AHJ, Vol. 4 No. 3, Spring 1974

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The American Harp Journal 

Vol. 4, No. 3, Spring 1974 

Editor: GAIL BARBER 

Editorial Consultant: GRACE FOLLET 

Editorial Assistants: JILL JUSTICE, BETTY 

BOB SANDERS 

Editorial Board: MARJORIE CALL, CATHERINE 

GOTTHOFFER, GERTRUDE HUST ANA, 

KATHRYN JULYE, CHARLES KLEINSTEUBER, 

LUCY LEWIS, DOROTHY REMSEN AND ANN 

STOCKTON 

Advertising Manager: NINA DUNKEL 

AMERICAN HARP SOCIETY, INC. 

Marcel Grandjany, Chairman of the 

Founding Committee 

BOARD OF DIRECTORS 

Ann Mason Stockton, Chairman, Marion 

Bannerman, Gail Barber, Barbara Belew, 

Doris Calkins, Marjorie Call, Suzann 

Davids, Grace Follet, Marion Fouse, 

Catherine Gotthoffer, Gertrude Hustana, 

Kathryn Julye, Charles Kleinsteuber, 

Lucy Lewis, Sylvia Meyer, Frances Gilman 

Miller, Emily Oppenheimer, Lynne Palmer, 

Dorothy Remsen, Mary Brigid Roman, 

Lucien Thomson, Clara Walker. 

OFFICERS 

Catherine Gotthoffer, President; Charles 

Kleinsteuber, Vice-President; Lucy Lewis, 

Vice-President; Dorothy Remsen, Secretary; 

Gertrude Hustana, Treasurer. 

REGIONAL DIRECTORS 

Emily Oppenheimer, New England; Lucien 

Thomson. New York; Sylvia Meyer, Mid 

Atlantic; Barbara Belew, Southern; Mary 

Brigid Roman, Southeastern; Lucy Lewis, 

North Central; Suzann Davids, Midwestern; 

Gail Barber, Southwestern; Marion Fouse, 

Northwestern; Kathryn Julye, Western. 

PAST PRESIDENTS 

Lucile Lawrence, Lucien Thomson, Catherine 

Gotthoffer, Suzanne Balderston. 

CONTENTS 

2 General Information 

3 Salvatore Mario de Stefano--Lucile High Jennings 

6 Harp Literature in France in the 18th Century 

France Vernillat 

21 A Note from the Editor 

22 Special Memberships 

23 1975 Competition 

27 Do I Hear A Harp?-Lois Adele Craft 

29 The Eleventh National Conference 

35 New Recordings--Lucy Lewis 

36 Ruth Close Fellowship Awards 

37 New Music-Marion Bannerman 

39 Concert Calendar 

40 About the Cover 

41 People and Places 

48 The Glissando--Ruth Sinai 

49 Chapter Reports 

58 The Young Artists Fund 

58 Marcel Grandjany Fund 

58 Minutes 

58 Teachers' Directory 

The American Harp Journal is the official 

publication of The American Harp Society, 

Inc., 6331 Quebec Dr., Hollywood, CA 

90068, and is published twice yearly in the 

Spring and Fall. Copyright, 1974 by the 

American Harp Society, Inc. Entered as 

Third Class Material at the United States 

Post Office, Lubbock, Texas Permit Number 

343. Printed by the Texas Tech University 

Press. 

About the Cover: seep. 40

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2 

AMERICAN HARP JOURNAL

Salvatore Mario de Stefano 

by Lucile High Jennings 

Salvatore Mario de Stefano lives just around the 

corner from Carnegie Hall, in one of those impressive 

stone structures, ornately carved over two facades, 

which proclaim their unwavering individuality in the 

constantly-changing architectural maze of New York 

City. 

Maestro de Stefano greeted me cordially at the door 

of his apartment and invited me into a parlor-studio 

furnished with two harps, a grand piano, and the furnishings 

and pictures and other memorabilia that speak 

of a long and fascinating life in the concert world. 

Born on the island of Sardinia, at Cagliari, Salvatore 

Mario de Stefano was a harp pupil of Caramiello at the 

Royal Conservatorio in Naples. His teacher, who had 

been a colleague of Hasselmans in Paris, led a double 

career, as he was also Consul to the small monarchy of 

Montenegro, whose young princess had become Victor 

Emmanuel's wife and therefore Queen of Italy. The 

young de Stefano served his teacher as secretary in this 

diplomatic function, and thus participated in the glittering 

life of an international circle. While still a young 

man, he emigrated to the United States and began a 

career as soloist and orchestral harpist. 

He showed me a clipping from a 1921 issue of the 

New York Times, which featured a concert of 60 harps 

playing in Carnegie Hall, with Mario de Stefano and 

Carlos Salzedo as soloists. As he reminisced about the 

high points of his career, I heard of tours all over the 

U.S., several seasons of playing as soloist with the Boston 

Pops, many experiences with the Bolshoi Ballet, 

Sadlers Wells Ballet, and Leningrad Ballet-when he 

was famous for his cadenzas in "Nutcracker Suite," 

"Swan Lake," and "Sleeping Beauty," and for his orchestral 

sound in "Daphnis and Chloe"-to mention 

only a few. He is well-known to listeners to New York 

stations WOR and WQXR; at one point he played a regular 

weekly series of harp music on Sunday afternoons 

over a period of two years. "I played everythingclassical, 

romantic, modern-soup to nuts," he said 

SPRING/1974 

this included concertos or chamber works by Zabel, 

Tournier, Oberthur, Mozart, Ravel, and Debussy. 

His musical career has not been limited to playing 

the harp, but has also included conducting and composition. 

As a composer, de Stefano has added to the repertoire 

the delightful "Variations on a Theme of 

Corelli," which he played for me, to indicate tempi and 

styles for the different variations. It is now published 

by Lyra House, as is his transcription of a posthumous 

"Nocturne" of Chopin-a beautiful work with a singing 

melody. As he played that, I was much impressed 

with the singing legato line he achieved, and awed by 

his effortless one-hand trill. 

What method does he use? This is a question he 

would like to talk about. "Too many people are fanatics 

about 'method,' " he said. "There are many methods 

and all of them have good points. There are really three 

things to remember if you want to play the harp well: 

first, relaxation; second, sonority; and third, phrasing." 

He added that prehaps relaxation is the most important 

of all, since it affects the other two. 

Expressing himself on this subject, Mr. de Stefano 

mused about the origins of all contemporary harpists 

and harp methods. "Really, almost all of them go back 

to Hasselmans, if you trace their inheritance," he 

pointed out. "Hasselmans was the teacher of 

Salzedo, Ada Sassoli, Renie (who taught Grandjany), 

Tournier (who taught Zabaleta), and many others." 

Mr. de Stefano regrets very much the current contempt 

for Hasselmans' music, among harpists. He terms 

him the "poet of the harp" and advises harpists to play 

Hasselmans compositions in order to work on their tone 

and their phrasing. 

Asked about the happiest memories of his harp 

career, Mr. de Stefano named the three occasions when 

he was asked to play at the White House--once for 

Prec;ident Coolidge and twice for President Roosevelt. 

(Eleanor Roosevelt was entranced with a little "Music 

3

Box" piece which he played as an encore-he had written 

it at age eleven-and she wasn't satisfied until he 

had played it over for her three times.) He also spoke 

warmly about his 1968 stay in Xalapa, Mexico, when 

he played and taught harp for six weeks at the University 

of Xalapa and was feted and acclaimed by many 

dignitaries of that institution and of the Mexican state 

of Veracruz. 

Perhaps among his fondest memories are those of his 

many friends in the concert circles in which he has 

always moved, including Toscanini, Margot Fonteyn, 

and Enrico Caruso, among a host of others. Time did 

not permit me to hear all the stories he has to tell 

about these people, but he did reminisce about Caruso, 

and showed me a collection of caricatures drawn by the 

great tenor. "Oh, yes," said Mr. de Stefano, "Caruso 

drew caricatures of himself in all his roles-and of all 

his associates. In fact, in the last scene of Tosca, when 

Caruso was supposed to be writing a farewell note to 

Tosca while dying of a gunshot wound, he was usually 

drawing Toscanini who was conducting in the pit!" 

One of the caricatures I was shown had appeared in the 

New York Times; it was Caruso's impression of his 

friend de Stefano, whom he nicknamed "Toto." 

That sort of 'joie de vivre' could be called a mark of 

the spiritual kinship between de Stefano and his famous 

singing compatriot. In spite of a recent illness, Mr. de 

Stefano has a hearty chuckle and a delightful ability to 

laugh at himself. "I speak bad English, bad Spanish, bad 

French-even my Italian is bad!" he told me. Maybe 

that is so, but the message is certainly clear-I thought, 

as I left him at the front door and walked toward Columbus 

Circle. I would sum it up this way: harpists 

can reap tremendous enjoyment from their careers-as 

has Salvatore Mario de Stefano-and perhaps all the 

more so if they don't take themselves too seriously! 

About the Author: 

Native of Alabama; graduate of University of Alabama, 

having begun harp in Charlotte, N.C. with Muretta 

Meyer and continued in Alabama with Suzanne 

Johnstone; advanced harp study with Alice Chalifoux, 

Lily Laskine, Micheline Kahn-Damase, and Carlos 

Salzedo. Fulbright study in France for two years; formerly 

first harpist with EI Paso Symphony, National Symphony 

Orchestra of the Dominican Republic, Jacksonville 

Symphony; M.A. in French Literature from Ohio 

University, where currently teaching harp. Married 

to pianist Eugene Jennings; mother of three boys. Currently 

at work on a videotape and associated reference 

materials for composers, entitled "WRITING FOR 

THE MODERN HARP." 

The Juilliard School 

Peter Mennin, President 

Instruction In Harp: MARCEL GRANDJANY 

□ 

Bachelor of Music 

□ 

Professional Study Plan 

□ 

Master of Music, Doctor of Musical Arts 

□ 

Scholarships Available 

□ 

Diploma, Postgraduate Diploma 

□ 

Pre-College Division 

Jane Weidensaul, Instructor 

LINCOLN CENTER 

NEW YORK, N.Y. 10023 

(212) 799-5000 

4 


CARTOONIST CARUSO 

PRESENTS HIS IDEA 

OF "HARP CARUSO" 

Caricature by Enrico Caruso of Salvatore de Stefano 

that appeared in the New Yark Times. The Italian 

reads: "A Salvatore de Stefano L'artista col P grande." 

The translation is: "To Salvatore de Stefano the great 

artist, with a capital P." (Change the "t" to "p" and you 

have great arpista or great harpist.) Maestro de Stefano 

is shown leading his perfectly tame harp along on a 

single string. 

Salvatore Mario de Stefano 


5

HARP LITERATURE IN FRANCE IN 

THE 18TH CENTURY 

by France Verni/lat 

from "Recherches sur la Musique francaise classique," IX, 1969 

Translated from the French by Harold Bryson 

Reprinted by special permission from the author, 

France Vernillat, and from Editions A. & J. 

Picard, 82, Rue Bonaparte, Paris, France. 

At the end of the 17th century (about 1697) a Bavarian 

maker of stringed instruments, Hochbriicker, contrived a 

mechanism which, with the help of pedals, allowed the 

harp to effect certain modulations of pitch. This first harp, 

provided with five pedals, was later improved by its inventor, 

who, in 1 720, offered a harp with seven pedals. 

This invention gradually regained for the instrument the 

favor of musicians. 

However, it was in France, in the extraordinary climate 

of the "Century of Light," that the literature of the harp 

found its full flowering. Testifying to this is an abundant 

literature composed and published in France for the 

most part before the Revolution had dispersed the harp 

tradition which had originated under the protection of 

Versailles. 

The invention of Hochbriicker became known in 

France rather late: it was only in 1749 that George 

Adam Goeppfert introduced it, first in a concert at the 

home of Le Riche de la Poupliniere, and again on the 

25th of May in the same year at the Concert Spirituel. 

[Le Riche de la Poupliniere (1693-1762) was a celebrated 

patron of learning and the arts who included 

Rameau, Stamitz and Gossec in his patronage-Ed.] 

Unfortunately we do not know what Goeppfert played 

on these occasions. Le Mercure indicates that "Monsieur 

Goepffem (sic), a German, played the harp and was enthusiastically 

applauded." Mme. de Genlis, a habitual 

guest at the soirees of La Poupliniere and one of the pupils 

of Goeppfert, was no more explicit. However, thanks 

to her, we know that at this time the literature of the harp 

was almost non-existent: "As there was nothing printed 

for the harp except some trifles by Giaffre," 1 she wrote 

in the preface of her Method de harpe "I began to play 

some harpsichord pieces, and soon the more difficult 

pieces of Mondonville, of Rameau and then of Scarlatti, 

Alberti, Handel, etc." 

One can imagine that the leading harpists imitated 

Mme. de Genlis, but that many amateurs simply were 

content to accompany romantic songs. 

The majority of the adapters of the 18th century realized 

that, whether on the harp or the harpsichord, it was logical 

to observe the technique suitable to the performing instrument. 

But for a long time writing for the harp was not 

6 

differentiated from writing for the harpsichord, just as, 

in the 19th century, the same error was committed in confusing 

the harp with the piano. In our day numerous harpists 

borrow from the piano repertoire to impose on their 

listeners various "transcriptions," more or less effective, 

in order to remedy the limitations of harp repertoire. 

However, notating music for the harp is different from 

notating keyboard music. Without wishing to analyze 

composing for the modern harp with all the enharmonic 

combinations which keep it from being "a poor piano," 

one can readily see that the keyboard instruments, which 

are played with spreading hands, and the harp, where the 

position of the hands is parallel, necessarily call for different 

notations. 

Some harpists very soon understood this difference and 

little by little developed a technique which saw its full 

flowering in the middle of the 19th century with Elias 

Parish-Alvers. 

Among 18th century composers who knew how to differentiate 

the harp from the clavichord first place must 

go to Jean Baur in spite of the rather late publication date 

of his sonatas linking the harp and the clavichord (1773). 

An analysis of the two parts of his work shows how a musician 

who knew perfectly both instruments was able to 

treat the harp and the clavichord according to the technique 

suitable to each. 

Since embellishments are difficult to perform on the 

harp, the part written about this instrument is almost totally 

devoid of them: a few grace notes, some rare turns. 

It is in the harpsichord part that ornamentation is found. 

On the other hand, we see in the harp part numerous arpeggios 

(sometimes for 3 octaves), some broken octaves, 

and, most important, that flexible and parallel line of the 

hands which is appropriate to the instrument. 

Jean Baur was born at Bouzonville, in the diocese of 

Metz, about 1 719. He came to Paris about 1745 but 

seems to have made use of the harp rather tardily since 

his first compositions for the instrument date from 1769. 

In that year he published a quartet for harp, flute, violin 

and bass, which unfortunately has not been found. In 

1773 he published 12 sonatas, 6 with accompagnement 

chantant of the harpsichord and 6 with violin. These sonatas 

are dedicated respectively (in groups of 4) to the 

Princesse de Lamballe, to the Duchesse de Chartres and 

to the Duchesse de Bourbon. 

For an excerpt from the Sonata No. IV in B-flat major 

dedicated to the Duchess of Chartres see examples 1 a, 1 b, 

le. 


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Example la. 

Sonata No. IV in B-flat major by Jean Baur; dedicated to the Duchess of Chartres. 


7

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Example I b--Sonata No. IV cont'd 

8 


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Example le-Sonata No. IV cont'd 

SPRING/197 4 9

The first harp literature of which we are aware was 

published in 1762. It consists of 6 sonatas for harp with a 

"Game," (sic) (viola dagamba?) and Some Pieces Fingered 

for Beginners, by Monsieur Hochbriicker, Attached to 

the Music of Monsieur le Prince Louis de Rohan, Op. 1. 

These sonatas are of course dedicated to the patron of the 

harpist, Cardinal Louis de Rohan-Guemenee, Archbishop 

of Strasbourg, who was to be so unluckily involved in the 

affair of "The Queen's Necklace." Christian Hochbrilker 

seems to have been a nephew of the inventor of the 

pedals. Actually, in the preface to a volume of melodies 

dedicated to the Princesse de Poix (1769), he himself 

enlightens us in his biography: "Having often heard, in 

Paris, someone flatter himself as being the inventor of the 

harp with pedals, I believe it to be my duty here, to humble 

his pride a little, to state that having been unknown 

before 1697, the harp was invented at this time by my 

father. My brother was the first who had the honor of 

playing in Vienna on a harp with pedals before the Emperor 

Charles VI in 1728." 

In 1760 the musical coterie of the Cardinal de Rohan 

left Strasbourg for Paris: we have the proof of this in the 

programs of the Concert Spirituel published by le Mercure, 

in which several of the Cardinal's musicians made 

their debuts. Hochbri.icker was quickly recognized as the 

best harpist of Europe, as Le Mercure of May 26, 1765 

testifies: "Monsieur Hochbri.icker played some duos for 

harp and violin with Monsieur Capron. Monsieur Hochbri.icker 

admirably sustained his previous reputation as 

the first talent of Europe on this instrument: the most 

beautiful sounds, the touch, the greatest skill, and at the 

same time the most mellow tone." 

Here again we do not know precisely what those duos 

were. Perhaps some fragments from the Op. VI of Hochbri.icker: 

6 Sonatasfor Harp with Accompaniment of Violin 

ad lib. dedicated to Mme. de Boufflers, which are not 

without interest; but the most important work of Hochbri.icker 

with reference to harp technique certainly is the 

first in chronological order of this composer's publications: 

6 Sonatas for Harp Op. 1 dedicated to the 

Cardinal de Rohan (1762). 

In these sonatas (as in all the works of Hochbri.icker) 

one finds the same concern for increasing the sonority 

of an instrument which at this period was rather intimate: 

with short arpeggios of an octave or a I 0th, sustained by 

ample basses or chords. Sometimes, the I 0th is in the bass 

itself. This interval, especially sonorous, is easy for the 

harp as the reach is not as great as on the piano (see 

examples 2a and 2b). 

Hochbri.icker was the first to write idiomatically for the 

harp. He avoided repeated notes, difficult to execute and 

always disappointing in result because of the buzzing produced 

by the too quick return of the finger upon a 

string still vibrating. 

When he uses the Alberti bass, it is always in a slow 

movement so that the vibration of the string has time to 

subside before the replacing of the finger. 

For the same reasons, embellishments are found mostly 

in not-too-fast movements, and we observe again in the 

works of Hochbri.icker the parallel writing for the hands. 

10 

From this time on, the writing for the harp advanced 

more rapidly than the mechanical improvement of the 

instrument. 

A systematizing of harp technic became necessary. As 

early as 1763 a brilliant virtuoso, Phillipe-Jacques 

Meyer, produced the first method, entitled: Essay on the 

True Manner of Playing the Harp, with Rules for Tuning 

It, Op. 1, Paris. This work had many editions, and 

in 1774 it appeared with a new title: New Method of 

Learning to Play the Harp, and the Procedure for Tuning 

it, by Phillipe-Jacques Meyer, Master of Harp, 

Re-issued by M. Bouin, Op. IX ( 1774 ). 

This work contains the first historical essay on the 

instrument, and gives us some very precise instructions. 

It tells us, for example, that the harp may be tuned 

either in E flat, or in B flat: This latter key is the most 

convenient, Meyer writes, for producing all the 

others. However, sometimes E flat is desirable for certain 

pieces of music whose key is E flat or C with the 

minor third, and in these cases, less awkward to 

perform. 

In the first edition Meyer indicates that the harp is 

generally furnished with 32 strings, the C's are colored 

red, and the F's are blue. 

In the edition reappearing after an interval of ten 

years, he tells us that the harp "Apedale" (sic) has 34 

strings. In this new edition Meyer also suggests a way of 

tuning harps without pedals, obtaining alterations of 

pitch by turning with the hand a hook mounted on the 

neck. This proves that-even in 1774-- this archaic 

instrument [ without pedals] still had its lovers. 

Meyer published a set of excellent exercises and a 

way of fingering embellishments which were very useful 

in most cases. In the last edition the table of ornaments 

is more concise than in the first. Meyer seems to 

like the grace note and the mordent and assures us that 

"one can do without the trill, which flourishes on all 

other instruments except the harp." It is not for us to 

say that he is wrong! ... 

Philippe-Jacques Meyer was born in Strasbourg in 

1737. Destined for the church, he first entered upon 

theological studies but, discovering by chance an old 

harp in an attic, he taught himself to play; then, deciding 

to devote himself exclusively to music, he took 

some lessons from Christian Hochbriicker (probably at 

Strasbourg, since Hochbrucker lived there until 1760); 

subsequently, Phillippe-Jacques Meyer rejoined his 

teacher in Paris and made his debut September 8, 1761 

at the Concert Spirituel, where he was to be one of the 

most frequent soloists until 1765. From then on he 

seems to have been occupied with teaching and composition. 

