AHJ, Vol. 2 No. 1, Spring 1969

WE ARE PLEASED to announce ... 

that once again the SAL VI HARP will be on display at 

the AMERICAN HARP SOCIETY NATIONAL CON 

FERENCE in Rochester this year. It will be our pleasure 

VICTOR SALVI COMPANY 

Harpmakers 

to assist all who attend, giving them the opportunity of 

trying our instrument. Also on display will be a full 

range of our strings and accessories. 

SALVI HARP STRINGS 

Perhaps more than in any other string instrument, the 

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many countries, we are now confident in offering the 

finest quality NYLON, GUT and WIRE BASS strings. 

THE SALVI STUDIO STAND 

This beautiful handcrafted Music Stand is an example 

of the same fine craftsmanship and design as the harp 

itself. Available in the same wood finishes as the harps, 

this stand makes a perfect match for your instrument. 

The SALVI STUDIO STAND not only serves its purpose, 

but adds a touch of beauty to the home. All Salvi 

accessories are available in U.S.A. and may be purchased 

from- 

AUTHORIZED AGENTS 

MRS. S. BALDERSTON 

1117 Crestline Drive 

Santa Barbara, California 

MRS. G. W. BETHELL 

2188 S.W. Main Street 

Portland, Oregon 

VICTOR SALVI COMPANY HAS MOVED TO A NEW FACTORY 

Our new address is- 

P. 0. Box 10 

Vignole Barbera 

(Prov. Alessandria) Italy

The American Harp Journal 

Vol. 2, No. 1 Spring 1969 

Editor: SAMUEL MILLIGAN 

Editorial Advisors: CATHERINE G0TTHOF 

FER, JULIA LOUISE HERRMANN, LEON 

ARD EUREKA, JOHN ARDOIN, LUCIEN 

THOMSON 

Advertising Manager: NINA DUNKEL 

CONTENTS 

2 The Editor's Page 

4 Understanding the Student Harpist 

Marjorie Chauvel 

6 New Music-Marion Bannerman 

9 Thoughts on Teaching-Marjorie Call 

11 Dussek and the Harp_ Ann Griffiths 

AMERICAN HARP SOCIETY, INC. 

BOARD OF DIRECTORS 

Ann Mason Stockton, Chairman, Anne 

Adams, Suzanne Balderston, Marietta 

Bitter, Pearl Chertok, Ruth Cobb, Grace 

Follet, Amaret Claire Goldthwaite, Catherine 

Gotthoffer, Marcel Grandjany, Lucile 

Lawrence, Virginia Morgan, Dorothy 

Remsen, Phlyllis Schlomovitz, Lucien 

Thomson, Dorothy Victor. 

OFFICERS 

Catherine Gotthoffer, President; Pearl 

Chertok, Vice-President; Grace Follet, 

Vice-President; Suzanne Balderston, Secretary; 

Dorothy Victor, Treasurer. 

15 New Releases - Lucy Lewis 

18 Contents 

21 Minutes of the Board of Directors and 

Executive Committee 

26 Chapter News 

34 The Sixth National Conference 

39 People and Places 

43 Teachers' Directory 

REGIONAL DIRECTORS 

Ruth Cobb, South-Eastern; Dorothy 

Remsen, Western; Marcel Grandjany, 

Mid-Atlantic; Amaret Claire Goldthwaite, 

South-Central; Virginia Morgan 

Robinson, New England; Phyllis Schlomovitz, 

North-Central. 

The American Harp Journal is the official 

publication of the American Harp 

Society, Inc., 167 East 71st Street, New 

York, N .Y. 10021, and is published twice 

yearly in the Spring and Fall. Copyright, 

1969 by the American Harp Society, Inc. 

Entered as Third Class Material at the 

United States Post Office, Fort Worth, 

Texas 76101. Permit Number 849. 

1

THE EDITOR,S PAGE 

A REPORT FROM THE PRESIDENT 

Have you ever been asked, "Why should I 

join the American Harp Society when I can 

subscribe to the Journal and attend the concerts 

and even meetings anyway?" The answer 

is very simple-if it were not for the 

Society the activities we now enjoy as members 

would simply not exist. Without the 

stimulation of the exchange of ideas between 

the Chapters it is very doubtful that 

they wo~l~ continue to function very long. 

In fact, 1t 1s only due to the impetus of the 

national organization that the Chapters 

were formed. 

It is also very improbable that the J ournal 

could continue independently and if too 

m~ny harp~sts adopt the attitude that they 

will subscribe to the Journal without joining 

the Society it can't help but be harmful 

in th~ long run. The Journal cannot expand 

and mcrease the number of its issues without 

the growth and development of the Society. 

Neither is it the most constructive course 

to belong to the National without joining a 

Chapter ( or helping to organize one). We 

must all recognize that there is a mutual dependence 

between the Chapters, the National 

and the Journal and that they all need 

our interest and support. 

One of the most obvious benefits from the 

Society is the annual Conference. This year 

it will be held in Rochester from June 26-29 

at the Eastman School of Music. You will 

find all the exciting details in this issue of 

the Journal and I'm sure you will agree that 

Eileen Malone has pl~nned very thoroughly, 

not only for our musical enjoyment but for 

our pleasure and comfort as well. One of the 

outstanding events will be the finals of the 

National Competition. The number of participants 

and the interest shown have been 

most gratifying. We hope this year's Competition 

will inspire more people with the 

desire and confidence to enter next time. 

We should also keep in mind that the 

American Harp Society is part of an inter- 

2 

national organization. In this context, Pearl 

Chertok and I attended a conference in 

Paris last fall sponsored by the Israeli government. 

There we participated in the discussion. 

~oncerning the rules and required 

compos1t10ns for the Fourth International 

Contest to be held in Israel in 1970. An announcement 

giving the details appears in 

this issue of the Journal. 

I want to recommend for your support 

the first fund-raising project of the Finance 

Committee under the Chairmanship of Dorothy 

Nardi. You have received the request 

for your special recipe. The recipe book will 

?e of great interest because of its personalized 

nature and we think will be a fine gift 

for family and friends. It is hoped that 

enough money can be raised to fulfill one of 

the aims of Society-commissioning a work 

for the harp. 

The Library Journal recently gave the 

Journal a very complimentary review from 

which I would like to quote the opening sentence: 

"This covers a wide spectrum from 

professional to amateur, from mod~rn to 

traditional music, and is as authoritative as 

attractive". Congratulations to Samuel Milligan, 

our industrious and talented editor 

for creating this fine magazine. ' 

Looking forward to seeing you all in Rochester, 

I am 

Sincerely yours, 

Catherine Gotthoffer 

EDITORIAL 

First of all I would like to thank everyone 

for their patience in waiting for their fall 

issue. Hopefully we have taken care of the 

problems that caused the delay, and as soon 

a~ th~ new arrangement irons out any difficulties, 

should be able in the future to 

AMERICAN HARP JO URN AL

deliver the magazine in advance of the announced 

times. We are now working with 

a printing firm whose plant is much larger 

and better equipped, and who has been more 

than helpful in making our operation run 

as smoothly as possible. 

KUDOS 

We received a very nice letter from Mrs. 

Idell Reams, Program Specialist in Elementary 

Music for the San Juan Unified School 

District in suburban Sacramento, California 

from which I want to quote: 

"This letter is to inform you of the generous 

cultural contribution to our school 

district by one of your members, Mrs. Richard 

(Peggy) Brown . . . 

"By the end of this year she will have 

presented thirteen concerts ... for students 

in the fifth and sixth grades at several of 

our schools. I might explain that our school 

district is the sixth largest in the state, with 

over 53,000 students, yet we are an impoverished 

district financially. Mrs. Brown makes 

no charge for these concerts so you can well 

understand our gratitude to her for offering 

this rich musical experience to our students. 

"Mrs. Brown is a gracious, attractive and 

charming person with a deep understanding 

of children and a desire to upgrade their 

musical experiences. 

"I am certain you will be interested in 

learning of the generous contribution to 

music education that Mrs. Brown is making 

in our community." 

I would like to say that we are indeed 

interested in Mrs. Brown's contribution, 

and hope that it will serve as a fine example. 

It has been my experience that 

unless a young person actually hears the 

harp first-hand, and actually makes a sound 

on it with his own hands, the likelihood of 

his taking it up are very slim. Even though 

this may end up with our having to play 

on strings that lolly-popped fingers have 

left sticky, if only one child becomes interested 

in playing, it is more than worth it. 

EDITORIAL BOARD 

I would like to take this opportunity to 

point out a difference in our editorial board, 

and tell you something about our new members. 

Among these, I'm sure that Miss Julia 

Louise Herrmann is well known to most of 

you. She is harpist with the Dallas Symphony 

Orchestra and has a fine group of 

SPRING/1969 

students, both private and at Southern 

Methodist University. On top of a very 

heavy playing and teaching schedule, she 

has always found time to devote to the Society 

and to the promotion of the harp in 

general. 

Mrs. Catherine Gotthoffer is also now a 

member of the Editorial Board. That she is 

willing to contribute extra time to this, on 

top of her already heavy schedule as National 

President is very much appreciated. 

Leonard Eureka is Music Editor for the 

Fort Worth Star Telegram. He is an old 

friend of the Journal, having been a great 

help in the past when he was living in New 

York. All copy, as many of you know, has 

to be repeatedly checked for errors, and he 

has kindly done this for us, and has also in 

the past contributed various short articles 

that appear without bylines. 

John Ardoin is Music Editor for the Dallas 

Morning News. Before coming to Dallas 

he was on the staff of the Saturday Review 

and was Editor of Musical America, and 

still serves as American correspondent for 

the London Times. 

Both of these gentlemen have long been 

connected with publishing in one way or 

another, and I think we are very lucky that 

both they, Miss Herrmann, and Mrs. Gotthoff 

er have consented to serve on our Board. 

In closing I would like to express my 

appreciation and, I'm sure, the appreciation 

of all our readers for the very fine work 

contributed to the Journal by Dr. John 

Blyth and Mr. Robert Cumming. Dr. Blyth 

was a tireless worker who always found 

time to devote to the Journal, and without 

his help, it is hardly likely that it would 

have ever gotten started. 

Mr. Cumming, Editor of the Music Journal, 

was also valuable in the many suggestions 

he offered, and we very much appreciate 

his help. 

We are all, I'm sure, looking forward to 

the Conference this summer in Rochester. 

I hope that everyone can be there, and I 

hope that you will take that opportunity to 

bring me up to date on your activities. 

Sincerely yours, 

Samuel Milligan, Editor 

3

lJnde1·standing 

The Stt1dent 

Harpist 

by Marjorie Chauvel 

This article by Miss Chauvel appeared first in the 

May 1968 issue of The Instrumentalist, and is reprinted 

with the permission of that publication. 

Copyright 1968 by The Instrumentalist. Used by 

permission. 

The student harpist is often the enfant terrible 

of the orchestra; the conductor can't 

live with her, or without her. Perhaps I can 

explain some of the reasons for the difficulties 

and misunderstandings which arise 

in dealing with the young orchestra harpist. 

The professional harp teacher is frequently 

asked by conductors and music educators 

if the harp is really such a difficult instrument 

to play. This question is usually 

prompted by the repeated problems that 

arise with the use of a young, inexperienced 

harpist in an orchestra. Actually, it is probably 

no more difficult than any other instrument, 

but its problems are a little different 

and not understood by many. Let us 

discuss the problem of tension first. The 

harp student, like others, experiences the 

usual tension during performance; however, 

its source is different than that of other instrumentalists. 

The harp student rarely has 

the opportunity to be exposed to and participate 

in section training, and it is all too infrequent 

that she has the chance to play 

with other harpists. On the other hand, the 

young violinist can go into the orchestra 

and sit in the back of the section until, as 

experience makes him more competent, he 

is able to work up and assume more responsibility. 

However, it is rare for a young 

harpist to go into an orchestra where there 

4 

is another sitting in front, helping to train 

her. Usually she is alone, exposed, and playing 

in a solo capacity. 

Another of the student harpist's problems 

is her inability to count and lack of 

knowledge of musical notation. Although 

she has few notes to play, this does not necessarily 

make her part any easier. Counting 

for several hundred bars and suddenly 

e~ec~ing oneself into a rhythm can be more 

difficult than playing every bar. Frequently, 

she is looking at a part that is completely 

foreign to her, with unfamiliar musical notation, 

which, if not properly explained, 

can look like another language. There is 

also a three-way visual problem. Most instrumentalists 

can line up their music and 

the conductor while barely having to look 

at their instruments to play. But the harpist 

has to look at her music, her instrument, 

and finally, the conductor; not an easy task 

when she is learning to feel intervals and 

count. For years I was baffled by students 

who would say that "the conductor keeps 

telling me that I'm not looking at him and 

I am!" I finally realized that they were 

looking from the corner of their eye, but the 

conductor had difficulty realizing this. 

Another complaint about the young harpist 

is that she plays too softly. There are 

many reasons for this; it takes many years 

before the harpist is capable of playing 

loudly as a natural approach. First, the 

timidness usually comes from a lack of confidence 

and strength. The fingers need to 

be trained for many years before sufficient 

strength is built up in them, as well as in the 

shoulder and back muscles. Until that time 

playing too loudly would only result in ~ 

forced and, consequently bad tone. Like other 

young musicians, the harpist frequently 

thinks she can be heard simply because she 

can hear herself. So the placement of the 

harp within the orchestra is extremely important 

for bringing out the tone. The best 

position for the harp is as far forward as 

possible and within the string section. Then 

too, the orchestra directors, in elementary 

schools particularly, must remember that a 

small harp cannot possibly produce the tone 

of a full-sized concert instrument. A good 

way to surmount this problem is to use two 

harps. It is also wise for the conductor to 

tell the young harpist to play without worrying 

about the possibility of playing a 

AMERICAN HARP JOURNAL

wrong note, and to wait for him to tell her 

she's playing too loudly. Rarely has a student 

ever told me that the conductor said 

she was playing too loudly. 

For various reasons, sightreading is a 

difficult thing for a beginning harpist. The 

part in all probability will not be marked 

properly for pedal movements. One must 

remember that the harp has seven pedals 

with three positions for each. Because it is 

sometimes impractical to move a pedal and 

then return it to the original position, it is 

necessary for the harpist to go through her 

part carefully, marking the pedals as they 

should be moved and carried over if possible. 

If this has not been done, it is difficult 

to sightread when one must also pick out 

notes and follow rhythm. Then too, the harp 

parts are often too difficult for the young 

harpist. She lacks the chord experience and 

interval feeling that it takes to sightread. 

When the student harpist is given a piece 

to sightread it is best for her to find the 

main entrances (possibly only one chord or 

one note), try to count the entire piece, and 

mark as many cues as possible to help her 

to keep her place in the music. If she does 

this, she will be able to play her part, given 

the time to learn it. However, rather than 

to expect a student harpist to sightread, it 

is much more prudent to distribute the harp 

parts early, with the tempos clearly indicated. 

Insist that the harpist learn her part 

as firmly as she would a solo, so that if the 

conductor were to stop the orchestra and ask 

her to play, she could-confidently. If she 

knows her part well initially, she will have 

much less difficulty in learning to follow 

the beat. It is also wise for the harpist to 

work with a metronome, not only with her 

playing part, but also with those difficult 

bars of two and three that must be counted 

between sections of playing, perhaps while 

moving as many as five or six pedals. Working 

with a metronome will also help her to 

understand where pages must be turned, 

pedals changed, and when to place her hands 

on the strings for her next entrance. A very 

fine idea for the harpist is to secure a recording 

of the piece, so that she can get an 

idea of where the harp part is exposed and 

what the tempos are; then if it is possible, 

to play along with the recording. 

Perhaps one of the best suggestions for 

learning how to follow a conductor is for 

SPRING/ 1969 

the harpist to visualize that there is a conductor 

in front of her when she is practicing. 

In this way she can develop the habit 

of looking up. Urge her to write in all possible 

cues, like "cellos" or "violins" rather 

than just notes. Pedal charts are an important 

aid. So often the conductor stops in the 

middle of a composition to return to a particular 

point, while the harpist is frantically 

trying to figure out where her pedals should 

be, especially since the harp is frequently 

not set up in the key that the orchestra is in. 

So, if a harpist can indicate all of her main 

entrances with pedal charts, she knows at 

a glance what her pedal positions are and 

can easily jump to any point. 

It is often advisable to simplify harp 

parts, since it is better to be able to play 

three or four chords confidently than to attempt 

a maze of notes that the harpist is 

incapable of playing at her level of development 

and technical skill. Perhaps all she can 

do in the beginning is play with one hand. 

Then, as she becomes sure of her entrances 

and more confident, she'll be able to add her 

other hand and more notes until she can 

play the entire part. Since the harp is often 

not understood at all by composers, many 

parts for it are not well written. Often it 

is necessary to re-write a part, not only so 

that the same effect can be brought out, but, 

also, so that it can be played on the instrument. 

The harpist should be urged to sit in on 

all rehearsals, since this will help her in 

learning how to count and will familiarize 

her with the musical score. As I have mentioned, 

the young harpist usually has little 

knowledge of musical notations; if she 

comes in at the last moment she may not 

realize that 3/ 8 will be beat in 1, or 6/ 8 in 2, 

and while the conductor is beating in 1, she 

will be beating in three and will be far behind 

by the time she is to come in. Sitting 

in on all 1·ehearsals also allows th harpist 

to hear what is being played and to enter 

into the composition musically rather than 

mathematically, as usually happens if she 

has attended only one or two rehearsals. 

Tuning the harp presents a problem for 

the student orchestra harpist. She must develop 

a fine ear and fine relative pitch. It 

is best for her to begin to tune her instrument 

to a well-tuned piano on the diatonic 

scale note for note, sounding middle C to 

5

the C above. From that point she should be 

able to tune up the scale in octaves from the 

master notes tuned with the piano, and 

down to the bottom of the harp with the 

same method. The notes being tuned should 

be sounded firmly and frequently. In time, 

these octaves will sound correct to the ear 

and she can soon learn to tune by fifths also. 

