AHJ, Vol. 5 No. 3, Summer 1976

The world's leading harpmaker
The makers of SAL VI HARPS are totally dedicated
to perfection.
Master craftsmen of Italy and Switzerland, combining
century-old traditions and the most modern construction
methods, bring you the instrument known among artists
throughout the world as the "Stradivarius of Harps".
Only the choicest materials, carefully selected from
throughout the world, are used. Unique features include a
stainless steel internal mechanism, impregnated wood neck,
which assures better intonation and much greater durability,
and a single shell body with wooden ribs, giving the
SAL VI harp the rich, warm, long-carrying tone quality for
which it is famous.
Harps for the United States and Canadian markets are now
being assembled, regulated and shipped from Los Angeles.
Immediate delivery on some models and only a two to eight
month wait on others.
Brochures and price lists are available on request.
INTERNATIONAL HARP CORPORATION
1649 Tenth Street
Santa Monica, California 90404
(213) 451-4000
THE AURORA
newest addition to the SALVI
Concert Grand line.

The American Harp Journal
Vol. 5, No. 3, Summer, 1976
Editor: GAIL BARBER
3210 56th St., Lubbock, Texas 79413
Editorial Assistant:
Editorial Consultant:
MARCIA CUTTER
GRACE FOLLET
Editorial Board: MARJORIE CALL,
MARIO FALCAO, GRACE FOLLET,
CATHERINE GOTTHOFFER, ELIZA­
BETH HAMBURGER, GERTRUDE
HUSTANA, KATHRYN JULYE, ANN
MASON STOCKTON, and NANCY
RUTHWEART
Advertising Manager:
NINA DUNKEL
AMERICAN HARP SOCIETY
Marcel Grandjany, Chairman of the
Founding Committee
BOARD OF DIRECTORS
Officers: Catherine Gotthoffer, President;
Elizabeth Hamburger, Vice-President;
Kathryn Julye, Vice-President; Grace
Follet, Secretary; Gertrude Hustana,
Treasurer.
Chairman of the Board: Mario Falcao
Regional Directors: Christine Carpenter,
Mid-Atlantic; Suzann Davids, Midwestern;
Louise Pappoutsakis, New England;
Lucien Thomson, New York; Lucile
Jennings, Northcentral; Lynne Palmer,
Northwestern; Mary Brigid Roman,
Southeastern; Barbara Belew, Southern;
Nancy Ruth Weart, Southwestern;
Kathryn Julye, Western.
Directors-at-Large: Doris Calkins, Marjorie
Call, Pearl Chertok, Mario Falcao, Ester
McLaughlin, Frances Gilman Miller, Ann
Mason Stockton, Clara Walker.
CONTENTS
2 General Information
3 The Harp in America-Lucile Jennings
13 Orchestra Harp From A to Z
-Sylvia Meyer and Marjorie Tyre
20 Special Memberships
21 In Defense of Transcriptions--Marce/ Grandjany
22 Marcel Grandjany Memorial Concert
24 New Recordings
24 Marcel Grandjany Fund
24 Minutes
24 Ruth Lorraine Close Awards in Music
25 The Madness of Sir Tristram-Patricia John
27 Concert Calendar
28 A Note of Appreciation
28 Religious Music
28 Salzedo Film
28 The Young Artists Fund
29 The Thirteenth National Conference
35 Conference Registration Form
38 Harpweek 1976
38 A Note from the Editor
38 The Sixth International Harp Contest
39 New Music-Marion Bannenrum
42 International Harpweek 1975-Patricia John
49 People and Places
59 Chapter Reports
70 Teachers' Directory
PAST PRESIDENTS
Lucile Lawrence, Lucien Thomson,
Catherine Gotthoffer, Suzanne Balderston.
The American Harp Journal is the official
publication of The American Harp Society,
Inc., and is published twice yearly in the
Summer and Winter. Copyright, 1976 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:
"THE MADNESS OF SIR TRISTRAM" by Sir Edward Burne Jones
Printed by special permission from The Stone Gallery, St. Mary's
Place, Newcastle Upon Tyne 1, England.
Submitted by Patricia John. See story on page 25.
For information regarding subscriptions, changes of address, advertising, etc ..
see page 2.

THE AMERICAN HARP JOURNAL
The Official Publication of the American Harp Society, Inc.
SUBSCRIPTION RATES:
INDIVIDUALS:
Two issues per year (Winter and Summer): $8.00
This price includes automatic membership in the
American Harp Society, Inc., and airmail postage
for foreign subscribers.
Send all subscriptions to:
Mrs. Dorothy Remsen
American Harp Society, lr,c.
6331 Quebec Drive
Hollywood, California 90068
LIBRARIES:
Two issues per year: $6.00
Send all library subscriptions to:
Ms. Gail Barber, Editor
The American Harp Journal
321 0 56th St.
Lubbock, Texas 79413
Back issues: $2.00
ARTICLES, PEOPLE AND
PLACES, CHAPTER NEWS,
CONCERT CALENDAR,
TEACHERS' DIRECTORY:
Submit to:
Ms. Gail Barber, Editor
The American Harp Journal
3210 56th St.
Lubbock, Texas 79413
Phone(806)795-5116
COPY DEADLINES:
(for articles, People and Places, Chapter News, etc.)
September 15th for the Winter issue
February 15th for the Spring issue.
ADVERTISING:
Advertising rates are available on request from:
Miss Nina Dunkel, Advertising Manager
The American Harp Journal
59 West 71 st Street
New York, New York 10023
All display advertising material and correspondence
concerning it should be sent to the Advertising Manager.
ADVERTISING DEADLINES:
September 15th for the Winter issue
February 15th for the Summer issue
CHANGE OF ADDRESS NOTICES:
Send to: Mrs. Dorothy Remsen
6331 Quebec Drive
Hollywood, CA 90068
TEACHERS' DIRECTORY:
Three-line listing of Name, Address, Phone: $6.00,
with no alterations, for two issues.
Sample listing:
Sally Lou Doe, B.M., M.M.
2100 Market St., Middle City, New York l 0023
Ph. HO3-2200
Each additional line of 50 characters per line: $1.50
per line, with no alterations, for two issues.
Sample listing:
Sally Lou Doe, B.M., M.M.
2100 Market St., Middle City, New York 10023
Ph. HO3-2200
First Harpist, Middle City Sym., N.Y. Concert Band,
Center City, N.Y. Faculty: Middle City Univ.
This sample of 5 lines would cost $9.00, with no alterations
for two issues.
Send all Teachers' Directory material to the Editor.
FEES FOR ADVERTISING AND FOR TEACHERS 1
ABLE IN ADVANCE.
DIRECTORY LISTINGS ARE PAY­
Make all checks payable to:
2
AMERICAN HARP JOURNAL

The Harp in America
by Lucile H. Jennings
The harp migrated to the Western Hemisphere from
such European sources as Ireland, Wales, France, England,
and Spain. In the 'melting-pot' that became the
United States, early settlers-nostalgic for the traditions
of their countries of origin-kept alive as best they
could the sounds and songs they had known before.
Therefore the instruments they had brought with them
-including, no doubt, a limited number of early pedal
harps (single-action) and folk harps--were treasured
and passed down to succeeding generations. In South
and Central America, the Spanish harp was imitated
in primitive, handmade form and adopted as a folk instrument
which still is popular today, although its
ancestor became archaic in Spain.
The use of the harp.in the early years of the colonies
in North America reflected its fortunes in the Old
World, with a reasonable time lapse between. To understand
this, we should remember that in its modern
form the harp dates only from 1810, the year of the
double-action pedal invention of Sebastian Erard in
France. Before this mechanism was invented, the harp
could not be played in all keys without re-tuning; but
since the improvement, it is capable of any modulations
and is tuned in the tempered scale. Obviously, after
the invention was patented (in 1811), it was a matter
of several years before the new instruments were manufactured
in any number and adopted by European
musicians. The change in technique from single-action
to double-action pedals was a considerable one for those
who were already performers on the old harps, and
there was no literature for harp, making use of its new
capacities, until composers were made aware of its possibilities
by harpists who championed it.
Until the growth of large cities and a wealthy upper
class in this country, few people had the means at hand
to import expensive European instruments. By the late
18th and early 19th centuries, fashionable young ladies
of the leisure class were given music lessons (for example,
Nellie Custis, grand-daughter of Martha Washington,
was an accomplished harpsichordist). But at
this time it was primarily the keyboard instruments-­
virginals, harpsichords, and pianofortes-which were
in vogue and for which music and instruction, and the
instruments themselves, were available. Nevertheless,
there were harps in some colonial homes and concerts
SUMMER/1976
in which harps were played in certain musical centers
such as Boston, New York, Philadelphia, and Hartford.
A glimpse can be had by piecing together fragmentary
references from historical works, musical and literary
journals of the period, and old newspapers. With infinite
patience, much more information might be unearthed
and many more gaps filled in. The following is offered
as only a beginning and to furnish a bit of background,
so that we might better understand and marvel at the
widespread use and the sophistication of the harp in the
U.S., in this year of 1976.
THE HARP IN AMERICA BEFORE 1835
A reference to a harp being used in a church service
as early as 1752 in Pennsylvania has been found in the
diary of a pastor, the Rev. John Frederick Handschuh.
He is describing a reconsecration service at St.
Michael's Lutheran Church in Germantown:
The services were begun by singing the hymn "Komm
heiliger Geist, Herre Gott." The first two verses, the
ministers sang alone, accompanied on the harp by the
schoolmaster, the third verse was sung by the whole
congregation ... After the consecration ... we
ministers sang, accompanied by the harp, the 22nd
and 23rd verses of the printed consecration ode ... " 1
Many studies of Benjamin Franklin state that he
played the harp. According to William Lichtenwanger,
2 this is not proven and has probably been inferred
from such references to his musical instrument
collection as the one telling of the British evacuation of
Philadelphia in June, 1778. It is found in a letter of
Sarah Bache to her father in Paris; she related that the
British "stole and carried off Franklin's Musical Instruments,
viz., a Welsh Harp, ball Harp, and set of
tuned Bells, which were in a box, Viola da Gamba ... "
We don't know whether or not he actually played the
harp. However, Franklin did know something about the
instrument. He based a theory about the construction
of Scotch tunes upon his observations of the traditional
accompanying instrument, the small harp found in the
British Isles: " ... they were composed by the minstrels
of those days to be played on the harp accompanied by
the voice. The harp was strung with wire, which gives a
sound of long continuance, and had no contrivance, like
3

that in the modern harpsichord, by which the sound of
the preceding could be stoppt ... To avoid actual discord,
it was therefore necessary that the succeeding
emphatic note should be a chord with the preceding, as
their sounds must exist at the same time ... " He also
added, "I believe our ancestors, in hearing a good song,
distinctly articulated, sung to one of those tunes, and
accompanied by the harp, felt more real pleasure than is
communicated by the generality of modern operas,
exclusive of that arising from the scenery and dancing.
(Letter to Lord Karnes, Edinburgh, June 2, 1765 3 ).
EARLY HARPISTS AND THE MUSIC
THEY PLAYED
Thomas Moore, the Irish poet, was a performer on
the Irish harp and played and sang for President
Thomas Jefferson on a visit to America, in return for
Jefferson's hospitality.4
Concert programs of the last decade of the 18th century
reveal only a few names of performing harpists,
and even fewer names of the composers of the works
performed. A typical example is the program (quoted
by Sonneck5) of a Baltimore concert played in 1794,
which included the usual variety of works, vocal and
instrumental. The harp is mentioned twice: first, "A
Duetto between a Forte Piano and Harp by Mr. Vogel
and an amateur"; and, later, "A Sonata on the Harp, by
a French Amateur." Another concert, presented in
Philadephia in the same year, included a "Concerto
on the Harp, by a Lady." (This program was given "for
the benefit of a person, who has fallen from the most
independent affluent situation to the most abject
state of distress, in consequence of the massacre at
Ft. Dauphin, on the island of St. Domingo.")"
During this period, five harpists were named as appearing
in concerts in the East: Mme. DeSeze, Mrs.
D'Hemard, M. Salomon, M. Relain, and M. Mechtler.
Of the last two, little information can be found (except
that Mechtler had in his repertoire a "Symphony of
Krumpholz on the harp" which he performed in 1795).7
The other names all seem decidedly French; and it is
very likely that Salomon was a Frenchman, since a
Philadelphia program of 1792 mentions "A Sonata
and Marlborough's variations on the harp by M. Salomon
who taught to play on that instrument in Paris." 8
Mme. DeSeze was much in the public eye in New
York in the year 1792. 9 It seems that she was a singer
as well as a harpist and often accompanied herself on
the harp. We are at a loss to know the composers of the
works in her repertoire; the pro~rams only list such information
as:
"Song accompanied on the Pedal Harp" 10
"Sonata Harp"
"Favorite Airs on the Harp"
"The pretty French potpourri, on the Harp, with
many favorite airs"
"Concertante on the Harp and Flute"
"The much admired song 'C' est pour toi que je les
arrange' accompanied by the harp"
4
In fact, the only pieces on Mme. DeSeze's programs to
which we have a clue as to origin are "Song of the opera
Aty on the harp' (Sonneck notes that this opera is by
Piccinni) 11 and "An Engli h Song on the Harp 'A
Lovely Rose', Composed by Mr. Capr n and Mme. De­
Seze".12
Mme. DeSeze performed often with Mr. Hewitt and
Mr. Capron, well-known New York musicians. But it
seems that for some reason she did not make a great
success financially; at one point the French consul was
obliged to sell at auction the trunks and instruments
belonging to her and her husband. A notice of this proceeding
was printed in the "American Minerva" of
February 10, 1794, as well as M. DeSeze's comment
that he considered it unwarranted and hoped that 'no
good feeling man' would bid on his things. 13
Whatever the reason, Mme. DeSeze seems to have
intended to quit the concert stage as of April 8, 1794,
when she played what was announced as her "last" concert
and retired to assist her husband with his new
French school for young ladies and young gentlemen.
Her next appearance before the public seems to have
been in 1800, in a concert with her husband and
others. 14
As for Mrs. D'Hemard, her appearances seem to have
been limited to the Maryland-Virginia area, around
Washington. She is known to have given programs in
Baltimore and Alexandria in 1795, and was advertised
in publications of that vicinity. One of these advertisements
tells us that Mrs. D'Hemard was among the
French refugees who came to this country; it announces:
"A small concert on the harp only, wherein she will
execute several pieces of music and particularly beautiful
songs with their variations"
and remarks that she was forced to give a concert:
" ... by the unhappy circumstances common to all
the unfortunate French, to have recurse for the means
of her sustenance to a talent which, in happier times,
would have served only to embellish her education."
She also advertised in the Federal Gazette-not very
modestly- "... to obtain the suffrages of the public by
the superiority of her talent over those who have performed
on the same instrument in this country." 15
(Perhaps she and Mme. DeSeze would have come to
some sort of reckoning, had they ever chanced to meet.)
Possibly her claims were well-substantiated; at least we
find in the record a testimonial by an admirer, Mr. Elisha
Dick (writing for the Columbian Mirror, June 13,
1795):
"I have heard Mrs. D'Hemard perform upon the
harp ... Mrs. D'Hemard's judgement, taste and execution
upon the pedal harp are not, in my opinion,
to be surpassed by anyone." 16
Brown University in Providence, Rhode Island, has
acquired a considerable quantity of early American
music, including twenty-three titles of music for harp,
published by firms in New York, Philadelphia, Baltimore,
and Boston between 1794 and 1860. Many of
these were found to have been printed in several dif-
AMERICAN HARP JOURNAL

Mrs. John Quincy Adams, attributed to Charles Bird King. Courtesy of the National Collection of Fine Arts, Smithsonian
Institution.
SUMMER/1976 5