He left Paris for London in 1780, established himself 

permanently there in 1784, and died in 1819. 

Meyer's compositions reflected a pleasant and unpretentious 

style, but they contributed nothing to the 

technique of the harp at a time when new and original 

technical ideas abounded. 

The harp had quickly acquired a favored place 

in musical life; also, from this period the literature be- 


Example 2a-Sonata No. VI (G major) by Christian Hochbriiker; dedicated to the 

Cardinal de Rohan. Fragment from the 1st movement. 

SPRING/1973 

11

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. 

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_-_- ~ - __ ..:::;::=:r _ 

Example 2b--Sonata No. VI cont'd 

12 AMERICAN HARP JOURNAL

came more and more abundant. The decline in musical 

taste, however, was considerable since composers (and 

often the best ones) followed the current fashionwhich, 

alas, lasted a long time--of arranging the 

melodies and overtures of operas and operas-comiques 

for their instrument: Mme. de Genlis, with her innate 

bad taste, was proud to play the overtures of the two 

"Iphigenie". [lphigenie en Aulide, 1774, Iphigenie en 

Tauride, 1778. Ed.] 

Many ariettas, too numerous to list, appeared with 

harp accompaniment. Beginning in 1778, the Journal 

de la harpe and in 1784 the Feuilles de Terpsichore 

served as a recurrent source of musical ideas for amateurs 

of all sorts. Along with these purely worldly successes 

however, music lost none of its privileges. Beginning 

in 1760 (Hochbriicker) performances multiplied 

at the Concert Spirituel, and the big religious concerts 

always included one, or even two, harpists. 

Thus it was that the 13 year old Mlle. Schenker was 

in 1776 first harpist in the palace of the Prince de Conti, 

and at the same time also a brilliant soloist much appreciated 

at the Concert Spirituel. Schenker pere, after 

having been in the service of La Poupliniere, also served 

chez Conti where he held the posts both of harpist and 

horn player. 

The lutenist of this prince, Joseph Kohaut, seems also 

to have played the harp. Although we lack proof, his 

compositions let us suppose that he played it. He published, 

in I 7 6 7, 8 trios for harp ( clavichord or lute), 

violin and bass, dedicated to the Prince de Conti, which 

reveal in their composer a very keen understanding of 

harp writing. In the musette which constitutes the second 

movement of Trio No. 3 he even seems to anticipate 

harp writing of a century later. 

The Trio No. 3 is written for the lute in E major, but 

the author suggests that the harp should play it in E flat 

major (this because of the tuning of the harp; also, the 

flat keys are always preferable on this instrument). This 

fragment of the musette, which constitutes the second 

movement of the sonata, is in E flat minor (example 3). 

Joseph Kohaut, born in Bohemia in 1736, died in 

Paris in 1793. He belonged to a family of lutenists. His 

father was the teacher of Baron and his brother Karl; 

the latter was a secretary of the Empress Marie- Therese, 

and a stunning virtuoso and brilliant composer. 

Joseph Kohaut composed symphonies which were 

played at the Concert des Amateurs, and several operas-comiques 

performed successfully at the Theatre 

des Italiens. 

Several years passed, during which-with the exception 

of the works of Baur already mentioned-the 

literature of the harp seemed to mark time. 

Notices in various publications speak of numerous 

sonatas with accompaniment of violin, a vogue which 

lasted a long time and which revealed a lack of imagination 

in the composers. 

This is why, in 1778, the Concerto for flute and harp 

of W. A. Mozart burst on the quiet scene of complacent 

sonata-writers and proved to the French that the harp 

could hold its place with the large orchestra of the 18th 

century. 

It is a fact that Handel had composed, as early as 

1736, the Concerto in B flat played by the harpist 

Powell during the entr'acte of Alexander's Feast. But 

this concerto, which had only an accompaniment of 

strings and two recorders doubling the violins, seems 

not to have been known in Paris in the 18th century and 

it was only in 1791 that Mlle. Duverger (Mme. Clery) 

unveiled to the Parisian public the concertos of Johann 

Christian Bach published in London in 1763, performing 

them at the Concert Spirituel. The accompaniment 

of these concertos was reduced to strings. 

In the Mozart concerto the association of a harp with 

a flute solo, a quartet, two oboes and two horns was a 

novelty. However, the harp part in this concerto brought 

nothing to the writing for the instrument, and even the 

rondo seemed rather to have been treated in harpsichord 

style by the composer; the musical phrase is short and 

turns upon itself in a rapid movement which is contrary 

to the harp aesthetic. An Alberti bass, almost continuous, 

does not help matters (example 4). 

The novelty is in the choice of instruments surrounding 

the harp. Musicians found with delight that the sonority 

of the horn blended wonderfully well with that 

of the harp. A phrase from the Rondo is the best example. 

It must have impressed the listeners, for up to 

the middle of the 19th century the harp and one or two 

horns, often without valid reason, were combined (example 

5). 

Example 3-Fragment from 

Musette from Trio No. 3 by Joseph 

Kohaut 

SPRING/1974 13

Example 4-Fragment from Rondo 

from Concerto for flute and harp by 

W. A. Mozart 

Example 5-Fragment from Rondo 

from Concerto by W. A. Mozart 

11 ,, 

I I I 

C:or- 

~~ 

• • • 

• r-rr 

__ I\ 

I 

F. ,~ - 

\ -

However, if at Paris the Concerto in C of Mozart was 

the first example of a work for harp and orchestra, it 

was not the same in Vienna, where the man who remains 

the greatest harpist of the 18th century, Jean-Baptiste 

Krumpholtz was then living. 

In 1773 he was the harpist of Prince Esterhazy under 

the direction of Haydn and at the time when Mozart 

left the Prince-Archbishop of Salzburg for the trip 

which was to take him to Paris, Krumpholtz had already 

composed (and played) four concertos which unfortunately 

have never been found. 

The first of these concertos had been composed at 

Prague before 1773 (Wagenseil made the orchestration), 

the three others at Vienna between 1773 and 1777, 

under the direction of Joseph Haydn. Undoubtedly 

Mozart heard the concertos of J. B. Krumpholtz and 

profited thereby. 

At Christmas 1778, having left Vienna for Paris, 

Jean-Baptiste Krumpholtz made his debut at the Concert 

Spirituel, playing his own 5th concerto for harp 

(op. VII) with accompaniment of two violins, viola and 

bass, two oboes, two horns, one flute and one bassoon 

ad lib. which is the perfect model of a work written for 

the harp by a musician of talent. 

This 5th concerto, in B flat, has three movements: 

I. allegro-moderato, very brilliant: frequently the harp 

plucks an octave in arpeggiated eighth-note triplets in 

the left hand which continue in a scale, shooting three 

octaves high and falling back upon itself. The second 

movement consists of variations on the celebrated romance 

of Monsigny: 0 ma tendre musette, "bravura" 

variations as they were later called. It is the diversion of 

a virtuoso, demonstrating what the harp is capable of 

achieving when the player has an irreproachable technique. 

By contrast, the rondo seems trivial, and relies 

too often on the Alberti bass. The conductor of this 5th 

concerto was Henri-Joseph Riegel. 

The works of Krumpholtz are difficult to classify. A 

catalogue by opus number is printed on the back cover 

of Opus XII (4 sonatas for harp with accompaniment 

of violin and violincello), but it does not seem that the 

author observed a careful chronology in numbering his 

compositions. 

What seems more important in the work of Krumpholtz 

is to note the rapid evolution of the technique of 

the harp. In Op. VIII: 6 Sonatas for Harp, the First Five 

with Accompaniment of Violin and Flute, Dedicated 

to Mme. la Princesse de Lamballe, a work which logically 

must have been composed immediately after the 

5th concerto, certain sonatas, whose numbering changes 

with the editions, are written without refinement: one 

might say bad harpsichord! By contrast others show a 

different workmanship and notably, in the Adagio of 

Sonata No. 4 there are harmonics (even in thirds) in the 

left hand. 

The work which best sums up the discoveries of 

Krumpholtz in matters of technique is certainly the 

volume: 12 Preludes and Little Melodies, Dedicated 

to Mlle. de Guines, and published under the opus number 

II, although these preludes could not have been 


composed until after the arrival of Krumpholtz in Paris, 

that is, after 1777. 

The title page tells us: "One learns in these preludes 

to make use of the pedals for varied and graceful modulations." 

Actually, Krumpholtz, who regretted all his 

life the necessity of playing on an imperfect instrument, 

had the inspiration of genius to make use of enharmonic 

substitutes, augmenting considerably in this way the 

possibilities of modulation. Without going into technical 

details which have no place here, let us remember that 

the harp, (whether in double or single action) is an 

instrument of fixed pitch, and that the use of enharmonics, 

if it is advantageous to harpists faced with rapid 

modulations, is still more so to composers, who sometimes 

misuse this sound-color which only the harp can 

produce. 

Here is a curious passage from Prelude No. 1 O by 

J. B. Krumpholtz emplying the homophones d sharp 

and e flat (example 6): 

It is regrettable that the Preludes of J.B. Krumpholtz 

are not in the program of Conservatory studies; young 

students would acquire from them a security in the use 

of pedals which would not be without value, as is proved 

in another fragment from the same Prelude No. 10 

(see example 7, p. 16). 

The life of Jean-Baptiste Krumpholtz was a veritable 

romance. Jean-Marie Plane, his disciple, has collected 

under the title Principles of the Harp information about 

his teacher as well as a biography recounted by Krumpholtz 

in the course of conversations between master 

and pupil. 

Born at Zlowitz, near Prague, in 1745, Krumpholtz 

learned to play the harp when quite young from a 

teacher who (he says) "needed to learn that which he 

taught." 

His father, having enlisted as an oboe player in a 

French regiment, took his family with him, and taught 

his young offspring to blow into an oboe and scrape 

at a violin and a viola. 

But chance put young Krumpholtz in the company 

of Hochbriicker, who had just arrived in Paris and who 

gave him some lessons. Very few, for Papa Krumpholtz' 

regiment was sent to Lille: Young Jean-Baptiste 

followed and increased his musical knowledge by studying 

the horn. In France the Krumpholtz family did not 

find either glory or fortune. At the end of ten years our 

Jean-Baptiste returned to Prague with his parents, to 

go into business. "There was 1, a shop assistant!" relates 

Krumpholtz. Not for long. One evening, when 

walking through the streets, he heard the sound of a 

harp: and this awakened memories ... He arranged 

for a harp with pedals to be sent from Paris and set to 

work furiously with such successful results that in 1773, 

15

Example 7-Prelude No. 10 by J.B. Krumpholtz; dedicated to Mlle. de Guines. 

16 


after an audition in Vienna, Haydn proposed that he 

become harpist in the chapel of Prince Esterhazy. 

Returning to Paris in 1777, Krumpholtz soon became 

the teacher of people in polite society and (as we have 

seen) made his debut at the Concert Spirituel on Christmas 

Day 1778. 

Krumpholtz married the sister of a lute maker of 

Metz, Marguerite Gilbert, who soon left him a widower 

with two children. Bad luck would have it that he should 

be attracted to one of his pupils, twenty years his junior, 

the pretty Anne Steckler, daughter of another lute 

maker of Metz, Christian Steckler. The new Mme. 

Krumpholtz, who had, in addition to her beauty, a remarkable 

talent for the harp, was the darling of the 

musical world for a dozen years ... So much so that in 

1 790 she ran away to London with a mysterious seducer, 

who, if one is to believe George Cucuel, could well 

have been the son of Fran9ois-J oseph Gossec. 

Poor Krumpholtz, devoured by jealousy, could not 

endure the flight of his wife, and threw himself into the 

Seine near the Pont-Neuf, February 5th, 1790. 

To the numerous acknowledgments that harpists owe 

to Jean-Baptiste Krumpholtz, let us add that it was he 

who had the idea of asking Sebastion Erard to interest 

himself in the mechanism of the harp. We know what 

came of that: Erard transformed the then imperfect 

structure of the instrument, and invented the double 

action which is still in use today, and which makes possible 

twenty-seven complete diatonic scales, whereas 

the old system had only thirteen. 

The new harp came out of Erard's workshop in 1811: 

Krumpholtz was not there to profit by an invention of 

which he had been the inspiration. 

From this high point we must descend to speak of 

Jean-Baptiste Cardon. It would be regrettable however 

to forget him. Son of a violinist in the royal chapel of 

Versailles, he was born at Rethel in 1760, and was, after 

I 780, teacher of harp to the Countesse d' Artois. The 

Revolution forced him (and many other musicians) 

to flee from France, but at a time when most harpists 

turned to England, Cardon chose Russia, where we 

find him after I 790, concert master at the court of 

Catherine II. 

He was a member of a small instrumental group consisting 

of clarinetist Joseph Beer, violinist Ferdinand 

Dietz, violincellist Alessandro Delfino, and pianist 

Ernest Vandjoura. This ensemble performed regularly 

in the apartments of the Empress. 

Although on the demand of Catherine he had signed 

a manifesto condemning the French Revolution, Cardon's 

contract was not renewed in I 793. Several years 

later he returned to France where he remained until 

1802. For reasons unknown he departed again for 

Russia, where he died in I 803. 

Jean-Baptiste Cardon has often been confused with 

one of his three brothers: Louis-Stanislas, a talented 

violinist. A modern edition of a sonata by Cardon maintains 

this error, disseminated by Fetis. Published after 

I 780, the work of J. B. Cardon (with some rare exceptions) 

consists of sonatas for harp and violin. These so- 


natas contribute nothing new to the technique of the 

harp, but they are the product of a virtuoso who knew 

his instrument very thoroughly. The most interesting 

collections of sonatas are unquestionably the following: 

I) 4 Sonatas for Harp with Accompaniment of 

Violin (Op. VII), Dedicated to Her Majesty 

Queen Marie-Antoinette. 

2) 3 Sonatas for Harp with Accompaniment of 

Violin (Op. IX), Dedicated to Her Majesty the 

Empress of all the Russias. 

3) 3 Sonatas for Harp with Accompaniment of 

Violin (Op. XI), Dedicated to Her Serene Highness 

Mme. The Grand Duchess Helene Pawlowna. 

In I 784, Jean-Baptiste Cardon published an Art of 

Playing the Harp, Demonstrated by His Principles, 

which all his biographers have confused with a 

"method", and which is, in reality, a set of excellent 

exercises. 

A harpist-composer who has also left some works 

which are very interesting from both a musical and a 

technical point of view was Francesco Petrini. 

In spite of his Italian name, Petrini was of German 

origin. Born in Berlin in I 744, he belonged to a dynasty 

of harpists: his father was harpist in the chapel of Frederick 

the Great, his sister Therese (born in Berlin in 

I 736) was, in I 754, harpist of the Margrave Charles in 

Berlin; his brother Henri was also a harpist who lived 

in Par'is in the shadow of Francesco. 

At the beginning of his career, in I 765, he had been 

attached to the chapel of the Duke of Mecklenbourg 

Schwerin. In 1769 Petrini arrived in France, and as was 

customary made his debut at the Concert Spirituel in 

1770. 

The first compositions of Petrini are in no way remarkable. 

The first sonatas, published in I 769, 6 Sonatas 

for the Harp with Violin ad lib., Dedicated to His 

Serene Highness Monsignor le Prince Louis de Rohan, 

Op. I, are awkwardly scored. 

The Six Divertimentifor Harp Solo, Accompanied by 

Flute and Bass (Op. IV) published in I 772, and the 

Duo for 2 Harps, Dedicated to Mlle. de Guines (Op. 

VII-1773) are better, but make no contribution to technical 

advancement. One must wait for 1786 and the 

First Concerto for Harp with Accompaniment of 2 

Violins, Viola, Bass, 2 Oboes, 2 Horns (Op. XXV) to 

have from Petrini a work which can rival the compositions 

of Krumpholtz and Hochbriicker. This concerto 

was performed Sept. I, 1786 at the Concert Spirituel by 

Mlle. Descarsins. But it is above all the 4th Concerto 

in B Flat Major, Op. XXIX which merits our sustained 

interest. It appears that after long hesitation Petrini 

set himself to write a work genuinely conceived for the 

harp, and in this he succeeded fully. 

This concerto consists of two movements. The first, 

allegro moderato, contains great arpeggios of four 

octaves, in triplet eighth-notes which produce an extraordinary 

effect on the harp, and light glissandi of an 

octave, an effect which was then a novelty. But above 

all, this movement contains a rather long cadenza 

written by Petrini which reveals the harp as the roman- 

17

tic instrument conceived by Parish-Alvars (see examples 

8a and 8b). 

The Rondo, whose theme is charming, has three 

cadenzas, each preceding a repetition of the melody. 

From this point the compositions of Petrini gave the 

harp a fresh impetus. These works, published for the 

most part during the Revolution and in the beginning of 

the 19th Century, somewhat exceed the limits of this 

article. However, two works must be cited as particularly 

interesting: the Third Duo for Two Harps ( or Harp 

and Violin) with Accompaniment of Violin and Bass 

ad lib., dedicated to the Citizen Archinard, Op. XXXI 

and the 4 Symphonies for Harp (Op. XXXVI) with 

Accompaniment of I Flute, 2 Violins, 2 Horns and 1 

Bass. 

But-let us turn back. There is perhaps an explanation 

for these contrasting aspects of the same composer. 

The mediocre Petrini of the first years was above all a 

courtier eager to gain a reputation. As a protege of 

Mme. de Genlis, it seems that his compositions at this 

period had the single aim of pleasing a public of amateurs. 

His early efforts were dedicated to melodies with 

variations and ariettas with harp accompaniment. We 

find later in Petrini this same opportunism which led 

him to write at the end of the Revolution some variations 

on "The Awakening of the People" by Gaveaux, 

which, after Thermidor, saluted the end of the terror. 

[Pierre Gaveaux (1761-1825): Tenor and Composer of 

thirty-three operas. Thermidor: Eleventh month of the 

calendar of the first French Republic, July 19-August 

17-Ed.] Under the Empire he published a "Battle of 

Wagram" for harp, which is rather astonishing; and 

under the Restoration some variations on Long live 

Henri IV!" Petrini died in 1819; if he had not, political 

events in France doubtless would have inspired other 

pages, all equally curious. 

Mme. de Genlis had invented a technique which had 

no success: she sanctioned the use of the little finger. 

This position forced the harpist to invert the hand completely, 

and deprived him of adequate strength to pluck 

the strings. In the book of sonatas (Op. IV) dedicated 

to the Countess of Genlis, and also in Op. X, Three 

Airs and Variations and 2 Sonatas Dedicated to Her 

Serene Highness Mademoiselle [The title "Mademoiselle" 

designated the eldest sister of the king of France 

-Ed.] of which the first "air varie" is by Mme. la 

Marquise de Sillery, (Mme. de Genlis), Petrini uses the 

little finger, and boasts in the dedicatory letter: "I have 

composed music suitable to the new method which 

Mme. la Marquise de Sillery uses with so much success 

in playing the harp, and which she has taught to your 

Serene Highness." 

At the same time it must be observed that the compositions 

of Petrini destined for his own personal use 

avoid using the five fingers ... 

It is practically impossible to compile a catalogue of 

works for harp in an era when music publication was 

abundant. In 1784 Roze de Chantoiseau in the Register 

of Famous Musicians lists 5 8 professors of harp in Paris 

alone, almost all of whom had, at least at one time, the 

18 

desire to see engraved in this list the result of their 

inspiration. 

Amid this multitude of minor works there are some 

which are musically agreeable, but which do not advance 

the technique of the instrument. The following 

may be mentioned: 

Antoine de Mignaux, who in 1774 published Sonatas 

en trio pour harpe, violin, and clavichord, which he 

changed into quartets the following year by adding a 

viola part, but which has been lost. These sonatas are 

dedicated to the Dauphine Marie-Antoinette and to 

Mme. Elisabeth. Technically easy, they were no doubt 

played by their illustrious patronesses. Johann Schobert 

wrote 2 sonatas for harp with accompaniment of violin. 

All that can be said of these works is that their composer 

seems to have been more inspired in his works for 

harpsichord. 

Philippe-Joseph Hinner, a pupil of Petrini, born at 

Wetzlar in 1754, made his debut at the Concert Spirituel 

with the flutist Sallentin. Teacher of Marie-Antoinette, 

he dedicated to the Queen in 1775 some sonatas whose 

charming titles transport the listener to the shades of the 

Trianon merely by reading them; they are: Haughtiness, 

The River, The Chatterer, Sophie, The Village Woman 

... 

Antoine-Jean Gros, musician for Frederic II, established 

as professor of harp in Paris in 1 780, published 

4 Sonatas en trio for Harp, Violin and Violoncello. He 

is a little known composer, whose elegance and style deserve 

a better fate. 

