Maine. One day, Miss Chalifoux said, “I have some - nificant. I was embraced by and became part of the n m u thing for you.” It was a letter announcing an opening magnificent sound of the orchestra. l o C for the harp position with the Israel Philharmonic. “I The concert hall was filled beyond capacity for 12 p r would like to recommend you for the position.” Well performances of every program. People were literally a H Israel, for me, was only a Bible story. It wasn’t a place standing in the rafters. This large, enthusiastic, and 19 involved public was wonderful. I was so impressed JL: The IPO is a cooperative. It is a private orches - and rapidly learned about the country and the peo - tra that elects its own management from among its ple. The IPO is such an important expression of performing musicians. The orchestra decides the Zionism and the revival of the state. I adopted Israel salaries, controls the auditions, and the musicians and they adopted me. This became my life. I felt have direct input in running the orchestra, including blessed and fortunate. tours and repertoire. In most orchestras you are just HC: It all sounds so exciting. But, you changed an employee. Not so in the IPO. culture and language. What did you miss the most HC: Please share a personal example of how you by leaving the United States? were treated as more than just an employee in the JL: My family! I have three brothers. They all IPO. JL: One year after I arrived in Israel, I was in a car accident on the way to the first concert of the season. The tendon of my right hand index finger was sev - ered. Before I left the hospital in October, the man - agement of the orchestra invited me to perform the Mozart Flute and Harp Concerto in May with Zubin Mehta conducting. I told them that I might never play again. But the doctors had already explained to the orchestra that if I had enough determination and will, recovery was possible. Putting the Mozart Concerto on the program for the spring was present - ed to me as an incentive. This support and trust of me was so generous. In addition, the IPO continued to pay my full salary. They paid all the medical bills and brought in a harpist from France to sub for me while I recovered. After experiencing this great gen - erosity and support, I knew that I was with a very special orchestra. Liber rehearses the remain in Ohio. Those were the days before e-mail. HC: Doesn’t the IPO have one of the most gruel - Ginastera Concerto Intercontinental phone calls had to be reserved hours ing schedules in the world? with Zubin Mehta or days ahead of time. Contact with the other side of JL: We frequently have seven concerts a week. conducting the the world rested on letters! I made a promise to bring Even though there isn’t a concert on the Sabbath, Israel Philharmonic my children to the States every summer in order to there is a Friday matinee and the Saturday evening Orchestra in 1985 maintain an active relationship with my family. But concert. We had tours lasting up to seven weeks. it still didn’t make up for all the major milestones They were intense tours with different venues every that I missed. night. That means lots of planes, buses, elevators, My father died in February 1964 of a massive and hotels. It was a very romantic job to play with heart attack, just months after I went to Israel. I went the IPO. People envied the musicians and all this back to Ohio for 10 days. On the return flight back to travel, the glamour, and applause. But, it was very, Israel, I studied the parts of La Mer and Prelude l’apres very hard work. 9 0

0 midi d’un faun , because I had a commitment that HC: The IPO molded your life as a person and as 2

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e went far beyond my contract. The orchestra support - a musician. You have performed with a dream team b m

e ed the musicians and we also gave in return. In those of the greatest musicians and conductors of the past c e

D early years, known as the golden years of the IPO, we half-century. Tell us more about making music with / r e

b rehearsed long hours—until the concert was ready. the IPO. How did it change you as a musician? m e

v And we had even longer tours. I played with a JL: Leonard Bernstein was my main teacher. I o

N slipped disc, with a fever, and two weeks after giving learned more about music from him than anyone or •

n birth. In the IPO, there was a dedication to the music, in any school. Who I am as a musician today is m u

l the orchestra, and the people. It was a way of life. greatly due to his concerts and rehearsals. His refer - o C HC: The IPO is unusual in its type of manage - ences to nature, placing style in a historical perspec - p r a ment. Please give us a feel for the working dynamic tive as he rehearsed a work was both inspiring and H of the orchestra. enlightening. It was just the whole process of mak - 20 ing music with the rhythm, the timing, the “A great conductor inspires the individual musicians to breathing, and most of all the sound. He taught us to develop a concept of sound. reach beyond themselves and perform above their abili - He was able to lift the phrase and the direction of the music and take the musi - ty...They inspire you to give you personal best and then cians with him on this journey just through the intensity of his conducting. mold the sound.” The whole process of making music with him kept me spellbound. HC: Zubin Mehta is a legend. He was thousands of hours organizing and work - The IPO recorded, performed, and pre - the principal conductor of the IPO for ing for the International Harp Contest in miered his main compositions. We toured decades. You know him personally. Tell us Israel. That is a tremendous commitment. with him and played a lot of Mahler with something about this man. Why is this competition so important? him. JL: Zubin and I share a similar rela - JL: The competition, for me personally, I played with Bernstein for over 20 tionship with Israel and the IPO. Maestro has been a marvelous platform to try to years. He was a very personable conductor Mehta adopted the country in the same make a difference. It has helped to move and knew everyone’s name in all the way I did. He felt the importance of the the harp beyond the stereotype of light orchestras he conducted. Bernstein, in his music and that it goes far beyond the con - and elegant music and put it front and genius, was bigger than life. cert. The IPO is the flagship of the country center on the concert stage. In the early On the day Lenny died, I got a phone carrying the dream for peace from the peo - years I worked directly with the founder, call from the IPO personnel manager: ple of Israel. Often maestro Mehta com - A.Z. Propes, who was the director of spe - “Bernstein died this morning. You must mented that we want the IPO to make the cial events in the ministry of tourism. I come to play Mahler’s Adagietto conducted front page of the foreign press rather than have volunteered for 44 years, since the by Mehta at the opening of tonight’s con - any recent violence! Zubin and I are very third competition, to ensure the success cert.” close personal friends. He regularly comes and growth of the competition. I am very HC: You have performed under the over for dinner after the concerts. During pleased with the accomplishments we baton of so many conductors. Some can the Gulf War he sat with my family in the have made. I have seen the competition inspire breath-taking performances and sealed room of our apartment, waiting for develop from the days when the final others can leave the orchestra sounding the missiles to fall from Iraq. Zubin is a stages were accompanied by piano, to the less brilliant. What exactly does the con - flamboyant star on the musical scene. He final stage of the concerto performance ductor do that can make such a difference commands the largest repertoire from accompanied by an orchestra. in the performance? memory of any conductor. He is a worka - The competition has launched the suc - JL: A great conductor inspires the indi - holic, loves chocolate and Indian and cessful careers of many concert soloists. vidual musicians to reach beyond them - Italian food, loves people, and lives music. The harp as an instrument has risen in selves and perform above their ability. He is approachable and warm and has a stature. The standard of playing and the These conductors know how to use the sincere interest in the people around him. level of intonation have soared. Even the power of music through the power of their As Music Director of the IPO, he is a quality of the instruments themselves has personality. Musicality is expressed in taskmaster, yes. But he is one of those mar - improved. The Contest is responsible for their body language. It is the combination velous, self-confident people who knows to commissioning new works written espe - of their energy, their involvement and give you space. He is proud to learn from cially for each competition and has great - their intention. It is also in the way they musicians—his colleagues, as he calls ly enriched the contemporary harp reper - 9 0 let you play. They don’t impose their idea, orchestra musicians. He gave me, and oth - toire. 0 2

r but they inspire it to come forth through ers in the IPO, endless opportunities to per - Contests in general are not for every - e b m you. They inspire you to give your person - form as concerto soloist with the IPO. one. But, it was the first international harp e c e D

al best and then they mold the sound. Zubin is unique and rare among men. competition in the world and continues to / r e

Only a conductor with self-confidence and Mehta couldn’t believe that I was going to be one of the most prestigious. The first b m e vision is able to grant you the freedom to retire early. He still phones me. The last competition was held in 1959 and this v o express your musicality. The best conduc - time he phoned, he asked me how I decid - year, 2009, we are celebrating the 50th N •

tors believe in you because they believe in ed when to play the last note of the last anniversary. In honor of this special n m themselves, the score, and why they are arpeggio in Mahler 4, and how I made it anniversary, all of the past winners were u l o C there. The conductors who are dictators ring, seemingly forever, in pianissimo. invited to perform or be on the jury, p r and who don’t want to hear your ideas HC: In addition to your performing [including] many of the legends in the a H just don’t inspire the musicians. career, you have spent thousands upon harp world of the last half-century: Letizia 21 2

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s r a r h r u u o i m 2 t t t s o o o o d d d k p c e e s I n n l i ’ p a d d d d o o o k y y e e e e e e e e 6 s s r t t t - - - - - f f f f , . . , . , : Beginning A weekenidn se mtinhare de vomted iedntirdelyl teo a diuslt harp bstuadecnts k! March 11 –14, 2010, Williamsburg, Virginia Beginning in the Middle is back and better than ever — don’t miss a minute! We return to the historic Williamsburg Hospitality House, in Williamsburg, Virginia, for a weekend program designed especially for adult harp students. This is your opportunity to get personalized instruction from some of the world’s finest teachers. Your level of ability is not important, only that you come with an open mind and an eagerness to participate and learn new things.