Eventually, of course, the orchestra harpist 

must learn to tune from a given note of concert 

A. With the invention of the stroboscope 

many young harpists feel that they 

can rely on it, but unfortunately it does not 

help the ear to become accurate and sensitive 

to pitch. The student harpist should 

never be allowed to play on a harp that is 

not in tune-insist absolutely on good pitch! 

For a concert, the harpist should arrive at 

least one half-hour early to tune her instrument, 

since it is impossible to tune 47 strings 

in the two or three minute orchestra tuneup. 

She must know what the pitch of the 

orchestra is in advance and tune the harp 

in quiet, even if it is necessary to drag it 

off-stage to a private room. If the strings 

are kept in good condition, they will rarely 

break during a concert, but they must be 

checked and changed at least two weeks before 

a concert. This way they will have a 

chance to stretch and maintain their pitch. 

Hall temperatures often cause a problem for 

the harpist. The temperature change from 

a cold, empty hall to a warm, audience-filled 

one will throw the harp off pitch; so, prior 

to a concert, it is wise to keep the harp in a 

room where the temperature is even. 

Perhaps the most important requirement 

in understanding the student harpist is patience. 

With proper training at an early 

age, coupled with discipline and patience, 

the young harpist will develop into a relaxed 

orchestra member and performer. Occasional 

explanation of the nature of the 

harp to the other members of the orchestra 

helps them to understand the problems of 

the instrument and prevents them from expecting 

the impossible from it. If the other 

orchestra members and the conductor are 

aware of some of these difficulties it is 

easier to achieve a harmonious, relaxed 

working atmosphere. The problems of playing 

the harp in an orchestra are really no 

greater than those of other instruments; 

they are just different and greatly misunderstood. 

6 

NEW MUSIC 

by Marion Bannerman 

John, Patricia, Mnemosyne, Pantile 

Press, 30 E. 37th Street, New York, N.Y. 

10016. Six pages, playing time about four 

minutes. The composition is spiced with 

many and varied harp effects, including 

unbroken four-finger chords played with 

the nails. It concludes with a lightening 

crash such as that in Salzedo's Whirlwind. 

Requires attention to dynamics and considerable 

skill. 

Deltour, Emile, Concerto in Jazz for harp 

and piano or orchestra, Bezet Music Productions, 

N.Y. The music is printed in Belgium, 

where the composer was born. The 

work is divided into four parts. 1. Prelude 

( Andantino). Very playable, easy to read 

with pleasant melody, full chords and well 

marked pedaling. 2. Cabriales Burlesques. 

This is more modern in idiom. Not difficult 

since the hands are doubled through 

much of it, but it must be played with flair 

and up to tempo. 3. Blues (Moderato, Tempo 

di Blues). This will take one back into 

the thirties and forties. Truly "blue" in 

flavor and melodious in part, the harp part 

is brilliant and has a short cadenza. It 

really requires the orchestra, though, and 

properly instrumentated should be very effective. 

4. Boogie-Woogie. This is for the 

experienced harpist with a feeling for the 

rhythm. 

Thomson, Virgil, Autumn (Concertina 

for Harp, Strings and Percussion), G. 

Schirmer, New York. I am particularly enthusiastic 

about this work. Dedicated to 

Nicanor Zabaleta and the Northern California 

Harpists' Association, it is expertly 

scored and proper attention is given to detail. 

All measures are numbered and pedaling 

indicated. 1. Salute to the Wind: Thirtythree 

measures, containing ear-satisfying 

chords and two glisses. 2. Dialogue; Sixtyeight 

measures - the harp part consists 

mostly of free-swinging octaves. 3. Love 

Scene: Eighty-one measures, Andante. 4. 

Promenade: Eighty-four measures, Allegro. 

Harpists will appreciate the care with 

which a few scale pasages have been fing- 


ered. The duration of the whole work 1s 

about nine minutes, and the harp part 1s 

not difficult. 

Fox, Charles, Ancient Dance ( after Ravel), 

Peer International Coq~oration, N.Y. 

This is for the musically advanced harpist. 

The piece is admirably fingered and the 

pedals accurately noted. There are quite a 

few, but all very possible. There is a slower 

middle section that is very expressive. The 

composer has a very thorough knowledge 

of the instrument. 

Hoddinott, Alun, Sonata for Harp, Opus 

36, Oxford University Press, N.Y. This was 

commissioned by the 1964 Chettenham Festival 

and was edited by Osian Ellis, the first 

performer. Fourteen pages long, it consists 

of three movements, Moderato, Adagio espressivo 

and Presto-alla Tarantella. This is 

a major work, and not for the inexperienced. 

Orr, Buxton, Three Diatonic Preludes 

for Harp, Oxford University Press, N.Y. 

Once the key signatures have been set, there 

are no pedal changes in these pieces. The 

first, Alla Marcia is crisp and well accented. 

The second, Tranquillo, has a lovely melody, 

light and graceful. The last, Vivace, sparkles 

without being too difficult. These preludes 

were edited by Sidonie Goossens. 

Adler, Samuel, Introduction and Capriccio, 

Southern Music, N.Y. The first two 

pages of the Introduction contain fifty-one 

pedal changes, but only eight are notated. 

This I can never understand. The music is 

unusual and the changes unexpected. The 

Capriccio is well named, for one meets the 

unexpected at every turn. The rhythmic 

pattern, though not difficult to follow is 

constantly changing and the harmonic 

structure is full of unresolved dissonance. 

Spohr, Ludwig, Sonata Concertante, Opus 

113, for violin and harp, Theodore Presser, 

Bryn Mawr, Pennsylvania. Edited by Marjorie 

Call and Louis Kaufman. Those who 

attended the Conference in Santa Barbara 

last summer will recall the beautiful performance 

this piece received. Having reviewed 

so much contemporary music it was 

a delight to relax to the charm and grace 

of this music. It poses some problems, but 

interesting ones. There is so little of the 

music of this period in print that it becomes 

an even more valuable contribution. 


Stevens, Halsey, Prelude, Peer International 

Corporation, N.Y. This work should 

be played in a flowing manner without 

stiffness. There is a melodic line which becomes 

apparent as one becomes more familiar 

with the harmonic structure. Two pages, 

Andante. It is, by the way, dedicated to 

Anne Adams. 

Devos, Gerard, Methode de Harpe, Editions 

Rideau Rouge, Paris. In this book Mr. 

Devos endeavors to define the fundamentals 

of harp technique as have so many before 

him. The work is copiously illustrated, but 

contains no exercises beyond the key of C. 

Anno11neeD1ent 

We would like to invite our readers to 

submit articles for publication in the Journal. 

A great many people have interesting 

material at hand that could be made into 

articles of general interest, but seem to 

suffer excessive shyness about writing it up. 

A brief look at past issues will reveal the 

sort of material needed-historical, educational, 

technical, biographical, etc. If you 

studied with the great teacher X, let everyone 

know about it, for a lot of us were 

students of Y, and are anxious to know all 

about X and his teaching methods. If you 

are interested in the early history of the 

harp in a certain culture, tell us about it. 

Regarding the submitting of materials 

( and this applies to those who send in Chapter 

Reports, items for People and Places, 

etc., as well) , all copy should be typed using 

triple spacing. This leaves room for all the 

typographical and editorial comment that 

has to be furnished for the printer's information. 

Linotype operators abhor singlespaced 

copy, and much time is lost in retyping 

illegible material. Obviously, some 

don't type, and certainly we understand 

this. 

The Journal is only as good as our contributors 

make it, so spend a few minutes 

considering whether or not you might not 

be able to make a contribution that would 

serve the interests of the harp and of harpists 

everywhere. 

7

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8 


TIIOUGIITS 

ON 

TEACHING 

by Marjorie Call 

This past summer I gave a great deal of 

thought to my responsibilities as a teacher, 

trying to analyze what I must do for the student 

as well as what he must do for himself. 

Harp playing is a matter of learning a 

skill. In the old days a young man learned a 

skill, such as shoemaking, by being apprenticed 

to a master shoemaker. By watching 

and assisting and gradually applying knowledge 

under supervision he learned his trade. 

The process of learning to play the harp is 

cut from the same cloth, and is hardly likely 

to be replaced by computerized instruction. 

Unfortunately, from a university standpoint, 

there is the matter of grades. I personally 

don't believe in grades because playing 

the harp is a way of life-you either 

play it or you don't. I could not imagine life 

without it, and hope that my students will 

come to share in this feeling with me. But 

grades must be reckoned with, and the best 

course seems to be to grade the student on 

the ability to reach certain goals within a 

specific time. Therefore, in the beginning 

we decide what must be achieved during the 

semester in order to get a certain grade by 

the mid-semester and semester end. I encourage 

the student not to work for a grade, 

but to honestly work for himself and for his 

own achievement. Interest in accomplishment 

then can become so paramount that 

the student can get a good grade and not 

particularly care. 

Now I don't mean to imply that the acquisition 

of a skill is all there is to it. Certainly 

the basic aim is the gaining of a fluent technique. 

But technique should not be an end 

in itself, nor should the absorption of the 

SPRING 1969 

major works in the literature, if these are 

to be played in a pedestrian manner. The 

catalyst that brings all facets of playing together 

into a workable and artistic whole is 

111 usicianship. 

Actually, musicianship has less to do with 

the harp and more to do with the player's 

basic knowledge, sensitivity and general culture. 

This, naturally, will find its focal point 

in the harp, but by broadening the overall 

artistic view, a more sensitive and meaningful 

approach to the harp becomes possible. 

Not only the artistic view should be broadened, 

for in the playing of a truly great artist 

can be seen a reflection of the whole human 

condition. 

But what can the student do to improve 

his artistic vision? While much can be done 

only with the process of increasing experience, 

a real beginning can and should be 

made. First, I recommend that the student 

listen to recordings to gain a basic knowledge 

of musical literature. Various interpretations 

should be heard, and a score 

should be followed. When the student can 

find out for himself the difference between 

the interpretations of, say, Stokowski, or 

Reiner, or Toscanini, then he is well on the 

way. Naturally, no one interpretation is 

right and all others wrong. Are all snowflakes 

alike? But which one is pref erred 

and why? 

Secondly, the student should visit art galleries, 

in order to learn how the arts are related, 

and come to some conclusions about 

the basic unity of the artistic impulse in 

man. Why is a particular painter so great? 

How long do you look at a masterpiecefive 

minutes, two hours, or until it "speaks"? 

How does shape relate to function in a Chinese 

porcelain jar? If early Attic sculpture 

might be compared to the forceful majesty 

of Monteverdi, to what might we compare 

an athlete by Polykleitos? What is the difference 

between Monet and Manet? What 

was so great about Rembrandt or Diirer or 

Rodin? 

In addition, the student should read biographies 

of great men not only in music, but 

in all fields. This will serve to show how 

each one of us is individual, yet how a certain 

pattern or continuity runs through all 

of us. Like the snowflakes. 

The student should also extend his artistic 

horizons to encompass the ballet. This too 

9

School of Music 

Indiana University 

Wilfred C. Bain, Dean 

Offers 

Bachelor, Master, and Doctor 

of Music Degrees 

in Harp 

Peter E. Eagle 

Chairman, Harp Department 

Scholarships Available 

Applications now being accepted 

for Fall, 1969 

For information write: 

INDIANA UNIVERSITY 

SCHOOL OF MUSIC 

Bloomington, Indiana 47401 

is related to man's urge to create and to express 

that creation in ways far exceeding 

the ability of spoken language. Ballet is a 

kind of "music in action". There is phrasing 

in an arabesque or in a tour jete. There is 

more to it than acrobatics, just as there is 

n~ore to piano playing than a dazzling techmque. 

The student should go to as many concerts 

as possible, to listen rather than to 

criticize. To denounce a work, old or new, 

after only one hearing is na'ive. (Newspaper 

critics are forced, by the nature of their 

work, to do this, but they have something in 

the way of experience behind them, and 

even so, often err in their evaluations.) The 

student must have respect for knowledge. 

Eventually he may come to agree or disagree 

with an artist or composer, but he 

must first know enough to do so. It is embarrassing 

to learn, later, that he just didn't 

"get the message". 

A great part of any professional harpist's 

career will be spent in playing opera. The 

student should acquaint himself with this 

massive art form as soon as possible so that 

when he is eventually called upon to play it 

he has an idea not just of the "routine" but 

of the overall artistic unity desired. 

By now the student is probably thinking: 

"All this is endless-and just to play the 

harp?". In a sense this is true, for a truly 

great artist never ceases to learn, just as 

one's aim in playing a piece of music is not 

just to get to the last chord. 

Of course the student can play the harp 

just as he would the ukelele if that is all he 

wants. But one can play the harp and learn 

how to live by doing it. It can become a focal 

point for personal development. Working at 

the harp can become a mirror of the self, 

and can accuse or approve of the way the 

harpist thinks and acts. As the harpist 

works patiently, day by day, he may discover 

himself and secretly make improvements 

in his ways of thinking and doing things. 

Perhaps the student will eventually choose 

some other career. But if, in the time he has 

studied harp, he has learned how to direct 

his energies toward a particular goal, then 

I will be satisfied that I have done a good 

job as a teacher. 

10 


DUSSEK AND 

THE HARP 

by Ann Griffiths 

The following article appeared for the first time in 

the May 1968 issue of the "Musical Times". It was 

reprinted (with some modifications aimed at readers 

who play the harp) in the United Kingdom Harpists' 

Association Newsletter for September, 1968. 

We wish to thank Miss Griffiths, the Musical Times 

and Mr. John Marson, Editor of the Newsletter for 

giving their permission for reprinting it here. 

Harpists, when asked to supply programme 

material, are inclined to say, "And 

of course, I will play the Dussek sonata" to 

which my reply invariably is, "Which Dussek 

sonata?" The normal reaction is a look 

of blank amazement and an assurance that 

they mean the C minor sonata (publ. Schott, 

recorded by Zabaleta, D. G. EPL 30310) 

and that of course they don't mean the sonatinas 

(publ. Artia, Prague) but the sonata. 

Musicologically naive we harpists may be, 

but it i s nonetheless ridiculous, especially 

when we play so much of what Percy 

Scholes charmingly calls harp-fodder' , 

that we should ignore the really worthwhile 

legacy of Dussek's harp music. 

Jan Ladisla v Dussek (Dusik) was born 

in Caslav on February 12th 1760 of a musical 

family. His father, Jan Josef Dusik, was 

a teacher and organist, and his mother Veronika 

(nee Stobetova) was a harpist. J. L. 

Dussek studied in Prague, then left for Belgium 

where he is said to have been organist 

in Malines Cathedral in 1779. He was in 

Holland from 1780-83 and Germany 1784- 

86. From 1786-89 Dussek was mainly in 

Paris, and it was there that he wrote the 

Opus 2 harp sonatas of which the sonata in 

C minor is one. The most famous harpist of 

the day was Madame Krumoholtz ( Krumpholc), 

wife of another well-known harpistinventor-composer, 

and Dussek's harp and 

piano duo Opus 11 was dedicated to her. 

In 1789, along with so many others escap- 


ing the French Revolution, Dussek came to 

London, where in 1789 he wrote his E flat 

concerto ( Opus 15) for harp and piano. In 

1790 he appeared for the first time in Salomon's 

concerts as a pianist, and in the same 

year Miss Sophia Corri began to study harp 

and piano with him. Miss Corri, later to become 

Madame Dussek had already appeared 

in many concerts as a singer, and a great 

future was predicted for her. Her father 

was Domenico Corri, a music publisher 

with whom, in 1794, Dussek went into part~ 

nership. Dussek and Sophia were married 

at St. Anne's, Westminster, on August 31st, 

1792, when she was 17 years old. The first 

harp work to be published after his marriage 

was the Duo in F major ( Opus 26) 

which is very much a re-hash of Opus 11. Its 

great popularity is evident from the many 

performances it received in following years. 

Sophia's first public appearance as a 

harpist was in 1795, playing her husband's 

Concerto in C major (Opus 30). This is a 

most attractive work in two movements (a 

classical Allegro followed by a Rondo) 

showing a much firmer grasi:> of writing for 

the harp than the earlier pieces. Technically 

demanding, it is scored for harp with 

strings, two oboes and two horns. Two solo 

sonatas (Opus 34 No. 1 in E flat and No. 2 

in B flat) were published in 1797. Ad-lib. 

violin and 'cello parts were added to both 

these, a usual sales gimmick of the time. In 

1799 the publishing business of Corri, Dussek 

& Co. collapsed, largely because of Dussek' 

business ineptitude. Corri was jailed 

for ~lebt ~nd _Dussek escaped to Hamburg, 

leavmg bis wife, whom he was never to see 

again, in London. Published about the same 

time he left were the Sonata (Opus 37) in 

E flat and the harp/ piano duo (Opus 38) 

also in E flat. The latter work exists in 

many f ?rms-harp and piano; two pianos ; 

harp, piano and two horns; harp, piano and 

three horns. Judging from the number of 

later editions, it must have been a very popular 

work-certainly it is a much better 

work than the Duo in F (Opus 11 / Opus 26). 

Probably also written in his London period, 

but difficult to date, are two concertos, 

one in F major ( also published as a 

piano work) and another in B flat which 

exists now only in an arrangement for solo 

harp by Sophia, published after Dussek's 

death when she had re-married and was 

11

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known as Sophia Dussek-Moralt. His "Lass 

of Richmond Hill' sonata (in F, no Opus 

number) also fairly obviously dates from 

this period, although it was not published 

until 1800. 

As far as harp music is concerned, there 

now follows a long gap. No harp work can 

be attributed to the next six years when he 

was variously in Hamburg, Prague, St. 

Petersburg, and in the employ of Prince 

Louis Ferdinand in Magdeburg. On the latter's 

death, Dussek went to Paris where he 

entered the service of Count Talleyrand, in 

which he remained until his death in 1812. 