In 1784, Francois-Joseph Ferdinand Herold (father 

of the composer of The Priests' Meadow), although he 

was not a harpist, published 4 Sonatas en trio for Harp, 

Violin and Violoncello which are extremely interesting. 

Mlle. Duverger (wife of J.-B. Anet, called Clery, 

valet de chambre of Louis XVI) harpist to the Queen, 

was reckoned among the best soloists in Paris, and in 

1791 the Register of the Famous alloted to her several 

flattering lines: "She played at the Concert Spirituel 

several sonatas and a concerto by M. Bach with a taste, 

an ease and a precision which won for her the most 

enthusiastic applause." 

Mme. Clery left a volume of sonatas dedicated to the 

queen, more remarkable for their feeling than for their 

inspiration. 

Patouart fils, a celebrated guitarist, composed a Sonata 

for Harp Solo ( in B Flat), well written, consisting 

of an allegro and a minuet with its double. 

Finally, an amateur, Louis-Charles Rague, left 3 Sonatas 

for Harp and Clavichord which, if they add nothing 

to technique, have some charming pages. Rague 

published also an Art de preluder sur la harpe, which is 

not without interest. 

One harpist-composer carried into the 19th Century 

the technique and the music of the harp from the preceding 

century: Francois-Joseph Nadermann. He was 

the son of a harp maker for Marie-Antoinette, which 

explains why numerous programs and announcements 

put Nadermann in the 18th Century, whereas his activities 

extended from 1815 to 1835. 



Example Sa-Cadenza, 

Petrini 

Francesco 

19 

~-==J}\1u-w~~~h -=r r: ~ 

~cl Ltl>lt"m 

·--------- ~ 

.. 

. 

- - 

4th Concerto in B-flat Major, Op. XXIX by

Example 8b---Cadenza, Petrini cont'd 

20 


But the music of N adermann is a bit like a faded 

flower, pressed between the pages of a book. Without 

question it is charming, and we still hear it with pleasure; 

but at the period when it was composed, the harp 

with the double action developed by Sebastien Erard 

had become the modern instrument which we know 

today. All Europe had adopted it, except the "official" 

instruction in France: Nadermann, maker of harps with 

the single action was the professor at the Conservatory! 

So it was necessary then to adapt to the harp a technique 

in keeping with the new possibilities of the instrument: 

Dizi, Bochsa and Parish-Alvars devoted themselves 

to this, but that is another story. 

''HARP 

REVELATIONS'' 

by 

LEO ARNAUD, Mus. D. 

A unique comprehensive book for 

A Note From 

The Editor 

I should like to invite our readers to submit articles 

for possible publication in The American Harp Journal. 

The type of material needed is: biographical, historical, 

educational and technical. Interesting pictures (black 

and white only), cartoons and material that might be 

used for a cover are all welcome. If the material has 

been published before, be sure to include the name and 

address of the publisher so we can obtain permission to 

reprint. If you wish to have your manuscript/photograph 

returned, please enclose a self-addressed envelope. 

All material should be typed in triple-space with 55 to 

60 characters per line. 

We welcome your suggestions. I hope you will not 

hesitate to communicate with us often. 

Harpists, Composers and Orchestrators. 

111 pp. of text, notation and fingerings, 

each page the equivalent of 

a lesson. 8-& 9-note scales playable 

on 7 strings per octave; 28 different 

7-note 13th chords on each root; 153 

possible scales starting with C natural; 

all available pedal gl isses involving 

from one to six pedals simultaneously; 

improvised cadenzas as well 

as 576 modern patterns suitable for 

improvisations on all pedal settings 

and numerous innovations such as: 

"Bumpy" scales, "Pearl Necklace" 

scales, tricks & gimmicks. The correct 

way to write a harp part, using the 

proper signs, including the harpist's 

diagram. Advice on the selection of a 

truly satisfactory electronic amplification 

system giving faithful reproduction 

without distortion. 

Gail Barber 

This limited edition available 

only from: 

LEO ARNAUD 

628 N. Canon Dr. 

Beverly Hills, Calif. 9021 0 

$25.00 each including postage and handling 

(Foreign postage not included) 

SPRING/197 4 

21

SPECIAL MEMBERSHIPS 

In June, 1970, the Board of Directors established several 

new types of membership classifications for those 

who have expressed an interest in contributing more 

than the regular membership dues as an added financial 

support to our many projects. The memberships include 

Life Member ($250), Patron ($100), Sponsor ($50), 

Sustaining Member ($25) and Contributing Member 

($15). We wish, at this time, to express our sincere 

appreciation to the following members: 

22 

HONORARY LIFE MEMBERS 

Pierre Boulez 

*S. Mario De Stefano 

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Mrs. Serge Koussevitsky 

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* Alberto Salvi 

Alice Tully 

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*Members of the Founding Committee 

LIFE MEMBERS 

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1975 COMPETITION 

The American Harp Society is pleased to announce 

that there will be a competition in June, 1975, open to 

all harpists of the United States up to age 30. Through 

the generosity of the following donors there will be 

monetary awards in all divisions of the competition at 

the national level: Lyon & Healy, Inc., Ms. Alice Tully, 

Ms. Joan Palevsky, Mr. and Mrs. James Elgin, Jr., Ms. 

Lillian Macedo and Mr. Samuel Milligan. 

The awards are: 

Young Professional Division 

First Prize ........ Debut recital and $1,000.00 

Second Prize ..................... $300.00 

Advanced Division . . . . . . . . . . . . . . . . . . . . $300.00 

Intermediate II Division ................. $100.00 

Intermediate I Division . . . . . . . . . . . . . . . . . . 100.00 

Junior Division ......................... $50.00 

Non-Pedal Harp . . . . . . . . . . . . . . . . . . . . . . . $50.00 

All contestants will receive certificates of participation. 

Semi-final winners will be awarded medals. National 

winners will receive trophies in addition to the 

monetary awards. 

In the event that contestants in the preliminary or 

final stages of any division are considered of insufficient 

merit for the awards, no winner will be named. 

Further details or clarifications can be obtained from 

the Competition Chairman: 

Ms. Lucy Lewis, 185 Elm St., Oberlin, Ohio, 44074. 

REPERTOIRE REQUIREMENTS 

NON-PEDAL HARP DIVISION-Maximum age 12 

years on Jan. 1, 1975. All compositions to be performed 

by memory but in any order. 

1. Bach-Milligan-Little Prelude in F Major from 

"Medieval to Modern", Vol. 1 (Lyon-Healy, Inc.) 

2. Bizet-Thomson-Nadir's Song from "Romantic 

Music transcribed for the Harp" by Lucien 

Thomson (0. Pagani and Bro., Inc.) 

3. Guided Choice: Play one of the following OR 

choose a similar composition of equal length and 

difficulty. Required pieces and "guided choice" 

suggestions from other Divisions are ineligible. 

a) Grandjany--Siciliana and Bourree ( No. 4 

and No. 6) from "Petite Suite Classique" (Carl 

Fischer, Inc.) 

b) Gustavson-A Moorish Garden from "The 

Magic Road" (Nancy Gustavson) 

c) Owens--Spanish Elegy from "Six Pieces for 


Harp" (Lyra Music Co.: International Music 

Service) 

JUNIOR DIVISION (pedal harp)-Maximum age 12 

years on Jan. I, 1975. All compositions to be performed 


1. Bach-Milligan-Little Prelude in F Major from 

"Medieval to Modern". Vol. I (Lyon-Healy, Inc.) 

2. Bizet-Thomson-Nadir's Song from "Romantic 

Music transcribed for the Harp" by Lucien Thomson 

(0. Pagani and Bro., Inc.) 





a) Campra-Owens-Rigaudon from "Idomenee" 

(Lyra Music Co.: International Music Service) 

b) Renie-Danse d'autrefois from "Feuillets 

d'Album" (Henry Lemoine: Elkan Vogel, 

Inc.) 

c) Salzedo---Tango from "Suite of Eight Dances" 

(Lyra Music Co.: International Music Service) 

INTERMEDIATE I DIVISION-Maximum age 15 

years on Jan. I, I 97 5. All compositions to be performed 


1. Dussek (Dusik)-Sonati.1a No. 4 from "Six 

Sonatines" (no repeats) any ~dition 

2. Tournier-Noel No. I, 2 am! 6 from "Six Noels 

pour la harpe" (Henry Lemoi1;P.: Elkan Vogel, 

Inc.) 





a) Flagello---Two Piect:s for Harp (Lyra Music 

Co.: International Music Service) 

b) Forst, Rudolf-Windy Nights (Edition 

Musicus) 

c) Grandjany-Et ron ron ron, petit patapon 

(Durand & Co.: Elkan Vogel, Inc.) 

INTERMEDIATE II DIVISION-Maximum age 18 

years on Jan. I, 197 5. All compositions to be performed 


I. Beethoven-Variations on a Swiss Air (no repeats) 

(any edition) 

23

2. Natra-Sonatina (Israel Music Institute: Boosey 

& Hawkes, Inc.) 





a) Dello-Joio--Bagatelles (Lyra Music Co.: International 

Music Service) 

b) Salzedo--Introspection (Carl Fischer, Inc.) 

c) Wagenaar, Bernard-Four Vignettes (Elkan 

Vogel, Inc.) 

ADVANCED DIVISION-Maximum age 23 on Jan. 

1, 1975. All Compositions to be performed by memory 

with the exception of the Berio, Sequenza II and compositions 

of equal length and difficulty which are unusually 

complicated avant garde compositions. (Consult the 

Competition Committee through its Chairman, Lucy 

Lewis, to resolve any questions.) 

The "Piece en sol" will be performed in its entirety. 

The other compositions may be interrupted by the 

judges in the interests of time and a further portion of 

the composition designated to be performed. 

The compositions are to be performed in this order: 

I. Bach-Renie-Piece en sol (Durand and Co.: 

Elkan-Vogel, Inc.) (Lyra Music Co.: International 

Music Service) 

2. Hindemith-Sonata (Schott: Belwin Mills Publishing 

Corp.) 





a) Berio--Sequenza I I (Universal Edition: Theodore 

Presser Co.) 

b) Caplet-Divertis~ements II, a l'espagnole 

(Durand and Co.: Elkan-Vogel, Inc.) 

c) Faure-Impromptu (Durand and Co.: Elkan 

Vogel, Inc.) 

d) Salzedo--111. On Grace-Notes and Trills 

"(Inquietude)" from "Modern Study of the 

Harp" (G. Schirmer, Inc.) 

YOUNG PROFESSIONAL DIVISION-Maximum 

age 30 on Jan. I, 1975. All works to be performed by 

memory with the possible exception of unusually complicated 

avant garde compositions. (Consult the Competition 

Committee through its Chairman, Lucy Lewis 

to resolve any questions.) 

The "Sonata" by Bach will be performed in its entirety. 

The other compositions may be interrupted by 

the judges in the interests of time and a further portion 

of the composition designated to be performed. 

The compositions are to be performed in this order: 

1. C.P.E. Bach--Sonata (any edition) 

2. Tailleferre, Germaine--Sonate pour Harp (alteration 

of the repeated figure in the 2nd mov't is acceptable.) 

(Les Nouvelles Editions Meridian: 

Southern Music Publ. Co.) 

3. A recital program of professional caliber must be 

submitted with the application and approved by 

24 

the Competition Committee. (It may include required 

pieces and "guided choice" suggestions 

from other Divisions.) The judges will select the 

portion of the program they wish to hear. 

ADDRESSES of PUBLISHERS and/or DISTRIB 

BUTORS: 

This list has been prepared from the most recent information 

available to us and we hope it will prove helpful. 

Belwin Mills Publishing Corp. 

25 Deshon Dr. 

Melville, N.Y. 11746 

Boosey & Hawkes, Inc. 

Oceanside 

Long Island, N.Y. 11572 

Edition M usicus 

333 W. 52nd St. 

New York, N.Y. 10019 

Elkan-Vogel, Inc. 

Presser Place 

Bryn Mawr, PA 19010 

Carl Fischer, Inc. 

5 6 Cooper Sq. 


Nancy Gustavson 

104 7 East Laguna Dr. 

Tempe, AZ 85282 

Lyon-Healy, Inc. 

243 S. Wabash Ave. 

Chicago, ILL. 60604 

or 

I 09 W. 57th St. 

New York, N.Y. l0019 

or 

6610 Melrose Ave. 

Los Angeles, CA 90038 

International Music Service 

133 W. 69th St. 


0. Pagani & Bro., Inc. 

289 Bleecker St. 


Theodore Presser Co. 

Presser Pl ace 

Bryn Mawr, PA 19010 

G. Schirmer, Inc. 

866 Third Ave. 


Southern Music Publishing Co., Inc. 

1740 Broadway 



ENTRY BLANK 

FIFTH NATIONAL COMPETITION (1975) 

OF THE AMERICAN HARP SOCIETY, INC. 

This entry blank is to be mailed to Ms. Lucy Lewis, 185 Elm St., Oberlin, 

OH 44074, and must be postmarked no later than Feb. 1, 1975. 

Please include with this entry blank a copy of your birth certificate and the 

entry fee as indicated below. In addition, naturalized citizens must submit 

proof of citizenship. Entrants in the Young Professional Division must submit 

a recital program. 

NAME _____________________________ _ 

ADDRESS ______________ COUNTY ____ 

_ _ 

CITY _________ __,,),JTATE ______ ZIP CODE ___ _ 

BIRTHDATE (enclose copy of birth certificate) _ _ _ ________ _ 

I am en.tering the __________ Division of the Competition. 

Enclosed is the following entry fee: 

Members of the American Harp Society, Inc. 

________..,$ '5.00 for all Divisions from Non-Pedal Harp through Advanced 

_____ $10.00 for Young Professional Division 

Entrants who are NOT members of the American Harp Society, Inc. 

____ .....,$20.00 for all Divisions 

Please make all checks payable to the American Harp Society, Inc. 

Contestant's signature _________ _ 

Date---------------------------- --- 


HARP MUSIC FROM PRAGUE 

HARP CONCERTOS 

by 

Francis Xavier Brixi 

Jan Baptist Krumpholz 

Jan Ladis[av Dusik 

Jan Vaclav Stamitz 

HARP SOLOS and CHAMBER MUSIC 

by 

Petr Eben 

Viktor Kalabis 

Slava Vorlova 

Oldrich Flosman 

Zdenek Zahradnik 

AND LATEST! 

IVANA LOUDOVA: Solo for King David 

PAVEL BLATNY: Music for Renaissance Duo 

RECORDING 

HARP RECITAL 

by Marcela Kozikova 

(Made by Artia - SUPRAPHON 

Czechoslovak State Recording Co.) 

ORDERS AND FURTHER INFORMATION AT: 

HARP RENAISSANCE SO. 

affiliated with Point Park College 

1036 Beachwood Blvd. 

Pittsburgh, Pa. 15206 

(Ms. Diana Salvi, P.R. Director) 

26 


Do I Hear A Harp? 

by Lois Adele Craft 

Yes! (and playing a "Waltz", too.) Like homing pigeons, 

we migrate toward that beckoning sound and 

find our reward in-as critics at home and abroad have 

entitled him-"The Amazing Young Man." "America's 

Foremost Swing Harpist," Lloyd Lindroth, presenting 

his Harpists Bazaar that included anything from Bach 

to Bacharach-and "back" again-something for 

everyone! 

That distinctive, far-reaching harp-sound was possible 

because of Lloyd's one-of-a-kind, patented, $15,000 

electronic harp. He reveals that his harp has four special 

pick ups, all so individually controlled and balanced, 

there is no distortion whatever. He says this allows for 

the special effects and creates the unexpected "today 

sounds" with a harp, never before successfully done. 

Lloyd's system is exclusively for the harp and was developed 

through many years of research and understanding 

of what is required to keep real harp quality 

in amplification. The harp includes a Ring-modulator 

for Psychedelic Rock, a Wah-Wah pedal for bending 

the harp tone, an Echo-plex, producing many effects, 

especially "concert hall sound" in a small area. He is 

currently involved with the Moog Synthesizer in his 

ever demanding drive for perfection. This, combined 

with Lloyd's own talent as a jazz harpist, has made him 

a rising Star into the big Night Clubs-nationally, in 

Canada, plus Australia, the Far East, and very soon to 

include Europe. 

Undoubtedly Lloyd Lindroth had destined attraction 

to the harp, for as a lad, delivering papers to a particular 

home he would sit on the porch fascinated, watching 

through the window a girl playing her harp. Sometimes 

she would invite the little boy in to listen. Eventually, 

she allowed her number one Fan to take an 

Irish harp home with him. He hid it and himself in the 

attic and endeavored untutored practice. Alas, one day 

his mother, who must be away at work, happened home 

earlier than expected. With much disapproval she made 

the boy return the harp to its owner. He never forgot 

the joy and sound of that harp. 

A few years later, he discovered a harp in a music 

store. He approached a salesman and asked if he might 


not practice on the harp while he waited the arrival of 

his own new harp. (We will call this positive thinking 

and not fabrication.) Eventually the teacher that taught 

at the store discovered Lloyd trying to play. In stern 

words and tone of voice he was ousted and told not to 

come back! 

His mother was not without awareness of her young 

son's interest in music, as he played saxophone and 

clarinet in the school bands, so she allowed him to join 

a Community Music School for a small fee where he was 

to receive full musical instruction. Lloyd signed up as a 

(you guessed it) harpist! With courage he again used the 

same story he had tried at the music store but added, 

that he knew of a harp at the High School and could use 

that until his harp came. The Institute surprisingly 

LLOYD LINDROTH 

27

ought the harp. There was no teacher, so after six 

weeks of bluffing, the night of the first concert arrived 

with Lloyd's mother, grandmother and sister in the audience. 

The curtain went up--and there sat Lloyd as harpist 

of the orchestra! Now his mother understood all that 

propaganda about the harp she had been receiving in 

her son's effort to prepare her for this moment. His 

grandmother and sister were proud and delighted, but 

not "Mom", and it took the three of them two years to 

convince her that this was a right idea and to allow serious 

harp instruction. 

Lloyd lost no time in finding Edith Lundgren as his 

teacher and telling her his whole story. She kindly arranged 

for him to rent an old Erard harp and included 

lessons, for ten dollars a month. He paid for this through 

a job at a bakery and a newspaper route. The summer he 

became seventeen years old, he went to live at his teacher's 

home, practicing every available moment. Miss 

Lundgren, discerning his interest in "sounds" and 

"effects," allowed freedom in his approach to the harp. 

The two following years brought rapid progress on 

the No. 23 he was now playing. His mother, thoroughly 

convinced, made a trip to Chicago and "plopped down" 

-as Lloyd expressed it-$150.00 on a reconditioned 

No. 21 harp. At last, his very own harp! He happily 

assumed the rest of the debt and paid for his lessons. 

He studied with Herbert Graff and received a scholarship 

at Seattle University. During this period he won 

on the Horace Heidt Show, gave concerts at clubs and 

community concerts. He went directly from school into 

the United States Army Band as their solo harpist for 

three years, giving five command performances at the 

White House. 

It is interesting to note that Lloyd says he has never 

performed without amplification, even as a youngster. 

While in the Service, his "electronic sound" really began 

its unfoldment and when he was shipped to the Far East 

in 1958 he had his own equipment to take. Development 

continued and in 1964 his electronic harp was ready and 

was introduced at the Riviera Hotel in Palm Springs. 

Lloyd forever listens, moving in that early drive for 

effects and sounds unlimited. The late Arthur Matz of 

the Los Angeles Lyon & Healy harp salon was his biggest 

booster and would travel many miles to hear Lloyd 

play. 

The following is Lloyd's request for a direct quote: 

"lt is my desire to open the harp to the guy next door. 

I don't want to hear comments such as-'l never heard 

a harp before'; 'Never heard it played like that before'. 

People should be familiar with the instrument and know 

what they are hearing. If the electronic concept hits with 

the public, it will open doors for students and professionals 

that have never been possible before. It means 

jobs and job opportunities for harpists and the harp, and 

this is the great purpose in my work." 

[Ed. note: Lloyd Lindroth will perform at the National 

Conference in Seattle, Washington, in June.] 

Irish Harps 

Made by Waltons', Dublin. 

We off er a fine range of handmade Harps 

based on traditional designs, but 

incorporating best modern techniques and 

materials. The models vary in size from 

the three octave "Ballad" to the "Bardic" 

with over four octaves. 

Illustrated is the "Bardic Traditional de 

Luxe" with artist hand-carved original 

Celtic design in gilted "pokerwork." 

"IRISH AIRS FOR THE HARP"-Harp Instructions 

and Thirty-Three Airs arranged by E. O'Gallagher @ $3.20 

Post Free. 

"SIX AIRS FOR THE HARP" by Carolan from the 

Bllnting Collection @ $1 .30 Post Free. 

w 

Write for our free catalogue to: 

AL TONS' HARP EXPORT DEPT. 

