that I was acknowledged!HC: That’s nice. They do it more lately,it seems. There used to not be anythingabout the musicians in the credits.GL: That’s right. And I think musiciansthat, whether it be a lead trumpet or anincredible violin solo, whatever it is, I wishthat they would be acknowledged,because they bring so much to a moment.HC: What advice do you have foryoung harpists who want to get into thisbusiness?GL: As far as anybody wanting to possiblycome into the industry, I don’tknow… It’s like anything else—it’s whoyou know. The industry is based on relationships.I think as far as doing studiowork, especially film scoring, you have tobe a good sight-reader. You have to bequick. You have to have good technique.You have to have an understanding—atleast I feel—of what the composer’s tryingto get, because so many times, the scoresare written on synthesizers, and the harppart, when it’s extrapolated from thescore, has been written on a keyboard,and maybe it’s not playable. So you haveto be aware of what the composer’s tryingto do and give him the best you can,although you may have to change thepart.HC: Understanding the intent.GL: That’s right.HC: What about musical styles? Youcan always tell the melody instrumentplayers who are only classical players anddon’t listen to the radio, because theycliniciansbeckybaxtermarybircherplay, as I say…GL: They play the notes.HC: Yes, they play the notes, and therhythm’s there, everything’s very accurate,but there’s no soul to it.GL: That’s right. And, not to jump overyou, but a perfect example would beMarty Paich, who has since passed away,who was a phenomenal arranger. And Ican’t tell you how much respect I had forhim—I adored this man. And he was a9th midwest harp festivalv Ensemblesv Chamber Groupsv Concertsv Solo Competitionv Private Coachingjanjenningsv Workshopsv Harp Maintenanceand Regulationselizabethrichter“Teacher andReturn Registrant <strong>Inc</strong>entives!”peterwileywww.midwestharpfestival.comharpfestival@sbcglobal.net918.832.0934March/April 2008Harp Column •31
THE Practical HarpistDo you know how to prepare for and takean orchestra audition?Have you ever taken a mock audition?July 6-11Kathleen Bride, with guestPatricia Masri-FletcherPrincipal Harp, Detroit Symphony OrchestraThis weeklong workshop, limited to 10participants, for college and high schoolharpists as well as young professionals,includes daily classes covering stagepresence, performance preparation,sight reading tips, and building a strongtechnique.Also included are private lessons,videotaped master class, a mid-weekrecital, a participants’ recital, and theone-day clinic on July 7, Secrets of theSuccessful Orchestra Audition, with guestPatricia Masri-Fletcher.Auditors are invited for the one-day clinicfor reduced fees. For more information,contact Kathleen Bride at (585) 274-1606or kbride@esm.rochester.edu.Housing is available in the Eastman StudentLiving Center.stickler. He really wrote for strings up thewazoo, he really knew what to do, andunderstood them, as well as the wholeorchestra. And I remember sitting thereone day…because he was so meticulousabout everything, he really made the levelof the string playing…he would take it toanother level, because he demanded it.And we would read through the music,and I remember he would say, “Okay,orchestra. Now, you know the notes, nowlet’s play the music.” And that sentencehas stayed with me forever, because it’s sotrue. You can play all the notes, and be themost phenomenal rhythmical player, butwhat happens to the music? Are you reallylistening to the music, are you playingthe music?HC: And do you understand the style?GL: That’s right.HC: Just like you were talking aboutwith Barbra Streisand, trying to get a feel.There’s a certain feel that they want,there’s a certain style, there’s a certainsomething that they’re looking for, andthe more styles and the more genresyou’re familiar with and at home with,the more you can be of service to the peopleyou’re working for.GL: That’s right. It’s just being aware. Idon’t know how else to put it other thanjust being aware that there is a whole levelthat goes beyond what you’ve just learnedin your classical training. And everyonehas their assets. How do you learn the differentstyles? By listening.HC: Absolutely.GL: Listening, being sensitive, beingaware. Being aware, when you’re sittingin an orchestra, that it’s not just about theharp. It’s like when you’re sitting in symphony—youhave to…you know, you’vegot to play…HC: You’re part of a body.GL: That’s right! And you’re all soimportant to the wheel going around inthe right way. Like when I used to own thestudio, I’d say, “Guys, we’re 20 in staffhere. We’re all part of a wheel. Not mostimportant, but as important as the recordingengineer, and the person who takescare of all the equipment, is the personMarch/April 2008www.esm.rochester.edu/summersummer@esm.rochester.edu585-274-1400 or 1-800-246-4706Harp Column •3201.08