In Paris, however, he began to write for 

the harp again. In 1810 he appeared at a 

benefit concert at the Odeon theatre, "accompanied 

on the harp" by M. Naderman. 

The work was billed as an "Introduction 

and Funeral March", and in the Journal de 

Paris for March 23rd 1810 the critic asks, 

"etoit-il aussi convenable de terminer ce 

premier concert par un morceau necessairement 

triste et nwnotone?'' Dussek does seem, 

in fact, to have had second thoughts about 

this, as the first edition-published by Cianchettini, 

his nephew, and Sperati in London 

-has three movements. They are in B flat, 

G minor and B flat (Minuetto, Tempo di 

Balla). Opus 69 No. 2 in E flat has a second 

movement in G, and a finale in E flat; while 

Opus 69 No. 3, published in 1811, has three 

movements in F, B flat and F. 

These "Trois Duos Concertants" represent 

the peak of Dussek's harp works. Lasting 

nearly twenty minutes each, and making 

full use of N aderman's obviously outstanding 

virtuosity, the three works are a 

formidable technical challenge to any twentieth-century 

harpist. Discussion of their 

technical difficulties is, however, not sufficient 

without a consideration of the type of 

instrument used in Dussek's day. Why, you 

may ask, does the key of E flat predominate 

in the harp works? 

In order to differentiate it from the instrument 

patented by Sebastian Erard in 

1810, this kind of harp is now known as a 

"single-action". Like the modern harp, it 

has seven pedals ( one for each note of the 

scale) and was tuned in the key of E flat 

major. E flat major, therefore, was its normal, 

or open, key. Each pedal could be depressed 

once, therefore each note could be 

raised a semitone. This meant that the harp 


could be played in E flat, B flat, F, C, G, D, 

A and E major, and in C, G, D, A and E minor. 

Some harp tutors of the period recommend 

a re-tuning of all the Ds to D flat, giving 

the additional keys of A flat major and 

F minor, though Dussek, in fact, never does 

this. When he occasionally needs a D flat 

( eg. slow movement of Opus 69 No. 3) he 

uses the synonym C sharp. 

This limitation of keys provides the essential 

difference between Dussek's harp and 

his piano music. The bold modulations and 

far-ranging harmonic changes which characterize 

so much of his piano music are 

simply not possible on the single-action 

harp. In all fairness, it must be said that 

even within the limits of the single-action, 

he manages to modulate ( or even if not actually 

modulate, to suggest keys) far oftener 

than any other composer of his time. For 

example, in the E flat sonata (Opus 34) at 

the beginning of the development section of 

the first movement, he moves from B flat - 

G -A minor - G minor - D major - G minor 

- E flat, in 16 bars. Of course, this is very 

mild stuff when compared with almost contemporary 

piano works like the "Farewell" 

sonata. 

Therefore the only harp works which reflect 

the true characteristics of Dussek' s 

style are the Opus 69 duos, which must be 

considered his most important harp compositions. 

The combination of the two instruments 

allows him to build up some very advanced 

harmonies for his time, and during 

the harp's bars rest he sometimes indulges 

in wild flights of fancy on the piano while 

allowing the harpist ample time to change 

his pedals and prepare for his next entry. 

Dussek's style of harp-writing seems to 

fall into three well-defined periods, seemingly 

dictated by the style of playing of the 

harpists with whom he was variously associated. 

A quick glance at the music is usually 

quite sufficient to decide for which harpist 

they were written. Thus several works 

( usually salon pieces) not bearing any opus 

numbers can safely be attributed to his London 

period. A group of six sonatinas ( dedicated 

to Madame Krumpholtz) and two 

duettinos for harp and piano have the appearance 

of being teaching pieces. 

No problem other than technical ones are 

presented by modern performances of the 

solo harp works, but the problem of balance 


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13

in the harp and piano works is a difficult 

one if a modern harp and a modern piano 

are used. One wonders whether it was a severe 

miscalculation on Dussek's part, but 

all doubts disappear and there are no balance 

problems at all when an early harp and 

an early piano are used. The instruments, 

the one sweet and sonorous, the other marvelously 

jangly, small-toned but penetrating, 

give with no effort whatsoever the most 

wonderful blend and combination of sounds. 

Naturally, one regrets that Dussek did 

not live to discover the possibilities of Sebastian 

Erard's double-action harp which 

had no harmonic limits whatsoever, but 

though this would have benefited the repertory 

for solo harp, it is difficult to see that 

it could have produced anything more exciting 

than the Opus 69 duos. 

BABYLONIAN 

HARP 

Dr. Robert Biggs of the University of Chicago, 

who so very kindly provided us with 

an article on the harp in Sumeria has pointed 

out two articles dealing with the tuning 

systems of Babylonia. The articles are by 

David Wulstan and by 0. R. Gurney, and 

appear in the periodical Iraq, XXX, ( 1968) . 

Of special interest is Wulstan's article 

which concludes that the Babylonians had a 

system of tuning corresponding in large 

part with that of the modal system of ancient 

Greece. Moreover, he speculates that 

the occasional use of a thin string (with an 

attendant notch cut into the structure of the 

harp at one end to account for the fact that 

a thinner string requires more length to 

bring it to the needed pitch for its place in 

the mode) was probably used for ease in 

finding one's way about a large instrument, 

in exactly the same way we today use red 

C's and Blue F's. 

With the examination of modern arched 

harps, such as those of South-East Asia, and 

with the increasing knowledge of the modes 

used in tuning, we come ever closer to an 

accurate picture of the harps of ancient 

times. Of the actual music that was played, 

we shall probably have little or no knowledge, 

leaving us with only wistfully pleasant 

speculation about how it sounded. 

71te S«mmee 1taep eotonp o/ o'lmeeiea 

CAMDEN, MAINE 

THE SALZEDO SCHOOL 

A Non-Profit Institution 

ALICE CHALIFOUX, Director 

For Inf ormatfon Address: 

ALICE CHALIFOUX, 115 South Lane, Chagrin Falls, Ohio 

14 


NEW 

RELEASES 

compiled by Lucy Lewis 

MUSIC 

( For harp solo unless otherwise indicated) 

ADLER, SAMUEL, Introduction and Capriccio, 

Southern Music Publishing Company, 

Inc., $1.50 

ARNELL, RICHARD, Music for Flute, 

Violin, Viola and Harp, Southern Music 

Publishing Company, Inc., Score and 

parts $4.00 

BACH, J. C. (von Wurtzler), Concerto in 

D Major for Harp and Strings, Lyra Music 

Company, set $4.00 

BACH, J. S. (Paret), Sarabande from 'Cello 

Suite Number Six, Lyra Music Company, 

$.75 

BACH, J. S. (Owens) Jesu Joy of Man's 

Desiring for Solo Harp, Lyra Music Company, 

$1.50 

--Jesu Joy of Man's Desiring for Two 

Harps, Lyra Music Company, $1.50 

BACH, J. S. (Salzedo), Sixth French Suite 

for Two Harps, Lyra Music Company, 

$3.00 

BACH, K. P. E. (Zingel), Sonata in G, Edition 

Breitkopf (Associated Music Publishers) 

$2.00 

BARTOK, BELA (Jardanyi), An Evening 

in the Village, Edite Musica Budapest 

(Boosey and Hawkes) $1.00 

BROWN, RAYNOR, Concertina for Harp 

and Brass Quintet, Avant Music (International 

Music Service), set $7.00 

BURKHARD, PAUL, Das Examen for 


Mezzo-Soprano and Harp, Universal Edition 

(International Music Service) $3.60 

CRESTON, PAUL, Olympia, Opus 94, G. 

Schirmer, $1.50 

DELLO JOIO, NORMAN, Bagatelles, E. B. 

Marks, $2.00 

DELTOUR, EMILE, Concertina in Jazz, 

Elkan-Vogel Company, $3.00 

DEVCIC, NATKO, Structures Transparentes, 

Gerig Edition (International Music 

Service), $1.25 

DEVOS, GERARD, Methode de Harpe, Elkan-Vogel 

Company, $14.75 

--Pieces Breves Contemporaines, Elkan 

Vogel Company, $6.00 

FAURE, GABIEL (Owens), Berceuse for 

Flute or Violin or 'Cello and Harp, Lyra 

Music Company, $1.50 

FOX, CHARLES, Ancient Dance (after 

Ravel), Southern Music Publishing Company, 

Inc., $1.00 

GODEFROID, FELIX, Etude de Concert, 

Lyra Music Company, (reprint) $1.00 

HALETZKI, PAUL, Intermezzo Lirico, 

Riccardo Edition (International Music 

Service), $1.25 

--Konzertetude fur Harf e (klavier), Ric- 

Chester E. Groth 

Music Co. 

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the world 

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cardo Edition (International Music Service), 

$1.25 

HARRISON, LOU, Air from the Opera 

"Rapunzel" for Voice, Flute, String Trio, 

Harp and Piano, Southern Music Publishing 

Company, Score $2.00, Parts $2.50 

HODDINOTT, ALUN, Sonata for Harp, 

Oxford University Press, $2.80 

HOLLIGER, HEINZ, Sequenzen uber Johannes 

I:32, B. Schott's Sohne (Associated 

Music Publishers), $3.00 

MAROS, RUDOLPH, Suite for Harp, 


Inc., $1.25 

MARTELLI, HENRI, Scherzando, Opus 

102, Eschig Edition (Associated Music 

Publishers) , $4.25 

MARTINI, G., (Salzedo), Gavotta for Two 

Harps, Lyra Music Company, $2.00 

MAURAT, EDMOND, 7 Miniatures 

d'epoque, Opus 3, Eschig Edition (Associated 

Music Publishers), $3.50 

ORR, BUXTON, Three Diatonic Preludes 

for Harp, Oxford University Press, $2.00 

OWENS, DEWEY, Two Christmas Carols 

for Two Harps, ("The First Noel" and 

"Deck the Halls"), Lyra Music Company, 

$.75 

--Two Irish Songs, ( "Gramachree" and 

"The Lark in the Clear Air"), Lyra Music 

Company, $. 75 

--The Maids of Mourn Shore, Lyra Music 

Company, $. 75 

PALMGREN, SELIM, (Wightman), May 

Night, Lyra Music Company, (reprint) 

$.75 

PERRY, JULIA, Homunclus C. F. for Percussion 

and Harp, Southern Music Publishing 

Company, Score $1. 75, Parts $2.00 

PISTON, WALTER, Capriccio for Harp 

and String Orchestra, Associated Music 

16 

SUMMER HARP STUDY 

with 

ROSLYN RENSCH 

June 9th to July 15th 

For University credit 

Write: Dr. Rensch 

INDIANA STATE UNIVERSITY 

Music Department 

Terre Haute, Indiana 47809 

Publishers, Harp and piano reduction 

$1.50 ( Orchestral materials available on 

rental) 

PURCELL, HENRY, (Andrews) Variations 

on "Come Ye Sons of Art", G. Schirmer, 

$1.50 

PURCELL, HENRY, (Paret), Bouree, 

Lyra Music Company, $.75 

PRATT, SAMUEL 0., Alborado (also for 

Troubadour Harp) Charles Colin, $2.00 

--Five Preludes, Charles Colin, $2.00 

--Toccata, Charles Colin, $2.00 

PRATT, SAMUEL 0., Baroque Harp Music 

(Collection), Charles Colin, $2.00 

RAMEAU, JEAN PHILIPPE (Salzedo), 

La Joyeuse for Two Harps, Lyra Music 


RANDS, BERNARD, Formants 1, Les 

Gestes, Universal Edition (Theodore 

Presser, $3.40 

RIETI, VITTORIO, Concertino for Five Instruments 

( Flute, Viola, 'Cello, Harp and 

Harpsichord) , General Music Publishing 

Company ( International Music Service) , 

Score and parts $10.00, Score $5.00 

RUDAJEV, ALESANDR, 3 Prelude e 

Fughe, Lyra Music Company, $2.00 

SHAPERO, HAROLD, Hebrew Cantata for 

Mixed Chorus, Soloists, Flute, Trumpet, 

Violin, Harp and Organ, Hebrew and 

English texts, Southern Music Publishing 

Company, Score $1.00 

STEVENS, HALSEY, Prelude for Harp, 


$.70 

TAL, JOSEF, Lament for 'Cello and Harp, 

Israel Music Publications, ( Southern Music 

Publishing Company) $2.00 

THOMSON, VIRGIL, Autumn (Concerto 

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Schirmer, Score and parts $7.00 

HARP SOLOS 

by GRACE BECKER V AMOS 

"LEGEND OF THE REDWOODS" 

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VIVALDI, ANTONIO (von Wurtzler), 

Concerto in D Major for Harp and String 

Orchestra, Franco Colombo, Harp with 

piano reduction $3.00 

WAGNER, JOSEPH, Prelude and Toccata 

for Violin, 'Cello and Harp, Lyra Music 


WEINZWEIG, JOHN, Concerto for Harp 

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Quintet and String Quintet or String Orchestra), 

Leeds Music of Canada (MCA 

Music) 

(COLLECTOR NOT GIVEN) Fifty-One 

Welsh Airs, International Music Service, 

(reprint) $2.50 

WURTZLER, ARISTID VON, Variations 

on a Theme by Corelli, Franco Colombo, 

$2.50 

WYTTENBACH, JURG, 3 Satze (1963) 

for Oboe, Harp and Piano, Schott & Company 

(Associated Music Publishers), 

Playing score $3.00 

RECORDINGS 

CLASSICAL 

CHALOUPKA, STANLEY, with Los Angeles 

Brass Quintet: Rayner Brown, Concertina 

for Harp and Brass. Crystal S 602 

$5.79. 

COTELLE, SUZANNE, with Lamoureux Orchestra, 

Igor Markevitch, Conductor: Debussy, 

Danses for Harp and Orchestra. 

Helidor HS 25090 $2.49. 

DULOV A, VERA: Damase, Concertina for 

Harp and Strings; Tailleferre, Sonata; 

Salzedo, Chanson dans la nuit. Lyra 

House LH 1000. 

KRONBERG-BROWN, LIBBY, with Lark 

Quintet: Nielsen, Carl, The Fog is Lifting 

for Flute and Harp. Lyrichord LL 7155 

$4.98; $5.98. 

LASKINE, LILY, with Lamoureux Orchestra, 

Jean Baptiste Mari, Conductor: 

Boscha, Harp Concerto No. v in D Minor, 

Op. 15. Musical Heritage Society MHS 

746 $4.98. 

ROBLES, MARISA, with Choir of St. John's 

College, Cambridge, England, George 

Guest, Director: Britten, A Ceremony of 

Carols. Argo RG 440 $5. 79. 

---"Harp with Variations." Includes 

sets of Variations by Mozart ( attrib.), 

Handel, Beethoven, Narvaez and Cabez- 

6n; also M. Albeniz, Sonata in D Major; 

G. Sanz, La Serenissima; Traditional 

Carol, Campanas sabre campanas; Ferrandiero, 

Contradanza. Argo ZRG 522 

$5.79. 

SALZEDO, CARLOS, Solos. Includes Handel, 

The Harmonious Blacksmith; Corelli, 

Giga; Massenet, M enuet d' amour; Salzedo, 

Scintillation, Ballade, Petite va,lse, La 

Desirade, Traipsin' thru Arkansaw. Mercury 

Reprint. 

--, with LUCILE LAWRENCE. Salzedo, 

Eight Dances for Harp; "Transcriptions 

for 2 Harps" includes Rameau, 

La joyeuse; Martini, Gavotta; Mendelssohn, 

Spinning Wheel, On Wings of Song; 

Debussy, Clair de lune; Salzedo, Steel. 

Mercury Reprint. 

---, "Christmas Carols in Hi Fi." Mercury 

Reprint. 

POPULAR, FOLK SONG, JAZZ HARP 

MAXWELL, ROBERT, "Anytime" (6-67) 

Command (S) 913 $5.79 

--- "Harpistry in Rhythm" Command 

S-932 $5.79 

CUSTOM MADE FOLK HARPS 

Contemporary and Antique Irish Harps 

Conventional or Narrow Spacing for tiny tots 

Latin Harps - Paraguayan and Vera Cruz 

Latin or Conventional Spacing 

Mini Concert Harp (Antique English Style) 

Special Finishes - Inlay - Carving 

Custom Designs 

Pedal Harps expertly rebuilt - Rapid Service 

Brochures and Photos on Request 

ROBINSON'S HARP SHOP 

P. 0. BOX 141 

MT. LAGUNA, CALIFORNIA 92048 

MNEMOSYNE 

Music for Ha,rp Alone 

by Patricia John 

Price $1.50 

The Pantile Press 

30 East 37th St. 

New York, N. Y. 10016 


17

TEXAS 

CHRISTIAN 

UNIVERSITY 

Degree Programs in Music 

at Undergraduate and Graduate Levels 

I:.'"= 

, .... 

i'W•~~~ ·· 

1\1: --· 

Harp Instruction by 

SAMUEL MILLIGAN 

For infonnation write 

Dr. Micha el Winesanker 

Chairman, Department of Music 

Texas Christian University 

Fort Worth, Texas 76129 

A Musician's 

Harp Insurance Plan 

thru 

EDWARD A. GOODMAN 

& co. 

Insurance Specialists 

270 Madison Avenue 

New York, N.Y. 10016 

CONTESTS 

ISRAEL 

The Fourth International Harp Contest, organized 

by the Israel Committee in co-operation 

with the America-Israel Cultural 

Foundation will open in Jerusalem on September 

8th, 1970. The competition is open 

to harp players of every nationality. 

Competitors may not be older than Thirty-five 

years on September 8th, 1970, although 

harpists who registered for the 1968 

competition will be allowed to participate 

even if they have passed the age limit in the 

meantime. 