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continued from pg. 22 ders? I explained that I’ve JL: Yes, Tali herself is the mother of a beautiful played the harp for 60 daughter, Lynn. She lives in the center of Israel. years. “Well, madame,” Danna moved back to Tel Aviv after living a number the doctor said, “that of years in Italy. She has a 6-year-old son, Daniel, explains why you sur - and a newborn daughter, Maya. I am a proud vived. You can thank your grandmother of three! harp!” HC: You retired from the IPO, but between teach - HC: Your daughter, Tali ing and working for the harp competition, you are Glaser, performed second one of the busiest people I know. Do you still per - harp with you for many form? How long do you plan to teach? years and today continues JL: To arrive and remain on the concert stage is to perform with the IPO. difficult. The burnout is high! You have to need the What was it like to teach experience. The compensation is minimal. You must and perform with your have an inner need to perform for the survival of daughter? your identity. It is what makes you whole. The sin - JL: In 1984, at age 16, gular commitment and devotion to your art is Tali played the Handel immense. Even if you are in an ensemble, or orches - Concerto with the IPO tra, there is the loneliness, because you are alone The balance under the baton of Zubin with your art. Acknowledging this is important to between harp and Mehta. Soon after, she began playing second harp overcoming it. This loneliness is not a negative family is important with me in the IPO. I had already been in the IPO for thing. It is an intimate personal thing—part of an for Liber. “There are 20 years and a number of accomplished university artist’s being. always sacrifices. If graduates of mine had experience playing beside me. I retired from the orchestra because it was time you are convinced In fact, I brought all of my university students to and it coincided with my husband’s retirement. Nine and clear that this is orchestral rehearsals with me to learn first-hand how years have passed and I still deeply miss being part who you are, then to work with an orchestra. Tali took my position as of the sound of the orchestra. One can’t create that you have a good Principal Harpist when I was on sabbatical and con - sound solo. My plan was to write the book, do anoth - chance to pull off tinues to perform as second harpist in the IPO. She er recording, and it was all interrupted by the acci - having a career and has also toured as Principal Harpist with the IPO. Tali dent. At the same time, my teaching expanded 100- a family.” and I have also performed together as a harp duo. It fold with masterclasses and private students from is so exciting to perform with your child. You breathe many different countries. I was determined to get together. It was instinctive and natural to play myself back performing. Five years after the accident together. I performed a concert, and now I am fine with not It is not always a good thing to teach your chil - playing. It was important for me to prove to myself dren. My other daughter, Danna, studied cello with that I can still play and perform making music. I will her father, and Tali insisted that she study with me. stop teaching when I can no longer play for my stu - She developed a beautiful sound, and I am very dents. The young talents who come to me keep me proud of her accomplishments. Both children young. I learn from them! As long as I have some - became professional musicians in their own right. thing to share and give, I will continue teaching. Danna is now a beautiful dramatic soprano. My chil - Letizia Belmondo, Alice Giles, Emanuela Degli 9

0 dren could have turned away from music because it Esposti, Irene Kaganovsky, and many other soloists, 0 2

r took both parents away so much. They understood orchestra harpists and teachers have passed my stu - e b

m from an early age that this was our career. This is dio. Almost without exception they came seeking a e c e who your mother and father are—orchestral musi - rich, full, and expressive sound. Sound production D / r

e cians—and this was our way of life. I always knew and projection may be my biggest legacy. I hope to m e

v that I’d perform and have children and a family. But, be remembered for musical phrases that soar and o N the balance between career and family was always a reverberate. • •

n trick. There are always sacrifices. If you are con - Best known for her harp arrangements, Sunita m u

l vinced and clear that this is who you are, then you Staneslow is a frequent performer and teacher at the o C have a good chance to pull off having a career and a international folk harp festivals. Staneslow moved from p r a family. Minnesota to Israel with her husband and two kids in H HC: And now your daughters have children. 2000. 26 Bel Canto Institute HARP Summer and Youth Division Programs FlorenceIn residence in Italy June 28-July 24 2010

The opportunity to immerse oneself, in a beautiful setting, in the study of 19th and 20th Century Italian operatic, symphonic and solo works – Bel Canto – a style of playing rich in traditions that were not written in the music, but rather handed down from generation to generation.

Bel Canto Institute’s four-week summer programs for harpists have been planned to immerse participants in 19th and 20th Century HARP Italian operatic and symphonic works, as well as the Italian language, Summer Program & Youth Division Summer Program culture, and other disciplines which influenced the composers. Minimum Age 18 Ages 15, 16 and 17 The concept is to give harpists the opportunity for in-depth study of Italian operatic, solo and symphonic repertoire, learn to bring the Italian Each participant will receive: cantabile style to their playing, study operatic and symphonic audition • 12 private harp lessons repertoire and solo repertoire with renowned professionals, learn to play with singers, study the Italian language, and meet and converse with •3 master classes professionals prominent in their fields. The repertoire will be appropriate •2 classes on operatic backstage performing for all levels of playing. • 3-6 ensemble coachings Language classes will be taught through La Scuola Leonardo da Vinci • 8 coachings on a complete Italian opera with college credit available through the Language Immersion Institute • 40 hours of Italian language instruction of the State University of New York, College at New Paltz, with which • 1 discussion group: “The Road to College, the Road to a Career” Bel Canto Institute is in association. • 2 lectures: “The Impresario in the Bel Canto Era” Visit www.belcantoinst.org “The World in a Poem: Giacomo Leopardi’s L’Infinito” •2 classes on tradition and style in operas of Donizetti, Rossini, Verdi, Puccini for program information and detailed faculty biographies, •1-2 concerts in public venues in Florence and for information about •1 day excursion to Siena and San Gimignano Scholarships • Early Action Discount • Performance Awards •1 day excursion to Poggio a Caiano, a Medici Villa Deadline for applications is February 1, 2010 • breakfast and dinner daily, and a farewell dinner the final evening Applications can be downloaded from our website. You may also write, call • accommodations with Italian families or e-mail Bel Canto Institute to request an application or more information. BEL CANTO INSTITUTE Faculty 210 West 70th Street, Suite 1107, New York, NY 10023 (212) 580-9382 • e-mail: [email protected] John Alcorn, Lecturer, Principal Lecturer in Italian Studies, Trinity College Steven M. Crawford, Coach, Metropolitan Opera Orchestra, American Symphony Orchestra, Florida Grand Opera, Cincinnati Opera, Dayton Opera Gildo DiNunzio, Coach, Metropolitan Opera (ret.) Susan Jolles, Harp, Metropolitan Opera Orchestra, Manhattan School of Music, Mannes College of Music Jane Bakken Klaviter, Coach, Metropolitan Opera Roger Malouf, Coach, Metropolitan Opera, New York City Opera, Mannes College of Music (Faculty subject to change) feature kick hthae bit

We’ve come up with the top 12 bad harp habits...and every excuse in the book for doing them. Now learn why and how to break these habits today. by Lynne Abbey-Lee