DUBLIN 1, IRELAND 

2-5, North Frederick Street 


The American Harp Society, Inc. 

The Eleventh 

NANCY ALLEN 

National Conference 

SEATTLE, WASHINGTON, JUNE 26-29, 1974 

MUSIC BUILDING, UNIVERSITY OF WASHINGTON 


Wednesday, June 26th 

9 A.M.-12 Noon 

l0A.M. 

l P.M.-5 P.M. 

1:30 P.M . 

3 P.M . 

5 P.M . 

7 P.M.-8 P.M . 

8 P.M. 

AUS NATIONAL CONFERENCE, 1974 

UNIVERSITY OF WASHINGTON 

Registration, Student Union Building (HUB) 

Auditorium Foyer 

Board of Directors' Meeting, HUB 209-A 

Registration, HUB Auditorium Foyer 

Exhibits Open, HUB Music Lounge 

Mini-meeting Rooms available, Haggett Hall 

Coffee Hour with Kippy Lou Brinkman 

HUB Auditorium Foyer 

Regional Directors' Meeting, HUB 209-A 

No Host Cocktail Hour, University Towers 

Regents Room 

Final Registration, HUB Auditorium Foyer 

Opening Concert by Nancy Allen, 

HUB Auditorium 

Reception following, HUB South Lounge 

Visit Exhibits, HUB Music Lounge 

Thursday, June 27th 

9AM. 

12 Noon 

2 P.M. 

The exhibits will be open everyday from 9-12 and 1-5 and after evening concerts. 

Mini-meeting Rooms are available everyday. 

General Membership Meeting and Chapter Reciprocal 

Kane Hall, 210 

Board of Directors' Meeting immediately following 

General Membership Meeting, HUB 209-A 

Luncheon Meeting for the Board of Directors, Chapter Presidents ( or an appointed representative), 

Committee Chairmen, and Past National Presidents and Board Chairmen. 

HUB 200. By reservation only. 

Concert by University of Washington Harp Ensemble, Pamela Vokolek, Director 

HUB Auditorium 

30 

KIPPY LOU BRINKMAN MARY ELIZABETH DUNCAN ANNE ADAMS 


4:45 P.M. 

5:30 P.M. 

Friday, June 28th 

9A.M. 

10:30 A.M. 

12 Noon 

2:30 P.M. 

4 P.M. 

5 P.M. 

8 P.M. 

Saturday, June 29th 

9A.M. 

10:30 A.M. 

1:30 P.M. 

3 P.M. 

5:30 P.M. 

6P.M. 

7 P.M. 

9:30 P.M. 


Shuttle Buses leave Music Building parking lot for Oceanography Dock 

Boat leaves for Harbor Tour and Blake Island, Dinner and Entertainment 

Cocktail Hour aboard, Courtesy of Victor Salvi Company 

By reservation only. 

Mario Falcao Workshop on Improvisation 


Mary Roman Workshop on Music Binding 


Luncheon in honor of the retiring Chairman of the Board, Ann Stockton, for the Board of Directors 

and Past Presidents. 

Home of Dr. and Mrs. R. Alan Palmer 

Mary Elizabeth Duncan Lecture-Demonstration on Spanish Tablature for the Harp 

Music Building, 126 

Regional Meetings. See Bulletin Board for rooms. 

No Host Cocktail Hour, University Towers 

Regents Room 

Chamber Music Concert, HUB Auditorium 


Board of Directors' Meeting, Haggett Hall Library 

Lucile Jennings videotape Writing for the Modem Harp 


Margaret Thomas presents An Authentic Bit of Wales 


AHS Quiz, Music Building, 126 

Buses leave Music Building parking lot for Washington Plaza Hotel 

Cocktail Hour, Courtesy of Lyon and Healy 

Washington Plaza Hotel, Vashon Room 

Closing Banquet, Washington Plaza Hotel 

Bainbridge Room. After-dinner entertainment by Lloyd Lindroth and his Harpist's 

Bazaar. 

By reservation only. 

Buses return to University of Washington 

MOTTER FORMAN MARGARET THOMAS MARGARET LING

REGISTRATION INFORMATION: 

The conference registration fee is $8.00. Registration 

will admit participants to all concerts and lectures 

upon presentation of their nametags at the door. 

Note: You may not register unless you have paid your 

1973-1974 National Dues. 

To register, complete the registration form and return 

with conference and special activity fees to the Office of 

Short Courses and Conferences, Lewis Hall DW-50, 

University of Washington, Seattle, Washington 98195. 

Advance registration should be completed by June 7, 

I 97 4 to insure proper handling. Make check or money 

order payable to the University of Washington. 

If you register and then are unable to attend or to 

find a substitute, a refund of fees, less $2.00 for handling, 

will be granted if the registration is withdrawn in 

writing prior to June 7. 

TRAVEL INFORMATION: 

A map of the University of Washington campus and 

the surrounding University district will be sent to registrants 

with confirmation of registration. 

Airport Arrivals: The Seattle-Tacoma Airport, located 

20 miles from the University of Washington, and 

16 miles from downtown Seattle, is served by most 

major airlines. 

Transportation from the airport to downtown Seattle 

and the University district is available adjacent to the 

baggage area at the airport. Airport taxicab service to 

the University is approximately $10.00. In addition to 

taxicab service, Western Tours bus limousines depart at 

20 minute intervals for the Olympic Hotel in downtown 

Seattle. Fare is $2.00 per person; the trip takes 20 minutes. 

From downtown, transportation to the University 

is available by taxicab (fare about $2.50) or by city bus 

routes No. 7 or No. 8, which head north on Third Avenue. 

City bus fare is 25 cents payable in exact change. 

The residence hall is a good ten minute walk from the 

nearest bus stop. 

Train Arrivals: Seattle is served by Amtrak and Burlington 

Northern, both of which arrive at the King Street 

Station in downtown Seattle. Transportation from the 

King Street Station is available by city bus (stops across 

the street) and by taxicab. (See above for fares and 

information.) 

Private Car: Interstate 5 is the major north-south 

freeway crossing Seattle. The University is located 15 

blocks east of the N.E. 45th Street exit from 1-5. Interstate 

90, the major east-west freeway, connects with 

1-5. Freeway exits from both freeways are marked "University 

of Washington". Parking on campus is available 

for $1.50 per week. Permits may be obtained from the 

residence hall desk, or the conference registration desk. 

HOUSING ACCOMMODATIONS: 

On campus housing arrangements have been made at 

Haggett Hall, a new high-rise residence hall with a view 

of Lake Washington and the campus. The residence hall 

is within 5 minutes walk of the Student Union Building 

or Kane Hall, where all conference activities will take 

place. 

Rooms are twin-bedded with bath common to several 

rooms. Meal service is not included in the arrangements. 

Room rates are $4.00 per person, per day for 

double occupancy, and $6.00 per day for single occupancy. 

To reserve a room in Haggett Hall, please complete 

the applicable section on the registration form. 

Housing reservations will be confirmed. 

Haggett Hall is equipped with ice-machines, softdrink 

and candy machines, laundry rooms, and recreation 

rooms with televisions, a piano, and ping-pong 

tables. Each floor has a small lounge where people may 

gather informally. In addition, there will be four small 

rooms (mini-meeting rooms) where people may gather 

privately upon advance arrangement with Edith 

Lundgren. 

Off campus housing is available in a number of nearby 

hotels and motels within walking distance of the con- 

32 

MARIO FALCAO ANN STOCKTON PAMELA VOKOLEK 


ference site. A list of hotels, their phone numbers, addresses, 

and room rates will be sent to participants if 

requested on the registration form. It is recommended 

that you make hotel reservations as soon as possible, as 

the Seattle hotels expect an increased volume of business 

because of Expo '74. 

MEALS: 

Meal service for people living on campus is most 

convenient in the Student Union Building. Food facilities 

are open from 7:00 a.m. to 10:00 p.m. on weekdays. 

Facilities include a cafeteria for full course meals, and a 

grill for sandwich and salad meals. A list of campus food 

facilities, as well as other nearby restaurants, will be 

available at the residence hall, and at the conference 

registration desk. A large variety of restaurants offering 

American and international cuisine is within easy walk 

of the campus. 

RECREATION: 

The park-like University of Washington campus is 

641 acres of gardens, trees, and buildings ranging in 

architectural styles from Tudor to modern. Adjacent 

to the campus is a 200 acre arboretum ideal for picnics, 

photography, and for amateur botanists who would welcome 

an opportunity to view a world-wide selection of 

plants that can live in this area. Of particular interest is 

the nature walk across Foster Island. 

Educational facilities of interest to the public include 

the Henry Art Gallery, the Museum of History and 

Industry, the Thomas Burke Memorial Washington 

State Museum specializing in the cultures of the Pacific 

Rim countries, and two large libraries whose facilities 

are open to conference participants and their families 

on presentation of a guest identification card (available 

at the registration desk). The media center at the 

Odegaard Library on campus offers pleasure or educational 

listening to tapes of music, plays, and a variety of 

subjects. 

Athletic facilities on campus include eleven tennis 

courts across the street from Haggett Hall, a canoe 

house on Lake Washington where canoes and paddles 

may be rented on an hourly basis, and the complete 

facilities of the Intramural Activities Building. 

Conference participants and their guests over 16 

years of age are invited to make use of the Intramural 

Activities Building located a few minutes walk from the 

Student Union Building. The presentation of a guest 

identification card (available at the registration desk) 

will admit participants to use of all facilities for a fee 

of 50 cents per use. Indoor facilities include a swimming 

pool with outdoor sun deck, sauna, courts for handball, 

squash, badminton, weight-lifting rooms, roller skating 

floor, and other facilities. Outdoor facilities include 15 

tennis courts, a 20-station golf driving range (50 cents 

per bucket), a jogging course, and numerous multipurpose 

fields. 

Recreational facilities in the Student Union Building 

include pool tables, televisions, bowling alleys, and 

pinball machines. These facilities are available upon 


presentation of a guest identification card, and some 

fees, where applicable. 

A REMINDER TO EACH CHAPTER 

Bring your Scrapbook to the Conference and display 

it for everyone's enjoyment at the CHAPTER RECIP 

ROCAL. 

ANOTHER REMINDER: 

The questions for the AHS Quiz will be based on 

material from the issues of the American Harp Journal, 

Fall 1972 through Spring 1974. Have you read these 

issues thoroughly? 

A THOUGHT: 

When you are packing your suitcase for the Conference, 

you will want to know that the average temperatures 

for the month of June in Seattle are a maximum 

of 69.9° and a minimum of 49.7°. A high of 94 ° and a 

low of 41 ° are record readings. 

The average rainfall for the month of June is 1.5 

inches. Accumulations of 3. 9 inches and .13 inches are 

recorded extremes. 

Evenings are COOL, especially on the water. 

(Blake Island excursionists take note.) 

BLAKE ISLAND EXCURSION: 

The excursion to Blake Island is unique. 

It is exciting-a narrated boat trip through the Hiram 

Chittenden Locks, around Seattle's bustling harbor, and 

across beautiful Puget Sound to Blake Island Marine 

State Park. 

It is delicious--a wonderful dinner of salmon, baked 

in traditional Indian style and enjoyed in a rustic setting. 

It is fascinating--entertainment by Pacific Northwest 

Indians, performing authentic tribal dances. 

It is spectacular-no other word can describe the 

Seattle skyline at night as the boat returns to Pier 56. 

Don't miss this magnificent evening! 

HAGGETT HALL 

33

AMERICAN HARP SOCIETY CONFERENCE 

SEATTLE, WASHINGTON 

JUNE, 1974 

REGISTRATION FORM 

Complete this form and return with fees before June 7, 1974 to the Office of Short Courses and Conferences, Lewis 

Hall DW-50, University of Washington, Seattle, Washington 98195. Make checks payable to the University of 

Washington. 

Nam~------------ ----------------------------- 

AddreJ..,__ _ _ _____ _ _ _ _______________ City ____ _ ______ __ _ 

State. __________ _____ ~ 

p _ _ _______ Daytime Telephone ________ _ 

CONFERENCE REGISTRATION: 

Register _______ persons @ $8.00 each 

Names of additional registrants: 

$ _____ _ 

SPECIAL MEALS AND ACTIVITIES-by reservation only (tickets will be distributed at the registration desk) 

Thursday Luncheon for Board of Directors, Chapter Presidents (or an appointed representative), Committee Chairmen, 

and Past National Presidents and Board Chairmen. 

-----~uncheon(s) @ $3.50 each 

$ _ _ _ _ _ _ 

Blake Island Excursion and Salmon Bake, for registrants, their families and friends. Thursday evening, June 27. 

(Bus transportation included) 

______ excursion ticket(s) @ $10.50 each 

______ children under 12 @ $6.00 each 

$ ______ 

Saturday Banquet at the Washington Plaza Hotel, for registrants, their families and friends. (Bus transportation 

included.) 

_ _____ banquet ticket(s) @ $10.00 each $~ ----- 

TOTAL AMOUNT ENCLOSED $ ____ 

_ 

HOUSING ACCOMMODATIONS: 

Hagget Hall, University of Washington Residence Hall 

--- --~ingle occupancy @ $6.00 per day 

______ double occupancy@ $4.00 per day, per person 

Arrival date: _______________ time: _______ _____ ___ a.m. p.m. 

Departure date: time: a.m. p.m. 

Note: Payment is due at check-in time. 

Off-campus Housing: Please send information about nearby hotels ____ _ _ ____________ _ 


NEW 

RECORDINGS 

compiled by Lucy Lew is 

Please send all information regarding new records and rereleases 

directly to: Miss Lucy Lewis, 185 Elm Street, Oberlin, 

Ohio 44074 

ELLIS, OSIAN, with Claude Monteux, Flute and St. 

Martin-in-the-Fields Academy Orchestra, Neville 

Marriner, Conducting: Mozart, Concerto for Flute, 

Harp and Orchestra, K. 299. Philips Phi 6500380 

$4.98. 

LASKINE, LILY and NORDMANN, MARIELLE: 

"Concert pour deux harpes." Includes Petrini, 

Deuxieme duo; Haydn, Lo maestro e lo scolare; 

Weber, Romanza Op. 3, No. 2; etc. Erato STU 

70721 * 

MCDONALD, SUSANN: "Romantic Music for the 

Harp." Includes Godefroid, Etude de concert; Les 

follets; Tournier, Feerie; Salzedo, Variations sur un 

theme dans le style ancien; etc. Klavier 525 $5.98. 

MILDONIAN, SUSANNA with Maxence Larrien, 

Flute: Spohr, "Three Sonatas for Flute and Harp." 

(French) Decca 717 A* 

NEW YORK HARP ENSEMBLE, Aristid von Wurtzler, 

Director: Works by Scarlatti, Bach, Vivaldi, 

Serly, Bartok, etc. Golden Crest CRS 4121 $6.98. 

SNELL, DAVID: "Harp Transplant." Includes Close to 

You; Do You Know the Way to San Jose?; Eine 

Kleine Nachtsmusik; Fur Elise; etc. Quadraphonic/ 

Sterio QUAD 1002* 

TABORDA, EVELIA: Includes Moliero Sonatina; 

Grandjany, The Childrens' Hour; Prokofieff, Prelude; 

Salzedo, Variations on a Theme in Ancient 

Style; etc. Foundation Mito Juan Pro Musica* 

ZABALET A, NICANOR: "Bach Program." Includes 

Partita in d, S. 1004; Suite in b, S. 814; Partita in A, 

S. 832; etc. DG 2530333 $6.98. 

- --: Handel, Concerto in B-fiat; Theme and Variations 

in G Minor; Bach, Suite from "Partita III"; 

Corelli, Sonata in d Minor, Op. 5, No. 7. Heliodor 

254068* 

SPRING/197 4 

MUSIC FOR 

HARP 

ALFREDO CASELLA 

Sara ban de, Op. 10 ............ . .. ....... ... 4.00 

JEAN-MICHEL DAMASE 

Sonatine-2 harps .... .. .......... ........ . . 8.00 

NOEL GALLON 

Barcarolle .... . ................. , . ...... . . 4.25 

FELIX GODEFROID 

La danse des Syl phes .. .. . . ... . . . .. . .. , .... 4.25 

MARCEL GRANDJANY 

Preludes ........... ... .. . .. ... . . .. .. ..... 2.00 

DARRELL HANDEL 

Suzanne's Animal Music .......... ... . .•... . 3.00 

EMILE NERINI 

Fantasie italienne ............ . . . . ......... 4.00 

JEAN RIVIER 

Nocturne et Impromptu 

3.00 

DEODAT de SEVERAC 

En Vacances-Volume I 

4.50 

TORU TAKEMITSU 

Stanza I I-harp & tape (tape on rental) . . . . ..... 4.50 

Write for copies on approval and comp/ere caru/ogue. 

EDITIONS SALABERT 

MUSIC PUBLISHERS 

575 MADISON AVENUE/NEW YORK.NY 10022 

w "T1 

;,o 

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m 

V) 

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Ruth Lorraine Close Musical Fellowship Awards in Music: 

The American Harp Society will annually recommend three harpists to receive awards of approximately $2000 each 

for advanced study anywhere in America or Europe. This grant becomes possible through the generosity of a bequest 

to the University of Oregon School of Music by the late Ms. Ruth Lorraine Close Gracely. 

Terms of the award to harpists are as follows: 

I. For full-time study of harp, in a manner subject to approval by appropriate officials of the American Harp Society 

and by the dean of the School of Music, University of Oregon, who will make the awards based on the Society's 

recommendation. The minimum award will normally be $2000, based on an analysis of a grantee's total needs to pursue 

a musical education. 

2. Although applications are encouraged from any advanced student of harp with exceptional talent and achievement, 

preference will be given to applicants who are: 

A. students in colleges, universities, and other post-high-school institutions, who are eligible to continue musical 

study at the post-doctoral, graduate, or upper-division level; 

B. residents of either Oregon or Washington. 

3. Applicants will be asked to: 

A. submit an application on or before the April 15th preceding the academic year for which the student is applying. 

Applications should be sent to the American Harp Society, Inc., 6331 Quebec Dr., Hollywood, 

CA 90068. Include the following material: 

I) full name, birthdate and legal residence; 

2) a history of formal and informal educational background both in music and in other fields of genenral 

culture; 

3) a statement of long-range career goals; 

4) a rletailed description of plans for study during the year of the award, including proof of availability 

of the persons and facilities involved in the study program; 

5) three letters of reference, two of which must be from music teachers, evaluating the applicant's 

candidacy; 

6) a list of all previous harp teachers, of repertory studied, and of public performances both as soloist and 

as a member of an ensemble. 

B. audition in person at the annual Conference of the American Harp Society. (The Conferences are held the 

later part of June.) Applicants would be well advised to prepare music of several different periods. 

4. Awards will be for one academic year. During the first year of an award, an appointee may apply for continuation 

in a second year. A similar application may be made by a second-year appointee seeking continuation of the 

award for a terminal third year. In each case of an application for renewal, the candidate must re-audition alongside 

new applicants. 

5. Grantees will be announced normally within two weeks of the time of the auditions by the dean of the School of 

Music, University of Oregon. Grantees wishing to have the award publicized may send relevant material to the dean 

at the University of Oregon, Eugene, OR 97403. Payments will normally be as follows: one-half on September I, one 

quarter on January I, one quarter on March I of the academic year of the award. 

For further information write to the American Harp Society, Inc., 6331 Quebec Dr., Hollywood, CA 90068, or to 

Dean, School of Music, University of Oregon, Eugene, Oregon 97403. 


NEW MUSIC 

by 

Marion Bannennan 

Publishers and composers are invited to send new music to 

the Journal for this column. Send directly to: Mrs. Marion 

Bannerman, 610 Front Street, Hempstead, Long Island, New 

York 11550. 

Fantasy for Harp by Stephen Dodgson, published by 

Stainer and Bell, Galaxy Music Corporation. A note 

on the fly leaf by David Watkins tells us that "the Fantasy 

for Harp was written in 1952 at the invitation of 

Maria Korchinska and was performed by her that year 

at a Macnaghton Concert in London. It is skillfully 

written for the harp, as throughout the piece the composer, 

restricting himself to only a few modes, has 

created music of tremendous variety. This means that 

there are very few pedal changes during the course of 

the piece." 

Nine pages long, it contains pedal signatures and is 

carefully fingered. It is marked Adagio (quarter note= 

58) for 2 pages, Allegretto (dotted quarter= 54) for 2 

pages, Agitato (quarter= 120) for 2 pages, and Un poco 

piu lento (quarter= 50) for 3 pages. 

It is a neat composition with a different sound and a 

few hidden treasures. With repetition it grows steadily 

to your liking. There is plenty of contrast and it abounds 

in exceptionally quick changes of tone quality. It is not 

enormously difficult, but it does require skill and sensitivity. 