The competition will be divided into three 

stages as follows : 

FIRST STAGE 

J. S. Bach Piece in G (arranged by Renie) 

Glinka Variations on a Thenie by Mozart 

J. Tal Intrada 

SECOND STAGE 

Grandjany Fantaisie on a Theme by Haydn 

A free choice of composition, preferably of 

the competitor's native country-maximum 

duration: twelve minutes. 

P. Houdy Sonata 

FINAL STAGE to be played with orchestral 

accompaniment 

F. Boeldieu Concerto (second and third 

movements only) 

W. Piston Capriccio 

All pieces are to be from memory with the 

exception of the Tal Intrada which may be 

from memory or not, as the competitor 

chooses. 

Prizes for the competition are as follows: 

First Prize: A Grand Concert Harp offered 

by Lyon-Healy, Chicago, U.S.A. 

Second Prize: $2,000 

Third Prize 1,500 

Fourth Prize 1,250 

Fifth Prize 750 

Sixth Prize 600 

Seventh Prize 500 

Eighth Prize 400 

Ninth Prize 300 

Tenth Prize 200 

18 


Additionally, the winner of the First 

Prize will have the opportunity to appear 

with several Symphony Orchestras and at 

Radio Stations as soloist with orchestra. 

Accommodations and food will be provided 

while the competitor is in Jerusalem. 

Transportation to and from Israel will be 

paid by the competitor. Deadline for entry 

is February, 1970. 

An attractive folder describing the competition 

in detail, including information on 

forms, etc., can be obtained from: The 

Fourth International Harp Contest, Department 

for Special Events, Ministry of Tourism, 

Shalom Tower, 9 Ahad Ha'Am Str., 

Tel Aviv, Israel. 

DARTFORD 

Thirty-two contestants representing fourteen 

countries have entered the International 

Harp Competition to be held in Hartford, 

Connecticut, commencing on June 6th. 

Two new compositions by the American 

composers Norman Dello Joio and Paul 

Creston have been commissioned for the 

event. Aristid von Wurtzler, Director of the 

Competition, has submitted the following 

list of judges for the contest: Vera Dulova 

(USSR), Aram Khachaturian (USSR), 

Henrik Rohman (Hungary), Hans J. Zingel 

(Germany) , Pierre J amet (France) , 

Jacqueline Borot (France) , Mirelle Flour 

(Belgium), Tsutomu Mimura (Japan), as 

well as Aristid von Wurtzler, Edward Vito, 

Edna Phillips, Moshe Paranov, Gene Farrell, 

Tibor Serly and Gunther Schuller ( all 

from the United States). Honorary Judges 

will include: Joseph Molnar (Japan), J errold 

Ross (USA), Liana Pasquali (Rumania) 

, Mildred Dilling (USA) , Michael Mchedelov 

(USSR), Robert Russell Bennett 

(USA) and Kathleen Alister Fulton (South 

Africa). 

The contest officials would like to invite 

all those interested to come to the competition, 

where university housing will be made 

available. For information about the competition, 

housing, etc., direct inquiries to: Mr. 

Aristid von Wurtzler, Director, International 

Harp Competition, Hartt College of 

Music, University of Hartford, 200 Bloomfield 

Avenue, West Hartford, Connecticut 

06117. 


DEPARTMENT OF ARTS, HUMANITIES AND 

SOCIAL SCIENCES 

University Extension, UCLA 

announces 

MISS MILDRED DILLING 

Conducting her Sixth Annual 

Master Class and Workshop 

IN HARP AT UCLA 

July 7 - 18, 1969 

Group and individual instruction for students 

and teachers at all levels of performance 

PERFORMING STUDENTS: $75.00 OBSERVERS: $45.00 

For enrollment and credit information, write: 

Department of Arts, Humanities and Social Sciences 

University Extension, UCLA 

Los Angeles, California 90024 

SALEM COLLEGE 


Bachelor of Arts 

Undergraduate programs in Music 

Harp Instruction by Patricia Pence 

Scholarship assistance available 

For information and application: 

Bachelor of Music 

Director of Admissions, Salem College 

Winston-Salem, North Carolina 27108 

19

THE JUILLIARD SCHOOL 

.... .... .... 

INSTRUCTION IN HARP: 

MARCEL GRANOJANV 

* * * 

Bachelor of Music, Bachelor of Science, 

Master of Science, Doctor of Musical Arts, 

Diploma, Postgraduate Diploma, 

Special Study Plan 


120 Claremont Avenue, New York, N. Y. 10027 

After June 6: At Lincoln Center Plaza, New York, N. Y. 10023 

20 


MINUTES OF 

THE BOARD OF 

DIRECTORS AND 

EXECUTl\ 7 E 

COM)t.DTTEE 

Minutes of the .Executive Committee - Second 

Regular Meeting 

Date: 10 :00 A.M., September 8th, 1968 

Place: Home of Catherine Gotthoffer-223 S. 

Arden Boulevard, Los Angeles, Calif. 

Present: Suzanne Balderston, Grace Follet, 

Catherine Gotthoffer, Dorothy Remsen, Ann Mason 

Stockton, and Dorothy Victor. 

MINUTES: The minutes of the last meeting 

were read and approved. 

TREASURER'S REPORT: Dorothy Victor reported 

that the following accounts had been 

turned over to her from New York: 

Greenwich Savings Bank Account- 

Balance of $6636.21 

American Harp Journal Account- 

Balance of $1479.65 

She also reported that our books would be audited 

annually by Tilles and Gest, Certified Public Accountants. 

MEMBERSHIP DIRECTORY: Suzanne Balderston 

reported that the Membership Directory 

was not included in the mailing of the dues renewal 

notices and contest information because of 

its bulk. It will be mailed separately within the 

next week. 

1969 NATIONAL COMPETITION: The change 

of the deadline date for entry blanks from April 1 

to February 1, 1969, was approved. 

1969 NATIONAL CONFERENCE: The President 

reported that Eileen Malone, Conference Coordinator 

for the 1969 National Conference, has 

received a definite commitment from the Eastman 

School of Music in Rochester for the dates of 

Thursday, June 26 through Sunday, June 29. 

URSULA KW ASNICKA: CON GERT TOUR: 

The President read a letter from Pearl Chertok 

which spelled out the proposed tour dates as follows: 

October 19 - New York City 

October 25 - San Francisco 

October 27 - Los Angeles 

November 3 - Santa Barbara 

November 9 - San Diego 

Marion Fouse and the Portland Chapter are attempting 

to arrange a date for her prior to 

October 25. 

MARTHA BAIRD ROCKEFELLER FUND: 

This fund is available to promising young artists 


to perform with a symphony orchestra in a solo 

capacity. The request must come from the conductor 

and there must be a minimum of six performances 

with the same orchestra. The performer 

will be paid a fee of $150. per concert 

plus expenses by the fund. The Executive Committee 

commends Pearl Chertok for securing this 

opportunity for our young artists. Please contact 

her for further details. 

COMMITTEE CHAIRMAN: T he President 

asked for and received the concurrance of the 

Executive Committee to invite the following members 

to become Chairmen of standing committees: 

Marcel Grandjany - Chapter Chairman 

Anne Adams - Rules Committee Chairman 

Ruth Cobb - Publicity Chairman 

NON-PROFIT ORGANIZATION MAILING 

PERMIT - It was moved, seconded and carried 

that Suzanne Balderston investigate the possibility 

of obtaining a non-profit organization mailing 

permit from the Postoffice in order to reduce our 

postage rates for future bulk mailings. 

LETTER FROM MIMI ALLEN: The President 

read a letter from Mimi Allen requesting 

authorization to contact all regional directors in 

a general manner regarding the forthcoming regional 

contests and also the availability of tape 

recordings now on file in the national society's 

library. Authorization was granted. 

The meeting was adjourned at 1 :30 P.M. 

Respectfully submitted, 

Suzanne Balderston, Secretary 

Minutes of the Executive Committee - Third 


Date: 10 :30 A.M., November 6, 1968 

Place: Home of Catherine Gotthoffer - 223 S. 

Arden Blvd., Los Angeles, Calif. 

Present: Suzanne Balderston, Grace Follet, 





TREASURER'S REPORT: Dorothy Victor 

submitted the following report as of October 4, 

1958. 

Receipts: 

Journal Account NYC 

Checking Account NYC 

Dues (including foreign 

exchange) 

Journal subscriptions 

Advertising revenue 

Prepaid foreign postage 

Total 

Disbursements : 

M. M. Smith Salary 

NY office Petty Cash 

U. Kwasnicka air fare 

on West Coast 

Xerox, mimeo, postage, 

etc. (West Coast) 

Total 

$1479.65 

133.75 

1421.23 

514.50 

1003.00 

10.50 

$4562.63 $4562.63 

$ 300.00 

100.00 

83.48 

81.39 

$ 564.87 $ 564.87 

Cash on hand 10/4 $3997.76 

Balance in Greenwich Savings 6636.21 

TOTAL ASSETS $10,633.97 

21

Summer course in harp 

Salzburg - Austria 

Marianne Oberascher, Professor of Harp at the 

Austrian State Music Academy "Mozarteum", 

invites you to attend a summer course in Harp 

in Salzburg, Austria from August 5th until August 

26th. 

In Prof. Oberascher's summer course harpists 

are given the opportunity to study and rehearse 

concertos and chamber music. It is requested 

that works chosen hy the participants be prepared 

in advance and that a list of these be 

enclosed with the application. 

Salzburg, Mozart's beautiful birthplace is situated 

between the lakes of the Salzkammergut and the 

high peaks of the Berchtesgadener Alps. Every 

summer thousands of music-lovers and musicians 

from all over the world come to enjoy its Festival, 

its palace concerts and its international summer 

courses in music and art. 

For those making early application it is possible 

to reserve inexpensive tickets for the Salzburg 

Festival as well as private lodgings. 

For further details please write to 

Professor Marianne Oberascher 

Kaltnergasse 8 

A-5020 SALZBURG / AUSTRIA 

COMMITTEE CHAIRMEN : The President repo1·ted 

that Mr. G1·andjany ha agreed to serve as 

Chapter Chairman and that Anne Adams has 

agreed to serve as Rules ommittee Chairman. 

1968 CONFERENCE WORKSHOP TAPES: It 

was moved, seconded and carried that Suzanne 

Balderston would investigate the cost of duplicating 

and releasing the tapes of the 1968 Conference 

workshops. 

NATIONAL TAPE RECORDING LIBRARY: 

A communique has been received from Jane Weidensaul 

asking to be relieved of the duties of tape 

librarian. It was moved, seconded and carried that 

the handling of this library will be included in 

the duties of the Secretary. 

HOUSTON CHAPTER: The Executive Committee 

unanimously voted to accept the advice of 

council: that the action taken on June 4, 1968, 

withdrawing the Houston charter was improper. 

Houston, therefore, remains an active chapter of 

the American Harp Society. 

NEW CHAPTERS: Mr. Grandjany, the Chapter 

Chairman, has reported that the Oregon Chapter 

has divided into two new Chapters to be 

known as the Portland Chapter and the Eugene 

Chapter. In addition, new chapters have been 

formed in Louisville - Kentucky, Madison - Wisconsin, 

Phoenix - Arizona, Saginaw - Michigan, 

South Bend - Lndiana, and Seattle - Washington. 

CITATIONS: It was moved, seconded and carried 

that citation awards be presented to Mr. 

Garlock, our attorney, the Santa Barbara Chapter 

and the UCSB Music Department for their 

outstanding service during the past year. 

DISCUSSION: Projected plans for the year include 

formulating a budget, the commissioning of 

a new work for the harp, and future concert tours 

by young artists similar to the one just completed 

by Ursula Kwasnicka. As regards the latter, the 

Society will guarantee the young artist a fee of 

$100. per concert. The Chapter presenting the 

artist and the National organization will share 

the profits equally to help the National defray 

the artist's fee. 

MARTHA MOORE SMITH: After consultation 

with our auditor and thorough discussion by the 

Executive Committee, it was unanimously decided 

to dispense with the services of an Executive Secretary. 

Therefore, Martha Moore Smith's contract 

will not be renewed. Kindly direct all future correspondence 

to the national secretary: 

Mrs, Suzanne Balderston 


Santa Barbara, California 93105 

1969 NATIONAL COMPETITION: The Rules 

and Suggestions for Chapter and Regional level 

competitions, as submitted to the Executive Committee 

by Pearl Chertok and Marietta Bitter, Co 

Chairmen, were discussed and approved. 

Meeting adjourned. 



Minutes of the Executive Committee - Fourth 


Date: 10 :00 A.M., January 15, 1969 

Place: Home of Catherine Gotthoffer - 223 S. 

Arden Blvd., Los Angeles, Calif. 

22 


Present: Suzanne Balderston, Grace Follett, 





TREASURER'S REPORT: Dorothy Victor 

submitted the following reports: 

As of November 10, 1968: 

Receipts: 

Dues 

$2040.00 

Advertising 

Journal Subscriptions 

Prepaid foreign postage 

Donations-harp pins 

Contest Entry Fees 

Kwasnicka NYC Recital 


Telephone 

Postage 

Total 

M. M. Smith Salary 

Nina Dunkel Commissions 

ASCAP fee-Kwasnicka 

Kwasnicka harp move-NY 

Kwasnicka NYC reception 

Check book 

15.00 

120.00 

1.45 

5.00 

2.00 

41.00 

13.40 

95.27 

300.00 

106.00 

8.00 

56.00 

86.49 

3.74 

$2224.45 

Total 668.90 

Excess of Receipts over 

Disbursements $1555.55 

Cash on hand 10/4 3997.78 



As of December 14, 1968: 

Receipts: 

Dues 

Journal Subscriptions 

Advertising 

Prepaid Foreign postage 

Donations-Harp Pins 

Contest Entry Fees 

Balance of 1968 Con- 

ference Advance 

K wasnicka Recitals on 

West Coast: 

Santa Barbara 

Los Angeles 

Bay Area 

Portland 

$1243.50 

213.00 

633.00 

19.08 

5.00 

2.00 

452.96 

60.93 

113.62 

19.68 

37.70 

TOTAL 


M. M. Smith Salary 300.00 

Nina Dunkel Commissions 63.00 

K wasnicka West Coast 

Recital Fees 

500.00 

Flowers-Kwasnicka NYC 7.88 

Dues Refund 

.50 

Dues check-insuff. funds 6.00 

Santa Barbara officepetty 

cash 

100.00 

Postage 

47.56 

Telephone 

12.98 

Mimeo charges - directory 

& minutes 

201.96 

TOTAL 

,Excess of Receipts over 


$2800.47 

1239.88 


Cash on hand 11/10 5553.31 



Bannerman Harp Studio 

Marion Bannerman, Director 

Thorough course in Harp, Theory, Harmony, Musicianship, 

Ensemble Experience and Recitals 

Faculty Associate in Music 

Hofstra University, Hempstead, N. Y. 

610 Front Street 

Hempstead, L. I., N. Y. 11550 

Phone: IV 9-7560 - A.C. 516 

The studio is a 10 minute walk from Hofstra University; 

10 minutes by train from Adelphi University 

UNIVERSITY OF ARIZONA 


Member of National Association 

of Schools of Music 

B.M., B.A., M.M., A.Mus.D. 

~ 

HARP INSTRUCTION BY 

SUSANN McDONALD 

For Information, Write: 

ANDREW W. BUCHHAUSER, Director 


THE UNIVERSITY OF ARIZONA 

TUCSON, ARIZONA 

23

As of January 1, 1969: 

Receipts: 

K wasnicka Recital 

San Diego 

Dues 

TOTAL 


NW office petty cash 

Check endorsement stamp 

Telephone 

TOTAL 

$230.10 

24.00 

51.04 

.68 

46.03 

$ 254.10 

97.75 

Excess of Receipts over 


Cash on hand 12/14 7113.90 



REINSTATEMENT FEE: After discussion, it 

was agreed that a recommendation be made to the 

Board of Directors at the June Conference that 

the reinstatement fee for late payment of dues 

should be discontinued. Correspondence from the 

membership indicates dissatisfaction with this 

policy. 

RESIGNATIONS: Ann Stockton, Chairman of 

the Board, reported with regret the resignations 

of Dr. John Blyth and Renee Blyth from the 

Board of Directors. Legal council points out that 

vacancies can only be filled by the Board of Directors 

and that there is no legal requirement to 

bring the Board to full strength. Since a quorum 

of the Board cannot be readily assembled, he advises 

leaving these vacancies unfilled until the 

next election. 

COMMITTEES: The President reported her 

reluctant acceptance of the resignation of Marcel 

Grandjany as Chapter Chairman and presented 

the name of Charles Kleinsteuber for approval as 

the new Chapter Chairman. This was unanimously 

approved. 

The following Committee Chairmen were also 

approved: 

Publicity-Kathryn Julye 

Finance-Dorothy Nardi 

The President also reported that the Membership 

Committee is composed of Marion Bannerman-Chairman, 

Jane Anne Carpenter and Katherine 

Corkrey. The Finance Committee is composed 

of Dorothy Nardi-Chairman, Gertrude 

Peterson and Jo Anne Ford. The Chapter Committee 

is composed of Charles Kleinsteuber 

Chairman, Julia Louise Herrmann and Patti Lieb. 

1969 CONFERENCE: The President reported 

that .Eileen Malone is finalizing the plans for the 

1969 Conference in Rochester. Accomodations will 

be available on the Eastman campus. The Banquet 

has been arranged at the Memorial Art Gallery 

with Robert Maxwell as featured artist. There 

will be two workshops, a solo recital and a chamber 

music concert, as well as the finals of the 

National Competition. 

1970 CONFERENCE: The Executive Committee 

will welcome invitations from local Chapters 

desiring to host the 1970 Conference. Written invitations 

should be addressed to the President, 

Catherine Gotthoffer, 223 S. Arden Boulevard, 

Los Angeles, California 90004. A decision on the 

place of meeting will be made by the Board of 

Directors and reported at the next Conference. 