Admit it, you do it. And you over there, you look kind of guilty, too! If we’re being honest, almost everyone occasionally does those little things that may not be in the best interest of our harps or ourselves. We’ll explore those bad habits, that little voice in our heads (we’ll call her Tess the Terrible) that justifies them, and a few ideas on how to overcome them. Let those who have no bad habits cast Athe first tuning keys! 9 0 0 2

r

e 1. PLAYING WITHOUT WARMING UP b m

e Tess: If you practice well, warming up is hardly necessary. I mean, you’re going to play c e

D the pieces you’re working on more than once, right? So you can kind of warm up as you / r e

b go. m e

v Not so fast there, Tess! Iowa city harpist Pam Weest-Carrasco, who teaches at o

N the Preucil School of Music, says harpists are like any other athlete; we use small - •

n er muscles. We still need to warm up those smaller muscles, just like any other m u

l athlete warms up! “I use the example of a soccer player,” she says. “He doesn’t sit o C around before the game, walk onto the field, and then expect his body to respond. p r a He has to move around, do some slow jogs, passing, stretching, quick short sprints H and cuts, and then he’s ready to play.” 28 A daily warm-up routine doesn’t need to be com - owner of Kolacny Music in Denver, David Kolacny. plicated. A simple, well-designed program will do the “The constant pressure of the lever or pedal twisting trick in a matter of minutes. Longtime Phoenix, Ariz., and crimping the string can shorten the life of the freelancer David Ice says he adopted the warm-up string, causing it to go false or fray much sooner. The exercises David Watkins uses. The warm-ups use a nylon wrapped strings found on many lever harps are combination of scales, from the sixth octave to the especially vulnerable.” He also cautions against load - second octave in C major, and a similar series of G7 ing a harp into a vehicle with the levers or discs fac - arpeggios. Ice says he likes this routine because it gets ing down, as this is a good way to damage them. “I’m all the fingers moving quickly, and the G7 arpeggios amazed how often I see this,” he says. cover the various intervals. “I can do it in three min - There’s a corollary to this bad habit—tuning in utes and I’m totally warmed up. I figure that I can naturals. This is a pet peeve of Diane Michaels, a free- ‘spare’ three minutes!” lance harpist and teacher in the New York City metro area, she reminds us that the mechanics of the disc or 2. NOT TUNING BEFORE PRACTICING lever hold on to the string tightly, but once the pedal Tess: Tuning seems somewhat self-indulgent. Who is disengaged from natural, the pressure on the string cares if your sound is absolutely pitch perfect! While a changes. “People can end up with a really out of tune perfectly tuned harp might be important for a concert or harp when they tune in natural.” when playing in an orchestra, when you’re practicing by yourself you know whether you’re playing the right notes 4. SLOPPY MARKINGS OR LACK THEREOF even if those Cs are a bit sharp. Tuning just takes valuable Tess: Reading skills should be developed and honed. By time away from really practicing. not marking things clearly, or at all, you ensure that you Oh, contraire! If you’ve heard it once, you’ve are really paying attention to the music that you’re play - heard it a thousand times, one of the best ways to ing. If you diagram everything out, it’s just too easy. develop a sense of whether your instrument is in tune Apparently Tess likes a challenge, but there are is to make sure that it always is! Then, when notes plenty of other opportunities to take on a chal - are out-of-tune, you’ll hear them right away. It’s easy lenge—this is not one of them. Clearly marking fin - BE MINDFUL to be sympathetic with beginners, because it can take gerings, pedals, and other musical indications will It’s all about how you such a long time to tune when you’re starting out, help you learn music faster and more accurately. practice, not how especially when all you want to do is sit down and David Ice agrees. “I think I’d rather play indoors much you practice, figure out how to play this crazy instrument. None of wearing sunglasses than not mark fingerings, plac - reminds Diane us want to take even a few minutes away from our ings, and pedals. Why make your mind work that Michaels. Be mindful while you practice precious practice time. Nevertheless, you should take hard, remembering everything?” and you see how the time, because the more often you tune, the faster much progress you 5. NOT USING A METRONOME you’ll become at it, and you won’t be distracted by make! any notes that are out. Tess: By not using a metronome, you breathe life into a piece. You’re allowed to sway and change with the 3. LEAVING PEDALS DOWN OR LEVERS UP music instead of concentrating on that stinky beat. Tess: Most songs start in a key a lot closer to C than C- Being expressive is a wonderful and important flat! If you just leave your pedals in natural you can sit goal, but if you’re not completely sure of the correct down and start playing with ease. And on the lever harp, rhythms in a piece, how can you expressively deviate 9 0 if your big piece for the week is in D, well then that’s five from the beat? You have to learn how to crawl before 0 2

r levers per octave you have to put up every time you start you can walk, and if you never learn to crawl, your e b m

(assuming your harp is tuned in three flats). Plus, I am walking is going to be wobbly and uneven. e c e going to come back to the harp in a minute anyway, right Are you sure that the relationship between those D / r e after I check my e-mail, and make a couple phone calls, eighth notes, triplets, and sixteenth notes is correct? b m e and grab some coffee… There’s an easy way to find out says Omaha v o

Nice try, Tess. The few seconds you spend moving Symphony Principal Harpist Mary Bircher, “Make N •

pedals and flipping levers are well worth the wear friends with your metronome! You’re giving up a n m u and tear you save on your harp. “I always think, huge benefit if you don’t use it.” She advises to slow - l o C ‘park it’ when I am done playing. You wouldn’t exit ly increase your speed with the metronome, and be p r your car and leave it in drive or in neutral!” declares sure to keep using it when you reach your goal so that a H Ice. A very good idea, concurs harp technician and the tempo can settle in. “Otherwise,” she warns, 29 OLD HABITS DON’T DIE HARD Breaking that bad habit is a cinch with a few small steps and a lot of positive thinking.

THE THREE MINUTE YOUR FRIEND, THE THE PRACTICE HABIT SAVE YOUR STRINGS WARM-UP METRONOME Ditch the cramming habit Simply flipping your levers David Ice suggests a simple A daily date with your and replace it with a daily down or your pedals up routine of C major scales metronome will do won - practice routine, says Pam when you are not playing can and G7 arpeggios to get ders for your evenness Weest-Carasco. extend the life of your your fingers ready to roll. and help you to never feel strings, says David Kolacny. rushed. says Mary Bircher.

“you’ll always feel rushed like when you inordinate amount of concentration without damental to learning a skill, and learning were trying to speed up.” really adding anything to your musicianship. it well. A runner who trains hard twice a I mean, it’s not as if good posture improves week and lollygags the rest of the time will 6. WEARING BAD SHOES OR NO your tone. If you can play brilliantly, who have a tough time making her school SHOES cares if you look like a hunch-back? track team, much less achieving great - Tess: Wearing shoes in your house makes This is one of those habits that some ness. The world’s great painters didn’t get your floors dirty, and those uncomfortable youngsters may get away with, but soon - there by only painting when there’s noth - concert shoes give you blisters. er or later, it will catch up with you. Good ing better to do. Weest-Carrasco says, “If Most harpists would probably rather posture means more than a straight consistent practice is expected from the play in no shoes than bad shoes. In fact, back—it includes relaxed shoulders, feet first lesson, then the habit is set up at the most of us would rather play barefoot all on the floor, a comfortable seat height, start.” She reminds her students that they the time! However, a week or two before a the appropriate distance between you and only need to practice on the days that performance, it’s critical to dutifully drag the harp, and even stand position. they eat, adding, “The all-nighter cram out those performance shoes so you Preventing injuries is the paramount rea - session might have worked for my biology become well acquainted with all the pedal son for good posture, but when your body final in college, but is almost a guarantee changes. Ideal harp shoes should have is comfortable and relaxed, a more fluid for failure in the study of an instrument! thin soles and a moderate heel, although and relaxed sound is possible too. Although I was able to pass the final, I we’ve all heard amazing performances by certainly didn’t retain anything past the harpists in mind-blowing three or four- 8. CRAMMING end of finals week,” she says. Ice points 9 0

0 inch heels. I think we all know that hiking Tess: You call it cramming, I call it out that we all wish that simply glancing 2

r

e boots or flip-flops don’t cut it on a pedal extremely focused practicing. There has to be at a piece of music would make it some - b

m harp. While an unfamiliar shoe can something on the line for me to get my best how ooze into our brains, but it doesn’t e c e