6
ferent editions (as indicated by the numbers shown ifl
parentheses after the titles in the following list.)17
"Harp or Pianoforte"
Ah vous dirai-je Maman with Variations,
by Cardon Fils ..... . ..... . ........ (3)
Bird Waltz, The, by Francis Panormo . . .... .. (8)
Cramer's Grand Turkish March,
[by? Cramer] . . . . . . . . . . . . . . . . . . . ( l)
Moran's Favorite Variations to the Suabian Air,
[by P. K . Morans] .... . ............ (1)
Musette de Nina, [by Nicolas Dalayrac] .... .. (5)
Peasants' Joy, The, by R. M. Blagrove .... ... (l)
Scotch Air with Variations, by G. Adams .. .. . (2)
Swiss Waltz with Variations, by P. K. Morans . . (7)
Venetian Air with Variations, A,
by P. K. Morans . . .. . .... . . . .. .... (l)
" Pianoforte or Harp"
Air Russe and Cosaque, by D. Steibelt ...... . (l)
Bath Waltz, by H. T. Wassell ..... .. .... ... (l)
Blue Bells of Scotland with New Variations, The,
by Latour . . . . . . . . . . . . . . . . . . . . . . . . (3)
Constellations, The, by J. F. Hance . . . . . . . . . . ( l)
Easy Lesson, An, by Mr. Harrington . . . . . . . . . (l)
Favorite Scotch Air "Auld Lang Syne" with Variations,
The, by Dr. Ross . . . . . . . . . . . . . (12)
Gildon's Celebrated March [by? Gildon] . . . ( 1)
Kinlock of Kinlock with Variations
[anonymous] . . . . . . . . . . . . . . . . . . . . (2)
Oracle Waltz, The, by J.C. Craven ... ..... . . (3)
Stantz Waltz with Variations,
by P. K. Morans . . . ... . . . .. . . .. ... (3)
Tyrolesian Air with Variations,
by F. J. Nadermann . ..... .. ... . . .. (2)
Yet Stay Awhile with Variations,
by J. Aykroyd . . . . . . . . . . . . . . . . . . . . (l)
Harp and Piano Duets
D' Albert's National Schottish,
by Carl T. De Coeniel . . . . . . . . . . . . . . ( 1)
Grand Russian March, by C. F. Francis (l)
Publishers of Three or More Titles:
Bacon & Co., Philadelphia
G. E. Blake, Philadelphia
C. Bradlee, Boston
John Cole, Baltimore
William Dubois, New York
Dubois & Stodart, New York
E. Riley, New York
G. Willig, Philadelphia
G. Willig, Jr., Baltimore
A song in French entitled "La Marmotte, "with harp
accompaniment,,was published in Philadelphia in 1797,
by Filippo Trisobio. 18 And more songs with harp accompaniment
are listed by Johnson 19 as having been
advertised in Boston:
"The Maid of Lodi, accompaniment for harp or pianoforte,
from music collected by Mr. Shield in Italy
1791. (Sung by Mr. Webster at Concert Hall,
Sept. 25, 1809), Music by William Shield."
"The Pride of Our Plain. Words by Amyntas. Music
by Frances Mallet. Accompaniment for harp or pianoforte.
(Just published June 14, 1802.) (Sung by
Mrs. Graupner April 23, 1802 in the Federal Theatre.)"
"The Harper's Song. Words from Rokeby Cottage
Melodies No. 1. Composed and arranged by T. V.
Weisenthal with accompaniment for harp or pianoforte.
Copyright Feb. 6, 1821."
"When Shall We Three Meet Again, ballad, by William
Horsley, Mus. Bae. Oxon. Accompaniment
pianoforte or harp."
And in issues (numbered 9, 13, and 22) of the Journal
of Music 20 of the year 1810 are to be found the following
song scores:
"Romance de Michel Ange" (song with piano or
harp, music by Nicolo lsouard).
"La Le9on: Romance du Bouffe et la Tailleur" (Song
with piano or harp, music by P. Gaveaux).
"Little Winny Wilkins, a favorite Song by Mr.
Cherry, composed with an accompaniment for the
flute and pianoforte or harp."
Moore 2 1 mentions an advertisement by S. Pucci in 1815
that mentions his concerts on the "Fashionable and
Much Admired King David's Pedal Harp"; and Mangler22
has found reference to Miss Victoire Boudet, an
American harpist who studied at the Paris Conservatory
with H. Gilles and returned to present programs in Philadelphia
from 1815 to 1824 (playing both harp and
piano).
Meantime, 'First Lady' Louisa Johnson Adams (Mrs.
John Quincy Adams), who was one of the most brilliant
of 19th-century hostesses in the White House,
owned a harp and had her portrait painted with it. (Both
the portrait and the harp may now be seen at the Smithsonian
Institute in Washington, D.C.).
Probably the best-known harpist of the early 19th
century was Miss Sophia Hewitt, daughter of the renowned
musician and music publisher, James L. Hewitt
of New York. We find a number of articles and
notices about her in the publication Euterpeiad, of
Musical Intelligencer, published in Boston in that period.
One of these references states that from 1812 to
1816 "her studies were closely pursued, under Dr.
G. ~- Jackson, and afterwards by Messrs. Ferrand and
Moran, on the Harp and Pianoforte" in New York.23
(Perhaps this "Moran" is the same person as the "Morans"
listed above as a composer of variations for the
harp.)
Miss Hewitt advertised often in this same publication:
"Miss Hewitt begs leave to inform her friends that
she teaches Piano Forte, Harp, and Singing."24 Her
marriage to Paul Louis Ostinelli, a violinist, was one of
the big social events in Boston in 1822; and together
they opened a school of music and French.25
Another advertisement of harp instruction in a Boston
publication of 1808 is quoted by Johnson:2 6
"L. Boucherie, Apply at Mr. Graupner's. Lately from
Europe, Piano Forte, Harp, and singing accompanied
in the Italian manner. F . Fontaine, a friend, repairs
instruments."
There was in Boston about this time a Mr. P. Lewis,
AMERICAN HARP JOURNAL

teacher of practically any kind of music. He may have
been an opportunist, or it is possible that he was sincerely
interested in music education for children; at
any rate, he presented his own offspring as examples of
his teaching prowess, having them perform on organ,
pianoforte, violin, and pedal harp. He took them to
Portland, Maine, in 1819, to present what he advertised
as an "Extraordinary Concert." On the program appeared:
"Sonata-Pedal Harp, Master P. Lewis, after
only seven weeks' practice on that difficult instrument
... by Bartholomew" "Sonatina-Pedal Harp,
in which are introduced the favorite airs of blue-eyed
Mary and the Copenhagen Waltz"
(Master P. Lewis was 8 years old at the time.) This Mr.
Lewis was from England and had settled in Boston,
where he first taught piano, singing and violin, and later
added instruction on harp ("that most elegant of all
instruments") for females. 27
In New York in 1825 a Mme. Malibran, who was an
opera singer of renown, liked to accompany herself on
the harp for encores. 28 And in a diary of 1832, of C. C.
Baldwin, mention is made of a Mme. Papanti who
played the harp on Sundays at Dr. Bancroft's church
while her husband played French horn (" ... which,
with two flutes, a base viol, and violin, make very good
musick. ")2 9
MISCELLANY
If one searches diligently the pages of some of the
musical publications of the early 19th century, he will
come across a few references, poems, and articles dealing
with the harp in quaint and sentimental styleand
even occasional scientific reports on harp construction
or historical references to the harp.
In 1817 and 1818, for example, the "Ladies Literary
Museum" 30 advertised a book of poems by Henry C.
Lewis, entitled "The Lyre of Love and Harp of Sorrow"
and quotes one of its sonnets ("Lay IX"):
"Tho' oft and long I've sung my varied woes
And tuned my willow'd harp to notes of grief;
No one has sought to soothe me to repose
Or give my broken heart the least relief ... "
(This volume was said to be illustrated with a colored
print-which might also be ordered separately--entitled:
"The Harp of Erin strung to the memory of Emmett,
on his Last Request, expressed in his address before
Lord Norbury").
A short and very concise description of the famous
11th-century Brian Boru harp of Dublin was printed
in the "Literary and Musical Magazine" in 1819, under
the title "Particular Description of an Irish Harp. " 31
And "Euterpeiad" in 1820 included an informative
article called "Ancient Britons-their mode of singing
with the harp." This tells of the Welsh custom of singing
with a harpist, who improvises variations (a traditional
part of the annual festival known as the Eisteddfod in
Wales). 32
The same publication in 1820 33 announced Dizi's
new harp patent (a claim which should be questioned,
since it describes exactly the invention of Erard-not
SUMMER/1976
Dizi-patented in 1811 ): "These improvements consist
in producing from the same string three semitones, by
means of machinery which acts inside of two or more
plates, between which the strings pass, and in an index
to denote the key of the Harp ... (etc.)"
An intriguing device called "Self-Action Harp" was
announced by "Euterpeiad" in 1821 34 : "Messrs. Clementi
and Co. of London have invented a new instrument
which is likely to prove at once pleasing and useful.
It works by barrels like a barrel organ, but the action
takes place on the strings in the manner of a pianoforte
... it is provided with flutes and a triangle ... the
action is mechanically produced ... wound up occasionally."
The following comments appeared in "Euterpeiad"
in 1820, under the title, "On the propriety of pupils in
music, tuning their instruments":
"... Anyone who will take the trouble to inquire, will
find that not one Lady in a hundred can tune her
Piano Forte, Harp, Guitar or Lute, and this because
she does not know the relative sounds of what is
required in common tuning of 5 ths and octaves ..." 35
The unnamed writer goes on to exhort teachers to train
their pupils in tuning.
THE INSTRUMENTS
Morse has included in her book, Furniture of the
Olden Time, 36 a photograph of a harp made before
1800, belonging to Mrs. Reed Lawton of Worcester. It
is described as "carved, painted in colors, finished with
a varnish like the vernis martin, the general effect
being a golden brown"; and Mrs. Morse noted that i\
is much like a harp which belonged to Marie Antoinette.
This is a single action harp and appears to be French,
probably manufactured by Erard when he was still
employing the single action mechanism.
Similar harps are also preserved as part of the furnishings
of "Stratford" (the Virginia home built in 1725,
where Robert E. Lee was born), 37 and the James F. D.
Lanier home in Madison, Indiana (built in 1844 ), 38 and
others.
"Harp-lutes" and "harp strings in sets" were advertised
for sale in the "New England Palladium" of
October 27, 1815, by Dickson's Store, Boston. 39 Following
are other importers' advertisements of that
period:
"A. Mathieu has the honor of informing the Ladies
and Gentlemen of Boston and Vicinity that he has
opened a music store, where will be found an assortment
of Lyres, Spanish Guitars, Harps, Pianofortes
... "
("Euterpeiad," May 20, 1820. Vol. I, No. 8)
" ... Elegant pedal, Aeolian and plain harps ...
harp strings ... " Franklin Music House, Boston. 40
("Euterpeiad," April 15, 1820. Vol. I, No. 3)
Although there is no indication that harps were manufactured
in the United States in the early nineteenth
century, there were musical "inventions" along with all
the other manifestations of American inventive genius
in that period. One of these was described by Thomas
7

Jefferson in a letter to his daughter from Philadelphia
in 1800:
"A very ingenious, modest, and poor young man in
Philadelphia has invented one of the prettiest improvements
in the pianoforte that I have seen, and it
has tempted me to engage one for Monticello. His
strings are perpendicular ... "
Singleton comments that this instrument must have been
similar to the 'keyed harp' or 'piano-harp' which Guttwald,
75 Maiden Lane, Philadelphia, advertised in the
Evening Post in 1818 (" ... a musical instrument that
perfectly equals the harp in sound and far surpasses it
in easy treatment). 41
THE HARP IN THE UNITED ST A TES
SINCE 1835-A BRIEF RESUME
Lyon and Healy of Chicago became the largest importers
of harps during the 19th century, handling such
European makes as Erard, Erat, Dodd, Grospian,
Nadermann, and Meyer. In 1889, the first Americanmade
Lyon and Healy harp was manufactured. 42
The Boston Symphony Orchestra had one harpist
among its personnel when it was established in 1881;
and a second was added to the payroll in the season of
1918-19 (when Henri Rubaud was conducting). A
harpist was presented as soloist with the orchestra as
early as 1883 ; 43 and in 1884, Mozart's Concerto for
Flute and Harp in C was included in the program of
January 12. 44
In New York, the year 1859 saw a performance of
Liszt's Les Preludes by the Philharmonic Society; if it
was played as scored, there was a harpist in the orchestra.
45
Early U.S. performances of several major works with
harp, taking place after the turn of the 20th century,
include:
Widor, "Chorale and Variations": 1902, Chicago
Symphony Orchestra 40
Ravel, "Introduction and Allegro": 1916, Symphony
Society of New York 47
Debussy, "Two Dances for Harp and Orchestra" (with
pedal harp): 1917, Carnegie Hall, New York 48
As for the last of these, it was given a first chromaticharp
performance in New York on December 2 7, 1 919,
by Mme. Wurmser-Delcourt, who had premiered the
work in Paris in 1904. (She was the best-known of the
performers who championed the chromatic harp, as opposed
to the pedal harp, in the early years of this century.)
In this American debut, Mme. Wurmser-Delcourt
was featured with the Symphony Society of New
York. 49 As important harpists appeared on the scene in
the late 19th and early 20th centuries, many of them
were men; and very few of them were American-born.
Among the names of orchestral players, harpist-composers,
soloists, and pedagogues, we recognize Heinrich
Schuecker, Alfred Holy, Carlos Salzedo, Marcel
Grandjany, Salvatore Mario de Stefano, Alberto
Salvi, and others. They have produced as students many
outstanding American harpists. One of the first of these,
a student of Schuecker, was Van Veachton Rogers
8
(1864-1937), who had a very successful 'free-lancing'
career with the harp. He toured the country for a number
of seasons with the noted mime-narrator, Charles T.
Grilley,50 performing background music. Possibly this
was the beginning of the use of the harp for that purpose,
leading to its later popularity in radio, television,
movies, and the theater.
The first half of the 20th century saw the development
of harp departments in conservatories and universities;
the staging of large harp festivals; tours by
ensembles of harps, chamber music groups using harp,
and solo harpists; summer harp study colonies and
workshops; and numerous new solo compositions and
works scored for harp in the orchestra. As the recording
industry developed, the public became increasingly
familiar with the harp repertoire. An interest in folk
music has brought folk harp builders and players into
prominence, beginning with the Melville Clark Irish
harp, patented in 1911, 51 and increasing until today the
Folk Harp Journal lists scores of devotees throughout
the country. 52 More and more instruments, of traditional
as well as modem design, and in many sizes, are being
built and/or imported by Lyon and Healy, Salvi, and
Venus Harp Companies. There are harp offerings in
many public schools. Electronically-amplified harps
have taken their place in the world of popular music;
and serious avant-garde composers are scoring in innovative
ways for harp. A new generation of harpists,
American-born, has come into prominence.
As we look at these developments from the perspective
of 1976, the pace seems to have quickened,
and it is apparent that a great deal of progress has taken
place. As with all phases of music, the media have
played an enormous role in the surge of interest in the
harp in America. Without a doubt, another major source
of impetus has been the American Harp Society, at
least in the last decade-with its emphasis on performance,
education, competitions, and the commissioning
of new works.
Whatever its future course, the harp has certainly
joined the mainstream of American musical life in a
permanent way.
On the following 3 pages is a copy of the "Symphony
Society Bulletin" of New York, dated December 27,
1919. Walter Damrosch was the conductor of the New
York Symphony Orchestra at that time.
Included in the bulletin is a program featuring Mme.
Wurmser-Delcourt playing the Debussy Danses and
the Pieme Concertstuck on the chromatic harp. Also
included are commentaries on both the harp and the
music.
AMERICAN HARP JOURNAL

~~I.:
Bnl. XIII
ltr_rmhrr 2 7111 -...-.uJirfin
Nn. IV
1919
3Jasutb by tqt t;ympqnny ~nriety of New lark. 33 Br.at 42b t,trrrt
AEOLIAN HALL
&unhay Aft.ernnnn, 11.er.embrr 2Bt(f
AT THREE O'CLOCK
Soloist
MME. WURMSER-DELCOURT
(Her American debu t)
Jrogrammr
I. O ... rtare, "Freuchiitz" iVeber
2. Collcertat ■ ck for Harpe Cbrom ■ tique
with Orcheatra
Pierne
MME. WURMSER-DELCOURT
3. Symphony in D miller Char Franck •
I. Lento. A~ non troppo.
II. Allewetto.
III. Alleilro non troppo.
4. a. Du1e ~ere
b. Danae Prefue
For Harpe Cbrom ■ tiquo with Orchestra I Debussy
MME. WURMSER-DELCOliRT
5. (a) "Sound, af the Forell" }
from "Siegfried'~
vVagner
(b) Prelude to Act Ill, "Lohengrin" .
The Harp
The harp is not often heard as a
solo or concert instrument in these
forty centimeter days. In spite of
its ancient lineage, contemporary
with the pyramids, and in spite of
the glamor with which it was invested
by David's royalty, and the popular
reverence in which it was held in the
times of Ossian and the bards, or of
Tannhauser, it has lost its social and
aristocratic prestige. Only once in
modem times .do we discern a recrudescence
of enthusiasm for the instrument
of the angels. The French
Revolution, with its imitation of the
antique, and the Empire with its love
for slender, dainty, fine things, once
more introduced· it into the salons of
all who pretended to taste and culture.
.··It ·.became ~ -(~hionable ins~ ent
. •·. ... ;:- ;; ..,..... ' ' ~ .
SUMMER/1976
CARNEGIE HALL
IDl1ur.ahttt1 .i\ftrtnoon, alauuary 1st
AT THREE O'CLOCK
Soloist
FRITZ KREISLER
llut!Jouen programme
I. Symphony No. 3 in E flat (Eroica), Op. S5
I. Allearo con brio.
II. Marcia funebre. Adai.tlo assal.
Ill. Scherzo and Trio. Alleltro vivace.
IV., Finale. Alle!lro molto.
2. Concerto for Violin with Orcheatra in D
I. Alle1tro ma non troppo.
II. Larahetto.
III. Rondo (Allearetto).
MR. KREISLER
in France, in England and also in
America.
Our grandmothers $till remembered
the later years of that period, when
the harp stood in the corner now occupied
by the victrola. Rut there was
this difference in its use. Whereas,
to-day, Tommy, Edwarn and Father
as well as :Mother and Sister perform
con amore and ad libitum their
. favorite selection~ upon the victrola,
in those good old times the resplendent
Erard or Pleyel was reserved
for the slender fingers of Arabella or
Cynthia. It furnished so graceful a
background and setting for her snowwhite
arm. And if, perchance, she
could add the silvery tones of her
voice to its celestial chords in the
performance of some tender romanza,
so much the better. Mother, who no
longer performed, would tell with a
fluttering of the heart which she
could not quite conceal, how she had
sung that song. And Father's admiring
glance, although he said nothing,
bore silent witness to his delight
in the loving memories it awakened.
CARNEGIE HALL
&aturilag f;ntning, January
AT EIGHT-FIFTEEN O'CLOCK
Soloist
FRITZ KREISLER
Jilut!Jmitu Jrn!Jl'aaunt
I. Syaphoay No. 3 in E flat (Eroic■ ), ••
I. AlleQ.ro con brio.
II. Marcia funebre. Adaitlo assaJ.
III. Scherzo and Trio. Allearo VIYB
IV. Finale. Allei&ro motto.
2. Ceacerto for V"1elill with Orclielln ia
I. Alle&n> ma non troppo.
II. Larahetto.
Ill. Rondo (AlleQretto).
MR. KREISLER
Since then the instrument has·.
most disappeared from the home •
to make up for this it has !!rad'
• ,
0 r
assumed a more prominent place~··· -~
the orchestra and as a concert ins.~ -'.' • 1
ment. Beethoven did not use it,
with Berlioz and Wagner, in (
with almost all the romantics,
became an integral part of the '.
chestra. :
In England and in France, partf. ,
larly in the latter country, the tu ., :
tivation of harp playing J:iW't . ;.:'•\ ~,..
never ceased. The great mo •• •••
virtuosos on the instrument wet'
.
l -~ .•
are mostly French or Engl'
Modern improvements in its con··-..,,:
tion are due largely to Fr
r
• d
t is to a Frenchman, Gustav' •. •.
the head of the Paris firm oLP. •
manufacturers of pianos and) .:
that we owe the chromatic h
out pedals which the Symp
ciety introduces to the
public. .
The circumstances of its ·ii."
tion in Euro~ are~,y~J •
...., -~•• ... .,;,, -\r• ;
• •
9