24 

Invitations should be submitted by June 1, 1969. 

They should be accompanied by general information 

regarding facilities and housing. 

FALL 1968 JOURNAL: There was discussion 

of the unfortunate delay in the arrival of the Fall 

1968 issue due to printing and mailing difficulties. 

Investigations are being made in Los Angeles 

and Fort Worth to locate a new printer to remedy 

this situation. 

NON-PROFIT ORGANIZATION MAILING 

PERMIT: Suzanne Balderston reported that there 

would be considerable savings in purchasing a 

non-profit organization mailing permit for future 

bulk mailings. She was authorized to apply for 

the permit with a Santa Barbara address, since 

all mailings except the Journal will emanate from 

there. 

Meeting adjourned. 



BURMESE HARP 

In the first issue of the Journal was 

given an account of a lecture-recital played 

on the Burmese harp by Mrs. Murial Williamson 

at Asia House in New York City, 

February 21st, 1967. Subsequently Mrs. 

Williamson gave a paper at the Eleventh 

Annual Meeting of the Society for Ethnomusicology 

at New Orleans. The paper was 

revised and has been printed by the Institute 

of Ethnomusicology of the University 

of California at Los Angeles. It is titled 

The Construction and Decoration of One 

Burmese Harp, and describes in detail how 

the harp now in Mr. Williamson's possession 

was made for her in Burma. It is nicely illustrated 

with pictures showing each step in 

the construction. Mrs. Williamson's book 

makes quite interesting reading, not at all 

what one might expect in an Ethnomusicological 

paper, and manages to be scholarly 

and accurate as well. Most of all, it provides 

a look at harp making techniques that must 

be similar to those used in early Egypt and 

Mesopotamia. The Burmese harp is a beautiful 

instrument, fragile and sensitive, and 

in Mrs. Williamson it has for an exponent a 

charming and gracious lady. Appended to 

the article is a measurement of traditional 

tuning frequencies of a Burmese harp by 

her husband, Dr. R. C. Williamson. Now retired, 

he was Head Professor of Physics at 

the University of Florida and later Visiting 

Professor of Physics at the University of 

Mandalay. 


Manhattan School of Music 

HARP DEPARTMENT 

LUCILE LAWRENCE 

JANE BENNETT WEIDENSAUL 

Bachelor and Master 

of Music Degrees 

For information regarding admissions 

and scholarships, write to: 

Admissions Office 

Manhattan School of Music 

238 East 105th St., New York, N. Y. 10029 


25

CHAPTER NEWS 

MID ATLANTIC 

Greater New York 

President: Georgia Vraz, 28-13 Ditmars 

Boulevard, Long Island City, N.Y. 11105. 

Gerald Goodman, program chairman, arranged 

for a harp recital by Robert Barlow 

over Television Channel 31, New York 

City's Municipal Station, on December 2. 

Mr. Barlow played compositions by Handel, 

Godefroid, Ravel and Houdy. The next television 

program, planned for late spring, 

will feature harpist Ruth Ma'ayani. 

On February 2, the Chapter was invited 

for the fifth year by the New York Historical 

Society. This year's concert was presented 

by Dr. Aristid Von Wurtzler who 

conducted an ensemble of seven of his students 

who also played soli. A capacity audience 

always attends our concerts in this 

fine auditorium. A concert is planned for 

October 1969 at Carnegie Recital Hall. Lise 

Nadeau will be one of the artists and she 

will perform the composition by Nicholas 

Flagello which was commissioned by the 

New York Chapter. 

Long Island 

President: Mrs. Marion Bannerman, 610 

Front Street, Hempstead, New York 11550. 

On Friday evening, October 25th the 

Long Island Chapter presented its annual 

concert for the Ruth Bannerman Hart 

Music Fund at the Cathedral House Auditorium 

in Garden City. The Bannerman 

Harp Ensemble, consisting of Marion Bannerman, 

Director, Katherine Corkrey, Diana 

Landes, Carol Miskelow, Penny Rakoff 

and Jane Weston played numbers by Corelli, 

Saint-Saens, Prokofieff, Blanco, Barclay, 

Gounod, Hasselmans, Wagner, Britten and 

Lois Bannerman. A reception followed the 

concert at the home of Marion Bannerman. 

Chapter members have been very active 

26 

with performance at schools, clubs, churches 

and temples. 

Lois Bannerman was soloist with the 

Bayshore Symphony in the Debussy Danses 

Sacree et Profane and the Ravel Introduction 

et Allegro. Martha Moor was soloist for 

the Fontainbleau Alumni Association Benefit 

Concert at Carnegie Chamber Music 

Hall in Manhattan. Jeanne Goldstein and 

her husband Arthur are giving demonstration 

programs this spring, presenting music 

for harp and French horn for the federal 

program "Ready". 

Our Annual Membership Meeting will be 

held April 20th at the home of the president. 

A reception and recital will follow. Soloists 

will be Diana Landes, Carol Miskelow and 

Susan Robbins. 

Those who have entered the National 

Competition from the Long Island Chapter 

are Amy Berger, Diana Landes, Bethany 

Lorber, John Senior and Jane Weston. 

Our board has met four times, and a 

newsletter is periodically sent to Chapter 

members. 

SOUTH EASTERN 

Memphis 

Ruth Cobb, founder of the Memphis 

Chapter, lectured for the Memphis Symphony 

League, assisted by Jane Doughtie, 

playing excerpts from the Handel Concerto. 

This work was performed by Nicanor Zabaleta 

with the Memphis Symphony Orchestra 

in February. Ruth also spoke over Radio 

Station WMPS-FM promoting the Zabaleta 

concerts. 

Linda Sue Wilson and Jane Doughtie appeared 

on WREC-TV lecturing on the numbers 

played by Mr. Zabaleta. 

Other members of the Memphis Chapter 

were busy this winter as well. Saralynn 


Huneycutt performed the Ceremony of 

Carols by Britten with the "Singing Cadettes" 

of Oxford High School in Oxford, 

Mississippi. Sue Taylor performed in the 

Little Rock Ballet Orchestra in the Nutcracker 

production, and Kathryn Benander 

played the Clokey Cantata, When The 

Christ Child Came, at Lindenwood and 

Raleigh Christian Churches. 

The Memphis Chapter of American Harp 

Society entertained Nicanor Zabaleta when 

he appeared as guest artist with the Memphis 

Symphony Orchestra on February 16 

and 18. Among the events was a coffee 

given by Jane Doughtie in her home on 

Monday afternoon, February 17. Later, the 

chapter took Mr. Zabaleta to dinner. 

Mr. and Mrs. Charles P. Cobb (Ruth) 

honored Mr. Zabaleta, Mr. Vincent de 

Frank, conductor, and all the members of 

the Memphis Symphony at a buffet supper 

at the Top-of-the-100 Club in Memphis. 

NORTH CENTRAL 

Saginaw Valley 

President: Mrs. Mary Mintz, 5619 Evergreen 

Street, Midland, Michigan 48640. 

Our chapter's first Harp Society meeting 

was held February 23, 1969 at the home 

of Mrs. Mary Mintz. Since the organizer 

of our chapter, Mrs. Marion Rosenson, recently 

died, we discussed, as a memorial, to 

raise money to pay for a new harp which 

she had purchased soon before her death. 

We would then present it to the Saginaw 

Symphony. 

A small business meeting was held and 

we agreed upon the fees for membership 

in the local chapter. We officially changed 

our name to the Saginaw Valley Chapter 

to encompass a larger area. 

Entertainment was provided by Miss 

Sarah Noble and Miss Anita Stark, both 

playing solos by Naderman. Refreshments 

were served by the hostess. The next meeting 

was set for May 18, 1969. 

SOUTH CENTRAL 

Oklahoma 

President: Mrs. Vernie L. Rodgers, 4213 

N.W. 22nd Street, Oklahoma City, Oklahoma 

73107. 

The 1968-69 Season in Oklahoma includes 

more appearances by famous harp- 


ists than any other within memory. November 

brought Gerald Goodman to Enid and 

Stillwater, Oklahoma; in January Mildred 

Dilling appeared in Tulsa for Community 

Concerts; on March 6th the Oklahoma 

A.H.S. Chapter presented Longstreth and 

Escosa, duo-harpists, in concert at Oklahoma 

City's Park Avenue Y.W.C.A. Auditorium 

and March 9th and 10th will find 

Zabaleta in nearby Wichita, Kansas. 

In addition to our members being able 

to enjoy such a feast of professional performances, 

our own Chapter has had a very 

active season as a glance at our calendar 

shows: 

September: Registration and report by the 

Chapter's three delegates to the 1968 

National Conference followed by a picnic 

supper. 

October: Printing of yearbooks and program 

on "Music of the Middle Ages." 

November: Fund raising record sale and 

program on "Imitative and Descriptive 

Music." 

December: Two benefit dinners held in the 

unique apartment of our Newsletter 

Editor, Mr. Norbert E. F. Gordon. 

C-sharp, Knucklehead! C-sharp ! 

27

January: Several members went to Tulsa 

to hear Mildred Dilling's Concert. A 

highlight was the presentation of a 

carnation bouquet from the Chapter 

to Miss Dilling by our youngest member, 

six year old Susan Norris. Miss 

Dilling graciously responded by dedicating 

her next number to Susan. 

February: Election of officers and program 

on "Original Oklahoma Harp Compositions" 

with guest composers, Gail 

Barber of Lubbock and George Crews 

of Chicago being represented by tape 

recordings. 

March: Local Chapter Audition for the 

National A.H.S. Competition. Presentation 

of "Longstreth and Escosa", 

duo-harpists, in a public concert followed 

by a reception honoring the 

artists who will also give a lecturedemonstration 

for our Members. 

April: This season concludes with hosting 

the Regional Competition and a Chapter 

program on "Music and Dance in 

the British Isles." 

This year our group has enjoyed a more 

international viewpoint by our members, 

who also belong to U.K.H.A. (Britain) and 

the Clarsach Society ( Scotland) sharing 

their publications with us. 

Dallas 

President: Sharon Coffin, 3632 Stratford 

Avenue, Dallas, Texas 75205. 

The fall program of the Dallas chapter 

took place at North Texas State University 

in October when a number of us drove to 

Denton to hear the recital played by Charles 

and Grace Kleinsteuber. We were happy so 

many of our chapter could attend this very 

fine program. 

The December Christmas annual was 

held at the home of our President. Dessert 

was followed by a program of Christmas 

music from students and members. 

In March Mr. Sam Milligan, now at 

Texas Christian University in Fort Worth 

(Welcome!) provided us with a new and 

varied musical program featuring works 

by Milan, Pasquini, Valente, Mornpou, Canteloube, 

Tournier and others. 

MARILYN COSTELLO 

Solo Harpist - 

Philadelphia Orchestra 

INSTRUCTOR OF HARP- 

THE CURTIS INSTITUTE OF MUSIC 

Scholarship Pupils Only 

For Information, Write: 

SECRETARY OF ADMISSIONS 

1726 Locust Street 

Rittenhouse Square, Phila., Pa. 19103 

TEMPLE UNIVERSITY COLLEGE OF MUSIC 

Fo1· Information, W1·ite: 

PRESSER HALL 

13th and Norris Streets, Phila., Pa. 19122 

28 


The Student's Recital will be held in May 

as a finale to this year's activities. 

Midwest 

President: Louise Seidl, 712 Military Avenue, 

Council Bluffs, Iowa 73107. 

The Midwest Chapter met October 20th 

at the home of Miss Melody Malec who used 

a halloween motif in decorations and refreshments. 

At this meeting possibilities 

were discussed about expanding our membership, 

contacting the Omaha Symphony 

board members to book a harp soloist in 

the winter series next season, and obtaining 

more publicity. The latter was accomplished 

shortly after this meeting, which also featured 

a lovely harp solo by Miss Malec. 

The December 8th meeting was held at 

the home of Mrs. Bob Patrick, whose holiday 

decorations were beautiful. Guests were 

invited, and Mrs. Ineta Bebb presented an 

excellent program. The refreshments were 

delightful with a Christmas theme, also. 

Lubbock 

President: Billie Wolfe, 3406 21st Street, 

Lubbock, Texas 79410. 

Twenty-three West Texas harpists, playing 

fifteen concert harps and seven Troubadour 

harps were featured in a concert on 

Sunday, November 24 in the Coronado 

Room of the Texas Tech Student Union. 

The concert, Lubbock's first, was sponsored 

by the American Harp Society, Lubbock 

and Amarillo Chapters, the Fine Arts Committee 

of the Tech Union, and the International 

Center for Arid and Semi-Arid 

Land Studies, and was the culmination of 

the Harp Festival activities. 

Guest Conductor for the event was Madeline 

Henshaw of Amarillo Junior College 

and the Amarillo Symphony. 

Organizer of the festival was Billie 

Wolfe, president of the Lubbock Chapter 

and assistant professor in the School of 

Home Economics, Texas Tech. 

Guest 'Cellist for the event was Arthur 

Follows, who played The Swan by Saint 

Saens, accompanied by members of the 

Harp Ensemble. 

Harp Soloist for the event was Gail 

Barber, assistant professor at Texas Tech 

and organizer and past president of the 

Lubbock Chapter. She was joined by Dr. 

James Barber, violin, and Margaret Redcay, 

flute, in Goossen's Suite for flute, violin 

and harp. 

A special segment of the program was 

devoted to the premiere performance of 

Windmill Sketches, composed and performed 

by Gail Barber, and depicting various 

aspects of life in the Southwest. They 

were inspired by a photographic exhibit by 

Billie Wolfe which will be presented in the 

spring at the International Festival on the 

Life and Art of the American Southwest 

Harp Festival Concert, Lubbock, Texas 

Front row: Janelle Jensen, Debbie Carter, Janet Heineman, Rachel Masters, 

Paula Flannigan, Sandra Denham, Christy Brown, Jane Whinery, Janice 

Hastings and Marcia Owens. Second row: Madeline Henshaw, Roxanne 

Kennedy, Diane Moore, Joan Seymour, Barbara Richardson, Julie Richards, 

Gretchen Williams and Gail Barber. Back row: .Patsy McGregor, Billie 

Wolfe, Myrle Watts, Betty Anderson and Edna McClintock. (Photo courtesy 

of Madeline Jeffress)

30 

HARP GILDER 

Professionally artistic in gilding new and used 

harps. Specializing in gold finishes, also silver 

imitation gold, silver gold and bronze. Years of 

experience with all makes, styles and models. 

Serviced leading American harp manufacturer for 

over twenty years. 

Refer inquiries to 

WALT SNIEGOWSKI 

3328 N. NEWLAND AVENUE 

CHICAGO, ILLINOIS 60634 

Let a factory experienced man gild your harp 

at a reasonable price 

UNIVERSITY OF HOUSTON 

DEPARTMENT OF MUSIC 

B.M., B.A., performance or music education 

with major in music 

M.M., M.E., E.E.D. with major studies in music 

University Symphony Orchestra, Band, 

Chamber groups, and off-campus 

opportunities for playing 


BEATRICE SCHR01EDER R,QSE 

Principal Harpist, Houston Symphony 

Scholarship awards 

Catalog upon request 

Department of Music, 

3801 Cullen Blvd. 

Houston, Texas 77004 

and will later become a part of the permanent 

exhibit of the Center for Arid and 

Semi-Arid Land Studies in Lubbock. A 

tape of the performance will be included 

in the exhibit. 

The program began with selections for 

Troubadour harp by Rachel Masters, 12, 

and Sandra Denham, 16, who are the first 

two students to participate in the harp program 

offered in the Lubbock Public Schools. 

Harpists participating in the concert 

were: Betty Anderson, Gail Barber, Sandra 

Denham, Janice Hastings, Janet Heineman, 

Janelle Jensen, Rachel Masters, Julie Richards, 

Barbara Richardson, Myrle Watts, 

Gretchen Williams and Billie Wolfe, all 

from Lubbock. Amarillo harpists were : 

Debbie Carter, Paula Flannigan, Madeline 

Henshaw, Roxanne Kennedy, Patsy Mc 

Gregor, Diane Moore, Marcia Owen, Joan 

Seymour and Jane Whinery. Also participating 

were Edna McClintock from Midland 

and Christy Brown from Floydada. 

A monetary gift from Regional Director 

Amaret Claire Goldthwaite of Oklahoma 

City enabled us to have a professional tape 

recording of the concert made. A copy was 

sent to the Oklahoma Chapter and was 

played at their Febraury meeting. 

Wichita 

President: Mrs. John S. Lawrence, 7406 

Plaza Lane, Wichita, Kansas 67206. 

The Wichita Harp Society met in November 

for a business meeting and an ensemble 

program featuring harp, flute and 'cello. 

In March the Chapter was honored to entertain 

Mr. Nicanor Zabaleta at a luncheon at 

the home of the president, Mrs. John Lawrence. 

Harpists from several states traveled 

to hear Mr. Zabaleta perform as guest 

artist with the Wichita Symphony Orchestra, 

March 9th and 10th. A May meeting 

is planned and special numbers are being 

prepared for visiting members from neighboring 

chapters. 

WESTERN 

Los Angeles 

President: Dorothy Remsen, 6331 Quebec 

Drive, Hollywood, California 90028. 

Our meetings continue to be well attended 

and interesting programs have followed 

each meeting. The last meeting presented 

songs by Ravel and Schumann for harp and 

soprano, music by Damase and Ibert for 

flute and harp, and harp solos. Despite 


storms, floods and flu, we had very good 

attendance! 

In March we will present Stanley Chaloupka 

and Paula Schertzinger, harpists 

with the Los Angeles Philharmonic, in the 

second concert this season for the Scholarship 

Fund. Also in the Spring will be another 

Young People's Concert. The Harp 

Workshop continues to meet each month. 

Eight students of Susann McDonald performed 

at the Music Educator's National 

Conference in Honolulu in March. 

Santa Barbara 

President: Eileen Gray, 4866 Vieja Drive, 

Santa Barbara, California 93105. 