D wreak havoc with pedaling, lever harp work done. Besides, the last time I got an work that way. “Trust me,” he says. / r e

b players might want to practice in correct early start on my music for a big perform - “Maybe once in a while you may be able m

e shoes as well. A different height heel than ance, I broke my shoulder and couldn’t do the to pull the rabbit out of the hat, but don’t v o

N usual will put your legs at an altered concert anyway. What a waste of effort! count on it!” • angle and this could make you feel slight - [Editor’s note: For full disclosure purposes, we n m

u ly off balance. must reveal that this is actually the author’s 9. MINDLESS PRACTICING l o C

voice, not “Tess.”] Tess: Any practice is good practice, right? p r

a 7. BAD POSTURE Regardless of what we may try to get If you’re tired, fiddling around on the harp is H Tess: Sitting with good posture requires an away with, consistent practice is just fun - better than taking a nap, right? Practice is 30 practice. Maybe you haven’t progressed at all, 10. NOT CHANGING BASS WIRES Changing wires (or other strings that need but at least your fingers aren’t totally out of EVERY YEAR (OR “OFTEN ENOUGH”) it, for that matter) isn’t important only for shape. Tess: Changing strings is the most painful performances. It should be at least as Mailing it in isn’t going to get you any - process in the world! Once changed they important for your own pleasure that where. Michaels suggests you ask yourself never stay in tune. Who wants to go through your harp sounds its best even when this question: “Is your brain more or less all that hassle? you’re playing warm-up scales. Says engaged during a lesson than it is while Changing your harp’s bass wires is on Kolacny, “Occasionally a player will have you practice? If you answered more, you par with cleaning the toilet or dusting the me replace one wire string, either because are probably guilty of mindless practicing. mini-blinds—no one likes it. But you are it breaks or as part of a repair. It is not During the lesson, your teacher is the one always thrilled with your harp’s sound uncommon for that person to be back in a evaluating, correcting, and motivating. when you finally break down and do it. week for the rest of the wire strings.” If you These responsibilities need to become yours in the practice room.” While prac - ticing is all about repetition, Michaels Insurance In Harmony points out that they should be countless repetitions but not mindless repetition. With Your Needs “They say that the definition of insanity is doing something the same way over and over again while expecting different results. So, to play a measure or phrase or piece ten times in a row without evaluat - ing each repetition and attempting a spe - cific correction is, in a nutshell, nuts. Each repetition should offer a chance to set and meet, a new, more challenging goal.”

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Visit us online today for a free quote! a H 31 kick this habit along with bad habit #2, carefully thought out as the music you’re you will be amazed how great you sound! playing. That includes all your bows, any speaking you may do, your hair and 11. INCONSISTENT FINGERINGS clothing, the positioning of your harp, Tess: If you’ve practiced with various fin - and how you start and end your piece. gering combinations all along, then you’ll Many audience members will take all of never be stuck going for a note with the that into consideration when evaluating “wrong” finger–it’s as simple as that! your performance (sometimes, more so Not so simple, actually. Granting that than the music, unfortunately). Just as everyone’s hands are unique, Bircher there is no excuse for sloppiness in your likens fingering to parenting: “It’s not so playing, there is no excuse for it in your

July 29-Aug. 1 2010 important where you draw the line, but stage presence, either. A beautiful, that you draw the line. Choose a fingering rehearsed bow is the best way to say, in Parsippan y, NJ and stick with it! Random fingerings are “You’re welcome,” to an applauding audi -

bad for memorization and really hold you ence. It’s disrespectful to your audience to Four Fa bulous Days! back from what you can do musically. You simply bob your head and hurry off stage. 20+ Performers & Presenters can’t build in nice crescendos and sub -

70+ workshops & classes tleties of phrasing if you’re connecting in MOVING TOWARD RECOVERY Plus Concerts and Jams different places.” As they say, the first step toward fixing Unmatched Harp & Ac cessory a problem is admitting you have one. Shopping w ith Dozen s of the 12. POOR STAGE PRESENCE Fortunately, most of these bad harp habits Tess: It’s all about the music, right? aren’t as hard to kick as biting your fin - Top Harp Makers & Ve ndors Early bird registration starts January Performances begin the moment you gernails or smoking. With a little fore - walk onto the stage and don’t end until thought, some deep breaths, and better www.somersetharpfest.com you’ve left it for the last time. Everything time management, you can bring these in between those two points should be as harp habits under control. •

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4 Harp Column November/December 2009 • H c i h H p t c a c b r i O U r f n n o e e e r o e n i a . a e r e s a

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i l d e e e I - - f l Levalier has been friends with Mark Adamo for concertos for oboe, horn, bassoon, violin, trombone, many years. Having played many of his composi - trumpet, timpani, and finally harp! Back in 2006 the tions, including his opera Little Women , she followed orchestra, along with Van Hoesen, approached Andre his career as a composer with great interest. Levalier Previn, former Music Director of the orchestra, to feels that Adamo has a wonderful sense of the color write the harp concerto. “Several subscription seasons and sound of the harp—this is what appealed to her ago, we performed the Violin Concerto by Andre most and resulted in her asking him to compose Four Previn with violinist Anne Sophie Mutter. The Violin Angels . Concerto was stunning, beautifully scored, and a Dotian Levalier The concerto took four years from conception to major work for violin and orchestra. After hearing concerto: Four Angels performance, including many tears and heated dis - this work, I became convinced that asking André to composer: Mark Adamo cussions. Like most other worthwhile projects, the write a harp concerto was the best idea to add a new, notable: The commission uphill battle was well worth the “superb piece of exciting work to our repertoire.” came from Levalier’s desire music” that resulted, said Levalier. Previn featured Van Hoesen numerous times as a to “leave the world a This 25-minute concerto sets out to transform the soloist both in Pittsburgh during the subscription sea - great concerto.” image of the harp as only a delicate instrument. The son and on tour with the orchestra. During Previn’s work explores angels not only of the pious variety, tenure with the PSO, Van Hoesen performed the but also powerful and emotional beings. The piece is Ginastera Concerto, the Rodrigo Concerto Serenata, full of emotion, power, and drive, which is exactly the Debussy Danses , and the Mozart Concerto for what Levalier hoped for. Flute and Harp with Previn’s cadenzas written for the Adamo and Levalier met to explore the range of performances. To say the least, Previn was a fan of possibility of the harp and to discuss ideas for the the harp and especially of Van Hoesen’s performance concerto. He came up with a four-movement work on the instrument. using different angels: Metatron, Sarosha, Regina Although living on different continents, Previn Coeli, and Mik’hail. The third movement has been and Van Hoesen worked together on this concerto, taken out of this context and reworked into a short going over it measure by measure during several trips piece for harp and strings that is set to be released to New York City. “Andre seemed a bit worried about Gretchen Van Hoesen this month on the CD “The Late Victorians” on the writing for solo harp,” said Van Hoesen. “But he did concerto: Concerto for Naxos label. a great job as I knew that he would. Of course, his Harp and Orchestra Following its premiere in Washington, the reviews orchestral scores contain large harp parts, and that composer: Andre Previn made it apparent that Four Angels was most certainly coupled with his years in Hollywood gave him all the notable: The work is one the great concerto Levalier hoped to give to the harp tools necessary to write for the harp. In addition, I in a series of concertos world. Tim Page of the Washington Post wrote, sent André lots of written material, texts about harp commissioned by the “…this is one of the best new pieces Music Director writing, photocopies of music, examples of good harp Pittsburgh Symphony for Leonard Slatkin has championed—an ambitious, writing, and CDs for him to peruse. I don’t believe its principal players. eloquent, and often radiantly beautiful confection that he has written much for solo harp in the past. I for an instrument that is notoriously difficult for a am so glad that he agreed to the composition of the composer to work with.” Harp Concerto and that it is a great addition to our repertoire.” CONCERTO FOR HARP AND ORCHESTRA Previn’s Concerto for Harp explores the full range Andre Previn, composer of the instrument beginning with sparse melodic writ - 9 0