&nmp~ouu 8'ortrtg llullrttu
It stirred up quite a tempest in a teapot,
for the adherents of the older
harp with pedals attacked the new
invention immediately. It is a strange
coincidence that the two works by
Pierne and Debussy which figure in
the Symphony Society's programmes,
are dedicated to the two champions
of the old and the new systems
respectively.
The pedal harp is, by reason of
its construction, essentially diatonic.
It never has more than seven tones
available within the octave at any
one time. It has only seven strings
to the octave, each of which, however,
throughout the whole compass of the
instrument, can be raised at will
through two successive half-tones by
means of a double action pedal.
There are thus seven pedals. All the
strings lie in one vertical plane.
The chromatic harp does away
with the pedals and adds five strings
for each octave, thus filling out the
twelve chromatic steps of the octave.
To adjust the new strings between
the old ones in the same plane
~oi!ld bring them all too close
together for, the insertion of the
player's finger. To equalize the
spaces by increasing the span of the
octave would remove the farther end
of the scale beyon~ the player's reach.
The difficulty is overcome by disposing
the strings, without increasing the
octave span, in two oblique planes
which intersect like a thin le~ter "~.:".
All the diatonic strings, corresponding
to the white keys on the piano, lie in
one plane. All the chromatic strings,
;...,:responding to the black keys, lie
in the other. By running his finger
along the line of intersection the
player can execute a perfect chromatic
glissando.
From 1894 to 1897, the inventor
labored to perfect his instrument: In
1897 it was exhibited at Brussels at
the Exposition of Arts and Industries,
where, at first, it attracted attention
as a curiosity beside another Pleyel
exhibit, a double piano wi.th two keyboards
so disposed that the players
faced each other. However, performances
upon .. the new instrument at
the Exposition by Jean Risler brother
of the pianist, Edouard Risier soon
revealed its possibilities. The' harp
players of the old school began to
grow uneasy. The Nestor of French
harpists, Alphonse Hasselmans, . for
many years professor of the harp at
tha Paris Conservatoire ( from which
position he retired in 1912 at the age
of sixty-seven), took up the cudgels in
defense of the pedal harp, and a lively
polemic ensued between him and theinventor.
Hasselmans insisted that
the innovation "completely denatured
the character of the instrument and
made it scarcely a reduction of the
piano".
Criticism of the new harp was directed
chiefly against the impossibility
of securing the extremely varied
and striking arpeggio and glissando
effects which the use of the pedals
made possible, and against its alleged
lack of sonority as compared with the
old instrument. Lyon denied these
weaknesses and cites a performance
"in the Cathedral of Orleans on the
feast of Joan of Arc, -when four chromatic
harps were placed side by ,side
with four pedal harps and in the
performance of Gounod's 'Redemption'
and Cesar Franck' 'Procession'
the results were absolutely conclusive".
In spite of the opposition the new
harp found favor. Richter and Mottl
tried it out as an orchestra instrument.
It has not, however, up to the present,
succeeded in crowding the pedal harp
1
out of the orchestra. In 1901, Fran­

Concertstuck
for harp and orchestra
Gabriel Pierne, Op. 39
This work, scored for harp, the
usual strings, wind ( including three
trombones), kettledrums and triangle
is dedicated to Alphonse Hasselmans,
for many years professor of the pedal
harp • at the Paris Cvnscrvatoire.
Although its performance at a Calonne
concert, on January 25, 1903,
by Mlle. Henriette Renee, a pupil of
Hasselmans, was advertised as a
premiere audition it had been played
by Hasselmans himself at a concert
given by him with an orchestra under
Calonne at the Salle Erard on April
15, 1902.
While it is written to exhibit the
solo instrument in a brilliant light, the
composition as a whole is not without
real, intrinsic, musical merit. It is
really what in former times would
have been called a symphonic concertante.
The solo instrument does
not remain ,continually in the foreground.
The orchestra has its full
share in the musical development.
• j
&ymplfnuy &nrtrty ilull.ettu
The piece is a sort of condensed
concerto in form, consisting of four
short, compact movements played
without interruption. First we have
an Allegro moderato (12-8) introduced
by a gentle theme of ample
compass in the 'cellos and violas.
Then the harp intones a broader, more
emotional melody. The orchestra
soon adds a third theme, still n:prcssive,
but more wilful in character, at
times •even impassioned. A harp
cadenza leads to a lovely Andante
( 3-4), glowing with warmth. In the
course of this Andante we hear a
delicate phrase with dotted rhythm
which prepares us for the third section,
an Allegretto scherzando ( 2-4),
with its dainty melody, skipping and
tripping along to the pizzicato accompaniment
of the strings. Then the
A ndantc melody appears again, and
this is the beginning of the fourth
section, more rhapsodical in character
than the first three. Almost all
the themes of the piece are heard
again in whole or in part, until another
rustling and surging cadenza of the
harp brings the work to a close.
0. K.
Mme. Wurmser-Delcourt
Mme. Wurmser-Delcourt, who has
come to America as virtuosa on the
Harpe Chromatique, is a Parisienne
born and bred. She began her studies
for the harp in 1892 while still a small
child at the Conservatoire under Hasselmans.
Winning first prize in 1895,
she at once began to give concerts with
marked success in Paris and the
provinces. It was in 1900 that she
made her debut on the harpe chromatique,
an instrument which had
been only recently invented by Mr.
Gustave Lyon. From this Mme.
Wurmser-Delcourt consecrated herself
to the new instrument, of which
she has become the chief interpretive
protagonist. Though this is her first
visit to the United States she has
toured extensively through England,
Germany, Italy, ·Spain, Portugal and
South America.
NOTES
1 Church Music and Musical Life in Pennsylvania in
the 18th Century, Vol. III. (Committee on Historical
Research of the Pennsylvania Society of the Colonial
Dames of America.) Lancaster: Press of the Wickersham
Printing Company, p. 281.
2 /bid., 449.
3
/bid., p. 466.
4Smith, Josephine Patricia, "Dear Harp of My Country,"
Harp News, Spring, 1959, p. 10.
5Sonneck, Oscar G &rly Concert-Life in America,
New York: Musurgia Pub., 1949, p. 49.
6
Ibid., p. 141.
7
Ibid., p. 142.
8
/bid., p. 137.
9 /bid., pp. 196, 234-237, 247.
10
A harp with single-action pedals.
11
Sonneck, op. cit., p. 235.
12 Ibid., p. 238.
13 /bid., p. 234.
14/bid., pp. 238, 247.
15
/bid., p. 50.
16 /bid., p. 63.
SUMMER/1976
17
Mangler, Joyce E, "The Early American Repertoire."
In Harp News, Spring, 1960, pp. 6-7.
18
American Antiquarian Society, Supplement "Early
American Imports, 1639-1800;" no. 48276. Worcester,
Mass., 1968.
19
Johnson, Harold Earle, Musical Interludes in Boston,
1795-1830. New York: Columbia University Press,
1943jpp. 315,318,323,329.
20 Journal of Music, published Baltimore by Mme.
LePelletier, 1810, Numbers 9, 13, 22.
21 Moore, N. Hudson, The Old Furniture Book. New
York: Tudor Publishing Co., 1903, p. 191.
22Mangler, Joyce E, "Early American Harpists and
Their Music," in Harp News, Spring, 1957, p. 12.
23 Euterpeiad, Boston: May 11, 1922, Vol. III, No. 4.
24 /bid., April 1, 1820, Vol. I, No. 1.
25Johnson, op. cit., p. 289.
26 /bid., p. 293.
27
Johnson, op cit., pp. 93, 95.
28
Moore, op. cit., p. 191.
29 Morse, Frances Clary, Furniture of the Olden Time.
New York: The MacMillan Company, 1937, p. 314.
30
Ladies Literary Museum, Philadelphia: 1817, 1818.
(Vols. II, No. 24; I, No. 12).
11

31
Literary and Musical Magazine, Phila., Mar. 15,
1819, No. II, Music Series.
32
Euterpeiad, Boston: Sept. 16, 1820, Vol. I. No. 25.
33/bid., Sept. 30, 1820, Vol. I, No. 27.
34/bid., May 12, 1821, Vol. II. No. 4.
35
/bid., May 27, 1820, Vol. I, No. 9.
36
Morse, op. cit., p. 313 (plate 307).
37Rothary, Agnes, Houses Virginians Have Loved.
N.Y.: Rinehart & Co., 1954. p. 222.
38Pratt, D. & R, A Guide to Early American Homes
( North). N.Y.: McGraw Hill Book Co., Inc., 1956.
39Johnson, op. cit. p. 268.
40By 1821, this important music company had discontinued
advertising harps with its pianofortes; perhaps
they had not sold well. The 'Aeolian harps' referred
to were placed in windows to be 'played' by the
wind.
41Singleton, Esther, The Furniture of our Forefathers.
New York: Doubleday, Page and Co., 1919, p. 521.
42Hunzinger, H. Mark. "Birth of a Harp" in Harp
News, Fall, 1957.
43Howe, M. S. deWolfe, The Boston Symphony Orchestra,
1881-1931. Boston: Houghton Mifflin Co.,
1931.
44Lahee, Henry C, Annals of Music in America.
Boston: Marshall Jones Co., 1922. p. 82.
45
Ibid., p. 48.
46
/bid., p. 127.
47
Ibid., p. 170.
48
Peyser, Ethel, The House That Music Bui/t­
Carenegie Hall. New York: Robert M. McBride and
Co., 1936, p. 282.
49Symphony Society Bulletin, Vol. XIII, No. IV, New
York: December 27, 1919.
50"Van Veachton Rogers" (unsigned) in Harp News,
Fall, 1957, p. 4.
51Follett, Grace Weymar, "Melville Clark" in Harp
News, Spring, 1954, p. 10.
52Folk Harp Journal, Vols. 1-11, pub. Mt. Laguna,
California.
BIBLIOGRAPHY
Articles
Follett, Grace Weymar, "Melville Clark." Harp
News, Spring, 1954, p. 10.
Hunzinger, H. Mark, "Birth of a Harp," Harp News,
Fall, 1957.
Mangler, Joyce Ellen, "Early American Harpists,"
Harp News, Spring, 1957, p. 12.
---. "The Early American Repertoire," Harp
News, Spring, 1960, p. 7.
"Van Veachton Rogers" (unsigned) Harp News,
Fall, 1957, p. 4.
Books
Chase, Gilbert. America's Music. New York: Mc­
Graw-Hill Company, Inc., 1955.
Church Music and Musical Life in Pennsylvania in
the Eighteenth Century, Vol. III (Parts I and II). Prepared
by the Committee on Historical Research of the
12
Pennsylvania Society of the Colonial Dames of America.
Lancaster: Press of the Wickersham Printing Company.
Hague, Eleanor. Latin American Music, Past and
Present. Santa Ana, Calif: The Fine Arts Press. 1934.
Howard, John Tasker. Our American Music, Three
Hundred Years of It. New York: Thomas Y. Crowell
Co. 1930.
Howe, M. S. deWolfe. The Boston Symphony Orestra,
1881-J 931. Boston: Houghton Mifflin Co. 1931.
Huneker, James Gibbons. The Philharmonic Society
of New York and its 75th Anniversary: A Retrospect.
191 7. Publisher not mentioned.
Johnson, Harold Earle. Musical Interludes in Boston,
I 795-J 830. New York: Columbia University Press.
1943.
Lahee, Henry C. Annals of Music in America. Boston:
Marshall Jones Company. 1922.
Marrara, Howard R. Italian Music and Actors in
America During the Eighteenth Century. Reprinted
from "Italica," Vol. 23, No. 2. 1946.
Moore, N. Hudson. The Old Furniture Book. New
York: Tudor Publishing Company. 1903.
Morse, Frances Clary. Furniture of the Olden Time.
New York: The MacMillan Company. 1937.
Peyser, Ethel. The House That Music Built-Carnegie
Hall. New York: Robert M. McBride and Co. 1936.
Pratt, Dorothy and Richard. A Guide to Early
American Homes ( North) New York: McGraw Hill
Book Co., Inc. 1956.
Rensch, Roslyn. The Harp. New York: Philosophical
Library. 1950.
---. The Harp, Its History, Technique and Repertoire.
New York: Duckworth, London and Praeger.
1969.
Ritter, Dr. Frederic Louis. Music in America. New
York: Charles Scribner's Sons. 1900.
Rothary, Agnes. Houses Virginians Have Loved.
New York: Rinehart & Co. 1954.
Singleton, Esther. The Furniture of Our Forefathers.
New York: Doubleday Page & Co. 1919.
Sonneck, Oscar G. Early Concert-Life in America
(1731-1800). New York: Musurgia Publishers. 1949.
Waterman, Thomas Tileston. The Mansions of Virginia,
1706-1776. Chapel Hill: University of North
Carolina Press. 1945.
Periodicals
American Harp Journal, Vols. 1, 2, 3, 4, and 5. (Official
Publication of the American Harp Society), pub.
Lubbock, Texas.
American Periodical Series (on microfilm):
Euterpeiad: or Musical Intelligencer. Boston.
1820-22.
Journal of Music. Baltimore. 1810.
Ladies Literary Museum. Philadelphia. 1817-18.
Ladies Magazine and Musical Repository.
Folk Harp Journal, Vols. 1-11, pub. Mt. Laguna,
California.
Harp News. Vol. I, No. 8, No. 9. Vol. II, No. 1, 2, 3,
4, 5, 6, 7, 8, 10. Vol. III, No. 1.
AMERICAN HARP JOURNAL

Orchestra Harp
from A to Z
A Guided Tour with Two Survivors
by Sylvia Meyer and Marjorie Tyre
SYLVIA MEYER: Our old friends know why Marjorie
and I were asked to be here. In case some of you
do not know, I'll say a few words about us. First of all,
we have been friends since the summer of 1932 when
we were in Camden, Maine, studying with Carlos Salzedo.
Since that long-ago time, on many occasions we
have spent a few hours together-when the Philadelphia
Orchestra was in Washington, or when the Metropolitan
Opera or the National Symphony went on tour. In recent
years, we have had these wonderful reunions at
Harp Society conferences.
However, that is not why we are here before you in
this position of apparent authority. I was in the National
Symphony Orchestra as principal (and for many years,
only) harpist from 1933 to 1966. I also have done the
usual free-Janee work-recitals, shows, operas, ballets-plus
quite a bit of teaching. I have stayed in
one place: Washingto'n, D.C. Marjorie, a native of Philadelphia,
played in the Philadelphia Orchestra. Later,
she was in New York, first with radio station WOR­
Mutual, then with the Metropolitan Opera Orchestra.
She has gone on two of the largest tours of the New
York Philharmonic when they required an additional
harpist not on the regular roster. For the past thirteen
years, Marjorie has been living in Alabama where her
husband, Maltby Sykes, is Artist-in-Residence at Auburn
University. She is Professor of Harp there.
Marjorie travels far and wide with her harp, playing
operas and concerts ... As you see, we have had diversified
professional experience. We hope that some of
the thoughts we can share with you will be helpful.
First of all, I'd like to say that-in spite of our "A
to Z" title-we're not going to 9onduct you through the
entire alphabet. Our first "A" is for ATTITUDE,
especially important in the daily give-and-take of orchestra
existence. When you join an orchestra, it is assumed
that you are there because you want the job. It
is up to you to like it, to enjoy it, and to do the best you
can with whatever harp parts come your way. If you
are unwilling to fit into the orchestra situation, if you
are unhappy that you can't always be the center of attention,
you won't find much fun in your work. However,
if you can be a real "team player," taking the
smaller parts and the larger parts as they come, you
SUMMER/1976
will enjoy being a part of your orchestra. I can think of
no finer way to spend a large segment of your musical
life ... Now I'm going to ask Marjorie if she has anything
to say along this line.
MARJORIE TYRE: I want to mention one thing about
Sylvia and our close relationship, just to show you the
really great feelings and bonds that you can have with
harpists. We very seldom saw each other because we
played in different places but many years ago when my
sister was dying and had to go to Walter Reed Hospital
in Washington, Sylvia cared for her children while I
spent my time with Sally at the hospital. I thought you
would like that little bit of our personal background.
This week we started our session at Sewanee Summer
Music Center and our Director, Martha McCrory,
proposed an alphabetical idea as our goal for the summer.
The keynote of our work should be four "P"s and
since we are also dealing with ensemble and orchestral
training here, I thought these would be appropriate.
First there is PROMPTNESS. If your rehearsal call
is ten o'clock and you arrive at ten, you are already
late. You must always be ahead of the appointed time,
especially if you are a harpist.
Next is PREPAREDNESS. Later I will speak about
preparing a harp part.
Next is POLITENESS. Show concern for the people
who are playing with you. Don't knock a cellist's bow
off the chair in an attempt to leave your harp quickly.
Treat everyone kindly.
Last is PROFESSIONALISM. Even at the earliest
stages this can really pay off. You must treat your job
as not only being very dear to you but as being very
important. If you have only one chord to play you can
still play it professionally and feel it is an important
contribution. So with these four "P"s I'll now turn the
mike back to Sylvia.
S. M.: Another "A" we have for you is AUDITION.
Naturally, if you intend to audition for ari orchestra
job, we assume that you can already play the parts. I
know you will be interested in my little compilation of
harp parts most frequently called for. This summary of
six audition requirements within the last two years is
from orchestras such as Baltimore, Indianapolis, New
13