Even though the Fifth Annual Harp Conference 

is over, and behind us, we have 

settled down to chapter business. In August, 

we mixed business with pleasure, and 

to celebrate our successful conclusion of 

the conference had a wonderful "Family 

Barbeque" at the home of Mrs. Eileen Gray, 

followed by a little harp music played by 

members of the Chapter. Every one of us 

are proud of our accomplishment in regard 

to the Conference, and we especially thank 

our past president, Suzanne Balderston, for 

being an inspiration and guide as well as 

the best of organizers. 

Some months later, in November, our 

Chapter sponsored a harp recital by Ursula 

K wasnicka. The proceeds were placed in 

our scholarship fund which is named the 

Nellie Mellinger Scholarship Fund. Mrs. 

Mellinger was our first honorary member. 

Miss K wasnicka was guest of honor at a 

reception and buff et dinner following her 

outstanding performance. 

At a special meeting in December, our 

Chapter president resigned her office, due 

to the fact she was elected National Secretary 

of the Society. At the same meeting, 

Mrs. Eileen Gray was appointed temporary 

president. At the January meeting, Mrs. 

Gray was elected president. Other members 

were nominated and elected. First Vice 

President, Sister Virginia Joseph La Lanne ; 

Second Vice President, Mrs. Phyllis Miller; 

Secretary, Sister Naomi Masten; Treasurer, 

Mrs. Eileen Dismuke. 

A committee was formed at the December 

meeting to write a set of local by-laws to 

conform with the National by-laws. In January, 

the proposed by-laws were read for 

adoption and approval by Sister Virginia 


/'UJm tM ~ o/ 

~ ~09-a,e (3a~,e 

HARP SOLOS 

__ *CAROL OF THE SHEPHERDS 

(Bohemian) _________________ H49 1.00 

__ *COME, 0 COME, EMMANUEL, 0 

(13th Century Plainsong) _______ H48 1.25 

__ ESTRELLITA (Ponce) __________ H53 1.00 

_ _ ,, ELEGANCIA (Op. 60, No. 3) (Sor)_ H59 1.25 

__ *GOD REST YOU MERRY GENTLEMEN 

(with) LO, HOW A ROSE 

E'ER BLOOMING ____________ H50 1.25 

-~ *GREENSLEEVES (Old English) ___ H47 1.00 

JESU, JOY OF MAN'S DESIRING 

(Bach) _____________________ H51 1.25 

LET ALL MORTAL FLESH 

KEEP SILENCE (Old French Carol 

"Picardy") ___ ___ ___________ _ H60 1.25 

*LONDONDERRY AIR 

(Irish Fold Melody) ___________ H55 1.25 

PANIS ANGELICUS (Franck) _____ H52 1.25 

''SILENT NIGHT, HOLY NIGHT 

(Gruber) ____________________ H61 1.25 

__ SING NOEL 

(15th Century French Carol) _____ H62 1.50 

__ '~UN FLAMBEAU, JEANETTE, 

!SABELLA (from an old French 

Carol) ____________________ H63 1.25 

HARP DUETS 

CORDOVA (Albeniz) _____ ____ H56 3.00 

JOTA (Granados) ___ __ _ ______ _ H57 

POEM E (Flbich) ___________ ___ H58 

3.00 

3.00 

TO A WATER-LI LY (MacDowell) ___ H54 3.00 

(*) also playable on Troubadour and Irish Harps 

Available from Lyon-Healy, International Music Serv• 

ice, or your regular local dealer. CARL FISCHER, INC. 

sole selling agent. 

Aristid von W urtzler 

chairman, harp faculty 

director, annual master class 

and international festival 

HARTT 

COLLEGE OF MUSIC 

University of Hartford 

graduate and undergraduate programs 

catalog, brochure 

INTERNATIONAL 

HARP COMPETITION 

June 6-20, 1969 

200 BLOOMFIELD AVENUE, WEST HARTFORD, CONNECTICUT 

31

Joseph. After the necessary revisions were 

made, the by-laws were approved by the 

membership. 

At the regular meeting in February, discussion 

and plans were made for the coming 

National Harp Contest for both the Chapter 

level and Regional level. 

The Santa Barbara Music Society sponsored 

an afternoon recital by Mildred Dilling 

on February 9th which was attended 

by our Chapter and Chapter members were 

asked to be ushers for the event. 

We are looking forward to our Chapter 

sponsored concert in March to be given by 

the talented young harpist, Richard Allen 

Kade of the Los Angeles Chapter. It will 

be presented in the Santa Barbara Public 

Library Art Wing on March 1st. One of 

our members, Gary Brumm, will then play 

for the Los Angeles Chapter on March 30th. 

Student members of our Chapter will present 

a benefit program in conjunction with 

the Santa Barbara Native Daughters of the 

Golden West Parlor. The philanthropic 

Childrens' Foundation of the Native Daughters 

will be recipients from proceeds of the 

concert which will be given the week before 

Easter. 

Our April meeting will be held at the 

same date as our Chapter level contest. 

Judges chosen for this stage of the competition 

will be Catherine Gotthoffer, Eleanor 

Mellinger Sattler, and Ronald Ondrejka, 

Conductor of the Santa Barbara Symphony. 

Winners in each division will then be presented 

locally on television station KEYT. 

We'll see you at the Conference! 

Phoenix 

President: Margaret ( Mrs. Sam) Slaff, 

321 West Monte Vista Road, Phoenix, Arizona 

85003. 

The first meeting of the new Phoenix 

Chapter was held August 19, 1968. There 

were eleven charter members, and four have 

been added, bringing our present membership 

to fifteen. We elected officers, including 

a Historian who will keep a scrap-book 

of members' activities and items of interest 

to future members. 

Phoenix has four Troubadour harps in 

Griffiths Elementary School, where Mrs. 

Slaff has eighteen students. West High 

School has a concert Salvi harp and six 

students there study with Mrs. Ester Mc- 

32 

Laughlin. Five of these young harpists play 

in school orchestras. 

The Phoenix Chapter meets once a month. 

We have a short business meeting and then 

a program. Until the Chapter was organized, 

harpists in this area did not know one 

another. Now we are getting acquainted, 

being inspired to work harder and to keep 

up with activities and opportunities for 

harpists. 

We are planning a public student recital 

in April. 

Portland 

President: Marion Fouse, 2125 N.W. Everett, 

Portland, Oregon 97210. 

Due to continued growth in membership 

and interest, the Oregon Chapter was divided 

and Portland and Eugene Chapters 

formed. 

The Portland Chapter held its fall meeting 

October 3rd at the studio of the president, 

Marion Fouse. By-laws were adopted 

and the president reported on the Fifth 

National Conference. Selections were played 

by Jennifer Hoesly, and the members were 

privileged to hear the first performance of 

Jeffrey Craig's Impromptu, written especially 

for Miss Hoesly. 

On October 24th Ursula Kwasnicka presented 

a concert at Marylhurst College in 

Lake Oswego. A coffee hour, following the 

concert, provided the opportunity to meet 

her. 

Catherine Michel, French harpist, returned 

to Portland for a week in December 

during which she presented a concert on 

December 11th at Pacific University in 

Forest Grove. On December 8th she was 

honored at an open house by the Portland 

Chapter at the home of Marion Fouse. 

On February 9th Mary Bean, Jenny 

Lindner, Arlene Williams, Terese Weber, 

Pippa Miller, Clydine Miller and Sheli Jackson 

were heard in a recital at the home of 

their teacher, Marion Fouse. 

A Chapter scrap-book has been started, 

more new members have joined during the 

year and Chapter members have played 

for school and club programs, churches, 

weddings and other occasions. 

Plans were made for an April meeting 

at which Patty Clark will play harp selections 

and J aren Spor and Jennifer Hoesly 

will play harp duets. 


The University of Rochester 

EASTMAN SCHOOL OF MUSIC 

Walter Hendl, Director 


EILEEN MALONE 

Undergraduate and Graduate Degree Programs 


·Performance Opportunities 

Private Instruction 

Solo Recitals 

Harp Ensemble 

Musica Nova 

Eastman Philharmonia 

Eastman School Symphony Orchestra 

Eastman Wind Ensemble 

Eastman Little Symphony 

For degree application and/or an official school bulletin, write to: 

Edward H. Easley, Director of Admissions 

EASTMAN SCHOOL OF MUSIC 

26 Gibbs Streeet 

Rochester, New York 14604 

SPRING/ 1969 33

TIIE SIXTII 

NATIONAL CONFERENCE 

R.OCHESTEB, NEW YORK, JUNE 26-30, 1969 

The Sixth National Conference of the American 

Harp Society will be held June 26-30 

at the world-famous Eastman School of Music 

of the University of Rochester, New 

York. 

The Schedule of Events is designed to 

present something of interest to each of our 

members. Due to the success of the workshops 

last year, we have decided to expand 

two of them this year-"Building a Harp 

Program in the Public Schools" with a demonstration 

by pupils of the public schools of 

Rochester, and a Symposium on Harp Technique 

with discussion of "How can the harpist 

become a more flexible musician in keeping 

with the sounds of today?". The symposium 

members will demonstrate their remarks 

at the harp. 

As you all know, there is a National Competition 

in progress this year. The Regional 

winners will compete at the Conference and 

the final results will be announced at the 

banquet with the presentation of the trophies. 

This is an excellent opportunity to 

hear talented students and young professionals 

from all over the country. 

Of great interest will be the varied programs 

of music for the harp: a solo recital 

by Edward Vito, a chamber music program 

featuring outstanding professional performers, 

a solo presentation by Robert Maxwell 

and a concert of new and recently discovered 

old music. We are fortunate to have the 

generous cooperation of such wonderful artists 

in presenting these outstanding concerts. 

In addition, we will again present exhibitors 

from around the world displaying the 

latest in strings, music, instruments and accessories. 

We hope YOU, OUR MEMBERS, 

will make every effort to join us in Rochester 

in June. 

SCHEDULE OF EVENTS 

Wednesday, June 25 

8 P.M. Meeting of the Board of Directors 

Faculty Lounge, Eastman School 

Thursday, June 26 

34 

9 A.M. 

10 A.M. to 

6 P.M. 

Meeting of the Board of Directors with Chapter Presidents 

Home of Mrs. Frank Webster, 53 Pickford Drive 

Registration-Distribution of all tickets 

Eastman School Residence Hall, 424 University Avenue 


4 P.M. Regional Meetings 

Eastman School of Music 

7 to 8 P.M. Registration-Distribution of all tickets 

Eastman School of Music-Main Corridor 

8 :15 P.M. Words of Welcome-Walter Hendl, Director of the Eastman School of 

Music 

Recital by Edward Vito, formerly solo harpist with the NBC Symphony 

Orchestra under Toscanini. Artist in residence at Brevard Music Center, 

solo harpist with the Miami Symphony. 

Reception honoring Mr. Vito following the recital 

Kilbourn Hall, Eastman School of Music 

Friday, June 27 

9:30 A.M. 

2 P.M. 

6 P.M. 

8:15 P.M. 

National Competition-Troubadour, Junior and Intermediate I Divis10ns 


"Building a Harp Program in the Public Schools". Demonstration by 

pupils of the Rochester Public schools. 

Remarks by Gertrude Peterson Hustana, teacher; Rosalie Pratt, teacher, 

Essex County, N.J.; and Clara Walker, teacher, Detroit Inner City 

Area Schools. 


Cook-out (by reservation only) 

Hutchison House, East Avenue 

(bus transportation from Eastman School at 5 :30) 

National Competition-Young Professional Division 


Saturday, June 28 

9 A.M. 

2 P.M. 

8:15 P.M. 

Membership Meeting-Chapter Reports 


National Competition-Intermediate II and Advanced Division 


Chamber Music Concert 

Marietta Bitter, teacher and concert artist; Pearl Chertok, C.B.S. Studios, 

New York; Reinhardt Elster, Metropolitan Opera Association; 

Ann Hobson, National Symphony; Joyce Rosenfield, University of 

Illinois; Suzanne Thomas, Buffalo Philharmonic; Marjorie Tyre, formerly 

harpist with the Philadelphia Orchestra and Metropolitan Opera 

Orchestra. 

Reception honoring the artists following the concert 



35

Sunday, June 29 

10 A.M. Meeting of the Board of Directors 

Faculty Lounge, Eastman School of Music 

11 A.M. Concert of new and recently discovered old music-Joel Andrews, Mario 

Falcao, Carolyn Kuban, Karen Lindquist, Rosalie Pratt, Sam Pratt, 

Roxanne Roth, Jennifer Sayre 


2 P.M. Symposium on harp technique, and discussion on "How can the harpist 

become a more flexible musician in keeping with the sounds of today?" 

Marilyn Costello, Mildred Dilling, Reinhardt Elster, Grace Follet, Julia 

Louise Herrmann, Robert Maxwell, Edward Vito 


6 P.M. No-host cocktails 

Memorial Art Gallery 

7 P.M. Banquet (by reservation only) 

Guest speaker, Walter Hendl, Director of the Eastman School of Music 

Memorial Art Gallery, Fountain Court 

Finale 

Robert Maxwell, composer, recording and concert artist, and musical director 

of the N.B.C. Children's Theater 

Memorial Art Gallery Auditorium 

HOUSING AND MEALS 

A package plan, utilizing Eastman School 

Residence Hall and Food Service facilities, 

has been established at a cost of $45.00 per 

person. This plan includes a single room in 

the Residence Hall for four nights, June 26- 

29 ; breakfast on June 27, 28, and 29 ; buff et 

luncheon on June 29; and dinners on June 

26 and 28. In addition, the package includes 

a steak cook-out at the school's Hutchison 

House on June 27 and a banquet at the Rochester 

Memorial Art Gallery on June 29. 

Registrants are strongly urged to sign up 

for the package. 

Persons not able to attend the entire program 

may register for campus rooms and 

Conference meals on a partial basis. Likewise, 

persons not wishing to stay in the Residence 

Hall may register for only those Conference 

meals they plan to attend. 

Conference luncheons are not planned for 

June 27 and 28. Since the Eastman School 

is located in downtown Rochester, an opportunity 

is provided on these two days for persons 

to utilize area restaurants and to visit 

Rochester stores if they wish. 

Only single rooms are available in the 

Residence Hall. Men and women will be 

housed in separate, but connecting, dormitories. 

Linen and blankets are provided, as 

36 

is daily room service. Bathroom and shower 

facilities are convenient to all rooms. 

Persons not wishing to live in the Residence 

Hall should note that a limited block 

of rooms has been reserved at the Sheraton 

Hotel and Motor Inn, 111 East Avenue, Rochester, 

New York 14604, and at the Treadway 

Inn, 384 East Avenue, Rochester, New 

York 14607. Both places are convenient to 

the Eastman School of Music and to the Residence 

Hall. Sheraton rates are $10. per 

night for singles and $14. per night for 

twins. Treadway rates are $12.90 per night 

for singles and $16.90 per night for twins. 

Persons wishing to stay at either of these 

locations are to make their own reservations 

as soon as possible. In doing so, be sure to 

mention the American Harp Society and 

request a written confirmation of your 

reservation. 

TRAVEL INFORMATION 

Airplane : Rochester is served by American, 

Mohawk, and United Airlines. Limousine 

or taxi service from the airport to the 

Eastman School Residence hall, to the 

Eastman School of Music, and to downtown 

Rochester is available. It is approximately 

a 15-20 minute drive from the air 

terminal to these locations. 

Train and Bus: The Penn-Central Railroad 


System, and Greyhound and Trailways 

Bus Lines serve the City of Rochester. 

Terminals are located in the center of the 

city. Taxi service to the Eastman School 

Residence Hall, to the Eastman School of 

Music, and to downtown hotels is available. 

Car: The Eastman School of Music is located 

at 26 Gibbs Street in downtown Rochester. 

The Residence Hall is located a 

short distance from the center of the city. 

New York State Thruway travelers 

should exit at Interchange #45 and follow 

Route 490 to the Goodman Street exit. 

Turn right onto Goodman Street and turn 

left off of Goodman Street onto East Avenue 

for downtown Rochester and/ or for 

the Eastman School of Music; or turn off 

of Goodman Street onto University Avenue 

for the Eastman School Residence 

Hall. 

CONCERTS AND WORKSHOPS 

Members will be admitted free to all concerts 

and workshops upon presentation of 

their Registration Badges at the door. BE 

SURE THAT YOU HAVE PAID YOUR 

1968-69 DUES! Non-members will be 

charged the public admission fee for the concerts. 

THE WORKSHOPS ARE OPEN TO 

MEMBERS ONLY. 

Remittance of dues should be made payable 

to the American Harp Society, and sent 

to Suzanne Balderston, 111 7 Crestline 

Drive, Santa Barbara, California 93105. 

FAMILY MEMBERS ARE NOT MEM 

BERS OF THE NATIONAL ORGANIZA 

TION and therefore do not enjoy the privileges 

accorded to regular members. They 

may not register for the Conference, they 

are not admitted to any of the workshops 

and must pay the public admission fee for 

all concerts. 

REGISTRATION 

Conference registration is being handled 

by the University of Rochester Conference 

Office, Rochester, New York 14627. Preregistration 

and pre-payment of the Registration 

Fee, Residence Hall room, and Conj 

erence meals is required. Checks ( no vouchers, 

please) are to be made payable to the 

University of Rochester Conference Office. 

Registration will be acknowledged. Receipts 

will be issued at the Conference. Registra. 

tion deadline is Monday, June 2, 1969. 

The Conference Office will not accept 

registrations from members who have not 

paid their 1968-69 dues. Remittance of 

dues should be made payable to The American 

Harp Society and sent to Suzanne Balderston, 

1117 Crestline Drive, Santa Barbara, 

Calif. 93105, in the amount of $10. 

( $6. plus $4. Re-instatement Fee applicable 

after November 1, 1968) 

Members of the Board of Directors arriving 

on Wednesday and planning to use 

dormitory rooms should notify the Conference 

Office and plan an additional $6.50 

for the room. 