Gretchen Van Hoesen, harpist ing and gradually expanding throughout the concer - 0 2

r

Andre Previn, conductor, Pittsburgh Symphony to. The second movement is full of lush, romantic, e b m

Orchestra expanded chords. The final movement begins with a e c e

Premiered March 5, 2008, at Heinz Hall for the sizable solo cadenza for harp and follows with quick Opposite page: Ann D / r e

Performing Arts in Pittsburgh. Published by G. Schirmer, rhythmic passages between the harp and orchestra. Hobson Pilot per - b m e

Inc. Andre Previn even included a few quotes from other forms John Williams’ v o

Gretchen Van Hoesen has been asking the famous harp concertos such as the Ginastera Harp On Willows and N •

Pittsburgh Symphony Orchestra to commission a Concerto. The Previn Concerto for Harp is not easy to Birches on opening n m u harp concerto for many years. The Pittsburgh put together with orchestra, but well worth the effort, night of the Boston l o C Symphony, like many other orchestras, has an ongo - said Van Hoesen. Symphony p r ing project to commission concertos for the principal Prior to performances in Pittsburgh, Van Hoesen Orchestra’s season a H players of the orchestra. The PSO has commissioned spoke to the audience in pre-concert lectures about Sept. 23. 35 what to listen for and to explain how the piece took known for powerful and aggressive music, but he shape. This was a rare opportunity for the audience spent a lot of attention focusing on balance and the members to learn about the piece and about the use of the instrument. “The harp is a delicate instru - harpist’s role in the creation, preparation, and per - ment, you have to make the harp sing and sound formance of the concerto. The premiere was recorded resonant,” he said. “With a huge orchestra, I think live at Heinz Hall in Pittsburgh and broadcast the biggest challenge is to have the orchestra play nationally on National Public Radio. While no pretty substantially at the same time the harp is Yolanda Kondonassis recording is currently available for sale, Van Hoesen heard,” said Sheng, adding that this was the most concerto: Never Far Away said she hopes to record the piece in the future. difficult aspect of the project for him. composer: Bright Sheng The concerto was received in Pittsburgh with Kondonassis knew exactly what she wanted from notable: The piece calls for standing ovations and excellent reviews. Andrew the new work. “I wanted a harp concerto that would the use of a protractor to Druckenbrod of the Pittsburgh Post-Gazette wrote, stretch both the expectations of the instrument and create an amplified “…the harp part had focus, form and substance. the audience’s imagination—Bright gave me both,” whistling effect on the Beginning with an eight-note motive in the first she said. “One of my goals over the next couple of bass wires. movement, the harp dominated the piece. In fact, decades is to not only expand the repertoire for the with two cadenzas and multiple other solos, the work harp but to also expand the range and reputation of almost had the feeling of a harp recital. The second, the instrument. I truly believe that the harp is one of and longest, cadenza had Van Hoesen at points the music world’s most untapped resources.” strumming the instrument like a grand old Romantic Kondonassis and Sheng met in person a number harp, rendering it a calliope and plucking it like a of times to discuss the new piece during the process. percussion instrument. … this was the highlight of a During these meetings Yolanda tried to blend Bright’s work that did the one thing a concerto must—cele - vision with playability on the harp. “The harpist’s brate the instrument.” job is not to tell the composer what to do,” she said. “It is to work within their vision as much as in the NEVER FAR AWAY realm of possibility. Bright is very creative and had a Paula Page Bright Sheng, composer specific vision that I did not want to interfere with.” concerto: Absolute Ocean Yolanda Kondonassis, harpist Sheng explores a wide and innovative array of composer: Augusta Read Jahja Ling, conductor, San Diego Symphony textures, timbres, and sonic blends including what Thomas Orchestra; Leonard Slatkin, conductor, Dallas Symphony Kondonassis considers the most difficult aspect of the notable: The work is Orchestra; David Lockington, conductor, Grand Rapids concerto: weaving thick paper through the entire scored for a reduced Symphony; Bridget-Michaele Reische, conductor, Oberlin range of the instrument and playing about 90 per - orchestra, making it more Symphony Orchestra cent of the final movement this way. The thick paper versatile than a typical Premiered Oct. 24, 2008, at Copley Symphony Hall in amplifies the harp, changes the color, and makes the concerto San Diego. Score is not yet published. strings much tighter to play and therefore much It was around 2003 when Yolanda Kondonassis more difficult to produce the loud dynamics that called Bright Sheng and asked if he would be inter - were called for. Kondonassis added that it does won - ested in writing a work for the harp. Although she ders for muscle building. “You’ll be as strong as a didn’t have all the pieces in place, Sheng was a com - horse after working on this piece!” poser she thought would be a wonderful match for Sheng includes the extended techniques familiar the harp. This was the first piece of the puzzle. As a to most harpists, but also experiments with some 9 0

0 soloist rather than permanent member of an orches - new sounds. For example, after realizing that hand 2

r

e tra, Kondonassis knew she would need to create a whistles (sliding an open palm over the bass wires to b m

e consortium of organizations to ensure the commis - produce a whistling effect) wouldn’t project well in a c e

D Ann Hobson-Pilot sion the proper funding and the exposure she large concert hall with orchestra, Kondonassis found / r e

b concerto: On Willows and thought it would deserve. Jahja Ling, the conductor that using the smooth side of a rubber protractor m e

v Birches of the San Diego Symphony Orchestra and a friend helped project the sound. By the week of rehearsals o

N composer: John Williams of Kondonassis for over 20 years, was the next person and concerts with the Dallas Symphony, she realized •

n notable: The concerto was she approached. The Dallas and Grand Rapids the protractor looked too much like a protractor to m u

l commissioned to mark Symphonies as well as Oberlin Conservatory were the audience, so she sacrificed a beloved Orange o C Pilot’s retirement after 40 soon also on board for the project. Bowl t-shirt to cover the protractor and give it the p r a years with the Boston Chinese-American composer Bright Sheng’s style appearance of an exotic Chinese instrument. H Symphony Orchestra. is greatly influenced by a melding of cultures. He is The first movement, titled “Moonlight Shadows,” 36 is very atmospheric, evoking a dreamy CD, “ Never Far Away : Music of Bright Alfredo Rolando Ortiz soundscape recalling both Chinese folk Sheng,” in October 2009. music and movie music. “The Drunken Fisher,” the work’s second movement, jux - ABSOLUTE OCEAN Exciting! taposes passages of fast and slow, gentle Augusta Read Thomas, composer Fun! and aggressive, fortissimo and pianissimo. Paula Page, harpist The exciting finale, “Doctored Twyla Robinson, soprano Pentatonics,” uses the prepared harp tech - Hans Graf, conductor, Houston Symphony See nique to produce a percussive effect that Orchestra enhances the wild and bold writing. Premiered Jan. 22, 2009, at Jones Hall in 232 Kondonassis premiered Never Far Away Houston. Published by G. Schirmer, Inc. Harps in October 2008 with the San Diego Absolute Ocean , a setting of three E. E. Video! Symphony Orchestra and Jahja Ling, con - Cummings poems for soprano, harp, and ductor. She gave additional premieres orchestra, was the 2008-2009 season com - Music loved by teachers, with the Dallas Symphony Orchestra with mission by the Houston Symphony professionals and students of Leonard Slatkin in January 2009, the Orchestra as part of a plan to commission ALL AGES . . . ALL HARPS Grand Rapids Symphony with David concertos for all the principal players in . . . around the world! Lockington in April 2009, and with the the orchestra. While not a typical concer - Oberlin Symphony Orchestra with to, this work uses the harp in an obbliga - Books • CDs • DVDs Bridget-Michaele Reische in October 2009. to role. The harp embellishes the vocal Folk Harp Transducer The concerto will be published after line, and is soloist in an instrumental Kondonassis does a bit more reconfiguring interlude between the second and third Harp Ensemble • Solo Harp of the score to make it visually accessible movements, along with the concertmas - “Flexible” Ensemble (Harp + ???) and more “harp friendly.” Kondonassis ter, alto flute, and celeste. The composi - New: CUMBIA VERDE* recorded the concerto with Ling and the tion is scored for a reduced orchestra with for 2, 3 or 4 harps or ensemble San Diego Symphony. Telarc released the smaller string and brass sections, small *: See video of 232 HARPS at www.Alfredo-Rolando-Ortiz.com Youtube.com/AlfredoRolandoOrtiz DISCOVERYOUR BEST Order from us or your favorite harp store! JUNE 26-JULY 31, 2010 www.HarpJewelry.com