Orleans, and Pittsburgh. The duplications are not unexpected,
but they are enlightening. All SIX lists include
Berlioz Symphonie Fantastique, Rimsky-Korsakov
Capriccio Espagnol cadenza; Tchaikowsky Nutcracker
cadenza. Marjorie and I agree that, even though
only a cadenza is listed, the entire part should be carefully
prepared. No less than FIVE require our old
friend, Richard Strauss: Death and Transfiguration.
THREE list Bartok Concerto for Orchestra, Debussy
La Mer, Richard Strauss Don Juan. On TWO lists are
Tchaikowsky Swan Lake cadenza, Wagner Prelude and
Love Death from Tristan, Britten Young Person's
Guide. In the Britten, that big demonstration-solo is
most important, but other sections might be requested.
Parts listed ONE time only are Debussy Danses,
Mahler Song of the Earth, Ravel Tzigane and Piano
Concerto in G; Richard Strauss Ein Heldenleben;
Wagner Magic Fire Music. So much for the "most
wanted" harp parts.
It is fortunate for young harpists that changes have
been made in audition procedures. Some years ago,
lists of parts to be prepared were not sent to the applicants,
who arrived in a sense of total mystery (after
having studied all the parts they could lay their hands
on!). They were expected to play from whatever music
was placed before them, frequently with the conductor
leaning right over the music stand-far too close for
comfort! Nowadays, lists are sent to applicants in advance.
There is an audition committee which may or
may not include the conductor (listening, not conducting).
This committee may be seated in the auditorium
or on stage at a table placed five to twenty feet from the
harp. On rare occasions, each candidate performs behind
a screen, unseen by the committee. An instrument
is generally provided for those who choose not to bring
their own harps ... Marjorie, I think you want to
say something here about preparation.
M. T.: Well, we've gotten you in the orchestra nowyou've
had your audition and you have been accepted
and now comes the question of the parts you will have
to play. In the old days programs were released only
about two weeks before the performance. Now most
symphonies publish their complete programs in the
Fall--even the smaller orchestras have brochures sent
out for membership campaigns in which the season's
repertoire is listed. I still have former students who send
me their repertoire and say "Please mark the works
with difficult harp parts." For a lot of players there is
no way of knowing this. There are many mysterious
numbers being performed now-they are a mystery as
to whether they. have a harp part or not because they
are unknown, new, commissioned works, or something
of that kind. So, in a way, you now have much more
access to your repertoire and can know what you are
going to have to perform, but of course there are still
many new works that you cannot have access to in advance.
If the music is rented, even older works of
Strauss, Puccini or Mahler, it is not supplied to the performing
group until one month prior to the performance
date. Consequently, if the harpist has a very hard
14
part to learn there is not really adequate time to master
it. It is advisable, in facing your orchestral career, to
build a library of your own harp parts, especially ones
that you know are going to be exceptionally difficult.
Years ago when I was playing in Philadelphia, unless
I copied a part there was no way to retain it. Now with
Xerox machines in every drug store there's no problem.
Though it is completely against the copyright laws,
what can one do by oneself with a harp part? I don't
subscribe to copying any music at all that is published
and can be bought, such as solo music, but when it
comes to a part with an orchestra, that is not going to be
a bit of use to anyone except the performer wanting to
prepare it. Now we also have several areas where we
can go for parts. Just recently, Kalmus, 1 has set up a
mailing outlet in Florida and they are supplying many
folios of harp parts. I sent to see what they were offering
and found that for three dollars and a half one
can get a folio containing four parts. One Wagner
cover has the Tristan: Liebestod, the Overtures to The
Flying Dutchman and Die Meistersinger and the Prelude
to Parsifal. This is a good block of parts to work
on if you want to start on some Wagner. The "Fire­
Music" from Die Walkure is available in the original
but for this I would definitely recommend the arrangement
Salzedo did for one harp. Written with some enharmonic
changes which help the pedaling a bit it is a
very good version to use, even when there are two
harps playing. It is sold by harp music dealers. International
Music Service 2 also has many single parts. If
you have some of these passages in your fingers they
won't be foreign to you when the time comes to play
them.
Another way to prepare a part is to borrow scores
from a library (buying them becomes a little prohibitive),
then buy the records when available. In listening
to the record it is much easier to follow with the score
because you may get lost counting bars in your part
and lose valuable time. With this kind of preparation
you will know what your part means to the total scorenot
just five bars, played at the end of a long wait, but a
very important entrance musically. Make each rehearsal
a performance with this kind of "homework."
S. M.: Fran Miller wrote to me in January about doing
this workshop at the conference. I agreed that it was a
good idea, but not for me alone. When I suggested that
Marjorie might share it with me, Fran replied, "Fine!"
Now you see why. We're much happier pooling our
ideas. I should also say that Fran wanted us to talk
particularly to young harpists who might never have
played in orchestras. I explained that we would present
our material as best we could and would certainly include
a good deal for the young harpists. However, we
didn't wish to limit ourselves, sinc·e some colleagues
with equal or greater experience than our own would
be here. Surely we are not trying to enlighten them with
1Edwin F. Kalmus, P.O. Box 1007, Opa-Locka,
Florida 33054, Phone (305) 681-4683
2International Music Service, Box 66 Ansonia Station,
New York, N.Y. 10023, Tel. (212) 874-3360
AMERICAN HARP JOURNAL

much of what we are saying. We hope they are sitting
there saying, "Ah! That's just what / do!"
Now we must move down our alphabet. I have two
"Os," DEPORTMENT and DRESS. Whether you
play or are the spouse or friend of a player, you realize
that probably more comments are made about the
harpist than about any other musician on the stage. The
harp stands there like a tree in the orchestra. It can't
be overlooked, whether or not it is being played. In
other words, since you, as harpist, are apt constantly to
be the object of many glances even if you don't paly a
note for forty minutes-and then play only two notesit
is important how you spend those silent forty minutes.
Sitting quite still is far preferable to squirming on
your bench or chair as if you didn't know what to do
with yourself, reading, or filing your nails(!) on stage
during a concert. Besides, the self-control required by
a poised appearance will create inner calm and confidence
in your playing. During a performance, on stage
or in the pit, I try never to let my mind wander from
what is going on, because I enjoy the music-symphony,
opera, ballet----even if I'm not part of the action
all the time. I leave my literature backstage or at home.
Dress, needless to say, changes with the times, but
harp dress can't change as much as other dress because
of the physical requirements and the appearance on
stage. We certainly recommend-for anything except
informal school concerts-long, black, coverup dresses.
With the men in nearly solid black, sleeveless or shortsleeved
dresses emphasize bare arms in a distracting
manner. The tried-and-true long, cover-up black is
always stylish. A lovely black pant suit can be very
attractive at the harp, too. If you are to be soloist with
an orchestra, get out of the black and into a different
outfit (something with eye-impact!) for your changed
musical role.
Deportment also involves your behavior toward
your colleagues. It is very, very important to develop
rapport with them. Simply because we have chosen
what is probably the most demanding, treacherous instrument
of them all we harpists do not automatically
deserve "prima donna" treatment. And when it comes to
tuning your harp, it is unrealistic to demand that everyone
else stop last-minute practicing or reed-testing
so you can have absolute silence.
NOTE: The "A to Z" mini-meeting the day after our
workshop produced an interesting discussion on tuning.
It developed that the strobe is being used by more and
more professionals for tuning as well as regulating their
harps. It is possible to tune accurately under unfavorable
conditions and in a much shorter time with the
strobe. It was emphasized that, while the strobe is a
tremendous help on the job, it is unwise to become dependent
upon it. There may not always be a convenient
electrical outlet, or it may suddenly refuse to function.
In other words, all harpists should learn to tune accurately
without the strobe.
Even though you are very likely to have one or two or
three special friends in the orchestra, you should behave
as if every colleague is human and likable and nice.
SUMMER/1976
If you do this, they will make your work easier for you.
When you have a tricky passage, with some other instrument,
one you don't want to trust to doing the first
time through on stage with the conductor, you can go
off in a corner with the oboist, bassoonist, or whatever
and have your little spot-rehearsal before the big rehearsal
starts. If you're not "one of the boys," your
colleagues won't feel like helping you out in this way.
You simply have to worm yourself and your harp into
everyone's good feelings; then it's fun to come on the
job each day. Here I would like to interject one thought:
In the symphony, there were always several compulsive
gamblers-poker, horse-racing, you name it. For a
long time, I wondered what they saw in gambling and
felt a bit superior to them. Finally, it dawned on me that
there's no greater gamble on this earth than playing the
harp in public. This may help to explain its endless
fascination. No matter what you do or how carefully
you prepare, there is likely to be some totally unexpected
slip. That is one reason why we were so enchanted
by the absolute perfection of Susann Mc­
Donald's playing on this very stage last night. The
angels had seemingly insured the complete success of
every single note.
Something else that audiences notice: If two harps are
on stage at the same time, it can be very disturbing if
the harpists have not planned what they will do in the
case of joint entrances. Of course, for separate entrances
there is no problem; but when both are going
to play at the same time, it looks absurd if one harpist
is right there waiting and ready to go, with hands on
the strings, while the other pulls the harp back hastily
just as they are to start playing. It is a good idea to
mark the music with a little arrow up or down to indicate
when to move the harps. Or the second can keep
an eye on the first (without obviously turning to
watch) and act accordingly.
M. T. : Well-about my pet peeve! Do you see this bag
(holds up large leather hand-bag)? Through the years
one of my pet peeves concerns girls in orchestras, and I
am not speaking only of harpists but all girls who play.
They wear a nice long dress but come on stage with a
bag they have been carrying all day long-this one is
really small compared to some--it has no connection
with evening attire. The conductor is in full dress, and
all the men are properly dressed and these girls come in
with these satchel-like bags. Some years ago when I
was in Maine there was a manufacturer of bags who
made containers for tennis balls which became very
popular for carrying many things. I went to him and
said "How about making a bag that harpists could use?"
I took packages of strings to show the different sizes
and said, "You could make it to stand on the floor and
be self-supporting. It could be in black moire or felt,
have pockets along the sides for the different sizes of
harp strings, with plenty of room for a wallet, which
can't be left back-stage, manicure scissors, etc." I could
visualize the whole wonderful thing-I was going to
call it the "Tyre Tote Bag"-it could be advertised in
The American Harp Journal and I could see thousands
15

eing ordered. I asked him to please make a sample and
send it to me but I never heard from him. The next Summer
when I returned he had moved away-gone out of
business. I have never been able to locate him so my
tote-bag was not realized. But really, someone should
carry out the idea, as I still think it is great. So don't go
on stage in evening clothes with a bag like this. You
must carry strings with you for if a string should break
you can't run off-stage for your equipment.
Another point in preparedness is keeping your harp
in very fine condition. Mr. Christiansen conducts wonderful
workshops all over the country helping us to give
more attention to the care of our harps. I heartily recommend
that any of you who have the opportunity to
attend one of these should do so, because it teaches you
a reverence for your instrument which a lot of us don't
have. When you realize what a precious thing you possess
and how hard it would be to replace, your care of
it will become an extremely important part of your life.
Be sure you don't have noisy pedaling. This can be
aided by having good pedal felts on your harp. Last
night we all knew how many pedals were being changed
but there was not one pedal sound in the entire concert.
It was just miraculous--truly a stupendous exhibition
of beautiful pedaling.
Among other things that we try to emphasize is to be
a part of the music-listen to it-don't allow yourself
to be distracted. Remember you are a musician in the
orchestra, and in being that, forget that you are a
harpist.
S. M.: I want to say something about protecting your
harp. At one time, we had three or four players in the
symphony who were "bull-in-a-china-shop" types.
When they wanted to leave the stage at rehearsals, they
would come dashing by the harp in a rush to get out.
I finally learned to turn the harp around so they would
approach it from the back; then they couldn't fly into
the sounding board with a brief case, a clarinet box,
or a contrabassoon. I also moved my music stand aside
so it wouldn't fall into the harp if someone ran into it.
In spite of my precautions, on a very crowded stage
one of the 'cellists stepped on the A pedal and split the
brass. He apologized with, "The world is my china
shop!" It was nice of him to say so. My message to you
is: Don't just walk away from your harp and trust to
luck.
Now we are going back to letter "C." This is about
CONDUCTORS and your responsibility to your conductor.
Again, we can't be prima donnas. With orchestra
parts, just play as the conductor asks, even if you
don't like his interpretation. I was interested in reading
Phia Berghout's words in the Journal, " . .. the harpist
must be in the first grade with each conductor, for they
all have their own ideas ... "
When we were planning this workshop, Marjorie
and I thought a great deal about conductors. We hoped
we might get some ideas which we could pass on to you.
We wrote to eighteen conductors but received only a
small number of replies since many of them were on
tour in or out of the United States.
16
Parts of the letter from Robert Irving, charming English
conductor of the New York City Ballet, are worth
reading: " ... I am sorry not to have answered your
letter before, asking for a conductor's comments for
your harp conference. We have been preparing for our
great Ravel orgy here, now launched: but also I could
not really find any 'mots' for you of any special validity
or interest. But here are just one or two small thoughts:
(1) 'Most usual, I'm sure! All harpists, while growing
up, should retain some concern for OTHER harpists
and not deface the music with their own mnemonics
and hieroglyphics!' " I'm sure Mr. Irving has had harpists
come to him with, "How do you expect me to play
that, when the pages are full of holes and are stuck together
with Scotch tape?" I have encountered such
ballet books with pages which I had to pry apart. We
learned from Salzedo in the '30s not to use Scotch tape
on music. While it may be all right for awhile, eventually
it yellows and develops gooey edges which stick
together. At rehearsals, I have rubbed face powder
between the pages, then I have sprinkled them with
flour or talcum when I got home so they wouldn't stick
again when the book was closed.
VOICE FROM AUDIENCE: "May I interrupt?
3M here in St. Paul has developed a 'million year tape'
for manuscripts .. . And you are right. The Toscanini
library at one time used the old tape on those precious
scores and they found out about this--and this new
tape was developed for manuscripts and music."
S. M.: I have heard of the new tape and I have used
it, but some of the old parts are still making the rounds.
Aren't you proud that 3M is right here and is so progressive
along these lines?
Back to Robert Irving's letter: (2) "I would like to
see more emphasis on sight-reading in the training of
young harpists, who seem to me too often deficient in
this respect." I think most teachers discover that sometimes
their highly gifted students--those who can play
by ear or who memorize quickly-hardly recognize
what they are playing if they see it on the page. This
can be very devastating if these young people are in an
orchestra and they haven't really learned to read music.
Constant practice in sight-reading is recommended for
all harpists, regardless of how talented they may be.
Mr. Irving's next comment interests us very much:
(3) "I find that the newest harps, though doubtless superior
mechanically, are often poor tonally in comparison
with the older (heavier!) instruments: please
don't all rush out and buy them before checking on this
aspect." Marjorie and I were puzzled by this statement
at first. After we thought awhile, we concluded that,
with harp prices what they are and with delivery of the
larger harps delayed as it has been for some years, more
and more people have been buying the smaller harps
and using them in the pit when the ballet came to town.
Mr. Irving's remark helps prove one important point:
It is highly desirable to use the best possible instrument
because it enhances your playing.
I was genuinely pleased to hear from Maurice Peress,
AMERICAN HARP JOURNAL

VENUS HARPS
presents
''The Aristocratic Instrument''
W & W HARP CO.
3868 W. GRAND AV.
CHICAGO, ILL. 60651
NEW & USED--REP AIRS & REVISIONS
Inquiries Welcome
SUMMER/1976
17

music director of the Kansas City Philharmonic and
Corpus Christi Symphony. His letter is full of ideas.
Here are some of them: "( 1) Orchestral harpists should
send Xerox copies of new works to each other (with
pedalings et al), especially those by major composers.
(2) Create double (combined) harp parts of standard
repertoire, against sickness or non-availability of (decent)
2nd players. (3) Suggest sitting 'where the action
is' to your maestri, especially in ensemble-oriented
works. (4) Tune solo unison notes with the other player
during warmup (especially low clarinet, horn, flute),
where the harp is used to give soft definition. (5) Use
soft ukelele picks (felt) for glissandi when necessary to
save your hands. Also shirt-collar stays for clattery ones.
Two hands, of course. (6) Don't be ashamed to help reorchestrate
badly written parts." These suggestions tell
us that Maurice Peress enjoys far greater knowledge and
understanding of the harp than do most conductors.
It was a pleasure to work with him when he was conducting
opera in Washington. I learned then that he had
made numerous arrangements for the "Angelaires," a
touring five-harp ensemble of the late '50s. Many of his
ideas have long been used by experienced harpists, but
it is good to know that at least one conductor has
reached some of the same conclusions!
In the National Symphony, I was generally lucky to
work with conductors who appreciated the harp and
were willing to discuss seating, problem passages, or
special tonal effects. Many conductors don't wish to be
bothered. One of my favorite little success stories involves
a rehearsal with Yehudi Menuhin. He was to
play Bartok and, since it was my first experience with
the part, I had discussed one particularly nasty spot
with the conductor. He had OK'd the "educated swindle"
I had concocted. When we had rehearsed that passage
with Menuhin, he turned to me and said, "Fine. Fine.
I never heard the harp there before." The conductor
added, "She can play anything." This reminds me that
Salzedo advised us to " ... speculate on the harmony"
if passages were hopeless (or ineffective) when played
literally, note for note.
M. T.: We weren't very successful in our_ quest for ideas
from conductors, and believe me, I never knew so many
of them were going to foreign countries. In answer to
my letters it was "So and so has just left for Japan" or
"has just left for Europe." However I did see Eddie
Druzinsky, Chicago Symphony harpist, on my way here
and spoke to him about our senimar. I asked him what
practical advice he would give to young orchestra
harpists. He replied, "Don't think about anything but
rhythm. Play rhythm correctly from the time you start
your harp and stick with it. You can play a wrong note,
but if you play a wrong rhythm you've ruined it." So
remember that-with all the music you are preparing,
rhythm is the most important thing. If you have rhythmic
passages clap them. It's the old story from your
theory classes. Don't be ashamed to do this and also
sing them, because if you can't sing them, you can't
play them, as far as I am concerned. You've got to feel
the rhythm and hear it before you play it. The sub-
18
divisions of your beat are most important. When you are
walking, your own gait is the most normal and natural
beat, so practice subdivision. Give yourself divisions of
from 2 to 10, then back again. It's lots of fun and you're
not wasting your walking time. Think of all the subdivisions
of quarter notes--all those patterns--so that
when you see them in your music, you hear them immediately,
and you couldn't possibly play them incorrectly.
For some practical examples use Strauss or
Debussy parts. For instance, in the Fountains of Rome
by Respighi there are some marvelous little rhythmic
passages you could practice. So I would say "Amen"
to Druzinsky's tip as I also feel rhythm is the most important
thing in all music--not the notes so much, although
it's good to get the notes right too!
I would like to speak of one other area which is more
or less directed to teachers who have not been the objects
of most of our discussion here this morning. At
Sewanee I teach all these aspiring orchestral harpists.
As you know there are not very many harp parts--the
violins play in every number, but what do the harpists
get to play? The students pull long faces and say
"They're only doing Rhapsodie Espagnole!" This happens
to be one of the biggest assignments they are going
to have. It's a lovely part, but the Brahms Symphony
No. 3 is on the same program and they feel shortchanged.
I think part of their training should be to
learn to be patient and to enjoy sitting backstage on a
trunk listening to Brahms because they're going to have
to do this a great deal. Harpists who know only the
music that has harp parts are pretty hopeless musicians.
So, teach them there will not be a lot to play-there
may be a season with all Bach, Mozart or Tchaikowsky
programs and, unless ballets of Tchaikowsky are performed,
there is not much for the harp. This doesn't
mean one can't become a greater musician when not
playing, but rather can learn by listening to what the
others are doing.
At Sewanee we want to give these children experience
so we don't just dole out parts giving one to one,
and one to another. By dividing the parts up four ways,
four little harpists will learn how to count measures.
Last summer we had some very large chords to be
played rapidly. This they couldn't do, so instead of
having them alternate the chords, I had one take octaves
of the top note of the chord, another octaves of the
second note and so on. With this we had a big, wonderful
sound and everyone played the part properly, counting
correctly the bars in between. I think teachers can
help their students a great deal by dividing the notes
but not the rhythms! Keep the rhythmic patterns as they
would be played in doing the whole part but within the
student's playing capability. It is so important for beginner
harpists to feel they can play the part properly.
S. M.: I see that it's almost time to stop, but I also see
that I have left out something important-going on
tour with a harp. I have written here: "Tour tips, good
for every trip when the harp trunk will be used." First,
equip your trunk-your home away from home--with
harness hooks for coat-hangers, a mirror, your string-
AMERICAN HARP JOURNAL