YOU SHOULD BE A MEMBER OF 

THE AMERICAN HARP SOCIETY 

Membership in the American Harp Society 

is now near 1000 and includes 38 Chapters 

throughout the nation. National dues of 

$6.00 per year entitle you to a subscription 

to the American Harp Journal ( Fall and 

Spring issues), benefits of Regional and 

Chapter activities, participation in the National 

Conference and, most importantly, 

an opportunity to support the cause of the 

harp. 

To become a member, just fill in the form 

below and mail it to: Mrs. Suzanne Balderston, 

1117 Crestline Dr., Santa Barbara, 

Calif. 93105 

Please enroll me as a member of the American Harp Society for 

the year 1968-69. It is my understanding that membership extends 

from October 1st, 1968 through September 30th, 1969. 

NAME ___________ 

__ _ 

ADDRESS _____ 

________ _ 

CITY ______.._,TAT..... 

, ,___ _,_,IP CODE ____ 

SPRING/ 1969 37

REGISTRATION FORM 

SIXTH NATIONAL CONFERENCE, 

June 26-29, 1969 

This form and a check ( no vouchers, please) to cover total fees is to be returned no later 

than Monday, June 2, 1969, to the University Conference Office, University of Rochester, 

Rochester, New York 14627. Make checks payable to the University of Rochester Conference 

Office. Be sure to provide the name of each person registered on this form. ( If 

you have not yet paid your 1968-69 dues, a check in the amount of $10 ($6. dues plus 

$4. reinstatement fee) made payable to the American Harp Society should be sent to 

Suzanne Balderston, 1117 Crestline Drive, Santa Barbara, California 93105.) 

(Mr. ) 

Print Name (Mrs.) _________________________ _ 

(Miss) 

Mailing Address _ _____ __________ ____________ _ 

School or Fir 

1. Register ___ persons for the Conference @ $5. each 

2. Register ___ persons for the Room and Board package plan @ $45. each ( Includes 

dormitory room for four nights; three breakfasts; one luncheon; two dinners; Conference 

cook-out; and Conference banquet. 

3. Dormitory check-in time is expected to be ___ A.M. on June __ _ 

P.M. 

Dormitory check-out time is expected to be ___ A.M. on June __ _ 

P.M. 

4. Register number of persons, as indicated in the blanks, on a partial attendance basis: 

(A) Dormitory rooms @ $6.50 per night, per person 

( __ June 26 ( __ June 27 ( __ June 28 ( __ June 29 

( B) __ Conference breakfasts @ $1.25 


(C) __ Conference dinners @ $2.50 


(D) __ Conference Cook-out @ $5.00 on June 27 

(E) __ Conference Banquet @ $7.50 on June 29 

(F) __ Conference Buffet Luncheon @ $2.00 on June 29 

5 Dormitory room reservation is not required. Will be staying at. _ _ ___ _ 

6. $ ___ TOTAL PAYMENT ENCLOSED. 

38 AMERICAN HARP JOURNAL

PEOPLE 

AND 

PLACES 

LA URA NEWELL played the Debussy Sonata 

for Flute, Viola and Harp with Karl 

Kraber, flute and John Graham, viola, on 

February 12th for the Performer's Committee 

for Twentieth-Century Music at Columbia 

University. 

A summer harp workshop will be held in 

France by SUSANN McDONALD from 

July 21st to August 8th. Special guest lecturers 

will include Mme. LILY LASKINE, 

Mme. SOLANGE RENIE, Mlle. FRAN 

COIS DES VARENNES and Mr. P. W. 

SCHLIESTETT, who will lecture in music 

theory. Instruction will cover preparation 

for various international competitions, 

chamber music literature, harp ensembles, 

theory and solfeggio, and will include a gala 

concert. For information, write Miss Susann 

McDonald, 1428 Grace Drive, Pasadena, 

California 91105. 

LOUISE ZUERN will be playing in April 

with the Minot Symphony Orchestra in Williston, 

North Dakota. The concert is a benefit 

sponsored by the Williston Thursday 

Music Club, affiliated with the National 

Federation of Music Clubs. 

The April meeting of the Williston] North 

Dakota chapter of the American Association 

of University Women will feature 

MARTHA HUSET in a program of nineteenth 

and twentieth century music. Mrs. 

Huset will also give a harp demonstration 

at the Wilkinson School in Williston in May. 

MARJORIE CHA UVEL, her daughter 

NANETTE CHAUVEL and the SAN 

FRANCISCO STATE AEOLIAN HARP 

ENSEMBLE appeared on the Youth Concerts 

series in February at Palo Alto. 

Members of the Stanford University harp 


department consisting of SUSAN MAZER, 

SUSAN BRO-\VN GARDNER, GEORGE 

SCHLESINGER, ENID FELD and DEB 

ORAH LEONG will present a recital under 

the direction of MARJORIE CHA UVEL in 

April. Students of MARJORIE CHAUVEL 

will also be heard in recital on May 11th, 

in the First Methodist Church in Palo Alto. 

Harpists will include BETH ZELINSKI, 

CELESTE EVERSON, CARLA WONG, 

NANETTE CHAUVEL, SIDNEY HAR 

VEY, PAMELA RADFORD, JAN MY 

ERS, MARGARET BAIRD, CHRIS HOL 

VICK, DEBORAH STOLESEN, DEB 

ORAH LEONG and SHARON O'BAN 

NON. 

Miss Chauvel will conduct a harp clinic 

for harpists of High School or Junior High 

School age from August 9th to 16th at the 

Berkeley Music Camp "Cazadero" in Mendicino 

County, California. Information can 

be obtained from: Cazadero Music Camp, 

cl o Mr. Robert Lutt, Berkeley High School, 

Berkeley, California. 

CELESTE EVERSON, sixteen year old 

harpist from Los Altos, California, will accompany 

the California Youth Symphony on 

a tour of Australia in June. She recently appeared 

in a fund raising concert with the 

orchestra with DUKE ELLINGTON as soloist. 

A second benefit in May will have 

JACK BENNY as guest soloist. 

EFRAT LA VRY ZAKLAD has established 

a harp program in the Stockton, California 

School System, with students ranging 

from Elementary to High School age. 

The program was developed by DENNIS 

LUFKIN of the Stockton School System 

whose interest came from his participation 

( as a graduate student) in the harp course 

offered at San Francisco State College. 

ADELE TRYTKO was harpist for the 

Christmas concert given by the Perkins 

School for the Blind in Waterton, Massachusetts. 

The recital series of the New York Public 

Library continues to give considerable prominence 

to harp programs. On October 9th an 

ensemble composed of ISELA GOMEZ 

ROSSI, INN A MARINEL and GERALD 

GOODMAN presented a program. Included 

were a Gavotte by Gretchaninov and Prelude 

et la Romanesca by Glazounov, originally 

dedicated to the MARINEL HARP 

TRIO of Paris. On the same program Miss 

39

Rossi and Mr. Goodman appeared as soloists. 

On January 6th an ensemble consisting 

of SALVATORE MARIO DE STEFANO, 

ISELA GOMEZ ROSSI and INNA MARI 

NEL presented a program. They were again 

joined by GERALD GOODMAN. ISELA 

GOMEZ ROSSI was featured in a solo recital 

on May 7th, 1968. On March 10th an 

ensemble consisting of META JOY EP 

STEIN, MARTHA FLANNERY, REBEC 

CA FLANNERY, TAKAKO FUJIYAMA, 

DAGMAR PLAT I LO VA, BARBARA 

PNIEWSKA, CARL SWANSON and 

ALICE TERLANDA Y presented a program 

under the direction of ARISTID VON 

WURTZLER. Some of the program had 

been presented earlier on the recital series 

of the New York Historical Society under 

the auspices of the Greater New York Chapter 

of the AHS, February 2nd. 

LORRAINE BYMAN is harpist for the 

Broadway musical "1776". 

The University of Louisville School of 

Music has announced a MARGARET MUL 

DOON NORTON harp scholarship, consisting 

of full tuition for undergraduate and 

graduate students with a major in harp. For 

information write: The Office of the Dean, 

School of Music, University of Louisville, 

Alta Vista Road, Louisville, Kentucky 

40205. 

FRANCESCA CORSI, currently solo 

harpist with the New York City Opera, presented 

a recital at St. Michael's Church Auditorium 

in Manhattan on February 1st. 

The harp department of the Indiana University 

School of Music enjoyed excellent 

representation at the bi-annual meeting of 

the Indiana Harpists' Guild this season. The 

meeting, held in Indianapolis, featured solo 

performances by CHERRIE HOGUE, GAIL 

BASS and ELEANOR SCHETTLER. 

Another Indiana University harpist, 

MARY JANE RUPERT, has been appointed 

harpist with the Evansville Philharmonic. 

SUZANNE BALDERSTON was featured 

soloist with the San Luis Obispo Symphony 

in March, performing the Handel 

Concerto in B-flat. In July she will join 

GABOR REJTO, 'cellist and BURNETT 

ATKINSON, flutist in a performance of the 

Damase Trio on the faculty chamber music 

program presented by the Music Academy 

of the West in Santa Barbara. 

40 

GARY BRUMM, harp major at the University 

of California at Santa Barbara will 

present his Senior Recital on April 22. The 

program, to be held in the new Lotte Lehman 

Concert Hall, will be the first senior 

recital since the inception of the harp department 

there four years ago. He will also 

play portions of the program for the Los 

Angeles Chapter meeting in March. 

SUSAN ALLEN and GARY BRUMM, 

both of Santa Barbara will be presented in 

a joint recital at Ventura City College, Ventura, 

California in March. 

During December DIANA ARMSTRONG 

formerly of Madison, Wisconsin and now 

living in Santa Barbara presented a program 

for the Little Garden Club. 

SUSAN ALLEN, harpist with the Santa 

Barbara High School will perform this 

spring with the school's A Capella Choir in 

DAVID WILLIAM'S Five Carols; for Easter, 

and in Bernstein's Chichester Psalms. 

She will also appear on the school's Chamber 

Music Program performing a Trio for 

Fliite, Clarinet and Harp by Elizabeth 

Poston. Miss Allen is solo harpist with the 

San Luis Obispo Symphony and second 

harpist with the Santa Barbara Symphony, 

and has been a scholarship student at the 

Music Academy of the West. In the fall 

she will be a student at the New England 

Conservatory where she will study with 

BERNARD ZIGHERA. 

On November 10th ISELA GOMEZ 

ROSSI presented a solo recital on the series 

sponsored by the Brooklyn Museum. 

ELEANOR FELL KIRSCHKE has been 

appointed to the music faculty at Eastern 

New Mexico University with the extension 

division at Roswell. She is harpist both with 

the Roswell Symphony and with the El 

Paso, Texas Symphony. She will be featured 

as soloist with the Roswell Symphony 

on April 14th. Her husband, WILLIAM 

KIRSCHKE is conductor of the Roswell 

Symphony and chairman of the music department 

at Artesia College. He will take 

the Artesia Choir on tour this coming season 

with his wife as harpist for the group. 

After returning from her European tour 

in the fall, MILDRED DILLING played 

in the southern and New England states. 

In January she began a cross-continent 

tour playing return engagements for the 

AMERICAN HARP JO URN AL

Community Concert Series. These included 

Tulsa, Oklahoma; Las Vegas, Nevada; 

Taft, California; Santa Barbara, California; 

and an overflow audience in the new 

city of Laguna Hills, California. These 

were followed by concerts in Idaho, Wisconsin, 

Illinois, Iowa, New York and Maine. 

On May 6th Miss Dilling will present a 

joint recital at Jordan Hall in Boston with 

baritone JOHN ROBERT DUNLAP of the 

Metropolitan Opera. It will be repeated the 

evening of May 15th at Town Hall in New 

York. Miss Dilling will also appear at the 

International Harp Competition in West 

Hartford, giving a lecture recital and showing 

a number of harps from her enormous 

collection. She will also be a panelist for the 

American Harp Society Sixth National Conference 

in Rochester. From July 7th to 18th 

she will again hold her Workshop and 

Master Class at the Music School of the 

University of California in Los Angeles. 

Next September Miss Dilling will appear 

for B.B.C. Television, subsequently appearing 

in France before starting her next 

American tour in November. 

CYNTHIA CETLIN will be soloist with 

the Greater Boston Youth Symphony Orchestra 

on their spring tour. During the 

summer the orchestra will give concerts in 

Switzerland. 

ELIZABETH MORSE of Boston was soloist 

at Jordan Hall in February, playing 

the Mozart Concerto for Flute and Harp 

under the direction of Gunther Schuller. 

Both Miss Morse and Miss Cetlin are students 

of LUCILE LA WREN CE at Boston 

University. 

LOIS COLIN was a winner in the Concerto 

Competition at the Arts Academy, 

Interlochen, Michigan, and will perform in 

their June concert. Miss Colin was a national 

winner in the first AHS Contest. Next 

year she will be at Mannes College in New 

York where she will continue her studies 

with LUCILE LA WREN CE. 

Another student of Miss Lawrence, 

KATHERINE KARLSR UD will be soloist 

at the College of the Sacred Heart in Purchase, 

New York on March 30th. On March 

2nd she presented a program for the Womens 

Club of Scarsdale, New York. She, too, 

was a winner in the first AHS Contest, and 

the appearance in Purchase is the result 

of her having won the Concerto Contest 


sponsored by the Westchester Symphony 

Orchestra. 

TIA GILSTON will appear April 22nd 

as soloist at the Mannes College in New 

York City. The program will feature Nadia 

Reisenberg and William Kroll. 

RUTH MAAYANI will be soloist with 

the Cosmopolitan Orchestra in Philharmonic 

Hall, Lincoln Center, New York City 

on March 8th. She was presented in a program 

by the America-Israel Cultural Foundation 

on February 28th and this spring 

will be presented by the Greater New York 

Chapter in a television program. 

JEFFREY H. RICKARD has written 

Three Songs to Poems by Edna St. Vincent 

Millay which were heard at the AHS Conference 

in Los Angeles in 1966. They will 

again be played on the Senior Recital of 

Mr. Rickard's compositions at the University 

of Redlands on May 9th with SALLY 

ELLIOTT playing the harp parts. Mr. 

Rickard also wrote all the harp parts for 

the University of Redlands Harp Ensemble 

when it was featured in the "Feast of 

Lights," an annual Christmas pageant. The 

music included a four-part solo for the ensemble, 

Processional and Invocation, lasting 

seven minutes. The University of Redlands 

Ensemble is under the direction of MAR 

JORIE CALL. 

ROSALIE R. PRATT was soloist last 

summer in Philharmonic Hall at Lincoln 

Center, New York City. She performed the 

Mozart Concerto for Flute and Harp with 

Henry Lewis conducting the Mozart-Haydn 

Festival Orchestra. This year will see the 

release of her album of original harp works 

by Mozart and Haydn. The album is scheduled 

for distribution in May, and will include 

the recently recovered Trio in G for 

harp, flute and 'cello by Haydn, as well as 

newly discovered harp compositions by Mozart 

- La Belle Francois with twelve variations 

and two early sonatas composed for 

Princess Caroline van N assau-Weilburg. 

SAMUEL 0. PRATT begins his seventh 

year as accompanist for ROBERTA 

PETERS, leading Metropolitan Opera soprano. 

Their concerts have taken them to 

most major cities in the United States, with 

about sixteen appearances each season. 

They fly with a Troubadour harp stowed 

in the baggage compartment. They have 

been seen as well on the Johnny Carson 

41

Show, the Dick Cavett Show, the Mike 

Douglas Show and on the Ed Sullivan Show. 

MARY SPALDING SEVITZKY presented 

her annual television Christmas program 

"Music of the Season" over WTHS 

TV in Miami, Florida on December 23rd. 

This features unusual Christmas carols 

and customs from various countries. She 

prepares her own script, memorizes it, and 

narrates it during the program. She also 

researches the carols and makes her own 

harp transcriptions of them. 

Three of Mrs. Sevitzky's students were 

presented in a recital at the Little River 

School, Miami, Florida on January 16th. 

They were LA URA WITT, KATHY 0' 

KEEFE and STACEY BERKLEY. 

On February 18th Mrs. Sevitzky lectured 

for music students at Miami-Dade Junior 

Junior College, sponsored by the Student 

Chapter of the MENC. The title of the lecture 

was "A Lady Harpist's Career." On 

March 9th she played a benefit recital for 

the Bay Oaks Home, in the auditorium of 

the Home, Miami, Floriad. She was assisted 

by her student KATHY O'KEEFE on the 

Troubadour harp. 

JANE DOUGHTIE, graduate assistant 

at Memphis State University, was harpist 

for the production of Verdi's Otello given 

jointly by the Memphis State Opera Department 

and the Memphis Opera Theatre. 

She is also harpist with the Memphis Symphony 

Orchestra and, among other concerts, 

performed with the orchestra in October 

when Pablo Casals conducted his oratorio 

El Pessebre. 

LINDA SUE WILSON was also harpist 

with the Memphis Symphony for the performance 

of the Casals work. She played 

HARP NUMBERS 

Arranged by Nellie Zimmer 

Greensleeves .65 Barcarolle - Offenbach .. .. .85 

Greensleeves Four Irish Songs simplified .. l.CO 

for Two Harps . 1.25 By Bendemeer's Stream 1.00 

Deep River 

Meeting of The Waters 

for Two Harps .. . . 1.25 for Two Harps .. . ... . 1.25 

!ch Liebe Dich - Grieg .. .75 Suite for Irish Harp- Rogers . .75 

The Swan - Saint-Saens 1.00 Wooden Shoe Dance - Rogers 

Bist du Bei Mir- Bach for I rish Harp ......... .50 

for Two Harps 1.25 Dance of The Gnomes - 

Sarabande - Corelli Rogers ~···--·-.. .75 

for Three Harps .. . __ .. 1.00 Serenade -- Rogers 

Canlique de Noel - Adam ___ . 1.00 for Two Irish Harps ... . .85 

0. Sanctissima Twilight Serenade - Zimmer 1.00 

for Two Harps .. 1.25 April Rill - Zimmer .. .75 

The Coventry Carol Skating - Zimmer 

for Harp and Organ . . . 1.25 for Two Irish Harps 

There's A Song In The Air .. .90 The Wind - Zimmer 

An I rish Noel .65 

NELLIE ZIMMER 

366 Commonwealth Ave ., Boston, Mass. 02115 

42 

.90 

.85 

this winter with the Jackson, Tennessee 

Symphony and with the Little Rock, Arkansas 

Ballet Orchestra when Tchaikovsky's 

Nutcracker ballet was given in its entirety. 