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www.HarpJewelry.com H 37 percussion instruments (although it to speak with the composer, get to know for Page. requires quite a few players), and only her, and talk about what she hoped for When asked about Absolute Ocean , eight wind players. This instrumentation with the work. Due to Thomas’ busy Page said, “I really enjoyed working with allowed Thomas an interesting blend of schedule and a short deadline, they were Gusty. People really loved the cadenza. orchestra colors and addressed the chal - unable to meet in person and tweak parts This work is perfect for a smaller or region - lenge of balancing the vocal line and of the work together before it was com - al orchestra because it doesn’t need as harp soloist. pleted. Page received a finished part many players.” Page also indicated that The first thing Paula Page did after approximately six months before the pre - she would be more than happy to share hearing that Augusta Read Thomas miere. About one month before the pre - her thoughts and experience with any would be commissioned to write a concer - miere was scheduled, Thomas added the harpist that is considering a performance to for her and the Houston Symphony was instrumental interlude as a quasi cadenza of Absolute Ocean .

ON WILLOWS AND BIRCHES John Williams, composer Ann Hobson Pilot, harpist Alice Chalifoux James Levine, conductor, Boston Symphony Orchestra Premiered Sept. 23, 2009, at Symphony Hall in Boston. Score has not yet been pub - lished. Legendary harpist Ann Hobson Pilot sat center stage on opening night with the Boston Symphony Orchestra in September to premiere On Willows and Birches . The concerto is a gift from the composer and conductor John Williams, a colleague of


  

 

 
 


 
 



 



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Williams changed his mind and of poetry by Robert Frost, “One could do agreed to write the concerto. “It worse than be a swinger of birches.” is a great honor for me to have The composition pays tribute to one of John Williams write a piece for the BSO’s most admired performers on me,” Pilot said. “I enjoyed all the occasion of her retirement after four the years we worked together decades with the group. The concerto was and wanted him to write the also the centerpiece of the BSO’s program piece because I have the utmost as they opened Carnegie Hall’s 119th respect for him as a composer Season on Oct. 1 in New York. Jeremy and conductor. I think the work Eichler of The Boston Globe described the will be a new staple in the reper - concerto as “a well-crafted two-move - toire.” ment concerto that clearly fulfills its stat - The first movement, with its ed aims of paying tribute to Pilot and From l. to r.: Composer John Williams, harpist Ann gentle orchestration and cham - showcasing her formidable musician - Hobson Pilot, and BSO conductor James Levine take ber-like setting, is based on a line ship.” a bow following the premiere of Williams’ new from Psalm 137, “We hanged out harp concerto. harps upon the willows.” Pilot THE TEST OF TIME described the movement as very With these new works, their composers 30 years who got to know Pilot during his atmospheric and impressionistic with and harpists stretched both the listeners’ years as conductor of the Boston Pops touches of Ravel and Williams’ own cre - and performers’ boundaries. More than (1980-1993). It all began as casual sugges - ative style imitating the sound of wind anything else, time is usually the arbiter tions years ago, and at first Williams shied blowing through willow trees and harps. of music’s longevity. Will one of these away due to his schedule and awareness The second movement “On Birches, ” is new compositions become the next of the difficulty of writing for the harp as celebratory, energetic, rhythmic, and joy - Ginastera, Ravel, or Mozart that brings so a solo instrument with orchestra. Finally, ful. It displays the soloist in an extended much attention to the harp? Only time last year after one last request by Pilot, virtuosic cadenza, and is inspired by a line will tell. •

F8->7"KL$KMF"KNNOeb. 11 –13, 2010 wwww.harpjourneys.comww.harpjourneys.com HHouston,ouston A TXrea (Spring, Texas) 8+&,9":)03; featured guest artist FERAThURetEtD BGUaErSnT wAReTllIST !"#$%&'"()*+,-'"-./0)+1,2"34-"5)+0%")6"34-"4&+/7 9

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a s e e o o p e l l r r s i i s n n t l p a 2 o k e e e e e e s s s s s r t - f f l l . , . . Lever harps must have at least the Bs shaped notes were enlarged to the same bols are included above the staff, making tuned to flat. All the pieces are in the keys size as the other notes—a simple matter embellishment very easy if you so choose. of F, C, G, D, or A (or the relative minor with most music writing software. Embellishment is not needed, however, as key). Some fingering is suggested, but Otherwise, the typesetting is easy to read. these are all very nice arrangements as most of the music falls very comfortably in A natural sign was omitted next to the written. the hands. Like her previous publication, diamond-shaped note in measure 44 of Happy holidays, everyone! • “Dance Thru the Music,” she uses an “x” “Enrichez Vous.” Jan Jennings is the music review editor for to indicate crossing over or under. Since The music is sight-readable for inter - Harp Column and the author of The this is not the standard notation, it would mediate players, and advanced beginners Harpist’s Complete Wedding Guidebook be helpful to have this explained, as not should also be able to play many of these and Effortless Glissing . You can e-mail her at everyone may know what she means. waltzes with a little practice. Chord sym - [email protected]. It would also be preferable if arrangers would use standard notation to indicate pre-set levers at the beginning of the piece. The simplest method is to put a “fix” box above the first measure that includes only Old Harps Made Young the pre-set levers that are not part of the key signature. Instead, Thormahlen uses text to explain pre-set levers at the begin - ning of “Hopkins Waltz” and “Ashokan Farewell.” It works, but it is not as efficient as a “fix” box. Diamond-shaped notes are used to indicate lever changes. However, they are Specializing in very tiny. It would be easier for those with Major Repair and vision difficulties to see if the diamond- Renovation of All Pedal Harps H. Bryan & Co.

Lynchburg, Virginia (434) 239-9966 www.hbryan.com [email protected] 9 0 0 2

r e b m e c e D / r e b m e v o N •

The crochet-action harp is very old. n m u

The harpist isn’t. l o C

p r a H 43 strange but true harp stories

The not-so-great outdoors

On Labor Day weekend I performed for pregnant wedding coordinator that the pened, asking him to quickly get the coor - a quaint woodlands wedding ceremony wedding party was coming up the stairs dinator. up on a hill in a clearing. The harp was and ready to begin. I put my hand in my After the pregnant coordinator sprinted Oset up inside a stone pavilion with wood - lap momentarily and I got stung by a bee! up to me (she thought maybe I was aller - en benches facing it. “An idyllic setting,” I On my finger! I had a moment of panic gic, but I’m not) I decided to suck it up and thought to myself. The only downside was since it hurt like $%& and the sting was play through the pain. That was the the millions of bugs I shooed away during where I bent my right hand fourth finger. longest processional of my life as I my 15 minutes of prelude music. I whispered a loud “Psssst!” to the photog - watched my finger swell up to twice its I finally received my cue from the very rapher and tearfully told him what hap - normal size. Quick-thinking workers brought me ice and all was well (almost) by the recessional. The bride never knew what happened! Vanderbilt Music Company —Mindy Cutcher Oreland, Pa. “Our Specialty is immediate, helpful service… and there’s always a friendly, When I lived in New Orleans some years ago a squirrel got into the house. We knowledgeable harpist to assist you.” were surrounded by beautiful trees, so I’m Wsurprised it only happened once. Immediately our dog, a boxer named Reilly, charged after it, and we all charged after him trying to rescue the squirrel. However, the little rodent had other ideas. He mistook my Lyon & Healy pedal harp for a tree and kept running up the column in an attempt to save himself. He scam - Harps pered along the neck and back again sev - eral times, eventually perching himself, shivering and terrified, on the top of the column. The noise level skyrocketed as we all Strings shrieked, the dog howled and barked, and the poor squirrel became increasingly dis - oriented. To quell the chaos (and save my harp) I threw a blanket over the harp, and, after several frantic attempts, my son caught the squirrel in another blanket and released it in the great outdoors.