and-tool-kit (of course!), your bench, and your mat.
The harp mat is a very important, often underestimated
bit of equipment. It isn't always necessary to use the
mat, of course. Just the same, you should be prepared
for floors which can turn a concert into a nightmare:
slippery floors, floors with wide cracks, marble floors
(in gorgeous cathedrals!), and well-waxed floors which
screech when you shift the harp even a tiny bit. To me,
the harp mat is a weapon of self-defense. It will keep
your heels from clattering on the floor during fast-pedal
passages. (Rubber lifts on your heels are helpful,
too.) With the mat, you will avoid missing pedals because
your heels have caught in the floor-cracks. It will
also prevent the harp and bench from sliding apart, or
the leg of a wire music stand from disappearing into a
crack and dumping all the music. Note: If your is one
of the new, less roomy fiberglass trunks, you'll simply
have to equip it as best you can. The plywood trunks
are ideal for touring.
Speaking of tours, Marjorie and I want you to know
that we believe not only in making friends with our
musical colleagues, but also in treating the stage hands
and truck drivers like human beings. Lots of them are
delightful people. We have both enjoyed working with
some wonderful stage hands. If you plan to arrive at the
concert hall when the orchestra baggage is unloadedalways
a good idea-you can walk there with the stage
hands or share a taxi with them. This built-in escort
service is marvelous in a strange city! In case of lastminute
arrivals, when stage hands are rushed with other
items (more urgent than harps), it's nice to have helpful
friends among the bass players. They are used to
carrying unwieldy objects. We have tried asking other
musicians to help us, but they more often shake their
heads and say, "Well. ... my hands!" We have hands
too, but we don't mind helping in emergencies.
We must close our session now. Both Marjorie and I
have looked forward to this workshop and we've enjoyed
being with you. Thank you all for coming. We
hope we have given you some useful information. By
this time, you surely know that we believe the broad
musical experience of orchestral playing can develop
into a wonderful life for a harpist. Whatever musical
path our young harpists choose to follow, all of us can
agree with conductor Antal Dorati when he says, "We
musicians are the luckiest people in the world because
our working hours are spent with the finest outpourings
from some of the greatest geniuses of all time."
SYLVIA MEYER AND MARJORIE TYRE
Both Sylvia Meyer and Marjorie Tyre are active in
affairs of the American Harp Society, nationally and in
their own areas. Each has served on national committees
and on the Board of Directors, and each has performed
at several national conferences. Marjorie Tyre is President
of the Alabama Chapter. Sylvia Meyer is President
of the Washington, D.C. Chapter. She is also the
national Chapter Chairman.
PEARL CHERTOK
AMERICAN HARP
ORS 75207
an album of solos by American composers in
celebration of the Bicentennial. Siegmeister,
Haines, Starer, Mondello and Mayer.
ANCIENT AND
MODERN DANCES
FOR HARP
ORS 76231
Suite of Dances: Jean Baptiste Loeillet
Suite Frarn;aise: Francis Poulenc
Around the Clock: Pearl Chertok
Ten Past Two
Beige Nocturne
Harpicide at Midnight
Morning After
Seafoam
Driftwood
Pavane for Seskia: George Kleinsinger
Saraband: Earl Sheldon
THE HARP IN
CHAMBER MUSIC
ORS 76227
Sonata for Harp and Cello-Castelnuovo-Tedesco
Quattro Pezzi-Harp and Cello-Anton Ribari
with Nathan Stutch, cellist.
Elegy for Flute and Harp-Walter Mourant
Poem for Flute and Harp-Nuncio Mondello
with Harold Jones, flutist.
available at your local dealer
or
Salvi International, 1649 Tenth Street,
Santa Monica, Calif. 90401
or directly from:
Orion Master Recordings
5840 Busch Drive
Malibu, Calif. 90265
SUMMER/1976
19

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:
FOUNDING COMMITTEE
Marcel Grandjany, Chairman
S. Mario DeStefano
Mildred Dilling
Eileen Malone
Lucile Rosenbloom
Alberto Salvi
Edward Vito
Bernard Zighera
HONORARY MEMBERS
Pierre Boulez
Mrs. Serge Koussevitsky
A. Z. Propes
Miss Alice Tully
LIFE MEMBERS
Alice Lawson Aber
Mrs. Joseph Thomas Ackerman
Anne Everingham Adams
Mrs. Harry Lacey Armstrong
Daniel H. H. Casebeer
Ronald J. Clevers
Dorothea deBretteville
Marcella DeCray
Marylee Dozier
Peter E. Eagle
Laura Erb
Catherine Gotthoffer
Elizabeth Halliday
Patricia John
Dorothy Knauss
Joseph E. Longstreth
Joan Mainzer
Gloria H. McDaniel
Sylvia Meyer
Elaine Peters
Dorothy Remsen
Ann Mason Stockton
C. Stuart Stockton
PATRONS
Mr. and Mrs. G. Howard Briggs
Margaret Rupp Cooper
SPONSORS
Marilyn Costello
Mr. and Mrs. Kenneth Kienzle
Marjorie Tyre
SUSTAINING MEMBERS
Mimi Allen
Anna Bukay
Doris Calkins
Ruth Cobb
John B. Escosa, Sr.
Eleanor Fell
J. Scott Grimes
Mr. Jack W. Heger
Gladys Hubner
Ruth Inglefield
Mary May Johnson
Wand a Crockett Jones
Mrs. Robert W. Kapp
Lucy Lewis
Linrud Harp Company
Marie Macquarrie
Dr. Marianne McDonald
Susann McDonald
Mrs. James Mitchell
Priscilla Mueller
Dean Owens
Mrs. Theron Randolph
Susana Remeny
Roslyn Rensch
Phyllis Schlomovitz
Christine Stavrache-Anders
Mrs. Derek van Osenbruggen
Phillip E. Walker
CONTRIBUTING MEMBERS
Alex Bonnet
Rachel Boothroyd
Marjorie Call
Marjorie Chauvel
Michael P. Cole
Mary C. Cook
Patricia V. Croke
Martha M. Dalton
Jeune B. Davis
Mrs. Donald H. Dewey
Ruth Earl
Mrs. Hugh Espey
Trudy Frank Faust
Grace Follet
Estelle M. Gerber
Patricia Adams Harris
Edward C. Herfort
Miss Barbara Hiatt
Donna Hossack
Marjorie L. Kuhns
Judy Loman
Desmond C. McCarthy
Edna McClintock
Ester McLaughlin
Verlye Mills
Helen Nash
Jack Nebergall
Dorothy Neyman
Clint Nieweg
Alice Pardee
Polly C. Parker
Helen Rogers
Beverly Neal Rosenstock
Mrs. Barbara G. Sharp
Mrs. Ruth Siple
Louis J. Standish, Jr.
Cynthia Adams Tappan
Kathryn Thompson Vail
Valerie von Pechy
Linda Wellbaum
Billie Wolfe
20
AMERICAN HARP JOURNAL

In Defense of
Transcriptions
by Marcel Grandjany
This article first appeared in the Spring 1963 edition of
Harp News. It appears here by special permission.
As musicians, we have much reason to be grateful to
musicologists who have helped us to preserve the priceless
treasures of the past. Much beautiful music which
we enjoy today has been unearthed and published by
the tireless research and study of these scholars. However,
this very research has produced an attitude,
adopted by many critics, that all music must be played
exactly as written in the old manuscripts, and only on
the instruments for which the music was originally
scored. I believe that there are convincing musical answers
to the criticism of transcriptions for the harp,
and it is my hope that some of the material mentioned
in this article will be helpful to harpists in explaining the
desirability and, indeed, the necessity of playing transcriptions.
1. The practice of transcribing music from one instrument
to another has a long and honorable history.
Composers whose taste no critic could question have
frequently transcribed their own music and the music
of others as well. I think few could deny that Bach's
keyboard versions of his Sonatas and Partitas for violin
solo are true enrichments of his original thoughts, and
this is but one of many possible examples. Certainly
Ravel's Tombeau de Couperin, transcribed by the composer
from piano to orchestra exists in equal, although
contrasting beauty in the two settings. His orchestration
of Moussorgsky's Pictures at an Exhibition is now much
better known than the original piano version. It is not a
musical question, then, whether to play or not to play
transcriptions, but rather a question of exercising good
taste and judgment as to what is truly suitable for our
instrument.
Another important point along these lines has been
well expressed by Jean Vallerand, general secretary of
the Conservatory of the Province of Quebec, who writes,
"The care for instrumental color is a relatively modern
matter. For the musicians of the' 17th or 18th centuries,
the musical thought could find its interpretation on different
instruments. Therefore we find Sonatas for violin
or flute or oboe, etc. Pieces for harpsichord or organ."
In the 17th and 18th centuries, music was a refined
art, intellectual and mathematical, which addressed itself
to the mind. Camille Saint-Saens in the introduction
to his edition of the "Pieces for Harpsichord" by
Rameau tells us:
"The music of ancient times gets its whole value
from the form. Based on this principle, Handel could
write a Concerto for organ or harp, the solo part of
SUMMER/1976
which may be executed without difference by one or
the other of these instruments, and likewise by the
harpsichord as well. This fact opens up strange horizons
on the difference of ideas and judgments which
one and the same art may bring about at different
times."
According to this principle, then, the harp may play
everything appropriate to it of this older music. Handel's
Concerto in B-flat and the Sonate by C. P. E. Bach,
works admitted to be original music for the harp, prove
by their writing that there was no particular insistence
on instrumental idiom, for it is identical to that used for
keyboard instruments of the period in question. The
harpist must use care in selecting his publications however,
for much of the older music has been edited by
pianists who added much which may not be desirable for
harp. Many such "additions" could well be omitted in
favor of more suitable elaboration for our instrument.
C. P. E. Bach tells us that it was customary (before
17 50) for the performer to add his own embellishments
and elaborations freely.
It is important to remember, also, that the harp with
pedals came rather late. Composers of the 17th and
18th centuries would have been hopelessly limited in
their music if they composed specifically for harp at that
time. I am convinced that if the presentday harp had
been perfected in earlier times, we would now have a
large repertory written for our instrument by the greatest
composers of the past. They did not have our harp
but we do have their music! It would indeed be strange
to forbid the harp, among the most ancient of instruments,
this wonderful music of bygone centuries.
·-2. I should now like to take up the question of the
harp's suitability to this music. All too often have its
limitations been criticized! We must bear in mind that
every instrument, taken by itself, has its limitations. The
woodwinds and brass instruments are limited in range
and cannot utter two sounds simultaneously. Stringed
instruments may produce double or triple-stops, but
the composer must exercise great care in their use.
Bach's Sonatas for violin or 'cello demand a very great
deal from the player. The harp, by contrast, truly belongs
to the family of polyphonic instruments of which
other members are the harpsichord, organ and piano.
Let us now compare briefly the qualities and the limitations
of the harp to these keyboard instruments.
a. The harp has the advantage of direct, expressive
touch, " ... this particular contact of the skin
surface with the stretched string," as Enesco writes
of Thibaud.
b. Even if the harp's legato is much less marked than
that of the piano, it is still capable (providing the
musician phrases well) of a singing melody, contrasting
dynamics and registers, and also of
special effects which enable us from time to time
to suggest the harpsichord or guitar. These latter
two instruments, by the way, cannot begin to vary
their particular instrumental color.
c. The harp has been reproached for its "perpetual
staccato" (but is the harpsichord any different?),
21

the mixture of harmonies, and the lack of clearness.
These faults are rather the qualities of the
harp; string vibrations diminishing freely give
the harp its own unique character. Why should a
harp sound like a piano? It must be treated according
to its own esthetics.
d. Although the organ is regarded as the polyphonic
instrument, it is incapable of differentiating voices
on the same manual, a limitation which applies
also to the harpsichord. Yet the skillful harpist
can give each voice its own "color" by using his
hands alone. The harp has no mechanical devices
which affect its tone.
These so-called limitations are the very factors which
give the harp its divine beauty, and challenge the player
to the utmost. It is interesting to note, along these lines,
that the clavichord (the instrument preferred by Bach
and also by Mozart) had an excessively thin sonority,
but its notes answered to the pressure of the fingers,
and one could therefore obtain great expression and
clearly differentiate the parts of a fugue. I need not
elaborate on the parallels to the harp!
Let me conclude by saying that in music, and more
specifically in the music of ancient times, there is a
constant "transcription" in the sense that the interpreter
transcribes, transmits a message, brings to life the
composer's thought in order that the listener may grasp
this thought with his mind and thereby feel an intellectual
satisfaction, and at the same time an impression
of beauty.
Marcel Grandjany Memorial Concert
Remarks by Peter Mennin, Director, The Juilliard School of Music
Before the second half of the recital begins, I just
wanted to say a word of welcome and greeting to our
special guests and, also, to members of the American
Harp Society, some of whom, I understand, have come
from New Jersey and other cities outside New York to
be with us this evening.
This occasion, as you know, is in honor of Marcel
Grandjany, and it was planned some time ago to take
place as close as possible to the date of his passing last
February 24, when he was in his 83rd year.
Tonight's program is special in several ways. Not
only are we remembering Marcel Grandjany, the teacher,
but, in addition, we are hearing the music of Marcel
Grandjany, the composer. All of the Juilliard performers
who are taking part were his students here-and
they are continuing their studies--and I am sure the
music they are playing takes on a special significance
because of that fact.
The harp has been a part of Juilliard teaching and
performing from the School's earliest days. Harp instruction
was included in the very first Prospectus of the
Institute of Musical Art (later to become the Juilliard
School of Music) back in 1905. The first teacher was a
well-known musician and concert performer, Madame
Adelina Rossini.
Marcel Grandjany came to Juilliard in 1938, when
the School was up on Claremont A venue, and for the
next 37 years he was to be the major teacher and influence
for literally hundreds of young performers who
came to study with him, and later joined the country's
major orchestras.
It is not necessary or even practical to recall the
major events and achievements in his career as performer
and teacher. Most of them are well known to
you. But I did want to mention that the anniversary of
his New York debut is two days away, on Saturday;
he performed, to great acclaim, at the famous Aeolian
Hall on February 7, 1924.
22
There were many "firsts" in his career. One of which
he was most proud occurred in 1927 when he gave the
first complete solo recital for harp in his native Paris.
He opened the program with his own "Rhapsodie," and
tonight the program will conclude with it. He performed
the music of Ravel, with the composer conducting.
Every major orchestra invited him to perform as soloist.
His recordings were numerous and popular, particularly
at a time when it was not possible or easy to attend his
public performances. No one was more aware than
Grandjany of the limited number of solo and ensemble
works for the harp, and no one did more than he in
enlarging the repertory through his own extensive composing,
transcribing and realizations.
But I imagine most of you this evening have been
thinking of Marcel Grandjany in a rather personal way,
as indeed I have. He was always so delighted when one
of the School's orchestral programs would include a
harp concerto, and he could be counted on to participate
in the auditions for the soloist. But his interest
was not limited to harp by any means. He attended
meetings of the Faculty, came to social gatherings in the
holiday periods, and, with his wife Georgette, who is
with us this evening, was often seen at concerts in Alice
Tully Hall and the Juilliard Theater.
When he founded the American Harp Society in
1962, he told a large committee of interested musicians
that there was a genuine need to foster appreciation of
the harp as a musical instrument by improving the
quality of performance and by encouraging the composition
of music for the harp. But to a single visitor
one afternoon, he summed up all his ideas about performing
and teaching and composing in one sentence:
"Music is a way to give pleasure."
What we hear and feel here tonight demonstrates
that simple truth a thousand fold.
AMERICAN HARP JOURNAL

T~'-UILLIARD
" SCHOOL _____ _
HARP RECITAL
IN MEMORY OF
MARCEL GRANDJANY
(1891-1975)
Thursday Evening, February 5, 1976, at 8:00 p.m.
Paul Recital Hall
Aria in Classic Style
Siciliana
PROGRAM
Rhonda Smith
(Assisted by String Ensemble)
Amy Shulman
Lute Dances: Courante, Pavane, Bransles
Nancy Allen
The King's Hunt
Automne
Rhonda Smith
Marla Gautreaux
Fantaisie sur un theme de J. Haydn
Sarah Bullen
Marcel Grandjany
Respighi-Grandjany
Francisque-Grandjany
John Bull-Grandjany
• Marcel Grandjany
Marcel Grandjany
REMARKS BY PETER MENNIN
Music for Two Harps
Children at Play
Divertissement pour Harpe
Children's Hour
Nancy Allen and Gretchen Van Hoesen
Grace Paradise
Maritza Bolano
Grace Paradise
Spanish Dance No. 1 from "La Vida Breve"
Nancy Allen
Rhapsodie
Gretchen Van Hoesen
Marcel Grandjany
Marcel Grandjany
Marcel Grandjany
Marcel Grandjany
Falla-Grandjany
Marcel Grandjany
SUMMER/1976
23