Nocturne for Harp by Lennox Berkeley, published by 

Stainer and Bell, Galaxy Music Corporation. On the 

fly leaf David Watkins tells us that this is Lennox Berkeley's 

first solo composition for the harp, and that "it is 

a moderately easy piece, but needs skillful pedaling in 

one or two places." 

Three pages long, it ranges from Andante to Allegro 

Moderato. lt is not really difficult but requires considerable 

musicianship as the volume ranges from pianissimo 

to fortissimo. 

Concerto No. 4 in £-flat Major, op. 29 by Franz 

Petrini ( I 7 44-18 I 9) for harp and chamber orchestra. 

New Edition by Hans Joachim Zingel, published by 

Hans Gerig, Cologne, Germany. 

I. Harp score-Allegro moderato (Quarter= 60-66). 14 

pages. Harp cadenza, 2 pages. 

II. Rondo-Allegro (Quarter= 116-120). 11 pages. 

The distributors of this music are MCA Music, New 

York, and Leeds Music Ltd., Toronto. The harp score 

is for sale; the orchestra parts may be rented. 

The harp part of this concerto contains much of 

intere~t even without being enhanced by the orchestra. 

Having been written in the 18th Century, it has few 

surprises or unusual passages. What is intended is abundantly 

clear and with practice the performer's confidence 

will increase and a very successful rendition 

emerge. 


Bannerman Harp Studio 

Marion Bannerman, Director 

Thorough course in Harp, Theory, Harmony, Musician. 

ship, Ensemble Experience and Recitals 

Faculty Associate in Music 

Hofstra University, Hempstead, N. Y. 

Instructor in harp at Nassau Community College, 

Garden City, 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 

Marjorie Tyre 

SOLOIST-TEACHER-COACH 

AUBURN UNIVERSITY 

Offering BM and MM, Major Harp 

Harp Ensemble and Harp elective 

SEWANEE SUMMER MUSIC CENTER 

Sewanee, Tennessee 

Chamber Music, Harp Ensemble, Symphony 

HOME STUDIO 

712 Brenda Ave. 

Auburn, Ala. 36830 (205 887-9001) 

37

CONCERT 

CALENDAR 

Material for this section should be submitted typed and triplespaced, 

including all pertinent information as shown in the 

listings below. Our mutual cooperation in this matter can 

contribute to an earlier Journal printing date. 

April I-Elizabeth Roth. Debussy Danses. Florence, 

South Carolina. 

April 2--Joy Hujsak. Bernstein Chichester Psalms. 

First United Methodist Church, San Diego, California. 

April 3--Julia Gray. Ravel Introduction and Allegro. 

Santa Barbara Symphony, Santa Barbara, California. 

April 4-Joan Harrison Ceo. Jacques lbert Capriccio 

for harp and chamber orchestra. Univeristy of 

Kentucky Orchestra, Lexington, Kentucky. 

April 7-Shirley Ruth Shockcor. Soloist with Community 

Chorus Concert. Woodstock, Vermont. 

April 8-Mildred Dilling. Community Concerts. Anderson, 

South Carolina. 

April I I-Mildred Dilling. Community Concerts. 

New Bern, North Carolina. 

April 12-Joan Ennis. Faure Requiem. Atomic Energy 

Auditorium, Germantown, Maryland. 

April 19-Pamela Cohick. Senior Recital. University of 

Redlands, Redlands, California. 

April 21-Nederburg Harp Trio. Kathleen Alister, 

harp, Lucien Grujon, flute, and Walter Mony, 

violin/viola. Concert. Stellenbesch, Cape, South 

Africa. 

April 24-Marian Jackson. Handel Concerto. MSU 

Orchestra. Harris Music Auditorium. Memphis, 

Tennessee. 

April 27-Texas Tech Harp Ensemble, Gail Barber, 

Director. Westminster Presbyterian Church, Lubbock, 

Texas. 2:00 P.M. 

April 28, 29-Gail Barber. "Pops" Medley using amplified 

harp. Roswell Symphony Orchestra. Roswell, 

New Mexico. 

May 3-Ursula Kwasnicka, with John Oberbrunner, 

flute. Mozart Flute and Harp Concerto. Syracuse 

Symphony Orchestra. 

May 4-Anna Vorhes. Solo Recital. Macalaster College. 

May 5-Mildred Dilling. Concert series of St. Peter 

and Paul's Cathedral. Lewiston, Maine. 

May 17-Students of Maria Rosa Vidal. Recital. Santurce, 

Puerto Rico. 

May 25-Mary Brigid Roman. Claudio Monteverdi 

L'incoronazione di Poppea. Florida State University 

Opera Company. 

June 2-Gail Dieterichs Halbig. Recital. Camino Hall, 

University of San Diego, San Diego, California. 


June 2-Tallahassee Chapter of AUS. Annual Spring 

Recital. 

June 4-Marinel Harp Ensemble. Concert. Lincoln 

Center Library Auditorium. New York. 

June 7-Karen Kirk. Ravel Introduction and Allegro. 

University of California Symphony, Santa Barbara, 

California. 

June 9-Suzanne Balderston. Chamber Music Recital. 

Museum of Art, Pasadena, California. 

June 16-Joan Harrison Ceo. Maurice Durufle Requiem. 

Westerly, Rhode Island, Community Chorus 

and Orchestra. 

July 21-Gail Barber. Debussy Sonata with Richard 

Blum, viola and Pamela Endsley, flute. Music in 

the Mountains. Rocky Ridge Music Center, Estes 

Park, Colorado. 

July 28-Gail Barber. Hovhaness Concerto (I st performance, 

revised version). McClintock Two 

Movements for Harp. Music in the Mountains. 

Rocky Ridge Music Center, Estes Park, Colorado. 

July 30-Suzanne Balderston, with Milton Thomas, 

viola, and Burnett Atkinson, flute. Debussy Sonata. 

Faculty Chamber Music Series, Music Academy 

of the West, Lobero Theater, Santa Barbara, 

California. 

October 29, 30, 31-Nicanor Zabaleta. Ginastera Concerto. 

National Orchestra, Washington, D.C. 

October 24, 26, 197 4-Nicanor Zabaleta. Rodrigo 

Concerto. Peninsula Orchestra, San Mateo, California. 

Harp Instruction 

by 

Patricia Pence 

5:a&ul& Cot&9e 

SCHOOL OF MUSIC 

outstanding liberal arts college 

for women 

Bachelor of Music and 

Bachelor of Arts 

Winston-Salem, North Carolina 27108 

39

About the Cover 

The bearded bull on the cover is taken from a closeup 

of the harp shown on the right. From the Royal 

Graves at Ur of the Chaldees, it is Sumerian and dates 

from about 2600 B.C. The harp belonged to Queen 

Shub-Ad and is made of gold with inlays of lapis lazuli 

and ivory. 

These photos are from the Photographic Collection 

of Billie Wolfe and are printed courtesy of the University 

of Pennsylvania Museum. 

GIFT IDEAS FOR HARPISTS 

The American Harp Society has the following items for sale; proceeds are to be used for the benefit of 

our projects. 

CHRISTMAS CARDS-Custom designed by Joanna Merserau. A lovely harp illustration on the 

front with a holiday message inside, and room enough for a personal handwritten message. Packages 

of 10 for $2.50. 

TENTH ANNIVERSARY ALBUM, "Marcel Grandjany in Recital". $6.50 each, including 

domestic postage and handling. 

FA VO RITE FOODS-The harpist's cookbook comprised of a collection of favorite recipes personally 

autographed. $2.50 per book. Chapters note: You may purchase these cookbooks in lots of 10 

for $10.00, plus $1.00 for postage. 

Clip out and use the order blank below: 

Quantity Item Price Total 

Postage prepaid except as noted. 

Total enclose~------ 

Mail with your check or money order to Helen Brem, 2687 Chatsworth Blvd., San Diego, Calif. 

92106. 

40 


PEOPLE 

Summer course in harp 

and 

PLACES 

Compiled by Jill Justice 

People and Places is the readers' column; therefore we solicit 

the readers' assistance in the preparation of that material. 

Besides asking that copy for this section be submitted by the 

appropriate deadline, we request that the material be typed, 

tripled-spaced, and written in third person. Our mutual cooperation 

in this matter can contribute to an earlier Journal printing 

date. 

The University of Arizona presented a three day 

Master Class with Susann McDonald in Tucson March 

8-10. Students at the University of Arizona performed 

Friday night, and Saturday Kathy Kienzle, Miss Mc 

Donald's teaching assistant, gave a recital. On Sunday 

members of the Master Class performed. The participants, 

who came from New Jersey, Colorado, 

New Mexico, and California, were given a reception 

by the Tucson Harp Society. 

Besides performing in Europe, Susann McDonald 

will again be teaching in Genoa, Italy, this summer, 

July 15 through August 2. Instruction in solfeggio and 

chamber music is included. 

On March 17, students of Miss McDonald from the 

University of Southern California and California State 

University presented a recital in the Music Hall at 

California State at Los Angeles. 

Gail Dieterichs Halbig performed the Britten Ceremony 

of Carols at St. Paul's Episcopal Church in San 

Diego, California, in December. 

Barbara Seidman performed the following works in 

October, November, and December, respectively: Debussy 

Sonate, at Fairfax High School in Fairfax, Virginia; 

Ravel Introduction and Allegro, with the Fairfax 

Symphony Orchestra, Falls Church High School, Falls 

Church, Virginia; and Britten Ceremony of Carols at 

the Rockville Methodist Church, Rockville, Maryland. 

In October, Lois Velsey gave a harp and voice lecture-recital 

on the Celtic harp at St. Paul's Episcopal 

Church in Alexandria, Virginia; in December she presented 

a harp and voice Carol Concert at the National 

Presbyterian Church in Washington, D.C. 

Jeanne Chalifoux played the Britten Ceremony of 

Carols this December at the Falls Church Presbyterian 

and at Burrough's Junior High School in Oxon Hill, 

Maryland. 

Faith Carman played the Weck Ballet for solo harp 

and the Hovhaness Garden of Adonis for flute and harp 

at Catholic University, Washington, D.C., in November. 

On Christmas Eve she played a Service of Carols 

and Lessons at the Washington Cathedral. Throughout 

December, Ms. Carman performed the Britten Cere- 

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 July 22nd until August 

11th. 

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 by 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 Oherascher 

Kaltnergasse 8 

A-5020 SALZBURG / AUSTRIA 

SPRING/197 4 

41

mony of Carols at six churches and one college in the 

Maryland- Virginia-D.C. area. 

Besides appearing with James Peterson, flutist, in a 

harp and flute recital at American University in Washington, 

D.C., Claudia Wigent also played the Britten 

Ceremony of Carols at Madison College in Harrisburg, 

Virginia, and at Lewinsville Presbyterian Church in 

Falls Church, Virginia, this December. 

Mary Kay played a Carol-Sing program at the Bowie 

Library in Bowie, Maryland, in December and at Christ 

Episcopal Church in Owensville, Maryland, in January. 

On Christmas Eve she performed a prelude of carols 

for solo harp at St. Pius X Church in Bowie. 

At Montgomery College in Rockville, Maryland, 

this December, Joan Ennis appeared in recital with 

Dorothy Skidmore, Flutist. In February, Ms. Ennis 

presented her students in recital at her home. 

Cecile Ceo Sieben, her husband, her brother and his 

wife, Joan Harrison Ceo, went on a Catholic University 

Alumni tour of Russia this February. The tour included 

a visit to the conservatories in Moscow and Leningrad. 

Since last August, Mary Ann Sherman has been 

studying harp in Queekhoven, Holland, with Phia Berghout. 

In December Christine Carpenter performed the Britten 

Ceremony of Carols at Union Methodist Church in 

Washington, D.C., and the Saint-Saens Christmas Oratorio 

at the Archbishop Carroll High School in Washington 

and at Regina High School in Adelphi, Maryland. 

She gave a recital of 20th Century flute and harp 

music at the Jewish Community Center in Rockville, 

Maryland, in February. 

James Pinkerton presented a recital for flute and harp 

with Kathleen Berens, flute, at the Art Gallery of Trinity 

College, Washington, D.C., on February 15. 

Throughout February, Larry Odum, assisted by 

Claudia Wigent, harp, presented an all Debussy program 

including Sonata and Chansons de Belitis with the 

Air Force Chamber Players, Renwick Gallery, Washington, 

D.C.; The Theatre, Gaithersburg, Maryland; 

and Montgomery College in Rockville, Maryland. In 

March, Mr. Odum and Ms. Wigent, assisted by Richard 

Estes, baritone, performed the Ginastera Cantos de! 

Tucman, De Falla Psyche, Salzedo Chanson de la Nuit 

and Tango and Rumba, De Falla Seven Popular Spanish 

Songs, and Ginastera Five Popular Argentine Songs 

with the Air Force Chamber Players at the Textile Museum, 

Washington, D.C.; Old Presbyterian Meeting 

House, Alexandria, Virginia; and Town Hall, Glen 

Echo, Maryland. 

Formerly of Guilford, Connecticut, Shirley Shockcor, 

now Shirley Ruth of Woodstock, Vermont, played this 

winter at the Woodstock Inn, Mount Ascutney Ski 

Lodge Lounge, and Hotel Coolidge as well as in the 

Killington Ski Area for the Summit House, Angus Tavern, 

and Rams Head Inn. In February she appeared on 

T.V. Station WRLH, Lebanon, New Hampshire, for an 

hour talk and play show with harps. She is currently 

playing Tuesday through Friday nights at the Holiday 

Inn in White River Junction, Vermont. 

Eileen Dishinger, principal harpist with the Kansas 

City Philharmonic, plays each summer with Aspen Festival 

and Chamber Orchestras and is past principal 

harpist of the Indianapolis Symphony. 

Charles Hansen Educational Music and Books 

Proudly Presents 

POP GOES THE HARP 

A new collection of pops and favorites 

arranged for today's harpists by 

LAURA ERB 

Contents include: Alley Cat / Frankie And Johnny, 

Amazing Grace, Black Is The Color Of My True 

Love's Hair, Colour My World, Day By Day (from 

"Godspell"), Fascination, Hava Nagila, Kum Ba Yah, 

Love Is Blue, My Love Forgive Me, Satin Doll, Sunrise 

Sunset (from "Fiddler On The Roof'), and Sweet 

Is My Ladye Love. 

Plastic spiral bound/$4.95 

And don't forget "POPS FOR HARP" 

Arranged by Laura Erb 

Plastic spiral bound/$4.95 

Order from your favorite dealer, or from: 

~ CHARI.ES HANSEN 

EDUCATIONAL MUSIC & books 

1860 Broadway/NewYork,NewYork 10023 

42 


The First United Methodist Church of Albuquerque, 

New Mexico, and the New Mexico Chapter of AHS 

presented Randall Pratt, 1972 winner of the AHS 

Young Professional Division, in a solo recital in November. 

Anna Vorhes appeared with the Macalaster College 

Symphony playing Mahler and Tschaikovsky on December 

9, Shostakovich on December 15, and the Dubois 

Fantasie on March 12. She also gave a harp and 

voice concert in December including the Tokien Songs 

and performed with the Consortium Orchestra in the 

Puccini opera Gianni Schicchi in January. 

In the new Paramount Pictures release "White 

Dawn", score by Henry Mancini, Elizabeth Ershoff 

Hamburger plays harp and Dorothy Remsen plays Irish 

harp. 

Priscilla Victor is appearing at The Loft in Westwood, 

California. 

Besides solo performances for two Connecticut music 

educators conventions and a reception for the Rockefeller 

Foundation, Sharon Hanjian was guest soloist in a 

January concert at the Lincoln Center; for the Friends 

of Chamber Music at the University of Hartford; in a 

February concert at Trinity Episcopal Church in Hartford 

; on Hartford station WTIC-TV on "The Ranger 

Station"; and with the Conard High School Orchestra 

in the Handel Concerto in B-fiat. She also played the 

following ensemble performances: two performances of 

the Britten Ceremony of Carols; the Rayner Brown 

Concertina for Harp and Brass Quintet; Jerome Kern 

Sunny; Tchaikovsky Romeo and Juliet; Vieuxtemps 

Concerto for Violin and Orchestra; Berlioz Harold 

in Italy; Saint-Saens Christmas Oratorio; and Menotti 

Amahl and the Night Visitors. She is harpist of the Connecticut 

1973 and 1974 All-State Orchestras and instructor 

of harp at the West Hartford Summer Arts and 

Music Center. 

Carol Baum will be playing, for the 6th consecutive 

year, the return engagement of the American Ballet 

Theatre at the Dorothy Chandler Pavillion. 

Throughout December the Harp Renaissance Society 

of Pittsburgh, Pennsylvania, presented Marcela Kozikova 

and Lucile Johnson Rosenbloom in a series of 

concerts entitled "The Mastery of the Harp." One program 

included works by Bach and Handel; the other 

program, performed twice, included works by Bach, 

Handel, Vivaldi, Ravel, and Britten. 

A post-concert reception was held at the home of 

Hope Sullivan in Providence, Rhode Island, following 

the appearance of Anne-Marguerite Michaud as soloist 

in the Ravel Introduction and Allegro with the Rhode 

Island Philharmonic Orchestra in February. Besides the 

conductor, manager, and concert-mistress of the orchestra, 

some AHS members and Board of Directors 

members and the Northeast Regional Director, the 

gathering was attended by Marcel Grandjany, with 

whom Ms. Sullivan studied and with whom Ms. 

Michaud i_s currently studying at Juilliard. 

DeWayne Fulton is heard nightly and Mary-Margaret 

Tobias is heard Sunday and Monday at the Warehouse 

in Marina del Rey, California. 

The Mimura Harp Ensemble of Tokyo, Japan, made 

University of Rochester 

Harp Instruction By 

ROBERT FREEMAN, Director 

El LEEN MALONE 

professor of harp 

DEGREE OFFERl'.\GS 

Bachelor of Music 

Applied Music (vocal or instrumental ) Composition History of Music Music Education Theory 

Master of Arts 

Music Education Musicology Theory 

Master of Music 

Composition Music Education Performance and Church Music 

Performance and Literature (vocal or instrumental) 

Doctor of Philosophy 

Composition Music Education Musicology Theory 

Doctor of Musical Arts 

Composition Music Education Performance and Church Music Performance and Literature 

For further information, please write: 

Edward H. Easley, Director of Admissions, Eastman School of Music, 26 Gibbs Street, Rochester, New York 14604 


its Fifth Overseas Concert Tour from September to 

December in Greece, Israel, Switzerland, West Germany, 

Holland, and Belgium, giving 46 concerts in 44 

cities. This year, activities of the Nippon Harp Promotion 

Society include the Mimura Harp Seminar Solo 

Festival this March in Tokyo; the Mimura Harp Seminar 

Summer Camp in Hakone this August; Harp 

Ensemble Festival in October; and the publication of a 

two-volume, five part Harp Method in English by Tsutomu 

Mimura, conductor of the Mimura Harp Ensemble. 

Suzanne Balderston performed the Ravel Introduction 

and Allegro in faculty recital at Cal State Northridge 

Lo Angeles, alifomia. 

Having recently returned from Las Vegas where she 

appeared with the Carpenters Sonny and Cher, and 

Frank Forshin, Nancy Le,'in i now heard weekends at 

the Victor Hugo Restaurant in Laguna Beach, California. 

Julia Gray was chosen as winner of the Santa Barbara 

Symphony Young Artists Audition and will play the 

Ravel Introduction and Allegro with the Orchestra on 

April 3. She recently performed the Mozart Flute and 

Harp Concerto with the Ventura, California Symphony 

and the Ralph Vaughn William Hodie with Lhe Santa 

Barbara horal Society. Ms. Gray and Kirst.en Rydman 

will be presented by the Santa Barbara Chapter of AHS 

in a recital of harp solos in behalf of their scholarship 

fund. 

Karen Kirk has been chosen as a winner for Concerto 

Night at the University of California Santa Barbara. 

She will perform the Ravel Introduction and Allegro. 

Stella Nase and Dorothy Knauss gave a harp, piano, 

and voice performance in a series of benefit concerts for 

the Allentown, Pennsylvania, Symphony Orchestra. 

At the opening of the Tate Art Gallery in Tallahassee, 

Florida in October, Karen Hays Jackson presented 

a program of Renaissance and Baroque music contemporary 

to the paintings on display. 

Amy Finnell accompanied the Leon County High 

School Choir in their performance of the Dale Wood 

Three Christmas Carols in December. 

Amy Finnell, Libby Gruender, and Sondra Gordon 

played solos for the Tallahassee Music Guild's Valentine 

Day Tea held at the home of Florida's Secretary of 

State, Richard Stone. 

On February 24 Mary Brigid Roman performed the 

Gustav Holst Choral Hymns from the Rig-Veda for 

women's chorus and harp with the Women's Chorus at 

Florida State University. 