9 Music 0

0 Reilly returned to the harp for a long 2

r

e time afterwards, sniffing obsessively, won - b Distributor of: m dering how his prey had escaped! e

c •

e Lyon & Healy and Salvi Harps

D —Mary Black / r e

b Cambridge, Mass. m e v o

N talk to us • E-mail your Strange But True Harp Stories n P.O. Box 456 • Bloomington, IN 47402 USA • e-mail: [email protected] m

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Pedal Harps For Sale years old, regulated November 2008. Like new Email [email protected]. Aoyama Orpheus, concert grand, natural condition. Includes matching music stand and Venus Encore, colonial maple, $12,000. Custom maple, $12,950. Extended soundboard, 47 stool. Call Debbie at 412-366-2283 or email decal. Excellent condition, beautiful tone. strings. Lightly used, meticulously maintained. [email protected].. Pittsburgh, PA. Includes two covers, extra strings and cart. Call Excellent sound, mint condition. Call 860-675- Salvi Daphne, 40 strings, mahogany, $7,500. 740-350-7213. OH. 0227 or email peterreis@harps- Serial #9223. Three piece travel cover and dust Venus Encore, concert grand, blond, $10,900. international.com. CT. cover included. Email Five years old, recently regulated. Comes with Camac Athena , concert grand, natural, [email protected]. Northeast Ohio. padded case, matching bench and stand. Call $12,000. Five years old, 47 strings, extended Salvi Daphne, 40 strings, natural, $7,500. Built Dave at 215-723-3871. PA. soundboard. Includes dolly, soft shell case and 2001, recently regulated May 2009, excellent Venus Polonaise, concert grand, stool. Email [email protected]. condition. Serial #10950. Electronic tuner, three mahogany/bronzed details, $33,000 o.b.o.. Four Camac Athena, concert grand. Rent to own. (3) piece travel cover and dust cover included. years old. Rare harp. Pristine condition. Includes Call 860-675-0227 or email peterreis@harpsin - Email [email protected] or call (619) cover, matching accessories and cart. Call 951- ternational.com. CT 582-5111. San Diego, California. 333-0884 or email [email protected]. CA. Camac Athena, concert grand, mahogany, Salvi Diana, 47 string concert grand, ebony, Venus Prodigy, 44 strings. Extended sound - $8,950. Ten years old, straight soundboard. $15,000. Approximately thirty years old, extend - board. Full rich sound. Includes five year war - Beautiful bright tone, excellent condition. Call ed soundboard. Beautiful warm, rich tone. ranty and padded cover. Call Canada 403-678- 336-285-5861 or email [email protected]. Padded carrying case and dolly included. Call 6509, [email protected] or US 860-675- NC. 931-215-6882. TN. 0227, [email protected]. Camac Electro-acoustic Big Blue, 47 strings, Salvi Diana, concert grand, high gloss ebony. Wurlitzer DDX, concert grand. Rare harp. high gloss ebony. Extended soundboard. Use Extended soundboard, 47 strings. Excellent con - Gothic design. Extended and decorated sound - acoustically and fully electric. Call 860-675- dition. Fine Salvi sound quality. Must sell. Call board, 47 strings. Rebuilt six years ago, new 0227 or [email protected]. CT. 860-675-0227 or email peterreis@harps-inter - neck, bottom body base frame, re-riveted, gild - W Camac Vendome, concert grand, sipo- national.com. ing restored. Wonderful sound. Photos avail - mahogany. Erard style, extended soundboard, Salvi Diana, concert grand, high gloss ebony, able. Call 860-675-0227 or email decal. Includes five year warranty and padded $22,500. One year old, professional quality. [email protected]. CT. cover set. Call 860-675-0227 or email peter - Perfect condition. Played by Amy Lee of Wurlitzer “B”, 46 strings, gold. Straight sound - [email protected]. CT. Evanesence on The Tonight Show with Jay board. Excellent condition. Exceptional sound. Lyon & Healy Style 100, 46 strings, high gloss Leno, see on You Tube. Includes Salvi three Rent to own. Call 860-675-0227 or email ebony, $12,950. Decorated, straight sound - piece transport cover, used once, and matching [email protected]. CT. board. Excellent structural and mechanical con - stool. Call 856-786-9569. NJ. Wurlitzer AA. Extended soundboard. Newly dition. Very good cosmetic condition, an ele - Salvi Diana, concert grand, high gloss regilded. Like new, fine structural, mechanical gant harp. Rent to own available. Call 860-675- mahogany, $19,000. Nine years old. Beautiful, and cosmetic condition. Rent to own, low price. 0227 or email peterreis@harps- full, rich sound. Perfect condition, never moved. Call 860-675-0227 or email peterreis@harps- international.com. Includes matching bench. Email international.com. Lyon & Healy Style 15, 46 strings, natural. [email protected]. AZ. Wurlitzer DDX #988, Concert Grand, $19,700. Decorated, straight soundboard. Excellent con - Salvi Orchestra, 46 strings, ebony. Straight Completely rebuilt by Lyon & Healy. One owner. dition and sound. Rent to own. Low price. Call soundboard. Very good structural and mechani - Fantastic look and sound. Shipping trunk. 860-675-0227 or email peterreis@harps-interna - cal condition. Rent to own. Low price. Call Contact Gerald Goodman, 212-249-0240. tional.com. 860-675-0227 or email peterreis@harps-inter - [email protected]. Lyon & Healy Style 22, gold. Built 1929. Newly national.com. CT. reriveted, new neck. Excellent structural, Salvi Orchestra, 46 strings, walnut/natural, Lever Harps For Sale mechanical and cosmetic condition. Exceptional $9,500. Beautiful tone. Includes cover and dolly. Blevins Cynde, 30 strings, cherry/birch, $950. sound. Call 860-675-0227 or email Call 850-897-8233. New 2001. Loveland levers on F’s and C’s. [email protected]. CT. Salvi Sinfonietta, 47 strings, maple, $16,000. Excellent condition. Includes cherry leg set, Lyon & Healy Style 23, concert grand, gold, Six years old, special order maple with olive padded case, tuning key and spare strings. Call $25,000. Harp professionally used by former wood inserts, decorated soundboard. Perfect 951-237-3976 or email [email protected].

CA. 9

owner. Email [email protected]. NH. showroom condition. Call 520-991-4067. AZ. 0 0

Camac Alan Stival, 38 strings, high gloss fin - 2

Lyon & Healy Style 23, concert grand, natural, Salvi Sinfonietta, semi-grand, mahogany, r

ish. Fully levered, gut strings, round back, con - e

$20,000. Built 1978, serial #7799. Excellent $14,000. Four years old, 47 strings. Excellent b

cert spacing and tension. Harp designed by m

condition. Includes wooden trunk and extra condition. Transport covers included. Call Cathy e c string set. Call 319-331-4938. IA. at 949-472-6132. renowned folk harper, Alan Stivell of Brittany. e D / Lyon & Healy Style 23, natural, $19,950. Serial Swanson Empire, concert grand, blonde/semi- Full rich, celtic sound. Includes heavy padded r e #8224, 31 years old. One owner, excellent con - gilded, $20,000. Lovely tone. Light, comfortable transport cover. Call 860-675-0227 or email b m

[email protected]. e dition. Includes trunk and extra set of strings. harp. Price negotiable. Call 617-309-8823. CA. v Camac Electro-harp, 32 strings. Fully levered. o Call 707-542-2068. Santa Rosa, CA. Venus 46 strings. Extended soundboard, goes N

Ultra-light, carbon fiber construction, True Fire •

Lyon & Healy Style 85CG, concert grand. down to low C. Includes padded cover and Extended soundboard, 47 strings. Excellent warranty. Low price. Rent to own. Call 403- custom finish. Professional tripod and harness n m u structural and mechanical condition. Fine sound 678-6509 or email [email protected]. available. Great jazz instrument. Call 860-675- l o