NEW
RECORDINGS
Please send all information regarding new records and rereleases
to: Dorothy Remsen. 6331 Quebec Drive, Hollywood,
California 90068
MICHEL, CATHERINE-Boieldieu, Concerto Pour
Harpe Et Orchestra, Rodrigo, Concerto-Serenade.
Orchestre National de L'Opera de Monte-Carlo,
Director, A. de Almeida. Philips 6500813
MICHEL, CATHERINE-Villa-Lobos, Concerto for
Harp and Orchestra, Rodrigo, Sones En La Giralda,
Castelnuovo-Tedesco, Concertina Op. 93. Orchestre
National de L'Opera de Monte-Carlo, Director,
A. de Almeida. Philips 6500812
MERTENS, CLELIA-Vivaldi, Concerto In Re
Majeur Pour Harpe, Orchestre de Chambre Bernard
Thomas Arion ARN 32-289
LASKINE, LILY-Bach, Matielli, St. Saens, Faure,
Pierne, Roussel, Golestan, Tausman. ERATO STU-
70132
BAUX, MARIE-FRANCOISE-"La Harpe En France
Au XXes." Faure, Renie, Tailleferre, Toumier,
Boizard, Salzedo. Alpha DB 218
MCDONALD, SUSANN-"The Virtuoso Harp."
Glinka, Spohr, Liszt, Renie. Klavier KS 543
LAUGHTON, GAIL----"Paul Hindemith Anthology
Volume 5" Sonata for Harp, Trio For Viola, Hecke/­
phone and Piano Opus 47, Rondo For Three Guitars,
Trio For Soprano and Two Alto Recorders. GSC 5
LONGSTRETH AND ESCOSA-"World Premiere."
Concerto for Two Harps and Orchestra, D. Leitz.
The Richmond Symphony Orchestra, M. Blum, conductor.
Carriage Records.
GRIFFIN, HARVI-"The Two Sides of Harvi Griffin."
(2 record set) 10 popular selections on one
record-Handel Concerto In B Flat, Song in the
Night, Clair De Lune, Petite Valse, Harmonious
Blacksmith, Rhumba. Rite Record Productions.
ROBLES, MARISA-"The World of the Harp." Falla,
Albeniz, Guridi, Mozart, Beethoven, Britten, Faure,
Pierne, Salzedo. ARGO SPA 348
SOON TO BE RELEASED:
Susann McDonald-Two albums-"Music for Flute
and Harp"
Susann McDonald-"Music for Harp and Viola"
DeWayne Fulton-"Music for Harp and Voice"
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, 1037
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 Office Manager, Mrs. Dorothy Remsen,
6331 Quebec Dr., Hollywood, CA 90068.
RUTH LORRAINE CLOSE
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.
Detailed information may be obtained from Sally
Maxwell, 1620 Sylvan St., Eugene, Oregon 97403.
24
AMERICAN HARP JOURNAL

The Madness of
Sir Tristram
by Patricia John
COVER STORY
Sir Thomas Malory in the middle of the fifteenth century
translated and for the first time created a more or
less coherent story out of the great mass of narrative
material then existing in the form of archaic Norman­
French legends written in obscure medieval rhetoric
concerning King Arthur and his court. He called it
MORT D'ARTHUR. It was published by Caxton in
1485 and came to be greatly admired in England, later
becoming one of her most cherished literary possessions.
Among these tales is that of Sir Tristram of Lyoness, a
noble and gifted knight who became known not only
for his courage and bravery but also for his skilled playing
of the harp. Its music brought to him friendship,
consoled him in sorrow and eased his loneliness when
in foreign lands. The magic of its voice was also to bring
him the love of a fair maiden, and their love was to become
one of the best known tales in all literature. Wagner
used the legend for the basis of his opera TRI ST AN
AND ISOLDE in 1865.
Sir Thomas Malory's story begins with the marriage
of King Melyodas of Lyoness and Elizabeth, sister of
King Mark of Cornwall. Happy in their marriage, the
king and queen after several months found that the
queen was with child. There was great rejoicing in the
kingdom and the child was awaited impatiently. One
day, while the king was out hunting, a sorceress lured
him to her castle and there held him captive. When the
king did not return after several days, Queen Elizabeth,
beside herself with grief, went into the forest to look for
him, followed only by a serving woman. She searched
the woods becoming more and more distraught as time
passed. Finally, exhausted, she threw herself on the
ground and felt the first pangs of childbirth. Calling out
to her serving woman to aid her, a long and difficult
delivery of the child began.
All night she struggled, with only the dark trees to
shelter her and the damp ground to lie upon. At last the
SUMMER/1976
child was born healthy and sound, but Queen Elizabeth,
exhausted and feverish, breathed a prayer to the Lady
of Heaven and then turning to her serving woman said
"My dear companion, recommend me to the king, and
tell him that for his sake I have borne his child in circumstances
so rude that now I am overcome by them.
Beg him to pray for my soul. And you, my little son, you
have killed your mother, so when you come to be of
age you must prove yourself a powerful man. I wish you
to be named Tristram, which means 'of sorrowful birth';
and I charge my companion to make this my last request
to the king."
She turned her face away, gave a sigh, and died. The
serving woman gathered the newborn baby in her arms,
and, as quickly as possible, fearful that the child too
might have suffered unduly from exposure, returned to
the castle through the thick, brooding woods.
Not long after, King Melyodas, aided by Merlin, the
magician, escaped from the castle of the enchantress and
returned to Lyoness. Upon his return, saddened by the
loss of his wife, but happy in the birth of his son, King
Melyodas resumed his reign.
Tristram grew into manhood well beloved by his
people. The young prince became versed in all the
manly arts of horsemanship, fencing, venerie, and was
also taught to play the harp. Having finished his training,
he went forth upon knightly quests to win fame
and fortune. One day, while defending the realm of his
uncle, King Mark, in a fierce single-handed encounter
with Sir Marhaus of Ireland, he was wounded; and,
although he was the victor, his wound refused to heal
and for more than a month he lay between 'life and
death. At last, being told that the tip of the spear which
had pierced him had been poisoned and the antidote was
to be found only in the country from which it had come,
a ship was provisioned and taking with him his harp,
Tristram set sail for Ireland. By good fortune when he
reached Ireland he landed near the castle of King
Angwyshaunce who was the ruler.
Putting ashore, Tristram took his harp and standing
below the castle, played hauntingly on his harp songs
that were unknown in Ireland. Word quickly reached
the king of the marvelous harp player and Tristram was
brought before the court at the king's command. When
Tristram was asked his name he replied, Tramtrist,
deliberately reversing his name to keep his identity a
secret. He was put ln the care of the king's daughter,
Iseult the Fair, who was a skilled physician. While Tristram
was recovering he often played the harp. Iseult
was enchanted and begged him to teach her to play. In
the course of the music lessons they fell in love; but
when the queen discovered that it was Tristram who
had killed her brother, Sir Marhaus, Tristram was
forced to leave Ireland. Bidding Iseult a sad farewell,
Tristram swore to always be beholden to Iseult for
having saved his life, and the two exchanged rings.
Tristram returned to Cornwall to continue his service
to his uncle. He often told of the beauty of Iseult, and
King Mark, jealous of Tristram, determined to have her
25

for his wife. Further, Tristram was commanded to go to
Ireland to ask for her hand and to bring her back.
On his way to Ireland, Tristram had the opportunity
of defending the honor of King Angwyshaunce in combat.
As a token of his gratitude, King Angwyshaunce
offered Tristram anything he desired. To the king's
surprise Tristram asked for the hand of Iseult, not for
himself, but for his uncle, King Mark. King Angwyshaunce
cried out, "Alas, Sir Tristram! I had hoped that
it would be for yourself that you would ask her hand."
Tristram replied, "Sire, in honoring my pledge to my
uncle, I betray my own vows to Iseult, but still I have to
ask for her hand for him."
Whereupon King Angwyshaunce said, "Sir Tristram,
you shall have her; and whether you keep her for yourself
or yield her to King Mark, must be a matter of
your own choice."
Setting sail for Cornwall with their servants, Tristram
and Iseult, during the voyage, found a golden flask,
and believing it some rare wine, drank what was indeed
a love potion intended for the wedding night of Iseult
and King Mark. The magic potion induced a fatal passion
in the two young people for each other, and although
Iseult must marry King Mark, the two, caught
in the bonds of the love potion, would in their future
lives never cease to love one another.
Delivering lseult to her betrothed, King Mark, Tristram,
suffering greatly, parted from her and looking
back with longing at Tintagil, the castle of King Mark,
turned away and again went forth as required by his
knighthood. He was to return many times to lseult and,
according to the custom of Arthur's court, to defend her
honor in knightly combat, but he could never remain
with her.
There was a time when Sir Tristram mistakenly
assumed that lseult had given her love to another and,
distraught and uncaring, had fled to the forest. Abandoning
his horse and his armour, he had walked, unconscious
of anything but the pain in his heart, through
the wilderness with thorns and branches tearing at his
hair and clothes, until, exhausted, he fell on the ground
where he was found by crude peasants. A young noblewoman
had pitied him in his plight and had followed
him to try and comfort him. She brought him food and
wine but he refused to eat or drink. Then bringing her
harp, she played to him; whereupon, in sweet recognition,
he came to her, took the harp and played upon it
comforting himself with its sound. For many months he
lived in this manner. He became lean, and his clothes
became rags.
At Tintagil, lseult, hearing a rumour that Tristram
was dead, became wild with grief, and taking a sword
ran with it into her garden. Driving the sword up to the
hilt through the slender trunk of a plum tree at breast
height, she prepared to fling herself on it while she tearfully
prayed, "Sweet J esu, have mercy on my soul, for
how can I bear to outlive Tristram?"
King Mark, however, came to her quickly and prevented
her from destroying herself. She was taken tenderly
back into the castle; but thereafter, lseult refused
26
to leave her room and lay grief stricken and on the point
of death.
A little later the king received work of a madman in
the forest and he commanded his knights to bring the
creature to the castle. The knights, finding a demented,
staring man wandering in the woods, seized him and
brought him back to Tintagil. He was washed and fed,
but was unknown to any of them. However, when lseult
saw him, she said, "How strange! He seems familiar yet
I do not recognize him."
The man, seeing Iseult, turned aside his head and
wept. At that moment, lseult's brachet hound suddenly
bounded forward and leaping up at the stranger began
to joyfully lick his hands and face. Now, as the brachet
had never allowed any other person than lseult or Tristram
to go near it, one of the servants, remembering,
exclaimed, "My lady! It is Sir Tristram."
lseult fainted and for a long time lay as though dead.
Then she recovered and said, "My own dear lord, Sir
Tristram! I thank God that you are still alive. But my
love, I fear for you; this brachet will betray you, and as
soon as King Mark discovers who you are, he will exile
you forever, if he does not kill you, for he is jealous
of our love. Therefore, I beg you, do not oppose him,
but go to King Arthur's court, where you are highly
regarded, and whenever it is possible for me to see you,
I shall do so; my life as a queen is lonely but rather than
see you destroyed, I ask you to go.
Tristram, knowing she spoke the truth, replied, "My
lady, I go then. Your love has saved me from great
danger."
The painting by Sir Edward Burne Jones entitled
"The Madness of Sir Tristram", shows Tristram in the
forest dressed in rags, his hair cut like that of a fool,
barefooted, seated on the ground playing on a harp. The
legend at the top of the painting says: "So would Sir
Tristram come unto that harp and listen to the sound
thereof and sometimes would harp himself. Thus he remained
there a quarter of a year." A young woman
stands to one side listening, probably the one who followed
him into the forest and who brought him her
harp. A herdsman is shown asleep and a man in hunting
cloak and hat stands watching with his dog at his side.
Sir Edward Burne-Jones (1833-1898), as a young
man at Exeter College, Oxford University, England,
first read MORTE D'ARTHUR with his good friend
William Morris. Reading this book was to influence
Burne-Jones greatly in his future work. Meeting the
great romantic painter Dante Gabriel Rossetti, whose
work he admired tremendously, and the encouragement
of Rossetti decided Burne-Jones to change his field of
study from that of preparing for the church to that of
being a painter and designer. The delicacy of style and
choice of subject matter in the work of Burne-Jones
attracted many admirers and his thorough grounding
in the classics provided him with endless_ inspiration.
His work made him popular and successful and he was
made a baronet by the queen in 1894. His philosophy
of painting is best expressed in his own words: "I mean
by a picture a beautiful, romantic dream of something
AMERICAN HARP JOURNAL

that never was, never will be--in a light better than
any light that ever shone--in a land no one can define
or remember, only desire--and the forms divinely
beautiful."
The painting "The Madness of Sir Tristram" is at
the present time in the possession of The Stone Gallery,
St Mary's Place, Newcastle Upon Tyne 1, England.
It is with their kind permission that we have been
able to use the photograph of the painting.
CONCERT
CALENDAR
April 2-Stephanie Curcio. The Durham Schools,
Durham, New Hampshire.
April 4-Mildred Dilling. Worcester, Massachusetts.
April 4-Lynette Nelson. Faure Requiem. Robinsdale
Congregational Church.
April 6--Mildred Dilling. Stoneham, Massachusetts.
April 9-Lee Ann Anderson. Chamber Music Recital.
Kent State University, Kent, Ohio.
April 9-Lou Anne Neill. Theatre Vanguard, Los
Angeles, California.
April 10-Stephanie Curcio. Chichester Psalms by
Bernstein. Nashua Choral Society.
April 11-Susann McDonald. Victorville, California.
April 11-San Jacinto Chapter, Group Recital. Houston
Museum of Fine Arts, Brown Auditorium,
Houston, Texas.
April I I-Shirley Ruth. Solo recital followed by the
Faure Requiem with the Woodstock Community
Chorus. First Congregational Church, Woodstock,
Vermont.
April I 3-Gail Barber. Recital. Quarterly Club, Texas
Tech University, Lubbock, Texas.
April 20-Mildred Dilling. Wellsboro, Pennsylvania.
April 23-Mildred Dilling. Rockingham, North Carolina.
April 23-Mary Spalding Portanova. Rotary International,
San Diego, California.
April 25-Gail Barber. Solos. Reception honoring
Billie Wolfe, Texas Tech University, Lubbock,
Texas.
April 26--Mildred Dilling. Sumter, South Carolina.
April 29-Mildred Dilling. Harrisonburg, Virginia.
May I 3-Donna Hossack. Felciano Theatre Piece for
Harp and Electronics and Berio Chamber Music.
Vancouver New Music Society, Vancouver, B.C.
May 16--Eileen Malone, Ravel Introduction and Allegro,
Rochester Chamber Orchestra.
May 16--Jo Ann Turovsky. Auspices of The San Jacinto
Chapter and the Young Audiences Fund of
SUMMER/I 976
The American Harp Society. Houston Museum of
Fine Arts, Brown Auditorium, Houston, Texas.
May 2I-John Hastings. Houston Baptist University,
Houston, Texas.
May 23-Phyllis Schlomovitz. Palo Alto Cultural Center,
Palo Alto, California.
May 27-Lynne Palmer. Fantasy Sonata for Viola and
Harp by Arnold Bax. Seattle Pacific College, Seattle,
Washington.
June 2-Lynne Palmer. Rodrigo Concierto-Serenata
with Bellevue Philharmonic Orchestra. Seattle,
Washington.
June 6-Lynne Palmer. Rodrigo Concierto-Serenata
with Bellevue Philharmonic Orchestra. Seattle,
Washington.
June 6-Students of Phyllis Schlomovitz. 951 Blair
Court, Palo Alto, California.
June 13-Students of Phyllis Schlomovitz. Young Professionals
Concert. Palo Alto Woman's Club Auditorium,
Palo Alto, California.
July 1-Nicanor Zabaleta. Rodrigo Concierto-Serenata.
Detroit Symphony Orchestra. Detroit, Michigan.
July 3-Nicanor Zabaleta. Rodrigo Concierto-Serenata.
Detroit Symphony Orchestra. Detroit, Michigan.
July 20-Mildred Dilling. Bayview Music Festival,
Bayview, Michigan.
October 8-John Hastings. Houston Baptist University,
Houston, Texas.
October 14-Susann McDonald. Lyons, Kansas.
October 16-Susann McDonald. Beloit, Wisconsin.
October 18-Susann McDonald. Fremont, Nebraska.
October I 9-Susann McDonald. New Ulum, Minnesota.
October 20-Susann McDonald. Anoha, Minnesota.
October 2I-Susann McDonald. Rochester, Minnesota.
October 22-Susann McDonald. Chicago, Illinois.
October 23-Susann McDonald. Pontiac, Michigan.
November 12-Susann McDonald. Big Bear, California.
November 13-Susann McDonald. Taft, California.
November 14-Susann McDonald. Salinas, California.
November 16--Susann McDonald. Placerville, California.
November 17-Susann McDonald. Modesto, California.
November 20-Susann McDonald. Bremerton, Washington.
November 21-Susann McDonald. North Vancouver,
Washington.
November 22-Susann McDonald. Ephrata, Washington.
November 24-Susann McDonald. Livingston, Montana.
November 27-Susann McDonald. Boulder, Colorado.
November 28-Susann McDonald. Boulder, Colorado.
November 29-Susann McDonald. Steamboat, Colorado.
November 30-Susann McDonald. Fort Collins,
Colorado.
December I-Susann McDonald. Lavender, Wyoming.
December 4-Susann McDonald. Needles, California.
December 5-Susann McDonald. Riverside, California.
27

A NOTE
OF APPRECIATION
I have been a subscriber to either Harp News or The
American Harp Journal since 1952, and- a professional
harpist for even longer. On the day the Journal arrives,
in spite of the best of resolutions, all activities cease
until I have read it from cover to cover. My practicing
schedule is shot, dinner is forgotten, and the children
are neglected. When one does not live in a large musical
centre, nor have contact with other harpists often, one
becomes starved for news of the harp world and its inhabitants.
I am interested to read of the people I knew years
ago as students, or of harpists I have met professionally
over the years. The articles about Mr. Grandjany bring
back many fond memories. And I read of younger
harpists whom I have neither met nor heard, but
who seem from the programs they play to be immensely
talented and capable.
I have found the Journal and Harp News to be of
invaluable assistance in many areas, and I use them both
as reference sources frequently. Much of the new music
I have found in the past few years has been reviewed
first in the Journal. The chamber music and solo recital
programs listed for the American Harp Society Conferences
have provided me with ideas for concerts of
my own. The historical material on the harp published
in Harp News and The American Harp Journal is of a
highly specialized nature, and not to be found elsewhere.
Many aspects of teaching have been explored in
articles by authors using a variety of approaches.
A warm thanks, to the editors of The American Harp
Journal and its predecessor, Harp News.
Donna Hossack
RELIGIOUS MUSIC
Harp is a beautiful addition to a religious service. We
need your suggestions concerning harp music or music
with harp parts which can be used in religious
services. When we have more from you, we will have
lists to share. This way harpists will have more opportunities
for performance. Please help.
Joy Hujsak, Chairman, Religious Music Committee
8732 Nottingham Place
La Jolla, Calif. 92037
CARLOS SALZEDO FILM
A color motion picture of Carlos Salzedo has been
reproduced on 8 mm film and will be available at the
Conference in Albuquerque.
Although this is a silent, amateur film, one is able
to see how Salzedo played the harp. He plays portions
of three numbers. Also included are scenes at the beach
in Camden, Maine, showing the islands and Sherman
Point.
Jacques Salzedo has generously made this film available
to the American Harp Society and all profits will
go to the Society.
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 Mrs. Elizabeth Hamburger, 3352
Longridge Ave., Sherman Oaks, CA 91403.
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 $100.00 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.
28
AMERICAN HARP JOURNAL

The American Harp Society, Inc.
The Thirteenth
EDWARD WITSENBURG
National Conference
UNIVERSITY OF NEW MEXICO
ALBUQUERQUE, NEW MEXICO, JUNE 23
MARCELLA DE CRAY
SUMMER/1976
29