Kathy Mitchell was special soloist in the Christmas 

music program of the Salem Methodist Church in 

Havana, Florida, in December. 

In November, the Nederburg Harp Trio, Kathleen 

Alister, harp, Lucien Grujon, flute, and Walter Mony, 

violin/viola, gave chamber concerts including works by 

Goossens, Vellones, Bendon, Rawsthorne, and Genzmer 

in the Concert-Gebouw in Amsterdam and in the 

Wigmore Hall in London. In London the United Kingdom 

Harpists Association gave a reception for the Trio 

with Maria Korchinska as hostess. The Trio also recorded 

works by Goossens, Rawsthorne, Poston, and 

Ma'ayani for the BBC in London. In March, the Trio 

gave a concert at Pretoria, South Africa. 

PEARL CHERTOK 

NYC Studio-Lincoln Towers--Radio Registry Judson 2-8800 

Westchester Studio-Radio Registry Judson 2-8800 

Faculty: Manhattanville College, Purchase, N.Y. 

Artist Affiliate Faculty SUNY, Purchase, N.Y. 

Students at Yale University, Sarah Lawrence College, Stony Brook and New 

York University 

44 


In March Susan Sandlin played the Faure Requiem 

with the orchestra and choir of the Hochschule fur 

Musik und darstellende kunst "Mozarteum" in Salzburg, 

Austria. 

In December, Patricia John presented a program entitled 

"The Harp: Its Characteristics and Music" in a 

series of musical events presented in the NASA area 

near Clear Lake, Texas. Among the works presented 

were three pieces by Ms. John. On Christmas Eve she 

performed music for harp, organ, brass, and choir at the 

Palmer Memorial Episcopal Church in Houston. She 

composed incidental music for harp, lute and recorder 

for Houston's Alley Theatre for their production of 

Shakespeare's A Midsummer Night's Dream. In February, 

Ms. John gave a program for the Society of Rice 

University Women entitled "The Harp: The Hunter's 

Bow to Berio". This summer, Ms. John presented a 

lecture-recital on her compositions for harp, Sea 

Changes, Mnemosyne, Aprille, and Tachystos at the 

Eduard van Beinum Music Foundation in Queekhoven, 

Holland. 

The harp department of California State University 

at San Francisco, under the direction of Marjorie 

Chauvel, presented its annual Afternoon of Music for 

the Harp on March 3. Performing solo and chamber 

works for harp were Celeste Everson, Suzanne George, 

Beth Erd, and Randy Wong. 

Marjorie Chauvel will present her 14th Annual 

Spring Harp Concert on May 19 in the Cubberly Performing 

Arts Center in Palo Alto, California. The Aeolian 

Harp Duo of Cal State at San Francisco will combine 

with the Stanford University Harp Ensemble for 

the Bach-Salzedo Sixth French Suite; those playing will 

be Celeste Everson, Suzanne George, Ann Hiestand, 

Paris Brooks, Marianne Stewart, and Mary Jane Chase. 

Other works on the program will include: Rodrigo Concert 

Serenade for Harp, Maryann Gortner with Carla 

Wong Gee, piano; Debussy Danses, Toynette Wong 

Johnson with Carla Wong Gee, piano; Ravel Introduction 

and Allegro, Kyle Allen with Kristin Allen, piano; 

Debussy Sonata for harp, flute, and viola, Carla Wong 

Gee. Also appearing will be Margaret Baird, Kristin 

Petersen, Anne Sachman, Leslie Weinfield, and University 

of the Pacific senior Christine Holvick. 

The Stanford Harp Ensemble will present the Bach 

Salzedo Sixth French Suite on their campus concerts 

in May. The ensemble includes Ann Hiestand, Paris 

Brooks, Marianne Stewart, and Mary Jane Chase. 

During the Pueblo, Colorado, Symphony Orchestra's 

January Mozart Festival, Phyllis Schlomovitz performed 

the Mozart Flute and Harp Concerto with the 

Orchestra's first flutist, Ginger Marshall. At the San 

Francisco Institute of Music in November, Ms. Schlomovitz 

gave a faculty recital including the Artur Gelbrun 

Introduction and Rhapsodie, a new Israeli work 

which won 2nd prize at the 5th International Harp 

Competition and which was dedicated to her. She gave a 

solo recital March I in Portola Valley and another on 

March 15 in the Palo Alto Cultural Center, the latter 

including the Gelbrun work as well as her realization of 

the first prize piece Koloth ( Voices) by Shidlovsky. 

Ms. Schlomovitz will appear as soloist with the Santa 

Cruz Symphony next season. 

Vicki Chertok and Lisa Reyff performed a duet and 


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46 

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Bachelor of Arts 

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Bachelor of Fine Arts 

Harp Ensemble 

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Master Classes-Mimi Allen 

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solos at the Music Teacher's Association of California 

(MT AC) Recital in February at the Palo Alto Cultural 

Center. Clare Shelley also performed the Natra Sonatina 

on this program. At the March MT AC recital, Gayle 

Evans played the Grandjany Variations on a theme of 

Haydn and the Nino Rota Toccata, and Jeanette Summa 

played the Charles Oberthur Concertina and the Tournier 

Theme and Variations. 

Lynn Gruver of the University of California at Santa 

Cruz presented a "College Night" recital on that campus 

March 10. 

On the semester recital at the San Francisco Institute 

of Music, Clara Dye played the Sam Milligan Lai and 

Rotrouange and one of the Satie Gymnopedies, arranged 

for harp by Phyllis Schlomovitz. 

Janet Deutsch has won the position of first harp with 

the Palo Alto "Honors Orchestra", and will tour with 

them to Los Angeles this spring. 

Clare Shelley is first harpist with the Santa Cruz 

Youth Symphony, and Elizabeth Bacigalupi is first 

harpist with the Santa Cruz Symphony Orchestra. 

On Sunday June 2, Phyllis Schlomovitz will present 

14 students in her Annual Pupils' Recital. Eight of these 

harpists appeared on the Annual Young People's Recital 

of the Bay Area Chapter in March at the Calvary Presbyterian 

Church of San Francisco. 

This March in the E. B. Crocker Art Gallery Series, 

Sacramento, California, Marylee Dozier appeared with 

flautist Carol van Bronkhorst and violist Warren van 

Bronkhorst for the following works: Krumpholtz Sonata; 

Debussy Sonata; Andriessen Intermezzo; lbert 

Entr'acte; and Persichetti Serenade No. 10. They performed 

this concert again at the University of the Pacific 

in Stockton, California. March 13, Ms. Dozier played 

the Piston Capriccio for harp and string orchestra with 

the State College University at Sacramento. 

Since September of 1971 Ursula Kwasnicka has been 

principal harpist with the Syracuse Symphony Orchestra 

in Syracuse, New York. On Christmas Eve, Ms. Kwasnicka 

and Gail Rupert-Lyons appeared on local TV 

channel 5 playing harp duets. On March 15, she and 

John Oberbrunner, flute, performed the Mozart Concerto 

with the Syracuse Symphony. Recently Ms. Kwasnicka 

was invited to join the faculty of the School of 

Music of Ithaca College. 

The Roth Duo, Elizabeth Roth, harp, and Wolfgang 

Roth, violin, will be performing this summer in southern 

Germany works for violin by Saint-Saens, Badings, 

Krumpholtz, N atra, Tournier, and Rossini. Cities in 

which they perform will include Marktoberdorf, Bad 

Woerishofen, lsny, Neutrauchburg, and Phronten. Ms. 

Roth was soloist this spring with the Charlotte Chamber 

Orchestra on their annual tour to Florida, performing 

the Ravel Introduction and Allegro and the Berio 

Concertina for harp, celesta, clarinet, and strings in 

Americus, Georgia, West Palm Beach, Melbourne, 

and Fort Lauderdale, Florida. 

From late November through December, Joy Hujsak 

played the Britten Ceremony of Carols at three churches 

and at California State University in the San Diego area, 

two of those performances being with The Aztec Ambassadors. 

At various other Christmas services throughout 

December, Ms. Hujsak performed the Grandjany 

On an Old Christmas Song, Salzedo Concert Variations 

on "O Tannenbaum", Salzedo I Wonder as I Wander, 


Marcel Samuel-Rousseau Variations pastorates sur un 

Vieux Noel, Harold Friedell Elegy, Bach-Gounod Ave 

Maria for harp and organ, as well as selections from the 

Britten. In March, she performed the R. Murray Schafer 

Requiems for the Party Girl with mezzo-soprano and 

nine instrumentalists at the University of California, 

San Diego, Inter-American Festival Chamber Music 

Concert; she also played the Philip Cannon Cinq Chansons 

de Femme for soprano and harp with Jean Stone, 

Soprano, at the San Diego Public Library. 

Sharon Towndrow played the Howard Hansen Serenade 

for flute, harp, and strings on the Lubbock Symphony 

Orchestra Children's Concerts March 5. 

Pamela Vokalek performed as guest soloist with the 

Northwest Chamber Orchestra in their December performance 

of the Debussy Danses and the Hovhaness 

Harp Concerto. She also joined with the University of 

Washington Contemporary Group and soprano 

Elizabeth Suderburg in the January presentation of the 

George Crumb Ancient Voices of Children. 

In the Seattle Symphony Orchestra, Gertrude Graf 

Bergseth plays first harp and Joyce Birchman, as of 

this year, plays second. Ms. Birchman and Carrie Kourkoumelis 

are the harpists with the UniverSity of 

Washington Symphony Orchestra. Joyce was recently 

the soloist for the University Orchestra's premier of the 

David Kechley Concerto for Harp. Carrie performed the 

Britten Ceremony of Carols five times during the 

Christmas season, at the Cornish School of Allied Arts 

and at four churches in the Seattle area. 

Patricia Wooster was the harpist with the Leonard 

Moore Chorale Orchestra in their December performance 

of the Vaughn Williams Hodie. 

In December, Sylvia Siddons was harpist in the premiere 

of the Douglas Rice Christmas Cantata, In Bethlehem 

That Night. 

_ 

Karen Hiltbruner was a Gold Medalist Student Participant 

with the Seattle Symphony Orchestra at their 

Family Concert held at Seattle's Blanchet High School 

in November. 

Mildred Dilling returned from recitals in Scotland, 

France, and Spain at the end of October. Her last performance 

in Spain was a command performance for her 

former pupil the Crown Princess Michiko of Japan, 

who invited Ms. Dilling to come to Japan this summer. 

Since January, whe has been playing at St. Vincent's 

University in Latrobe, Pennsylvania, where she 

had standing ovations at intermission and after the 

last encore. In San Francisco, she gave her 4th recital in 

the Grace Cathedral concert series. In Concord, California, 

Ms. Dilling held classes for eight young boys, 

alumni of her 1973 UCLA Workshop, and for 15 

women from Leonard Larson's class. Other classes for 

her UCLA workshop alumni were held in Albuquerque, 

San Francisco, Reno, Alameda, and Pasco. She also 

gave a one week workshop for the students of Ester 

McLaughlin at the Arizona State University Music 

School. Ms. Dilling played Community Concert engagements 

in Kelowna, British Columbia, and Porterville, 

Canada, early this year, and will again be playing in 

Oslo, Norway as well as in Scotland and France. Her 

monthly workshops at her New York Studio will resume 

March 30, April 20, May 11, and June 8, and again in 

the fall. The Annual Workshop and Master Class at 

UCLA will run from July 1 through July 12. 


UNIVERSITY EXTENSION, UCLA 

ANNOUNCES 

MILDRED DILLING'S 

ELEVENTH ANNUAL 

MASTER CLASS AND WORKSHOP 

IN HARP 

SUMMER 1974 

with 

MILDRED DILLING 

giving individual attention in graded classes to 

harpists of all stages of development from beginners 

to professionals ... covering technique, classical 

repertoire, ensemble and orchestral playing 

and the Renie method of relaxation 

DOROTHY VICTOR 

presenting the theory of music, practical harmony, 

the literature and materials of popular music for 

students readying themselves for engagements in 

the popular field 

July 1-12, 1974 

Performing Students: $80.00 

For enrollment and credit information write: 

Department of Arts and Humanities 

University Extension, UCLA 

Los Angeles, CA 90024 

At UCLA 

Observers: $50.00 

The Pantile Press of New York City 

presents 

compositions for harp 

by 

PATRICIA JOHN 

Write for catalogue: 

THE PANTILE PRESS 

1414 Milford Ave. 

Houston, Texas 77006 

47

Marcella DeCray will again be on the faculty of the 

Aspen Music School for its summer 1974 term. 

Eleanor Fell spent six in West Africa performing 

at the Toit D'Abidjan, the deluxe restaurant of the resort 

Hotel lvoire. Then she played at the Zurich Hilton 

in Switzerland, the Inter-Continental Hotel in Hanover, 

West Germany, the Berlin Hilton during January and 

February, and the Inter-Continental Hotel in Koln 

(Cologne), West Germany. She gave a lecture-demonstration 

in Annastift, a crippled children's hospital in 

Hanover, where the children joined in singing Christmas 

Carols to Ms. Fell's harp accompaniment. 

At St. Paul's Lutheran Church in Allentown, Pennsylvania, 

Dorothy Knauss, with organist Emerson Harding 

and violinist Robert Peardman, gave two Christmas 

Candlelight Concerts in December. 

Suzanne Thomas of the Buffalo Philharmonic Orchestra, 

won a gold medal and third prize in the International 

Harp Contest in Israel. 

At the January meeting of the Associated Music 

Teachers League of New York, held in Carnegie Recital 

Hall, Inna Marine! and Isela Gomez Rossi were the 

featured artists, performing mostly music written especially 

for the Marine! Harp Ensemble. They also played 

a concert at the United Nations in December. On March 

23, Ms. Marine! played the premiere performance of 

the Kleinman Song of Songs, for narrator, harp, flute, 

and viola, sponsored by Young Israel of Mosholu Pkwy. 

Ms. Marine! has joined the Hospital Ausitions, and 

with singer Freddy Leshins is appearing in tours of 

hospitals, homes for the aged, etc. 

THE GLISSANDO 

Whispers ripple over time 

Warm, laughter-flooded moments that 

glide, bubble through, 

swell like a harp's glissando - 

- commanding, filling space 

building to crescendos 

of surging strength - 

Harmonic, encompassing patterns 

of vibrant, hypnotic sound. 

Ruth Sinai 

The Palo Alto Cultural Center 

presents 

Phyllis Schlomovitz 

in her 

Second Seminar and Master Class 

featuring 

The Art of Improvisation 

July 8 thru 12, 1974 

"IMPROVISATION CAN BE LEARNED-IT IS NOT NECESSARILY A TALENT''-LEARN TO ARRANGE 

FOR THE HARP-CREATE YOUR OWN STYLE-IMPROVE YOUR SIGHT-READING-LEARN NEW 

TECHNIQUES FOR TEACHING-IMPROVE YOUR TONE AND TECHNIQUE. 

A CONCENTRATED COURSE-BASED ON STUDIES MISS SCHLOMOVITZ HAS MADE OF THE 

IMPROVISATIONAL METHODS USED BY JUILLIARD INSTRUCTORS MARVIN KAHN AND ROB 

ERT PACE, AND HER OWN DISCOVERIES. 

FOR INFORMATION WRITE: 

PALO ALTO CULTURAL CENTER OR PHYLLIS SCHLOMOVITZ 

1313 Newell Rd., Palo Alto, Calif. 94303 1682 Hamilton Ave., Palo Alto, Calif. 94303 

48 


CHAPTER REPORTS 

Each chapter is responsible for sending a Chapter Report to 

The Aml!l"irnn Harp Journal before the February 15th and 

September 15th deadlines. The report should be typewritten 

and triple-spaced, with 55-60 characters per line. The name 

and address of the current President should be listed at the 

beginning of the report. Copies of the Chapter Report should 

also be sent to the National Secretary and to the Regional 

Director. 

LONG ISLAND 

The tenth Annual Concert sponsored by the chapter 

for the benefit of the Ruth Bannerman Hart Music Fund 

was held Friday, November 16, 1973 at the Cathedral 

House, Garden City. Featured were the Bannerman 

Harp Ensemble under the direction of Marion Bannerman 

and including Lois Bannerman, Katherine Corkrey, 

Hana Mitacek, Carol Molter, Lesley Hart Tracy, 

and Paul Trautman. Guest artists were John Senior, 

harpist, and Peggy May, oboist. The Concert Committee 

including Lillian Moor, Edward Herfort and Beverly 

Berger reported record attendance and enthusiastic 

reception. 

Other activities sponsored by the chapter were the 

Chapter Newsletter, two recital meetings for the growing 

number of adult students and Music Education 

auditions. Participating in the auditions were Rose 

Hochberg, Pamela Hollister, Gwen Howard, Sara Gottlieb, 

Stewart Bailey, Mary Caponegro, Catherine OJ. 

well, Suzanne Shapiro, Charlene Sirigo, Martha St. 

Mary, and Nora O'Brien. Judges were: Lillian Moor, 

Katherine Corkrey and Carol Molter. 

The Annual Meeting and Reception was held Sunday, 

April 21 at the Bannerman Studio. The program was 

presented by senior pupils. 

CENTRAL NEW YORK CHAPTER 

President, Mr. Thomas J. Wierbowski, 170 South Main 

Street, Mansfield, Pennsylvania, 16933. 

The Central New York Chapter met on October 27, 

1973 at the home of Mrs. Barbara Irish in Ithaca, New 

York. President Thomas J. Wierbowski presided at the 

business meeting. The program consisted of a panel 

discussion by chapter members who had attended the 

National Conference in Montclair, New Jersey. Miss 

Deidre Colby spoke on her experiences as an exchange 


student in Japan. While there, she studied harp with 

Mr. Mimura and she brought his method books for 

everyone to see. Mrs. Gail Rupert Lyons played several 

selections for the members. 

Auditions are being planned for the spring as well as 

a tri-chapter meeting of the Central New York, Western 

New York, and Aeolian chapters. 

WESTERN NEW YORK 

President, Mario Falcao, 50 Central Avenue, Fredonia, 

New York, 14063 

In November, the Western New York chapter met 

at the Buffalo Philharmonic House for a membership 

meeting. We now have nineteen active members. 

In February, the group met at the University of Buffalo's 

music college. Two young students performed on 

the Troubador harp. Karen Kachic played Betty Paret's 

arrangement of Le Bon Petit Roi d' Yvetot. Cindy 

Dawdy played Lullaby by F. Schubert, arranged by 

Grandjany, and Christ-Church Bells by M. Camidge, 

arranged by Lucille Lawrence. 

Mario Falcao performed Koloth (Voices) by Leon 

Schidlowsky, the prize-winning Israeli composition 

which Mr. Falcao played at the Fifth International 

Harp Contest, placing first in the competition for the 

best performance of this number. 

Suzanne Thomas, principal harpist for the Buffalo 

Philharmonic Symphony and fourth prize winner at the 

NIPPON HARP ASSOCIATION 

Newly published records in Japan: 

Beautiful Melodies on the Irish Harp: sung and 

played by Craine Yeats recorded at her 

recital at the Aoyama Tower Hall, Tokyo 

Columbia 

"Sweet Harp Melodies" Solo and Duetts 

played by Verlye Mills and Josef Molnar 

Victor 

The record can be obtained through the 

Nippon Harp Association. 

for each record $10 including postage 

for two $15 

49

Harp Contest in Israel, discussed some of the more 

modern works for harp, showing the unusual notation 

of these numbers. Mr. Falcao introduced us to the 

"Coloring Book for Harpists" by Yanny Yehuda. 

The program was rounded out with the playing of 

two tapes: the first, an original composition by Yong 

Sook Won, a member of our chapter and a student at the 

University, was a hauntingly lovely number for Piano, 

Voice and Harp called Nostalgia. The other tape was 

Heinz Holliger's "Mobile" for Oboe and Harp; played 

by R. Richards, oboe and Suzanne Thomas, harp. 

At our next meeting, Michael Amorosi will discuss 

and demonstrate arranging popular music for harp. 

Assisting in the demonstration will be Suzanne Thomas 

and Carol Wilson, using arrangements by Laura Erb 

and Phyllis Schlomovitz. 

This has been a year of learning and advancement. 

We are proud of the accomplishments of our members. 

TALLAHASSEE 

President, Mary Brigid Roman, 1318-C Charlotte St., 

Tallahassee, Fla. 32304. 

The Tallahassee chapter held its fall business meeting 

at the home of Mary Brigid Roman. Ms. Roman 

briefed members on several new journals devoted to 

study and research on the harp. She has joined the 

United Kingdom Harpists Association to stay informed 

of the activities of harpists in other parts of the world. 