0227 or email peterreis@harps- C quality. Rent to own. Call 860-675-0227 or Venus Cherub, 44 strings, mahogany . Twenty- p international.com. CT. r

email [email protected]. CT. five years old, straight soundboard with decals. a Lyon & Healy Style 85P, natural, $8,500. Two Very good condition. A striking instrument. Camac Mademoiselle, 40 strings. Fully levered, H 45 concert spacing and tension. Looks and feels like and tuning key included. Photos available. US Harps For Rent a small pedal harp. Two year warranty. Rent to buyers only. Call 915-603-2444. Southern CA. Lyon & Healy pedal harps, starting $100 own. Call 860-675-0227 or email Swanson 36 strings, kelly green, $2,995. Fully monthly/$200 deposit. Call 305-724-4081. See [email protected]. levered, Celtic decal. Fine condition. Call 860- budgetharprentals.com. FL. Camac Melusine de Concert, 38 strings, high 675-0227 or email peterreis@harps-internation - Pedal and lever harps for rent. Rent any length gloss finish, low price. Fully levered, round back, al.com. of time or rent to own. Available in US, Canada professional quality. Heavy padded transport Thormahlen Cygnet, 36 strings, maple, $3,000. and Japan.Call Harps Unlimited International at cover available. Call 860-675-0227 or email Complete levers. Pristine condition. Includes 860-675-0227 or email peterreis@harps-interna - [email protected]. CT. deluxe case and extra strings. Call 614-527- tional.com. US and Canada. John Pratt Chamber Harp, 36 strings. Hand 0245 or email [email protected]. OH. Triplett Sierra, 34 and 36 strings, cherry, $70 crafted, fully levered with Camac levers, extend - Timothy Stormking, 40 strings, cherry, $5,400. per month. Call about rent to buy option. See at ed soundboard. Concert spacing, concert ten - Camac levers. Fabulous tone that projects. Price www.TheHarpStudio.net. Call 607-687-3410. sion. Exceptional sound. Includes five year war - includes case and import costs. See at NY. ranty and padded carrying case. Rent to own. www.TheHarpStudio.net. Call 607-687-3410. Various lever harps for rent, 36 & 34 strings, Call 860-675-0227 or email peterreis@harps- NY. $80/$85. Lever harps for rent in the Atlanta area international.com. CT. Triplett Axline, 30 strings, $2,695. Fine-line harp Call 770-442-9172. GA. John Pratt Debutante, 36 strings, natural maple, series, fully levered. Excellent condition. Two $3,600. Hand crafted, fully levered with Camac year warranty. Includes fleece lined padded Harp Accessories levers, concert tension, straight soundboard. cover. Call 860-675-0227 or email New and used benches, music stands, dollies Includes padded cover and full five year warran - [email protected]. and trunks all makes and sizes. . Call 860-675- ty. Rent to own. Call 860-675-0227 or email Triplett Celtic I, 34 strings, maple, $3,200. 23 0227 or email peterreis@harps- [email protected]. CT. years old, beautifully seasoned, low C to A, full international.com. John Pratt Princessa, 36 strings, sapeli Loveland levers, 25 pounds. Amazing full bright mahogany, $3,195. New, hand crafted, traditional sound. Includes tuning key, fleece lined padded column with crown, concert spacing and ten - case, and extra strings. Call 619-522-0543. CA. ABOUT CLASSIFIED ADS sion. Beautiful tone. See at www.summer - Triplett Celtic II, 34 strings, walnut. Staveback, Subscribers to the print edition of Harp hayesmusic.com. decorated with abalone binding and engraving Column may list one free ad up to 20 John Pratt chamber harp, camac lever 36, on column. One of a kind. Magnificent sound. words in any of our standard categories Bubinga, $4,200. Beautiful African Bubinga Excellent condition. Two year warranty. Call (harps for sale, harps for rent, etc.). All wood, 4 years old, excellent condition call Dana 860-675-0227 or email peterreis@harps-interna - other classified ads will be charged a flat at 630-554-7972 will email pictures, includes tional.com. rate of $20 for 20 words or less; ads over padded Pratt case. Chicago area. Triplett Christina, 25 strings. Therapy harp. Full 20 words will be charged an additional Lyon & Healy Prelude, 38 strings, mahogany, Camac levers, goes down to C below middle C, $20 per 20 words (21—40 words is $40; $3,800. Excellent condition. Tuning key and engraved floral design on soundboard. Seven cover included. Call 513-967-9312. Cincinnati, year warranty. Includes ergonomic lap bar and 41—60 words is $60, etc.). All ads appear - OH. harp strap. Rent to own. Call 860-675-0227 or ing in the print edition of Harp Column will Lyon & Healy Troubadour IV, 36 strings, email [email protected]. also appear at www.harpcolumn.com and maple/blonde, $3,000. Serial #7986, performance Triplett Nino, 34 strings, Baltic Birch, $2,295. vice versa. levers. Excellent condition, very resonant. Nylon strings, low C to high A, Baltic Birch Rules for counting words: The name of Includes Fishman pick-up, tuning key, Harpware soundboard, beautiful artwork on fiberglass the harp manufacturer counts as one chemise, L&H cover. Call 770-410-1903 or email back, full set Camac levers. Sized for small word, even two-word names like “Lyon & [email protected]. Atlanta area. hands and reach. Tuning key And fleece lined Healy” and “Dusty Strings”; the style of Lyon & Healy Troubadour IV, 36 strings, natural, case. Call 619 522-0543. CA. the harp counts as one word, even two- $2,450. Serial #7254. Includes cover and shipping Triplett Sierra, 36 strings, $2,995. New. Fully word styles like “Style 30”; “semi-grand” carton. Call 619-295-3901 or 619-823-2783 cell. levered with Camac levers. Includes fleece lined and “concert-grand” each count as one Lyon & Healy Troubadour IV, 36 strings, natural, case and seven year warranty. Rent to own. Call word; descriptions such as “gold,” “wal - $3,000. Includes tuning key and cover. Call 541- 860-675-0227 or email peterreis@harps-interna - nut,” etc. each count as a word; phone 888-5429. OR. tional.com. CT. numbers and e-mail addresses each count Noteworthy County Cork, 26 strings , Triplett Wire strung, 35 strings. Bronze wire as a word; every other word in the ad cherry/curly maple, $1,595. Full Loveland levers, strings. Excellent sound, like a bell. Rent to counts individually. Sitka spruce/curly maple soundboard, height own. Call 860-675-0227 or email forty-four inches, fifteen pounds, removable [email protected]. To place an ad, visit the classified ads 9

0 section of www.harpcolumn.com. By plac -

0 attached stool. Tuning key and padded carrying William Webster Harp 40 strings, cherry, 2

r case. Call 619-522-0543. CA. $4,050. Camac levers, flared column, spruce ing your ad directly through the Web site, e b Rick Rubarth, Merlin, 35 strings, mahogany, soundboard. Beautiful tone. Looks like small you will have the ability to make changes m e

c $3,100. Full Loveland levers, fluorocarbon pedal harp. Case included. See at to it yourself and remove the ad immedi - e

D strings. Includes Colorado Case padded transport ately when your harp sells. You may also / www.TheHarpStudio.net. Call 607-687-3410. r

e cover and full five year warranty. Call 860-675-

b NY. place your ad by calling 800-582-3021 or

m 0227 or email peterreis@harps- e e-mailing [email protected]. v Harps Wanted o international.com. CT. Ads will be approved and placed on our N Lyon & Healy 85GP or similar Stoney End Braunwen, 29 strings, cherry , , Up to $12,000. Web site upon receipt of payment. Harp • $1,350. Full Loveland levers, birch soundboard, 44 or 46 strings. Currently renting and wish to n Column assumes no responsibility for

m seventeen pounds. Beautiful sound. Extra set of buy within our budget. Call 831-601-4553. CA. u

l veracity of classified ads or for anything

o strings, tuning wrench and case included. Lyon & Healy or similar, semi or concert grand, C

concerning the products described in the

p Shipping paid by buyer. Call 828-273-3372. NC. $3,500 to $4,500. Please help. Looking for well r

a ads. Stoney End Lorraine, 29 strings, walnut, $700. maintained pedal harp. Call 316-650-7272 or H Approximately six years old. Levers on C, F. Legs email [email protected]. KS. 46