In addition, she is also a graduate assistant 

at Memphis State and appeared in recital 

with the Memphis State String Ensemble 

in November playing Grandjany's Aria in 

Classic Style. At Christmas she was harpist 

for a performance of the Brahms Requiem 

at the First Baptist Church and in A Story 

of Christmas at Union Avenue Baptist 

Church. 

AGNES CRISCI, harpist, with her 

daughters JOAN CRISCI, violinist, and 

EMILIA CRISCI, 'cellist, gave an afternoon 

ensemble and solo musicale at Whitehaven 

Presbyterian Church at Christmas. 

Agnes received her Master's Degree in January 

from Memphis State University, being 

the first harpist to receive this degree there. 

RUTH COBB, ELIZABETH COBB and 

SUZY STRONG presented special Christmas 

music on the Troubadour and pedal 

harps at Lindenwood Christian Church 

where all three are members. 

MARIANNE OBERASCHER, professor 

of harp at the Mozarteum in Salzburg will 

off er a summer course in harp there this 

year. The course will include study of concerti 

and chamber works. For a brochure 

describing the events those interested should 

write her at Kaltnergasse 8, A-5020 Salzburg, 

Austria. 

NOTICE 

A young American harpist, Miss Lesesne 

Smith, will be moving this summer to the 

Republic of Columbia. She would like to 

continue studying the harp there, but knows 

of no teacher. If any of our readers know 

of anyone there ( specifically in Cali) please 

send her a letter in care of the Editor. While 

Miss Smith will be living in Cali, she would 

be willing to travel for lessons. 

COVER 

We would like to thank Mrs. Suzanne 

Balderston who very kindly supplied the 

photograph for our cover. 


TEACHERS, DIRECTORY 

MARY K. ALEXANDER, B.M. Eastman 

3221 Cumberland Ave., Waco, Texas 76707 

Faculty: Baylor University, Waco, Texas 76703 

EMILY KELLAM BABCOCK, B.M. 

979 Garden City Drive, Monroeville, Pa. 15146 

Phone: 372-2353 

JILL BAILIFF 

1880 Glenwood Rd., Ann Arbor, Mich. 48104 

Private and Faculty: Eastern Michigan University 

SUZANNE J. BALDERSTON 

1117 Crestline Drive, Santa Barbara, Calif., 93105 

WOodland 2-6211 

Faculty: University of California, Santa Barbara; 

Westmont College 

Music Academy of the West; Santa Barbara 

Limited private teaching 

MARION BANNERMAN 

610 Front Street, H€!lllpstead, L.I., N.Y. 11550 

Phone: IVanhoe 9-7560 

GAIL G. BARBER, B.M. Eastman 

6224 Louisville Dr., Lubbock, Texas 79413 

Faculty: Texas Tech, Lubbock, Texas 79409 

MARYJANE BARTON, B.M. 

4364 Tujunga Avenue, No. Hollywood, Calif. 91604 

Phone: TR 7-3933 or HO 2-2311 

Seven years with Universal-International studios. 

Curtis Institute Graduate. Faculty of California 

Institute of Arts. 

MARY BECKMAN, B.M., M.M. 

University of Northern Iowa, Music Dept. 

Cedar Falls, Iowa 50613; 266-1721, Ext. 562 

Graduate: Oberlin Conservatory of Music; 

Cleveland Institute of Music 

MARY EBY BICKFORD, B.M. 

950 N. Battin, Wichita, Kan. Phone: MU 6-8877 

Faculty: Wichita State University 

Harpist: Wichita Symphony 

NANCY BRENNAND 

235 W. 71st Street, New York, N.Y. 10023 

Phone: SU 7-9024 

01·thwe te1·n University B.M.E. 

First Har_pist and Soloist with American Symphony 

Orchesu-a 

JOYCE BOOHER, B.M. 

197 W. Wyoming Ave., Melrose, Mass. 

Phone: 662-7948 

MARJORIE CALL, B.M. 

3895 Berry Dr., Studio City, Calif. 91604 

Phone: 877-7638. Curtis Institute Graduate 

Former Co-Director: Summer Harp Colony, 

Camden, Me. 

Assoc. Professor, University of Redlands, (BM, 

MM degrees) Pomona College, UCLA, UCLA 

Extension_ 

JOAN HARRISON CEO, B.M. 

982 Celia Lane, Lexington, Ky. 40504 

Phone: (606) 277-4852 

Faculty: University of Kentucky 

Director: Wheeling Youth Symphony Harp Clinic 

SISTER M. CHARLES, O.S.F., B.M., M.M. 

College of St. Francis, Joliet, Illinois 60435 

Phone: 726-6228 

MARJORIE CHAUVEL 

2130 Barbara Drive, Palo Alto, Calif. 94303 

Phone: 322-7758 

Faculty: San Francisco State College, Stanford University. 

College of Notre Dame, Peninsula Conservatory 

Private Instruction-Home Studio 

GLADYS AND KENNETH CUSTANCE 

366 Commonwealth Ave., Apt. 6 

Boston, Mass. 02558 

Special Instruction-Troubadour and Irish Harp 

ELIZABETH T. DAHL, B.M. 

Music Dept., University of Vermont, 

Burlington, Vermont 05401 

SUZANN YOUNG DAVIDS, B.M., M.A., M.F.A. 

2270 So. Birch St., Denver, Colo. 80222 

Limited teaching: Colorado State College 

Harpist: Central City Opera Co., Brico Symphony 

SALVATORE MARIO DE STEFANO 

180 West 58th Street, New York, N.Y. 10019 

Phone: Circle 7-2835 

MASTER CLASSES AND HARP REPERTOIRE 

Practice Harps and Scholarships available 

ARTISS de VOLT, F.I.A.L. 

Box 202, Sea Island, Ga. 

Graduate Neiw England Conservatory 

Faculty: Jacksonville Univ., Jackso1wme Fla. 

Formerly faculty: N .E. Conservatory· College of 

Mul;rlc 1 

Boston Univ.; MozarteUJn Academy, Salzburg, 

Aush-ia. 

Fellow International Institute of Arts and Letters 

MILDRED DILLING (Between concert tours) 

400 E. 52nd St., New York, N.Y. 10022 

Tel. (212) PLaza 3-2492 

6th Annual Masterclass and Workshop (for credit), 

Univ. of Calif. School of Music, Los Angeles, July 7 

to July 18, 1969 

JANE DOUGHTIE 

24 South Rose Road, Memphis, Tenn. 38117 

Phone: 683-0355 

Harpist: Memphis Symphony Orchestra 

!nstructor: Memphis State Univ. Summer Music 

Camp 

MARYLEE DOZIER, B.M., M.A. 

4449 Fair Oaks Blvd., Sacramento, Calif. 95825 

Phone: 489-1612 

PROF. PETER E. EAGLE 

School of Music, Indiana University, Bloomington, 

Indiana 

Phones: (812) 337-9733 or 339-9440 

GRACE WEYMER FOLLET 

405 Camino San Clemente, San Clemente, Calif. 92672 

Phone: (714) 492-2047 

Former faculty member: College of Fine Arts, Syracuse 

University, and Roosevelt College, Chicago 

AMARET CLAIRE GOLDTHWAITE, 

B.F.A., M.T.N.A., O.M.T.A. 

2319 N. Barnes Ave., Oklahoma City, Okla. 73107 

Phone: J A 8-4328 

Letseizer Medal, S.A.I., Mu Kappa Lambda, Pres. 

Honor Roll 

Former Principal and Soloist O.C. Jr. Symphony and 

O.C.U. Orchestra 

Graduate Study: O.U., London's Royal Academy of 

Music. Founder Harp Dept. Inspiration Fine Arts 

Colony Assoc., Provost Goldthwaite Hall: Private and 

Ens. Lessons 

Lecture-Recital, TV & Radio, Composer-A.rrm1ger 

Newspaper Columnist ("The Sounding Boai-d") and 

music critic. 

BERNICE F. GRUBB 

School of Music, DePauw University 

Greencastle, Indiana 46135 

NANCY GUSTAVSON 

26010 Quail Lane, Los Altos, Calif. 

Phone: 948-5083 

Solo Harpist: Santa Clara Philharmonic 

Faculty: San Jose State College 

SPRING/1969

MARJORIE HARTZELL (Mrs. K. D.) 

9 Waverly Place, McKownville, N.Y. 12203 

Phone: 489-2071 (Albany) 

DOROTHY DREGALLA HENSCHEN, B.M. 

c/o Mount Union College 

Alliance, Ohio 44601 

JULIA LOUISE HERRMANN 

6734 Mimosa Lane, Dallas, Texas 75230 

Phone: EM 3-1186 

Principal Harpist: Dallas Symphony 

Instructor, Southern Methodist Univ., Dallas 

PATRICIA JOHN, B.A. 

30 East 37th St., Penthouse D, New York, N.Y. 10016 

Phone: 679-8073 

ELEANOR FELL KIRSCHKE, B.M. 

Box 1322, Roswell, New Mexico 88201 

Phone: ( 505) 622-8981 

CHARLES KLEINSTEUBER 

School of Music, North Texas State University 

Denton, Texas 76203 

TAKA KLING, M.M. (Artists Diploma) 

School of Music, Univ. of Louisville, Louisville, Ky. 

40205 

Phone: ( 502) 896-4486 

DOROTHY R. KNAUSS 

2953 Alton Ave., Allentown, Pa. 18103 

Phone: Allento,vn 797-4040 

Principal harpist Allentown Symphony 

Allentown Symphonic Concert Band, 

Municipal Opera Co. 

HARRIETTE LANNER, B.M. 

1464 Lynnwood Rd., Logan, Utah 84321 

Phone: 753-0013 

Private Instruction-Troubadour Harp 

MARION COBB LEE, B.M. 

21 Ashley Drive, Mobile, Ala. 36608 

Phone: 342-5205 

First Harpist: Mobile Sym. Faculty: Univ. So. Ala. 

JANET LEIGH-TAYLOR 

5356 La Mirada Avenue, Hollywood, Calif. 90029 

Phone: HOllywood 9-2315 

GLORIA H. McDANIEL, B.M. 

6362 Breamore Road 

Indianapolis, Ind. 46220 

SUSANN McDONALD 

1248 Grace Drive, Pasadena, Calif. 91105 

Univ. of S. Calif., Cal State Los Angeles, Univ. Arizona 

Master classes USC June 21-July 2, France July 21- 

Aug. 8 

VIRGINIA MORGAN 

113 Orchard Drive, Greenwich, Conn. 

Phone: TOwnsend 9-6730; M.E.N.C. 

MARIE MELLMAN NAUGLE 

330-16th Street, New Cumberland, Penn. 17070 

Phone: 234-9794 

LEONE PAULSON 

74 Ralston Avenue, South Orange, N.J. 

Phone: 762-9095 

AILEEN PETERS, B.l\'I., Ph.B., M.S., in Ed. 

426 Deming Place, West, Chicago, Ill. 60614 

Phone: LI 9-0091 

Div. Radio and Television (WBEZ) 

Chicago Board of Education 

BARBARA PNIEWSKA, M.M. 

140 West End Ave., New York, N.Y. 10023 

Faculty: University of Hartford 

Phone 362-9018 

MME. SOLANGE RENIE-SIGURET 

(Niece of Henriette Renie-continuing Renie school) 

39 rue Boissonade, Paris, France. Phone: 326-58-95 

DR. ROSYLN RENSCH 

Humanities Department, Indiana State University 

Terre Haute, Indiana 47809 

Author of reference book, THE HARP (Philosophical 

Library, 1950) 

BEATRICE SCHROEDER ROSE 

Dept. of Music, University of Houston, Houston, 

Texas 

Principal Harpist, Houston Symphony 

Phone: ( 713) 682-3023 

JOYCE ROSENFIELD, Harp Instructor 

University of Illinois 

Urbana, Illinois 61801 

GAIL RUPERT, B.M., M.M. 

201 Rugby Road, Syracuse, N.Y. 13203 

Phone: GR 9-5744 

First Harpist, Syracuse Sym., Faculty: Syracuse 

University and Onondaga Community College 1968 

KATHRYN ALLEN SAMUELSON, B.A. in Mu. 

92 East Girard Blvd., Buffalo, New York 14217 

Phone: 875-5583 

MARILYN SCHIEWE, B.M., M.M. 

5062 E. Roselawn Dr., B., Indianapolis, Ind. 46222 

Principal harpist: Indianapolis Symphony Orchestra 

PHYLLIS SCHLOMOVITZ 

Wisconsin College-Conservatory 

1584 No. P rospect Ave., Milwaukee, Wisconsin 53202 

LOUISE SEIDL, B.M., M.T.N.A. 

712 Military Ave., Council Bluffs, Iowa 51501 

Phone: 323-8166 

First Harpist (Soloist) Omaha Symphony 1941-1966 

Continental Duo, Omaha 

MARY SPALDING SEVITZKY, B.M., M.M. 

750 Paradiso Avenue, Coral Gables, Florida 33146 

MARJORIE ZAERR TAYLOE 

Musical Arts Academy 

4527 Kraft Ave., No. Hollywood, Calif. 91602 

Phone: 761-1137 

Harp-Singer. President: Minstrel Harpers Society 

Studied in Gt. Britain, 1960, 1966, 1968 

LUCIEN THOMSON 

105 West 11th St., New York, N.Y. 10011 

Phone:: ORegon 5-1278 

DR. ARISTID VON WURTZLER 

140 West End Ave., New York, N.Y. 10023 

Faculty: University of Hartford 

Phone: 362-9018 

JANE WEIDENSAUL, B.S. Juilliard 

1374 Academy Lane, Teaneck, N.J. 07666 

Phone: (201) TE 6-8909 

Faculty: Manhattan School of Music 

LINDA I. WELLBAUM, B.M., B.S. in Mus. Ed. 

College-Conservatory of Music, University of 

Cincinnati 

Cincinnati, Ohio 45221 

Phone: (513) 475-2340 or 721-6981 

CLEMENTINE WHITE, B.M., M.M., Ass't Prof. 

Music Dept., Univ. of Florida, Gainesville, Fla. 32601 

Phone: 372-7168 

Harp Faculty: Nat'l Music Camp, Interrlochen, Mich. 

GENEVIEVE DUFFY WINKENBACH, B.M. 

5 Blueberry Lane, Stony Brook, L.I., N.Y. 

Phone: 751-3111 

GERALDINE SHANKS WRIGHT, N.M.T.A. 

5008 E. Morris, Wichita, Kan. 67218 

Phone: MU 6-1770 

Principal Harpist: Wichita Sym.; Friends Univ. 

Orch.; Community Orchestra, Newton, Kansas 

Harp Soloist-Hillside Christian Church. 

Private Teaching. 

ELAINE Y ASNER, B.M. 

445 West 23rd St., New York, N.Y. 10011 

Phone: 691-8126 

44 


THE AMERICAN HARP JOURNAL 

The Official Publication of the American Harp Society, Inc. 

SUBSCRIPTION RATES: 

Non-members of the American Harp Society 

Two issues per year: $3.00 

Single copies: $2.00 

Foreign subscribers: add $.50 per copy for postage 

and handling 

(Members of the American Harp Society automatically 

receive a subscription to the Journal) 

Send all subscriptions to: 

Mrs. Suzanne Balderston 

American Harp Society, Inc. 



TEACHERS' DIRECTORY 

Three-line listing of Name, Address, Phone: $4.00, 

with no alterations, for two issues. 

Sample listing: 

Sally Lou Doe, B.M., M.M. 

2100 Market St., Middle City, New York 10023 

Ph. HO 3-2200 

Each additional line of 50 characters per line: $1.00 

per line, with no alterations, for two issues. 

Sample: 

Sally Lou Doe, B.M., M.M. 

2100 Market St., Middle City, New York 10023 

Ph. HO 3-2200 

First Harpist, Middle City Sym., N.Y. Concert Band, 

Center City, N.Y. Faculty: Middle City Univ. 1967. 

This sample of five lines would cost $6.00, with no 

alterations, for two issues. 

Send all Teachers' Directory material to: 

Mrs. Suzanne Balderston 

American Harp Society, Inc. 



ADVERTISING: 

Advertising rates are available on request from : 

Miss Nina Dunkel, Advertising Manager 


59 West 71 st Street 

New York, New York 10023 

ADVERTISING DEADLINE: 

September 15th for the Fall 1969 issue. 

All display advertising material and correspondance 

concerning it should be sent to: 

Miss Nina Dunkel, Advertising Manager 


59 West 71 st Street 

New York, New York 10023 

ARTICLES, PEOPLE AND PLACES, 

CHAPTER NEWS: 

Submit to: 

Mr. Samuel Milligan, Editor 


1700 Sunset Terrace 

Number Four 

Fort Worth, Texas 76102 

COPY DEADLINE: 

(for articles, People and Places, Cha!)ter News, etc.) 

September 15th for the Fall 1969 issue. 

FEES FOR ADVERTISING AND FOR TEACHERS' DIRECTORY LISTINGS ARE PAY 

ABLE IN ADVANCE. 

Make all checks payable to:

AHJ, Vol. 2 No. 1, Spring 1969

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