The society's newsletter features articles by prominent 

British harpists. Membership information can be obtained 

by writing the Honorable Secretary, U.K.H.A., 

83 Westside, Clapham Common, London SW4, England. 

Kern Jackson played a tape recording of the chapter's 

spring recital. The meeting closed with a program 

played by Sharon Enders. Ms. Enders is a self-instructed 

folk harpist from Crestview, Florida. She delighted 

members by playing several of her own compositions 

and she also sang gospel songs with her own accompaniments. 

On December 21 the chapter presented its annual 

winter recital in Longmire Lounge at Florida State University. 

The Tudor style room had been decorated with 

tall Christmas trees and evergreen garlands to mark the 

holiday season. Members participating in the recital 

were: Sondra Gordon, Libby Gruender, Amy Finnell, 

Cindy Remington, Lyndy Marchich, Kathy Mitchell, 

Mary Brigid Roman and Karen Jackson. Brian Finnell, 

guitarist, also performed. Other members of the 

chapter entertained the performers and guests with an 

eggnog party after the recital. 

The chapter sponsored a harp maintenance clinic 

held on January 12 and 13. Mr. Henning Christiansen 

of Lyon-Healy conducted the workshop. Ms. Marjorie 

Tyre and several students from Auburn University 

joined Florida harpists for this event. Altogether fifteen 

harpists gained considerable confidence in their abilities 

to maintain their instruments in good working order. 

MIAMI 

President, Trudy Frank Faust, 7801 S.W. Court, 

Miami, Florida. 

The Miami Chapter of the AHS held a reception for 

Edna Phillips Rosenbaum at the Caplan Room of the 

Temple Israel of Greater Miami on January 3, 1974. 

SUMMER INSTITUTE OF MUSIC 

IN ITALY 

proudly announces 

2ND HARP MASTER CLASS 

by 

SUSANN McDONALD 

July 15-August 2 

Please send me additional information for the 

SUMMER INSTITUTE OF MUSIC IN ITALY with SUSANN MCDONALD 

Nam~ _ ________ ___ __ __,_.d dress, _ ___ _ 

State/Country ______________ .L. lp, ___ _ _ 

Mail to: Susann McDonald, 504 S. Catalina Ave., Pasadena, Calif. 

91106 

Telephone, 213-681-161 l 

California State University 

credit optional (maximum 4 units) 

Coaching for contests 

Solo and ensemble performance 

opportunities 

Solfeggio 


Music for Troubadour or Pedal Harp 

by Nancy Gustavson 

t 

Available from your dealer, or write: 

N. Bartlett 

1047 E. Laguna Dr. *new 

Tempe, Ariz. 85282 

(add 50 c per order for handling) 

THE MAGIC ROAD 

PACIFIC SKETCHES 

SONGS WITHOUT WORDS* 

$1.75 each 

HARP INSTRUCTION 

BY PHYLLIS SCHLOMOVITZ 

UNIVERSITY OF CALIFORNIA 

AT SANTA CRUZ 

Apply Sherwood Dudley, Head of Music Dept. 

MUSIC & ARTS INSTITUTE OF SAN FRANCISCO 

2622 Jackson St. 

San Francisco, Calif. 94115 

Ross McKee, Music Director 

DEGREES WITH HARP MAJOR 

Home Studio--1682 Hamilton Ave. 

Palo Alto, CA. 94303 

Phone 415-328-0468 

Mrs. Rosenbaum was on a vacation with her daughter 

and son-in-law, Mr. and Mrs. Mauricio Solaun, and 

her grandaughter Emma. In addition to the chapter 

members also present were Dr. Phillip Fink, Music 

Coordinator of the Florida International University, 

Miss Jacqueline Alexander, Head of the Music Department 

of Miami Senior High School and other wellknown 

local musicians. 

The chapter presented Mrs. Rosenbaum with a heart 

shaped charm. Approximately fifty persons enjoyed 

refreshments prepared by the chapter members. 

POLYMORPHOUS 

President, Laura Erb, 24443 Hilliard Blvd., Westlake, 

Ohio, 44145. 

On January 11, the Polymorphous chapter held an 

election meeting. Laura Erb was unanimously voted 

Honorary President. The elected officers were: Laura 

Lou Erb Roth, President; Claudia Kapp, Vice-President; 

Cecilia Ilg McKay, Secretary; and Susan Keith, 

Treasurer. 

On March 2, 1974, Cecilia Ilg McKay will be solo 

harpist with the Cleveland Orchestra, under the direction 

of Gerald Page, who will conduct a consolidated 

group of musicians, including all the band, orchestra, 

and choir members of Avon Lake. 

On March 10, at the Lakewood Congregational 

Church, Claudia Knapp will perform a very beautiful and 

unique number entitled The American Folk Hymn 

Suite. This number was specially written for handbells, 

harp, and organ by the well known composer Dale 

Wood. 

On Saturday, April 20, at 8:00, Laura Erb's harp 

ensemble and Laura's Little Angels (troubadour harpists) 

will participate in the Sixth Annual Artists Series 

at the Aurora Performing Arts Center. Also appearing 

on this program is Louis Nye, a well known television 

comedian personality. 

In December, as is traditional, Laura Erb's harp ensemble 

contributed to the Christmas spirit by performing 

for several clubs in Greater Metropolitan Cleveland. 

These included the American Association of University 

Women in Lorain Ohio, featured soloist Laura 

Lou Erb Roth; Bay Village Womens Club, Bay Village, 

Ohio; Business and Professional Womens Guild 

in Euclid, Ohio; and Womens Club of Rockport Methodist 

Church in Rocky River, Ohio. 


The girls performing were: Carolyn Abbiss, Julie 

Alexander, Linda Blake, Lisa Craig, Christy Du Vernay, 

Marcia Fleck, Pam Friedman, Kathy Hart, 

Kathleen Rathke, Leslie Rees, and Sharon Wasserbauer. 

We would like to share with you a most pleasant and 

exhilerating experience. On November 9, Laura Erb 

and her daughter Laura Lou Erb Roth, journeyed to 

Pittsburgh to visit Laura's teacher, Lucile Johnson 

Rosenbloom whom she hadn't seen in 30 years. During 

the course of the evening, Lucile Johnson and Marcela 

Kozikova, her musical colleague, played several numbers 

that they have performed for thousands of people 

on their concert tours in the Middle East, Europe and 

the United States. It was a rare privilege to be able to 

sit in front of the fireplace in an intimate atmosphere 

and absorb with rapture the magnificent artistry these 

reknowned harpists displayed. Lucile and Marcela 

promised to visit Laura Erb this summer and you can 

imagine how the Polymorphous chapter is looking forward 

to meeting these two great harpists. 

CHICAGO 

President, Mr. Ellis Schuman, 5415 N. Sheridan Road, 

Chicago, Ill., 60640. 

The Chicago Chapter hosted a reception for Edward 

Druzinsky, Chicago Symphony Harpist following his 

performance with the Chicago Chamber Choir last 

December. The number of people attending the reception 

exceeded all expectations. Chapter members Mr. & 

Mrs. Frank Gillis and Mr. & Mrs. John Rush and 

Michael Shallow were on hand to see that the refreshments 

matched the unexpected demand. Mrs. Druzinsky 

joined her husband in greeting the many friends of the 

harp. 

The Chapter can always count on a large attendance 

at a tour of the Chicago-based Lyon-Healy harp factory. 

The tour last December was no exception. This time, 

however, Chapter President Ellis Schuman extended an 

invitation to Milwaukee's Chapter President Emmy Lou 

Krill and her Chapter to attend this interesting and educational 

event. A spirit of good will among the two 

Chapters was in evidence throughout the afternoon. 

Once again, Henning Christiansen, Head of Lyon 

Healy's Harp Department demonstrated his remarkable 

ability to guide the members and their friends through 

the production area while explaining the complex building 

procedures in a simple and direct manner. The tour 

51

ended logically in the presence of the finished product. 

Several student members played the new instrument 

while refreshments were served. The Milwaukee Chapter 

extended an invitation to the Chicago Chapter to 

attend its next important meeting in Milwaukee. 

MEMPHIS 

President, Linda Wilson, 1202 Middlecourt, Apt. 30 I, 

Memphis, Tn., 38138. 

The Fall meeting of the Memphis Harp Chapter was 

held on Friday, Sept. 21, I 97 3, in the home of the President, 

Linda Wilson. New members and guests were 

introduced, and the goals and purposes of the AHS were 

emphasized. Plans for the National Harp Competition 

were announced, and local Chapter committees were 

appointed by the President. Marian Jackson, a new 

member, spoke about her musical experiences in Europe 

as a student, and solos were performed by Barbara 

Wehlan and Elizabeth Cobb. 

The Chapter harpists have enjoyed a busy fall and 

winter season, giving many types of performances. 

Frances Phillips played the Introduction and Allegro 

by Ravel at Memphis State University. The Britten 

Ceremony of Carols was performed by the Southwestern 

College Singers, with Elizabeth Cobb, harpist. Linda 

Wilson played for both Memphis Opera Theatre productions 

of Tosca with John Alexander and Salome 

with Klara Barlow. Marian Jackson was the harpist for 

MOT's Tales of Hoffmann in November. Marian also 

won the Concerto Competition and will perform Handel's 

Concerto in B Flat with the MSU Orchestra on 

April 24. In the Fall, Agnes Crisci, harp instructor and 

past Chapter President, organized a harp ensemble, 

composed of student Chapter members. Performances 

were given in December with the Ridgeway High 

School Chorus and repeated twice on television. Those 

participating were Leigh Cheatham, Grace Glenn, 

Heather Holmes, Carolyn Mills, Cindy Wellman, and 

Barbara Wehlan. A Spring ensemble program is planned 

for April. 

A highlight for this area was the performance in November 

of Marjorie Tyre, guest artist with the Memphis 

State String Quartet in Harris Music Auditorium. She 

was featured in the Debussy Danses and Ravel Introduction 

and Allegro. Miss Tyre has been appointed 

Director of Regions for the AHS. 

LOUISIANA 

President, Barbara Belew, 4022 Wooded Drive, Lake 

Charles, Louisiana 70601. 

The second year of the Louisiana Chapter is proving 

to be an exciting one. Four more new members joined 

us during the course of the fall, including Nowell Daste, 

Bryan Gray, Charles Libbey and Garry Savoie. 

We have been pleased to hear from "our gal in 

France," Reinnette Morin, who is attending the University 

of Strasbourg on a Rotary International Foundation 

Scholarship. She reports that she has been able to make 

arrangements to get in some harp work and that the 

people at the Conservatory have been most gracious to 

her. 

Several area musicians joined six members in an 

.£~HARP 

crealeJ t'I a /amil'I o/ 

p,.ofeJ:1ionaf f.a,.pi:1/:1 

There is a fine feeling in the easy-to-p/,ay 

Linrud Ha.rp 

Sharping levers can be operated 

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while playing on IRISH Model. 

No shaq,ing levers on Minstrel 

model 

"the tone for a harp this size 

is extraordinary" 

HARPO MARX 

String spacing on both 

harps is idenlica/ wilh 

full size harps 

muple nel·k and pillar, 

fiberi,:lass body wi1h 

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ha~e 

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EARL LINRUD THOMPSON, owner 

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established in 1956 

MILDRED DILLING HAST AKEN HER 

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WORLD WITH HER THREE TIMES. 

Linrud Model E H" rp with St"mJard 31 St, ings, 

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Minstrel Model E-T Harp h"s 22 strings, detach- $75.00 

able lap springs, tuning hammer, and cloth 

cover 27" tall, 4 lbs. 

Travel Suitcase made for lh~ minslrel modcl-515.00 

Lap braces fit into 

small holes in ba:H.> of 

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while p/ayi111-r 

52 


WILHELM® ~HARP 

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Box 54 1311-157 Street 

Whitestone, New York 11357 Tel: (212) 767-8372 

House of Quality and Service 

unusual program, to which we invited special guests, 

for our winter meeting, held January 20, 1974, at the 

Episcopal Church of the Good Shepherd in Lake 

Charles. The program, "So you've been invited to play 

for church-," featured music for harp with voices and 

other instruments which has been proved in actual 

church performances. The guest performers for the 

event, which took place on a beautiful sunny Sunday 

after a miserable week of flooding rains, were 'cellist 

Richard Pease of Lake Charles, flutist Brian Hinkle 

of Lafayette and organist George Kreamer and several 

members of the choir of the host church. Chapter members 

taking part included soprano Christine Barbour, 

organists Garry Savoie and Herbert Youngblood and 

harpists Barbara Belew, Lori Mosing, and Maryce 

Pickering. Verna Barbour acted as hostess, assisted by 

Susan Coleman and others, for a reception in the parish 

house following the program. 

We currently are anticipating our spring meeting, 

slated for March 10 at St. James Episcopal Church in 

Alexandria, when our vice president, Maryce Pickering, 

will present the program. This meeting, for which Mary 

Carolyn Ussery is hostess-chairman, also is a business 

meeting when we will elect officers for the next two 

years and will lay plans for coming activities. 

Also presently occupying our thoughts are plans for 

attendance at National Conference in June. It is hoped 

that several chapter members will be able to make the 

trip to Seattle. 

DALLAS 

President, Mrs. Martha Goldthorn, 3515 Ainsworth 

Drive, Dallas, Texas, 75229. 

The American Harp Society in Dallas enjoyed a holiday 

meeting December 9, 1973 in the home of Mr. 

Charles Evans. Mr. Stanley Guy assisted as host and 

shared the program. Mr. Evans at the Great Wurlitzer 

Pipe Organ and Mr. Guy, harpist presented music from 

the "King and I" plus seasonal selections. 

On February 10, 1974 the members gathered in the 

home of John and Nancy Graves to hear a program 

of harp and organ music arranged by John especially for 

Nancy's harp and his Hammond Organ both of which 

are capable of playing through a synthesizer. Mr. Henning 

Christiansen was also present and gave a slide-talk 

of harp making at Lyon-Healy. 

We are now looking forward to our student recital 

in May. 


LUBBOCK 

President, Jill Justice, 3010-21 St., Lubbock, Tx. 

79410. 

The Lubbock chapter will take part in a harp department 

recital sponsored by the Texas Tech University 

Music Department on April 27, 1974. The group will 

perform several ensemble numbers, duos, and solos. 

This will take place at Westminster Presbyterian Church. 

During Texas Tech's Annual Symposium of Contemporary 

Music Gail Barber presented the Southwestern 

premiere of Alan Hovhaness' The Garden of Adonis 

for harp and flute. She also presented the world premier 

of Two Movements for Harp, Without Pause, by 

Robert McClintock. 

NEW MEXICO 

President, Nancy Ruth Weart, 3401 Pitt St. N.E., Albuquerque, 

New Mexico 87111. 

New Mexico Chapter members are happy to open the 

New Year by welcoming six new members: Sylvia 

Gioni, Gretta Holt, Liza Huerta, Albuquerque; Mrs. 

Henry Cagle, Claudia Wier, Santa Fe; and Betsy Mc 

Crory, Los Alamos. 

The highlight of the fall season was the Randy Pratt 

concert in November. Randy presented the identical 

concert that he later presented in Carnegie Hall, a privilege 

which was earned by being the 1972 Harp Society 

Young Professional winner. Approximately 200 people 

attended the program which was presented at the First 

United Methodist Church. Following the program, the 

New Mexico Chapter sponsored a reception offering 

the guests an opportunity to meet Mr. and Mrs. Pratt 

and James Pelley who both assisted in concert. Emelia 

Dahlstrom hosted the guest artists in her home and Gene 

Wilson and Gretta Holt arranged the reception. 

December was a busy month for New Mexico harpists. 

The following are those who participated in Christmas 

programs: Nancy Ruth Weart and Betsy McCrory 

appeared with Albuquerque Symphony; Randy Field 

and Betsy McCrory accompanied vocal groups in Ceremony 

of Carols; Randy appearing on UNM-TV and 

Betsy at Central Methodist Church. Liza Huerta played 

with Manzano Orchestra and Chorus program; Nancy 

Ruth Weart appeared nightly during the season with 

the Light Opera Company's orchestra in "Carnival". 

Dr. William Grabowski was received with enthusiasm 

in children's concerts in Santa Fe through the school 

programs. 

53

January brought Mildred Dilling to Albuquerque for 

a workshop as well as those desiring private lessons. 

Several New Mexico harpists joined the class to take 

advantage of her famous study methods. Also in January 

two college members, Randy Field and Carla Scaletti, 

participated in the Fine Arts Students Club. Sylvia 

Gioni will play for the Mozart Society in February, and 

Carla Scaletti will play with the Roswell Symphony in 

February. 

On February 9th, Nicanor Zabaleta was guest artist 

with the Albuquerque Symphony. The New Mexico 

Chapter hosted an open house at Sylvia Gioni's home to 

offer New Mexico harpists an opportunity to meet Sr. 

Zabaleta. 

New Mexico Chapter members are looking ahead to 

May 4th, the date of our annual Spring Musical and 

Potluck supper for our families and friends. 

New officers for the coming year include: President, 

Dr. William Grabowski; Vice President, Nancy Ruth 

Weart; Secretary, Gene Wilson; Treasurer, Carla 

Scaletti. 

PHOENIX 

President, Ester McLaughlin, 1240 E. Marshall Ave. 

Phoenix, Arizona 85014. 

Last spring, our chapter presented Nancy Gustavson 

Bartlett in recital at Kerr Studio in Scottsdale, Arizona. 

She also demonstrated the harp in schools in Mesa, 

Arizona. 

In May, pupils of Margaret Slaff and Ester Mc 

Laughlin played a Sunday afternoon harp program at 

the Arizona State University recital hall. 

Margaret Slaff taught Troubadour harp at Camp 

Pacifica at Carlsbad, California during the summer. 

In July, our chapter attended Mildred Dilling's recital 

at Arizona State University. There was a full house and 

it was a joyful evening. 

We had regular meetings in September and November 

with members providing the programs and refreshments 

and good fellowship. 

In November, the Phoenix Chapter in conjunction 

with Phoenix College Music Dept., sponsored Randall 

Pratt in concert at the college. 

Our next meeting was February 6, 1974 and plans for 

the Mildred Dilling workshop at Arizona State University 

March 4 thru 9 were discussed. 

Election of officers will be in April with new officers 

installed in the Fall of '74. 

Our last event of this year will be our annual May 

recital. 

SAHUARO 

President, Rebecca Reinhard, 3855 Calle Fernando, 

Tucson, Arizona, 85716. 

The Sahuaro Chapter of Tucson has continued to 

hold monthly meetings in members' homes. Rebecca 

Reinhard is doing an excellent job as chapter president, 

making the year of 1973-1974 a very successful one. 

At each meeting, members of the chapter have performed 

various pieces. The December meeting was 

highlighted by a group playing of Christmas carols. It 

was a gay and exciting occasion. On October 2 7, the 

students of Patricia Harris, gave a recital at the Unitarian 

Universal Church. 

'7.lte S«mmez 'Jtazp eoto.nv o/ o'lmezica 

CAMDEN, MAINE 

THE SALZEDO SCHOOL 

A Non-Profit Institution 

ALICE CHALIFOUX, Director 

JEANNE CHALIFOUX, Assistant 

For Information Address: 

ALICE CHALIFOUX, 115 South Lane, Chagrin Falls, Ohio 44022 

54 


PROF. JOSEF MOLNAR 

INSTRUCTION IN HARP 

KARUIZAWA MUSIC SUMMER SCHOOL 

August 1st-August 8th 

Private harp instruction, Chamber Music, etc. 

Fee: $100 (including lesson fee 

and accommodations for 6 days) 

NIPPON HARP ASSOCIATION 

2-18-10 Mita, Meguro-ku 

Tokyo, Japan 

For students 

from junior high 

through college ... 

thCarolina 

School of the Arts 

Bo• 46~7 w,ns1on-Sal

Since our last chapter report the Harps of Concord 

have turned from illness to a full schedule of playing 

during the holidays. 

This year we were able to play at two of the local 

convalescent hospitals, Bayberry and Hacienda. Both 

of these hospitals delight in having community groups 

performing for the patients and encourage the harps to 

return every year. 

From the hospitals the harps traveled to a local 

church where one of our harpists, Marty Dolhanyk, had 

arranged for us to play in her church's program. 

We were again asked to play in the mall at the Sunvalley 

Shopping Center where the harps were grouped 

around the large Christmas tree which was surrounded 

with gifts and toys. Many people watched and showed 

interest in our playing and in the harps. A number of 

people inquired about our harp class, which is the only 

harp class in the United States given by an adult education 

school. 

The Junior Women's Club had us play for their 

"Santa's Roundup" at the Concord Armory. This was a 

bazaar given by the Junior Women's Club to help 

Christmas shoppers find interesting new gift ideas. 

People from all over the area came with their wares and 

the whole Armory took on an air of a Christmas carnival. 

Of course the Harps of Concord had their annual 

Christmas party with good food and good fellowship. 