AMERICAN HARP SOCIETY, INC.
THIRTEENTH NATIONAL CONFERENCE
ALBUQUERQUE, NEW MEXIC~UNE 23-26, 1976
SCHEDULE OF EVENTS
WEDNESDAY, JUNE 23rd
9:00 AM to 5:00 PM Registration-Distribution of all tickets
Foyer, Hokona Hall
11 :30 AM to 1 :00 PM Lunch
La Posada Dining Hall & Student Union Building
12 NOON to 5:00 PM Exhibits open
B 120, Fine Arts Center
1:00 PM
Board of Directors meeting
West end of Main Lounge, Hokona Hall
3:00 PM to 5:00 PM Welcoming Reception
Main Lounge, Hohona Hall
Refreshments courtesy of Venus Harps, W. & W. Co.
4:30 PM to 6:00 PM Dinner
La Posada Dining Hall & Student Union Building
6:00 PM to 7:00 PM Registration-Distribution of all tickets
Foyer, Hokona Hall
6:30 PM to 7:30 PM Regional Meetings
Mid-Atlantic-Main Lounge, Hokona Hall
Southern-East end of Main Lounge, Hokona Hall
Southwestern-West end of Main Lounge, Hokona Hall
Wes tern-2nd floor Recreation Room, Hokona Hall
8:00 PM
Opening Concert
Edward Witsenburg
Woodward Hall
Reception honoring Mr. Witsenburg following the concert
Foyer, Woodward Hall
N. B. Exhibits will be open daily from 9 to 12 AM and from 1 to 5 PM
Exhibits will close at noon on Saturday
Hours for meal service will be posted in the foyer of Hokona Hall
30
MAR.JORIE TYRE CHARLES KLEINSTEUBER SUZANN DAVIDS
AMERICAN HARP JOURNAL

THURSDAY, JUNE 24th
9:00AM
12:15 PM
2:00 PM
4:00 PM
6:30 PM to 7:30 PM
8:00 PM
General Membership Meeting and Chapter Reciprocal
Keller Hall, Fine Arts Center
Board of Directors Meeting immediately following the General Membership Meeting
Fine Arts Center
Luncheon for Board of Directors, Chapter Presidents (or an appointed representative),
Committee Chairmen, Past National Presidents and Board Chairmen
(by reservation only)
Desert Room, Student Union Building
Professional Advice on the Orchestral Repertoire
Eileen Malone
B 11 7, Fine Arts Center
Thoughts in Music for the Club Circuit
Wanda Crockett Jones
Keller Hall, Fine Arts Center
Teaching the Younger Harpist
Ruth K. lnglefield
Keller Hall, Fine Arts Center
Harp a la Carte
Virginia Robbins
B 117, Fine Arts Center
Regional Meetings
New England-West end of Main Lounge, Hokona Hall
New York-East end of Main Lounge, Hokona Hall
Southeastern-2nd floor Recreation Rm., Hokona Hall
Chamber Music Concert
Gail Barber, Suzann Davids, Marcella DeCray, Lucile Jennings,
Charles Kleinsteuber, Dorothy Remsen, Marjorie Tyre
Woodward Hall
Reception honoring the artists following the concert
Foyer, Woodward Hall
FRIDAY, JUNE 25th
9:00AM
Professional Advice on the Orchestral Repertoire
Eileen Malone
B 117, Fine Arts Center
Thoughts in Music for the Club Circuit
Wanda Crockett Jones
Keller Hall, Fine Arts Center
SUMMER/1976
GAIL BARBER
LUCILE JENNINGS
DOROTHY REMSEN
31

10:00 AM
10:30 AM
12 :30 PM
1:00 PM
2:15 PM
4:15 PM
6:30 PM to 7:30 PM
7:30 PM to 10:00 PM
8:15 PM
SATURDAY, JUNE 26th
8:15 AM
8:45 AM
9:30 AM
1 I :30 AM to 12:30 PM
11:45 AM to 12:30 PM
12 NOON to 2:00 PM
12:30 PM to 2:30 PM
1:00 PM to 2:30 PM
3:00 PM
First bus leaves from in front of the Fine Arts Center for the Jemez Mountains excursion
(by reservation only).
Last bus leaves promptly for the Jemez Mountains excursion.
Lunch at Hummingbird Music Camp
Little Known Information about some 18th, 19th, and 20th Century Harpists
We Should Know, for a Deeper Understanding of Their Music
Alice Lawson Aber·
All buses leave promptly for the return trip to Albuquerque
Teaching the Younger Harpist
Ruth K. Ingleficld
Keller Hall, Fine Arts Center
Harp a la Carte
Virginia Robbins
B 11 7, Fine Arts Center
Regional Meetings
Midwestern-2nd floor Recreation Rm., Hokona Hall
Northcentral-East end of Main Lounge, Hokona Hall
Northwestern-West end of Main Lounge, Hokona Hall
Bicentennial exhibits of New Mexican & Spanish art
Fine Arts Museum, Fine Arts Center
The Albuquerque Civic Light Opera presents: Music Man (by reservation only)
Popejoy Hall, Fine Arts Center
First bus leaves for continental breakfast served at the First United Methodist Church,
4th & Lead, SW (by reservation only)
Last bus leaves promptly for the First United Methodist Church
New Mexico Chapter Harpists Present:
First United Methodist Church
Shuttle bus service from the First United Methodist Church to the Convention Center
Luncheon (by reservation only)
Convention Center
Board of Directors Meeting
Santo Domingo Room, Convention Center
Free time to sight-see, shop, visit "Old Town", etc.
Shuttle bus service from the Convention Center to Hokona Hall
Music of Our Neighbors in Paraguay and Venezuela
Alfredo Rolando Ortiz
Woodward Hall
32
VIRGINIA ROBBINS RUTH INGLEFIELD WANDA CROCKETT JONES
AMERICAN HARP JOURNAL

6:00 PM to 7: 15 PM
7:30 PM
9:30 PM
Shuttle bus service to the Airport Marina Hotel
Cocktail Hour courtesy of Lyon-Healy, Inc.
Banquet (by reservation only)
Presenting: Harvi Griffin
Main Ballroom, Airport Marina Hotel
Shuttle bus service back to Hokona Hall
ALL REGISTRANTS MUST BE 1975-76
MEMBERS OF THE AMERICAN HARP
SOCIETY, INC.
The Conference registration fee is $8.00 BEFORE
JUNE 1. Late registrants must pay an additional fee
of $6.00. Your registration fee will admit you to all
concerts and workshops-providing you wear the name
tag which you will receive at the registration desk.
Please read the Registration Form carefully and return
the completed form with your check for the proper fees
payable to the University of New Mexico BEFORE
JUNE 1 to: Viki Pedroncelli, Bureau of Conferences &
Institutes, Division of Continuing Education & Community
Services, 805 Yale Blvd., NE, Albuquerque,
NM 87131. Enclose a stamped, self-addressed envelope
for return of your receipt.
For further information: Viki Pedroncelli, University
of New Mexico (505 277-6224-8 AM to
12 Noon, Mountain Daylight Time; Mrs. Nancy Ruth
Weart, Conference Chairman (505) 298-0614. If you
register and then cannot attend a refund will be granted,
less $5.00 handling ch;uge, if your request is received in
writing before June 11.
HOUSING ACCOMMODATIONS
On-campus housing arrangements have been made at
Hokona Hall, a 5 to 10 minute walk from the Fine Arts
Center. ALL rooms are for two persons with two single
beds at $4.00 per person, per night, with bath common
to several rooms. Air-conditioned. The first nights
lodging must be paid in advance (non-refundable).
Final payment will be made at the Hokona Hall desk on
the day you arrive. Rooms are to be vacated by 11 :00
AM, Sunday, June 27.
The University will not permit children under 12 to
be housed on campus. Off-campus housing information
will be provided on request.
FOOD SERVICE
Meals are served cafeteria-style in the La Posada
Dining Hall (near the dormitory) and in the Student
Union Building across the street from the Fine Arts
Center. MEALS ARE SERVED MONDAY
THROUGH FRIDAY ONLY. Meal times and prices
will be posted in the foyer of Hokona Hall. REMEM­
BER-NO Saturday or Sunday food service on campus.
WEATHER
Weather in June should be sunny, dry and clear with
temperatures ranging from 60 to 90 degrees during the
day. Average rainfall is 1/2 inch! Nights are a bit cooler
and sometimes breezy, so a sweater might be useful. It
will definitely be cooler in the Jemez Mountains.
TRAVEL INFORMATION
Airlines: The Albuquerque International Airport is
about 3 miles south of the campus. It is served by Continental,
TWA, Texas International, and Frontier Airlines.
Taxi service to the campus is available and should
cost less than $5.00. BUS: Greyhound and Continental
Trailways both serve Albuquerque. Both depots are
about 2 miles west of the campus. Taxi available. Less
than $5.00. TRAIN: The Amtrak depot is about 2 miles
west of the campus. Taxi available, less than $5.00.
ALICE LAWSON ABER
SUMMER/1976
ALFREDO ROLANDO ORTIZ
EILEEN MALONE
33

PRIVATE CAR: North-South Interstate 40 and East­
West Interstate 25 intersect close to the campus. Both
the Central Avenue exit and the Grand Avenue exit indicate
the direction on the campus (east of the Interstate).
The University of New Mexico requires all cars
to have parking permits and one will be issued to you if
you state that you will be driving. Parking violations can
be expensive.
JEMEZ MOUNTAIN TRIP
Some of New Mexico's most interesting scenery is
within a short day's trip north and west of Albuquerque.
The bus trip will depart from in front of the Fine Arts
Center. A Chamber of Commerce "Kachina Greeter"
will be on each bus to answer questions. The first stop
will be the Coronado State Monument, a look into the
past. This area will also afford views of the Sandia,
Manzana, and Sangre Cristo mountains, the Rio Grande
valley, and Albuquerque. We continue into the Jemez
Mountains driving along the Jemez River. Several
Indian pueblos will be seen during the trip. Lunch will
be served out-of-doors at Hummingbird Music Camp.
The food will be prepared by the camp staff and ladies
of the Jemez Pueblo and will be of Spanish-Indian
variety. Alice Lawson Aber has prepared a most interesting
talk for after lunch. Be sure to wear comfortable
clothes and walking shoes, and bring a sweater.
ART MUSEUM
The Fine Arts Center (Upper Gallery) will display
paintings, drawings, prints, and photographs done in
New Mexico from 1880 to 1975 and Spanish Colonial
paintings in celebration of the Bicentennial. Hours
will be Tuesday through Friday, 10 AM to 5 PM, Sunday,
1 PM to 5 PM and Friday, June 25, 7:30 PM to
10 PM.
ALBUQUERQUE CIVIC LIGHT OPERA
The 1976 production of Music Man promises a
delightful evening. Popejoy Hall (Fine Arts Center)
seats about 2000 and is one of the finest concert halls
in the United States.
UNIVERSITY OF NEW MEXICO
It is the largest of the state's publicly supported institutions
of higher education with 150 buildings and
600 acres. Its Fall 1975 student population was over
23,000. All buildings are air-conditioned and of a distinctive
pueblo-like architecture.
ALBUQUERQUE
Albuquerque was founded on the east bank of the Rio
Grande in 1706, 70 years before the American Revolution.
Today the little Spanish settlement has grown to a
city of 350,000. A blend of three cultures--Spanish
(Mexican), Indi~n and Anglo make it a unique place to
visit. There is something for everyone from the Sandia
Atomic Museum (at Kirkland Air Force Base) to "Old
Town" Albuquerque, home of the Church of San Felipe
de Ner, built in 1706; or ride on the Sandia Peak tram
to the crest at 10,678 ft. Art galleries, museums, and
Indian arts and crafts shops abound.
A REMINDER TO EACH CHAPTER
Bring your scrapbook to the Conference and display
it at the Chapter Reciprocal and in the Exhibit area.
34
THE UNIVERSITY OF NEW MEXICO FINE ARTS CENTER AND POPE.JOY HALL
AMERICAN HARP JOURNAL

I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
AMERICAN HARP SOCIETY, INC.
THIRTEENTH NATIONAL CONFERENCE
ALBUQUERQUE, NEW MEXICO-JUNE 23-26, 1976
REGISTRATION FORM
All registrants must be 197 5-7 6 members of the American Harp Society, Inc.
Please complete this form and return with fees to: Viki Pedroncelli, Bureau of Conferences & Institutes, Division of
Continuing Education & Community Services, 805 Yale Blvd., NE, Albuquerque, New Mexico 87131. Make checks
payable to the University of New Mexico. Enclose a stamped, self-addressed envelope for return of your receipt.
Registration forms received after June 1 must include a $6.00 late registration charge.
Mr.
Mrs.
Miss
Ms __________________________________________
Last name (as listed in Society files)
First name
ADDRESS ____________________ CTTY _____________ _
(please print)
STAT~----------------lP ____ DAYTIME PHONE~-------
CONFERENCE REGISTRATION: Register the following AMERICAN HARP SOCIETY
members @ $8.00 each
_____________________________________ $ _ ____ _
Additional members of my party who are not registrants
Will you be driving an automobile?
YES _____ NO ____ _
HOUSING: Hokona Hall, University of New Mexico campus. $4.00 per person per night. ALL
rooms are for 2 people with 2 single beds and are air-conditioned. First night's lodging MUST
be paid in advance and is NOT refundable.
__ person(s) @ $4.00 each (First night's lodging)
Names: _________________________________ _
Circle dates you will need overnight accommodations. Rooms are to be vacated by 11 :00 AM,
Sunday, June 27.
June 20 21 22 23 24 25 26
Roommate preference: _________________ _________ _
The University will not permit children under 12 to be housed on campus. Please send information
on off-campus housing.
TOTAL, PAGE 1
$ _____ _
$ ____ _
SUMMER/1976 35

FOOD SERVICE: Cafeteria style at La Posada Dining Hall (in dormitory area) or Student Union
Building. Monday through Friday ONLY. Pay cashier for each meal individually.
SPECIAL MEALS AND ACTIVITIES: by reservation only. (Tickets will be distributed at the
registration desk.)
Luncheon for Board of Directors, Chapter Presidents (or an appointed representative),
Committee Chairmen, Past National Presidents and Board Chairmen. Thursday, June 24
____ @ $4.00 each
$ _____ _
Jemez Mountains excursion and lunch at Hummingbird Music Camp for registrants, their
families and friends. Friday, June 25 (Bus transportation included)
_____ @ $12.00 each
$ _ ____ _
THE MUSIC MAN presented by the Albuquerque Civic Light Opera open to registrants,
their families and friends. Friday evening, June 25
__________ @ $4.00 each
$ ___ _
Continental breakfast at the First United Methodist Church for registrants, their families and
friends, Saturday morning, June 26 (Bus transportation included).
___ _____________ @ $1.50 each
$ _____ _
Luncheon at the Convention Center for registrants, their families and friends. Saturday,
June 26 (Bus transportation included).
___________ @ $5.00 each
$ _____ _
Banquet at the Airport Marina Hotel for registrants, their families and friends. Saturday, June
26 (Bus transportation included).
___ @$15.00 each
$ _____ _
LATE CHARGE: $6.00 per registrant for registration forms received after June 1.
____ __ @ $6.00 each
$ ____ _
Total this page
Total from page l
$ _ ____ _
$ _____ _
TOTALAMOUNTENCLOSED
$ ____ _
PLEASE NOTE THAT MEALS WILL NOT BE SERVED ON CAMPUS
ON SATURDAY, JUNE 26
36
AMERICAN HARP JOURNAL

Venus
Harps
... truly superior
immediate delivery
on some models
competitive prices
SOUTHWESTERN SHOWROOM
3210 56th St.
Lubbock, Texas 79413
(806) 795-5116
GAIL BARBER
DONALD PABST
D ISTRI BU TORS
NEW AND USED HARPS
BOUGHT-SOLD-RENTED
Harp Cart $95.
Please include telephone number on all correspondence
SUMMER/1976
37

HARPWEEK-1976
Phia Berghout announces that Harpweek will be held
from August l 0-2 l in a beautiful old baroque cloistercastle,
ROLDUC, in Kerkrade. ROLDUC will afford
excellent accommodations, many beautiful halls and a
library for the daytime meetings. The concerts will be
in Maastricht as they were in 1975. Harpweek is under
the guidance of Mme. Phia Berghout and Mme. Maria
Korchinska.
For detailed information write: Mme. Phia Berghout,
Maastrichts Conservatorium, Bonnefantenstraat, Maastricht,
Netherlands.
A NOTE FROM
THE EDITOR
We have learned, much to our consternation, that
several items mailed first class during September of
1975 never reached us. We printed everything that
was received and only discovered after the magazine
was mailed in late December that several Chapter Reports,
Teachers' Directory listings, and personal news
items, as well as a column on "Avant Garde Harp"
never reached us.
The people at the local post office offer no explanation.
I did discover that mail with insufficent postage is
not forwarded. I did not receive any items with "postage
due" (which is unusual), so perhaps some letters
ended up in the "dead letter" box.
May I suggest that you send all mail first class registered
or certified with a return receipt requested. If you
don't have time to take it to the post office, please be
sure you have used sufficient postage.
Please check to see if you are using the current address
(see page 2).
Please note that all advertising (except for the Teachers'
Directory) is handled by Nina Dunkel. Her address
is also on page 2.
All changes of address (except for advertisers) should
be sent to our Office Manager, Dorothy Remsen. Computer
cards are prepared in California from the membership
list and are used for all bulk mailings from
California and from Texas. The cards are sent by registered
mail to Texas just before each mailing. The
Tech Press delivers the magazines to the mailing house
where they are labeled, stuffed and delivered to the
post office.
The Journal is sent by third class bulk mail. The
magazine usually arrives at its' destination in from l 0
days to 2 weeks. (Some magazines mailed in December
to the northeastern U.S. didn't reach the members for
6 weeks, however.) We have no control over delays at
the mailing house or at the post-office, of course.
We thank you for your cooperation and understanding.
38
#d~
Gail Barber, Editor
THE SIXTH
INTERNATIONAL
HARP CONTEST
Programme
SEPTEMBER 1976, ISRAEL
For information write:
Mr. A. Z. Propes
Sixth International Harp Contest
P.O.B. 29334
Tel Aviv
ISRAEL
First Stage:
a) Sarabande & Toccata--Nina Rota
b) Sonata--Germaine Tailleferre
c) Free Choice (maximum 8 minutes)
Second Stage
a) Sonata--Ernst Krenek
b) Une Chatelaine en sa Tom-Gabriel Faure
c) Israeli composition to be announced.
Third Stage
Concert~Alberto Ginastera
Dances--Claude Debussy
1st Prize-Grand Concert Harp offered by
Lyon & Healy, Chicago, U.S.A.
2nd Prize--$2,000
3rd Prize--$1,500
4th Prize--$1,250
5th Prize--$ 750
6th Prize-$ 600
7th Prize-$ 500
8th Prize--$ 400
9th Prize-$ 300
10th Prize-$ 200
AMERICAN HARP JOURNAL