All of us have enjoyed learning to play the harp but 

most of all we have enjoyed the friendship of meeting 

new people and spreading the good news that you are 

never too old to learn something new. This will be 

brought home even more when we will be able to participate 

for the first time in a Master Harp Class to be 

given by the First Lady of the Harp, Miss Mildred 

Dilling. Mr. L. V. Larson who teaches harp classes 

under the auspices of the Mt. Diablo Evening School 

has arranged for Miss Dilling to also give a concert at 

the Fellowship Hall of the First Presbyterian Church 

of Concord. The Harps of Concord will give a reception 

for Miss Dilling at the Larson Music Co. Auditorium 

after her performance. Needless to say it will be a very 

great honor for us in Concord to have Miss Dilling with 

us. 

After such an honor what is left for us to do but to 

put our best foot forward and try to continue to grow 

and spread the news about the harp. 

SANTA CLARA VALLEY 

President, Beth Zelenski, 2018 Sykes Court, Santa 

Clara, California 95051. 

On February 10th, Verlye Mills and Stella Castellucci 

came up from Los Angeles and entertained about 75-80 

of our members and guests with a very interesting 

and enjoyable program of arrangements from their new 

book Rhythm For Harp, in the Harp Salon at the home 

of Mr. and Mrs. William Hughes, Los Altos. This outstanding 

publication is a unique collection of original 

compilations by these distinguished harpists. Both 

are involved in TV and the recording industry. All selections 

were arrangements of Jazz, Bossa Nova, Blues 

and Rock and Roll. We were fascinated with this new 

style of playing on the harp. There is a description of 

this method in the 1973 Fall edition of the American 

Harp Journal. 

MAR-IL YN COSTELLO 

Solo Harpist - 

Philadelphia Orchestra 

INSTRUCTOR OF HARP- 

THE CURTIS INSTITUTE OF MUSIC 

Scholarship Pupils Only 

For lnformat-ion, Write: 

SECRETARY OF ADMISSIONS 

1726 Locust Street 

Rittenhouse Square, Phila., Pa. 19103 

TEMPLE UNIVERSITY COLLEGE OF MUSIC 

For Information, Write: 

PRESSER HALL 

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

56 


EDUCO PRESENTS 

THREE RECORDINGS 

BY PHYLLIS SCHLOMOVITZ 

CONTEMPORARY MUSIC FOR HARP AND FLUTE 

ROMANTIC MUSIC FOR THE HARP 

HARP AT CHRISTMAS 

5.50 ea. 

Clip this ad and order from: 

Educo Records 

P.O. Box 3006 

Ventura, Calif. 93003 

BAY AREA CHAPTER 

President, Inez E. Stafford, l 345-l 6th A venue, San 

Francisco, California 94122. 

The Bay Area Chapter is a very active one, drawing 

its membership of about 60 from San Francisco, Marin, 

Alameda, and San Mateo counties. We hold four meetings 

a year in various homes, at which we cover Chapter 

business, followed by a program and social get-together. 

Each Spring, we have a Student Recital. Last year's 

was held in March at Calvary Presbyterian Church, 

and over a hundred harp enthusiasts attended. Eight 

teachers presented 25 pupils in a varied and enjoyable 

program. 

At the first meeting of our new year held at the home 

of Elvira Cassell in Mill Valley-with about 25 members 

present-Elizabeth Bacigalupi and our President 

reported on the Conference at Montclair. Anne Adams 

gave an interesting account-with humorous details 

included--of her experiences with the San Francisco 

Symphony Orchestra while on tour in Europe, last 

summer. 

At our November meeting held at the home of Phyllis 

Schlomovitz, we were introduced, through Suzanne 

Balderston, to the Salvi harp. Suzanne gave details of 

the manufacture of this beautiful instrument and answered 

questions regarding it. Later, Phyllis' husband, 

Ken, showed interesting slides of the Holy Land. Phyllis 

had been invited by the Government of Israel to attend 

the Fifth International Harp Contest as a "Guest of 

Honor," last September. 

Our first meeting of 1974 was held on 

January 20 at the Music & Arts Institute of San Francisco, 

with the young people in charge of the program 

and refreshments. 

We expect to hold our last meeting, in May, at the 

lovely home of Anne Adams, in Alameda. 

We are looking forward to many interesting events: 

The Bay Area Chapter will host a reception for Mildred 

Dilling after her recital at Grace Cathedral, on February 

17, and also one for Zabaleta after his recital at the 

Veterans Auditorium, on February 23. March 17 is the 

date of our Spring Student Recital, which will again be 

held at Calvary Presbyterian Church. 

Our member, Alice Lawson Aber, has been commissioned 

to write approximately 50 articles, for the Sixth 

Edition of Grove's Dictionary of Music and Musicians, 

on harpists of the 1 8th, 19th, and 20th centuries. 

Through her effort, a number of harpists will be in- 


Music for Troubadour or Pedal Harp 

by Gail Barber 

WINDMILL SKETCHES $3.00 

IMPROVISATION ON A 

FAMILIAR MELODY $1.50 

For two or more pedal harps 

BACH: PRELUDE IN E MINOR $1.50 set 

arranged by Gail Barber 

(add SOc postage per o rder) 

MS. GAIL BARBER 

6224 Louisville Dr., Lubbock, Texas 79413 

AUTHORIZED SALVI AGENT-Write for information 

eluded whose names have never appeared in available 

English biographical dictionaries. 

LOS ANGELES 

President, Elizabeth Ershoff Hamburger, 3352 Longridge 

Ave., Sherman Oaks, Ca. 91403. 

The Los Angeles Chapter of the American Harp Society 

started the year with a concert in September featuring 

local jazz harpists Verlye Mills and Stella Castellucci 

performing original compositions from their 

new book, Rhythm for Harp. Dorothy Ashby, a pop 

harpist new to the area, completed the program with a 

series of her own arrangements of contemporary tunes. 

Our yearly Christmas boutique, highly successful as 

always, featured an all-Ravel concert by harpists Stanley 

Chaloupka and Paula Schertzinger Chaloupka. Delightful 

arrangements for two harps were by Stanley 

Chaloupka. 

In January, we heard a program put together entirely 

by faculty and students of California Institute of the 

Arts, featuring Elaine Seeley on harp, and Gilbert 

Seeley conducting the California Arts Women's Chamber 

Choir. 

The November scholarship concert was given by 

Randall Pratt prior to his appearance at Carnegie Hall. 

This proved to be a very successful venture for our 

scholarship fund. 

SEATTLE 

President, Mary Beth Duncan, 19609 27th Ave., N.W., 

Seattle, Washington, 98177. 

Members of our Chapter are eagerly looking forward 

to greeting you here in Seattle in June at the Eleventh 

National Conference. 

As well as spending our meetings in Conference planning, 

time has also been taken for some memorable 

harp events. Lynne Palmer played her composition, 

Classical Suite for Harp Alone, for a large, appreciative 

audience at the October meeting. The Chapter's 

growth to sixty-four members was in evidence also at 

the December meeting. Twenty-nine young harpists, 

(some members and the others students of members), 

played holiday-inspired music on an impressive collection 

of twenty-four harps. Also of special interest to 

harp admirers was an exhibit of a new design of 

"Bardic" harp by Seattle harp maker Ken Bastard. Joan 

Clark demonstrated it by playing several selections. 

Please plan to travel to Seattle in June and, by your 

presence, help us to have a truly successful Conference. 

57

The Young Artists Fund 

Young harpists are invited to give recitals under the 

auspices of the American Harp Society. A tour of cities 

in which there are Chapters can be arranged and this 

offers a fine opportunity for the young artist. Please 

direct inquiries to The American Harp Society, Inc., 

6331 Quebec Dr., Hollywood, CA 90068. 

The following guidelines for these concerts have been 

adopted by the Board of Directors: 

1. The Society will pay a fee of $100.00 per concert 

to the performing harpist. 

2. The Society will pay transportation expenses of 

the harpist. 

3. The Chapter will assume all other expenses. 

4. The Chapter will retain the profits from the concert, 

but it is suggested that a portion of the profit 

over $ I 00.00 be returned to the Young Artists 

Fund. 

5. The Board of Directors or the Executive Committee 

will act on each request individually, 

taking into account the practicality of the proposal 

and the funds available. 

6. All applications must include the following: A list 

of qualifications with supportive material including 

a sample program, recommendations, and a 

tape of not less than 40 minutes duration. 

7. All harpists participating in the program must be 

members of the American Harp Society. 

Marcel Grandjany Fund 

The Board of Directors has established the Marcel 

Grandjany Fund. Its purpose is to improve the quality 

of performance by harpists through supporting educational 

programs for students and through subsidizing 

concerts by young artists. 

The Society will welcome contributions in Mr. 

Grandjany's honor to support this worthy goal. Checks 

should be made payable to the American Harp Society, 

Inc., and sent to the Treasurer; Gertrude Hustana, I 03 7 

J amacha Road, El Cajon, CA 92020. Contributions are 

tax deductible. 

MINUTES 

Copies of the minutes of the Executive Committee 

and the Board of Directors are available upon request 

from the National Secretary, Mrs. Dorothy Remsen, 

6331 Quebec, Hollywood, CA 90068. 

TEACHERS' 

New England 

ELIZABETH T. DAHL, B.M. Eastman 

University of Vermont Music Dcpl. 

Burlington. Vt. 05401 656-3040 

SALLY ELLIOTT, B.M. 

Communit, Music Ccn1cr-Bosto11 Ccn1cr for the Aris 

539 Tremont St ., Boston. Mass 02116 

Pllllne: (6 I 7) 482-7494 

SHIRLEY R. SHOCKCOR 

llJ Fair St .. Guilford. Conn. 064.17 

20.1-45.1-.16 71 

PHYLLIS WRIGHT, B.M. Eastman 

19.1 Stoner Drive. West Hanford. Conn 06107 

Phone: (20.1) 521-.1765 

Faculty: Hartt College l1f Music and Miss Porters School 

NELLIE ZIMMER 

21 Regent Circle. Brook] inc. Mass. 02146 

Phone: 6t7-7.11-2545 

MARION M. BANNERMAN 

58 

New York 

610 Front Street: Phone: 516 IV9-7560 

Hempstead. N.Y. 11550 

DIRECTORY 

MARIETTA BITTER 

167 East 71 St , 

New York.NY 10021 

Phone: 212-879-9444 

Harris Rd_, Bedford Hills.NY 10507 

Phone: 9 I 4-2.14-.1687 

NANCY BRENN AND, B.M.E. 

2.15 West 71 St .. NY,. NY 

(212) 787-9024 

Summer: Woodstock.NY (914) 679-9.160 

SALVA TORE MARIO DE STEFANO 

Studio: 180 West 58Ll1 St . . N .Y. N . Y 10019 

Pl1one: Circle 7-28.15 

MASTER CLASSES AND HARP REPERTOIRE 

MILDRED DILLING (private & classes) 

400 E. 52nd St. Apt 9F 

New York. N.Y. 10022 Tel 212-PU-2492 

Workshops NY Studio Nov. 10. Dec, 8 

fan. 12. Mor 2.1. Apr 20. May 11. June 8 

I1 lh Annual Master Class and Workshop 

UCLA. Jul) I Lo July 12. 1974 

URSULA KW ASNICKA, B.M., M.M. 

Faculty: Music Scl1ool of Ithaca College. Ithaca.NY 

Principal harpis1: Syracuse Sympl1on) Orchestr;:i 

106 EdIim Rd .. Syracuse. N .Y 1.1206 

Tel: (.115) 463-6034 

GAIL RUPERT LYONS 

4 I 94 St Jol111 Drive. Syracuse. N . Y I 32 I 5 

Phone: (315) 488-0744 

Faculty: Onondaga Community College: Syracuse University 

GERALDINE RUEGG 

60 Cedar Lane. Bronxville.NY 10708 

Tel. 9I4-DE 7-5966 


LUCIEN THOMSON 

105 W 11th Street. New York, N .Y . 10011 

Phone: (212) ORegon 5-1278 

Faculty: New York University 

GENEVIEVE DUFFY WINKENBACH, B.M. 

5 Bl ucbcrry Lane 

Stony Brook. L I.N Y . I I 790 Ph. 516-751-31 11 

Mid Atlantic 

KATHLEEN BRIDE, B.M., M.S. Julliard 

13 Schuyler Avenue 

Pequannock. New J crscy 07440-Pl,onc: (201) 696-8_18~ 

Harp Instruction: Mt. St. Mary Academy, No, Pla1nl1cld, NJ 

FAITH CARMAN, B. Mus. 

5400 Pooks Hill Rd. No. 801 

Bctl1esda. Maryland. 20014-530 1212 

DOROTHY R. KNAUSS 

2953 Allon Ave,. Allcniown. Pa. 18103 

Solo Harpist: Allentown Symphony, Allentown 

Symphonic Band. Municipal opera 

LEONE PAULSON 

74 Ralston Ave. Soutl1 Orange. N.J 07079 

Phone: 201-762-9095 

ROSALIE R. PRATT, B.M., M.M. 

407 Park St.. Upper Montclair. N.J. 07043 

Solo Harpist: New Jersey St'ate Sy111pl1ony 

Head of Harp Dcpl. MonLcl::-iir Stale Collt.:gc. N .J 

SAMUEL O. PRATT, B.A., M.A., Ed.D. 

407 Park St .. Upper Montclair. N .J. 07043 

Phone: (20 I) 744-7366 

Head of Harp Dcpl , Columbia Univ, New Y(Wk 

CECILE CEO SIEBEN, B.M., M.M. 

2203 Browns Lane. Oxon Hill. Md, 20022 

Pl1onc: (301 I 248-0107 

Principal Harpist Roanoke and Lynchburg Symphonies 

Fullbright Scholar Rome. Italy. 1961-(ll 

_ 

Private lns1ruc1ion. Pedal and T rouhadour Harp-Home Studio 

JILL BAILIFF 

1880 Glcnwnoc.l Rc.l . 

Ann Arhor. Michigan 4HI04 

North Central 

MARGARET RUPP COOPER, B.A., B.M. 

2108 Waunona Way, Madison, Wis. 53713 

Phones: 222-1951 and 263-1909 

Faculty, University of Wis. Madison 

Principal Harpist. Madison Symphony 

PETER E. EAGLE 

Scl10ol of Music. Inc.Jian~1 University 

Bloomington. lndiana 47-WI 

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

LAURA ERB 

24443 Hilliard Blvd .. Westlake. 

Cleveland. Ohio 44145 Phone: (216) 817-1812 

Formerly Solo Harpist Buffalo Philharmonic Orches1ra H yrs. 

Scaff Harpist W .G . R. Columhia Network 5 yrs. 

Former Head of Harp Depl Baldwin-Wallace College 

Conservatorv of Music 20 yrs, 

Pedal and T~oubadour Harp: Practice l1arps available. 

Puhl ic Performance Opportunities for ho1 h in studen1 harp ensembles. 

BERNICE F. GRUBB 

School of Music. De Pauw Universiry 

Greencastle. Ind. 461J5 (3171 653-4750. 653-9721 

JEA.N EASON HARRIMAN, B.M., M.A. 

2492 Pk. Pl . . Columbus. Ohio 43209. 235-9027 

Faculty: Ohio Stale Univ .. Capital Univ .. Otterbein College 

GLADYS HUBNER 

5725 Clinton Ave. Minneapolis. Minn, 55419 

Phone: 869-8960 

Macalestcr College, St. Paul. Minn. 

DOROTHY DREGALLA HENSCHEN 

1001 Overlook Dr. Alliance. Ol1io 44601 

Phone: (216) 821-5 I 65 

Faculty: Mount Union College 

Harpist: Canton. Akron Symphony Orchcslras 


RUTH K. INGLEFIELD, M.M., Ph.D., Premier Prix, Paris Cons. 

2134 Pcrtl1 St. Toledo. Ohio 43607 (Phone 536-11921 

Faculty: Bowling Green Slate univcrisl) 

LUCILLE H. JENNINGS, A.B., B.M., M.A. 

Ohio Universitv of Music. Athens. Ohio 45701 

Phone: (614) 593-3769 or 594-5587 

FRANCES G. MILLER 

University of Minnesota. Minneapolis. Mn. 55455 

College of St, Olaf. Northfield. Mn. 55057 

MARIE LUDWIG 

525 W Oakdale Ave .. Apt . 302 

Chicago. Illinois 60657-Pl,onc: (3121 LA 5-1538 

ROSLYN RENSCH, M.M., M.A., Ph.D. 

Professor of Humanities, Teacher of Harp 

Indiana Stale University. Terre Haute, lndi:.rna 47H09 

Author of The Hw ,,, Its Histor.r, Tl'cl111ic111e and Rept'1'1011'(' 

( Praegcr. New York. 1969: Duckworth, London. 1969) 

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

2401 Van Lear St. Cincinnati. Ohio 45219 

Faculty: College-Conservatory of Univ . of Cincinnal i 

2nd l1;1rpist Cincinnati Sympliony Orcl1cstra 

Studio Phone: 475-2453 Home Phone: 721-69Hl 

Southeastern 

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

(Fellow International Institute of Arts & Letters) 

Box 202. Sea Island. Georgia 3 I 561 

Faculty: Jacksonville University. Jacksonville. Florida 

Private Studio al Sea Island 

Former member of Faculties: Mozarteum. Salzhurg. Austria; 

New England Conservatory and Boston University 

MARIAN HARDING 

520 S. England St., Williamsburg, Va, 23185 

Private Instruction: Pedal and Troubadour Harps 

Harpist: Norfolk Sym .. Norfolk Chamber Consort. 

Old: Dom. Un . Orch .. Peninsula Sym. 

School of Music, Easr Carolina Un .. Greenville, No. Car 

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

11103 I 9th St,. Tampa. Florida 33612 

Phone: 813-971-1211 

Asst. Prof: University of South Florida 

First Harpist: Florida Gulr Coast Symphony 

MARY BRIGID ROMAN 

School of Music. Florida State Univ 

Tallahassee. Florida 3230(, 

ELIZABETH ROTH, Curtis Institute 

5821 Cl1aring Pl •. Charlotte. N ,C. 28211 

Faculty: Queens College. Community Sch0ol of' Ans 

MARJORIE TYRE, PROF. OF MUSIC 

Auburn University 

Offering BM and MM in Major Harp 

Home Studio: 712 Brenda Ave. 

Auburn. ALA. 36830 (205-887-9001 I 

MARGARET A. WEYMANN 

947 Sumner Ave. 

N . Charleston. South Carolina 29406 

CLEMENTINE WHITE, B.M., M.M. 

Dept of Music. University of Fla. 

Gainesville 32611. Phone: 904-392-6677 

National Music Camr Faculty 

Intcrlicl1cn. Mich. 49643 

Southern 

JOAN HARRISON CEO, B.M. 

982 Celia Lane. Lexington, Ky , 40504 

Phone 606-278-1306 

Faculty: University of Kcnlucky 

Asbury College, Wilmore. Ky. 

Berea College. Berea, Ky 

RUTH COBB 

Southwestern-College and Preparatory 

Mcmpl1is, Tn.38112. (901) 276-2674 

T AKA KLING, B.M., M.M., Artists Diploma 

Faculty: School of Music, University of Louisville 

9001 Shelbyville Rd .. Louisville. Ky .. 40222 

Tel. (502) 425-8011 

Princiral Harrist: Louisville Orchestra 

59

Midwest 

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

Music Dept .. Univcrsily of Northern Iowa 

Cc

W&W HARP COMPANY 

CHICAGO, ILLINOIS 

introduces 

The Venus Model Harp 

REPAIRS ON 

ALL MODELS 

USED HARPS 

BOUGHT AND SOLD 

A new improved non-pedal harp ... a compact, lightweight harp with "big-harp" sound. 

MAHOGANY ... WALNUT ... EBONY ... GOLD ... FINISHES 

Number of strings ................... 40 

Top string . . . . . . . . . . . . . . . . . . . . . 1st "C" 

Bottom string . . . . . . . . . . . . . . . . . 6th "G" 

Height ................... 651/2 inches 

Width . . . . . . . . . . . . . . . . . . . . . . 32 inches 

Weight ............. . ... . ...... 37 lbs. 

Price . . . . . . . . . . . . . . . . . . . . . . . . . $675.00 

Harp Cover . . . . . . . . . . . . . . . . . . . . $15.00 

Harp Case . . . . . . . . . . . . . . . . . . . . . $25.00 

Painted Sound Board ............. $35.00 

SPECIAL DISCOUNT TO SCHOOLS 

Harps Shipped F.O.B. Chicago 

Distributor: 

Ms. Gail Barber 

6224 Louisville Dr. 

Lubbock, Texas 79413 

(806) 795-5116 

Please include telephone number 

on all correspondence

AHJ, Vol. 4 No. 3, Spring 1974

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