CATALOGUE
HARP PUBLICATIONS
P.O. Box 972
Ross, California 94957
NEW MUSIC
by
Marion Bannerman
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.
EIGHTEENTH CENTURY- Solos for Harp
J. -B. Cardon Sonata No. 1, Op. Vll $3.00
J. -B. Cardon Sonata No. 2, Op. Vll 3.00
J. -B. Cardon Sonata No . 3, Op. Vll 3.00
J. -B. Cardon Sonata No . 4, Op. VI! 3.00
J. B. Krumpholtz Sonata No. 1, Op. Xll 3.00
J. B. Krumpholtz Sonata No . 2, Op. Xll 3.00
J.B. Krumpholtz Sonata No . 3, Op. Xll 3.00
J.B. Krumpholtz Sonata No . 4, Op. XI! 3.00
J. B. Krumpholtz Sonata No . 1, Op. Xlll 3.50
J. B. Krumpholtz Sonata No . 2, Op. X!II 3.50
J. B. Krumpholtz Sonata No . 3, Op. Xlll 3.50
J. B. Krumpholtz Sonata No . 4, Op. X!II 3.50
J. B. Krumpholtz Sonata No . 1, Op. XV!Il 3.5Q
J. B. Krumpholtz Variations on an Air of Marlborough, Op, X 2.75
J. B. Krumpholtz Variations on an Air by Mozart, Op. X 2.75
J. B. Krumpholtz Variations on "Jay du ban toboc", Op. X 2.75
W. A. Mozart Concerto for Flute and Harp, K. 299, harp
pert 3.75
A. Vivaldi/Lawson Concerto No. 5, Op. Ill from "L'Estero
Hormonico" arranged for Harp 3.00
EIGHTEENTH CENTURY-Voice and Harp
J. B. Krumpholtz Five Songs for Voice and Horp, Op. X 3.75
Gypsy for harp solo by Grace Becker Vamos from
Harp Publications, P.O. Box 972, Ross, California
94957, dedicated to Marjorie Mollenauer. Moderato
) = 96; Adagio espressivo ) = 44; four pages. This is
a traditional and dependable work. Older harpists will
find comfort in its style, and it will serve to introduce
the younger harpist to harp music as it used to be. This
is a clever composition with an elegance in some passages.
Meditation for trumpet and harp by M. Rauchverger.
36 measures--Andante con moto. For the harp there
are few difficulties. This work needs to be played with
an air of authority. The shadings are of importance to
the intellectual atmosphere and give to the music a
bracing quality in which we seem to breathe more freely.
There are no decorative incidents in the harp score-no
glissandos, no arpeggios.
Two Images for harp solo by Roman Ryterband
1. Song of Olden Times
2. At Sunset Beneath the Palms
"These two sophisticated harp compositions embrace
the whole gamut of the sound possibilities of the harp.
The unusual sensitivity of the composer manifests itself
in the poetic first piece and the second composition,
full of energy and power, fused with very competent
contrapuntal work in the "Hora". Both compositions,
penned during Ryterband's years in Switzerland, are
perfectly written for the harp."
Song of Olden Times-Adagio con espressione ) =
54. The harpist plays this number with a mounting sense
of pleasure. Four pages.
At Sunset Beneath the Palms Vigoroso assai = 84.
Six pages. Vivace con energia ) = 108. A cultivated
composition with dynamic appeal.
SUMMER/1976
NINETEENTH CENTURY-Solos and Studies for Harp
R. N. C. Bochsa Grande Sonate in E Flat
N, B. Chelloner Sonata No. 1, Op. ll
N. B. Challoner Sonata No . 2 , Op. ll
N. B. Challoner Sonata No . 3, Op. ll
Cramer/Chatterton
F. J. Dizi
Gallenburg/Bochsa
F. Godefroid
F. Godefroid
A. Hasselmans
A. Hasselmans
F. -J. Naderman
F. -). Naderman
C. Oberthiir
C. Oberthiir
Reissiger/Bochsa
Schubert/Godefroid
A, H. Zabel
A. H. Zabel
A. H. Zabel
Air with Variations on "Rousseau's
Dream"
Tozoh b'Tozah, a Hindustani Air with
Varfotions
A Favorite Waitz
Harpe Eo/ienne
Melon colie
Ballade
Gitano
Sonatinas, Book 1, Op. 92
Sonatinas, Book 2, Op. 92
Orpheus, Concertstiick, Op. 253, Harp
pert
Ditto, Op. 253, Piano part
Weber's Lo st Waltz
Woltz No. 2 in A Flat
Concert Etude No. 1
Concert Etude No. 2
Concert Etude No. 3
TWENTIETH CENTURY-Solos for Harp
K. AHi Longing
M. Delmas Priere
J. Dubez Deux Chansons Sons Paroles
G. G. Guerra Apunte Betico
H. Renie Esquisse
B. Taxman Three Pieces for Solo Harp
M. Tournier
G. B. Vamos
G. B. Vamos
L. Vick
1. "Meditation" 2. "Chordal Piece"
3. "Flight"
Trois Preludes
Gypsy
Legend of the Redwoods
Fragment or "The Gentle Harp"
3.50
3.00
3.00
3.00
3.00
2.75
2.00
2.50
2.50
2.50
2.50
3.75
3.75
3.50
3.50
2.00
2.75
2.75
2.75
2.75
2.00
2.25
2.50
3.00
2.00
2.75
3.00
2,75
2.75
Z.75
TWENTIETH CENTURY-Harp with Voco//Inslrumentol Combinations
W. Ellis Christmas Contoto or "'The Nativity of
Christ" for SATB , Harp, Flute and
Organ (Piano or Harpsichord may be
substituted fo r Harp) 4.25
W. Ellis Little Lomb, Who Mode Thee? for
Women's or Children's Voices-­
Soprano I, Soprano II and Alto (Organ
or Piano may be substituted for Harp) 1.25
D. Morton Tears Idle Tears, a Trio for Soprano, Oboe
and Harp on a poem by Alfred Lord
Tennyson, 3 pis 3.75
TWENTIETH CENTURY-Piano and Cello Works
G. B. Vamos Circus, a Suite for Piano 3.00
G. B. Vamcis Cello Concerto ind minor for the Student
Cellist (includes cello and piano parts) 3.75
Theodore Presser distribution contract has expired. Hereafter all
orders will be handled through Harp Publications. Orders are
invited from Book and Music Dealers, Libraries, Schools, Teachers,
etc. throughout the world. Post/hndlg charges are extra. Discounts
will be considered.
Note: Harp Publications is including Guerra's Apunte Betico
also back issues of Harp News (@$.75 per copy) in behalf of the
San Francisco Bey Area Chapter, The American Harp Society.
39

40
compositions for harp
by
PATRICIA JOHN
Write for catalogue:
THE PANTILE PRESS
1414 Milford Ave.
Houston, Texas 77006
Lanalee deKant
Principal Harpist
Vancouver Symphony Orchestra
CBC Vancouver Chamber Orchestra
Sole Canadian Agent
For Harps-Strings-Accessories
In Canada Write:
Lanalee deKant
2128 West 21st Avenue
Vancouver
British Columbia V6L 1J3
or Phone 604-733-6675
Two Desert Scenes for flute, harp, and "Pai-yil" ad lib
by Roman Ryterband.
l. A Smoke Tree Dream
2. The Tahquitz Falls
"The composer has devoted himself to research of
the musical folk-lore of many nations in both hemispheres.
He is the first American to turn to the musical
heritage of the Indian Cahiulla tribe of Southern California
to study it and to codify his musical findings. In
his Two Desert Scenes Ryterband utilized some intriguing
Indian chants.
The harp part in the second composition is written in
such a fashion that the harpist can meet the challenge
of both playing the harp and tapping the sounding
board, thus achieving an approximate effect which the
"Pai-yil," the Indian rattle, would produce. The Paiyil,
a gourd filled with dry seeds of a fan palm, resembles
the modern 'maraca,' although it is larger. If a
musician-colleague is available, he can take over the
rattle part-which is written out-and provide the
rhythmical pattern by shaking it whenever the score
calls for it.
The two compositions are expertly written for the
harp and include a chart of special effects, based on
Salzedo, which make the set yet more interesting.
1. Tranquillo assai ) = 69; Vivo ) ·= 104
2. Andante ) = 72; allegretto, giocoso d = 54
I saw the Wild Geese Fly by Harry Zimmerman, for
alto recorder and harp or piano, published by J. Forrest
Music Co., 5228 Laurel Canyon Boulevard,
North Hollywood, California 91607, Tel. (213) 7 66-
1163. Three pages, slow moving, but with an unusual
number of pedal changes. Some of these may be avoided
by using enharmonic tones. At first glance the music
appears to be relatively simple and lives up to its delightful
title. It has an undulating movement varied with
rippled chords and arpeggios. The melody is interesting.
The composition varies from 3/4 to 4/4 time.
Fantasy for Two Harps, by E. F. Soule. The necessary
two copies for performance may be had for $3.00
by sending to Dr. Edmund F. Soule, Library, University
of Oregon, Eugene, Oregon 97403. This work has been
put together in a very scholarly manner. The two parts
are well balanced and of about equal difficulty. It is a
rich, satisfying composition. Starting Andante con moto
(quarter note= c72) it progresses to Paco mosso, espreso
( quarter note= c84 ), and on to Allegretto ( quarter note
= 108 to 112), then slows gradually to Tempo primo;
once more Allegretto and then Adagio followed by
Tempo I with much breadth. A few measures are Allegro-furioso,
then the piece closes with a quiet Andante.
There are thirteen pages, each page showing both parts.
Both harp parts are very well scored ·and the pedals are
clearly marked. This is particularly welcome as there
are very few works for two harps. Those attempting it
will be successful if enough time and energy is spent.
Ancient Voices of Children by George Crumb, published
by Petero. For soprano, boy soprano, oboe,
AMERICAN HARP JOURNAL

mandolin, harp, electric piano, and percussion. Duration
is 27 minutes. Recorded on Nonesuch H-71355.
This work was composed in 1970 on commission from
the Elizabeth Sprague Coolidge Foundation at Tanglewood,
Mass. In this rather lengthy work there are two
purely instrumental movements--"Dances of the Ancient
E,arth" and "Ghost Dance". All the music is based
on the poetry of Frederic Garcia Torca. Mr. Crumb
uses special instrumental effects to heighten the expressive
intensity; e.g., "bending" the pitch of the piano
by application of a chisel to the strings, and use of a
paper-threaded harp. The part for the harp is sparse,
but effective and important. The movements are as
follows:
I. The Little Boy was looking for his voice and
Dances of the Ancient Earth;
II. / have lost myself in the sea many times;
III. From where do you come, my love, my child?
IV. Each afternoon in Granada, a child dies each
afternoon;
V. My heart of silk is filled with lights.
Harp effects include harmonics and glisses with a metal
rod.
Prayer of St. Francis of Assisi by Louie L. White.
For treble voices (SSAA), 'cello and harp (or keyboard).
Published by H. W. Gray Publications. This piece is
well planned in the harp part, effective and not difficult.
Altogether it is refreshing and contains both passages
of strength and those that are soft and soothing.
Mention must be made of the very comprehensive
manual of pedal diagrams with modern terminology
put out by the A.T.L. Publishing Co., 3105 S. Hughes
Ave., Fresno, Calif. 93706. Cost is $5.00. There are
49 pedal signatures for B alone-Ex.: , which
is B maj. 7. The complete table for each letter would be
invaluable for composers, arrangers and students of
orchestration, as well as the performers.
Sonate B-Dur by Louis Spohr, for harp and violin.
Printed in Leipzig, Germany, and distributed by G.
Schirmer, this Op. 16 has a preface written by Hans
Joachim Zingel. It is a classical example of chamber
music with harp. This is a distinguished compositi_on
as are other writings by Louis Spohr.
I. It begins with a masterful Allegro in 6/8. The harppist
is kept very busy and is important. There are delicate
passages where the violin plays a quiet melody, but
much of it is brilliant, imaginative and different. The
Allegro ends in a whisper.
II. In the Adagio, the harp is again given much to do
-though in a quieter mood. Trills, turns and pedals add
interest to this rather gentle music which, for the harpist,
requires some skillful handling.
III. The Rondo Allegretto is without difficulty. The
music lies comfortably under the fingers. After three
pages in B-flat we _are in Minore-G minor. This is
sensitive music in 2/4 rhythm with delicate passages.
Playing the music is an interesting experience.
One of America~s
finest manufacturers
of FOLK HARPS!
All are authentically designed
and expertly crafted for rich
tone and volume. Five models,
pictured left to right:
Leprechaun Senior, Miniconcert
Harp, Tara Harp, Irish
Contemporary and Leprechaun
Junior. Priced from $225 to $790.
Write for free brochure.
Goodwin's Harp Shop
4519 South 12th St. / Tacoma, Washington 98405
SUMMER/1976 41

International
Harpweek 1975
by Patricia John
The Sixteenth International Harpweek, under the
direction of Phia Berghout of Holland and Maria Korchinska
of England, was held in Maastricht, Holland,
August fifteenth to August twenty-fourth of 1975.
Maastricht is situated in the south of Holland close to
the borders of Germany and Belgium. The surrounding
countryside with rolling, wooded hills, is a popular resort
area. Maastricht is an old city, typically Dutch with
its canals, cobbled streets, small shops and squares, but
also a large city with many modern buildings and an
economy built on trade and industry.
Lodging for participants of Harpweek was in
Bemelin, which lies a few miles distant from Maastricht,
in Europa Huis, a large rambling white structure built
originally for an ecclesiastical retreat. Europa Huis is
now used as a meeting center for various large, organized
groups. The building, set among graceful old willow
trees that tower above its roof, has a curved gravel
drive with two entrances from the public road which are
marked by white pillars set with carriage lamps. There
is a wide terrace set with easy chairs in which we all
lounged when the sun was hot and we had a free
moment. Daytime recitals, lectures and discussions were
held in the small recital hall of Europa Huis; the evening
recitals were held in the Maastricht Conservatory in
Maastricht. Our meals at Europa Huis were served in a
large dining room with tall windows overlooking the
terrace. There was a well appointed general sitting room
available for us as well as an airy, well-lighted game
room overlooking an emerald green playing field just
below. Beyond the field ran a small brook behind which
rose the wooded hills. Each of us had his own small private
room with windows looking out over the hills, or
onto the small community of Bemelen, which is the
smallest recognized community in Holland with its 340
inhabitants. The road to Europa Huis wound among the
hills past elegant homes in hidden gardens, down
through cobbled streets to the crossroad where the old
communal well still stands, no longer with water in its
depths, but with bright flowers filling its old rope-held
bucket.
I arrived at Schiphol Airport in Amsterdam at 6: 15
in the morning, August 15th, after a night's flight from
Houston expecting to be very tired, but the night had
passed easily. Being awakened in the morning by a
charming air hostess with orange juice in her hand for
We offer 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 "Celtic" with over four
octaves.
Illustrated is the "Celtic 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@ $3.75 Post Free.
"SIX AIRS FOR THE HARP" by Carolan from the Bunting
Collection @ $1.50 Post Free.
THE CALTHORPE COLLECTION-37 IRISH AIRS and
SONGS, many of them award-winning arrangements. Arranged
by Nancy Calthorpe for the IRISH HARP@ $8.00 Post Free.
Write for our free catalogue to:
WALTONS'
DUBLIN 1, IRELAND
2-5, North Frederick Street
HARP EXPORT DEPT.
42
AMERICAN HARP JOURNAL

you is not the worst way in the world to be nudged to
waking. My air ticket called for a short flight from Amsterdam
to Maastricht and when I saw the toy plane that
was to fly me to Maastricht in twenty minutes, from one
end of Holland to the other, I realized just how small
Holland is. After landing at the Maastricht airport,
a taxi brought me to Europa Huis shortly before noon.
Many harpist friends from past years were out on the
terrace and rose to welcome me. Madame Berghout
greeted me in the hallway, and handsome Boni Reitveld,
a devotee of Harpweek who had taken time from his
medical studies to attend and who was also to play for us
on one of the programs, took my bags, and as we went
up the stairs and along the corridors of Europa Huis to
my room, we chatted about past Harpweeks and the
coming events of this one.
After settling in, I went down to the dining room and
was greeted among others by Maria Korchinska, Vera
Dulova, and, to my great delight, American Harp Society's
historian, Arthur Buckingham. Madame Berghout
was nowhere to be seen. Later I found that this great
lady was busy not only in attending to the details of
seeing that the plans for the events of the Harpweek
were being carried out, but was also concerned that
everyone was comfortable in their rooms, that persons
were being met at the airport, the train, the bus. It was
a rare happening during Harpweek when she sat down
to eat a whole meal. This first meal together is always a
happy occasion, with its great hubbub of exchanging
news with old friends, meeting new people, and talking
of the coming week of harp music.
That evening, with everyone dressed for the event,
we were driven in large, comfortable buses to the Maastricht
Conservatory in whose handsome recital hall the
opening concert was to be held. The conservatory, a
fine modern building, is surrounded by ancient Dutch
buildings and has an entrance romantically situated on a
cobbled street beneath which a stream of water flows.
Naturally, we all paused to admire it.
The evening's music began in homage to Marcel
Grandjany with the playing of his Aria in Classic Style
by Karen Vaughan of England. It was a moving tribute
in a beautiful setting to this great musician, teacher,
and humanist.
Because of the great interest being shown in the nonpedal
harp, two students, Karin Wark, Netherlands,
and Masumi Nagasawa, Japan, presented numbers on
this instrument. To my great delight, Madame Berghout
had included my three pieces from my newly inaugurated
Let's Play Series for non-pedal harp--Clown
Dance, Arithmetic, and Canoe-played by Miss Wark.
For the last portion of the evening's music, Marjorie
Hartzell, U.S.A., played Eric Schmidt's Etude and Germaine
Tailleferre's Sonate.
On August 16, Saturday morning, after a good Dutch
breakfast of freshly baked breads, cheeses, and thinly
sliced meats, we went up to the recital hall where we
heard Boni Rietveld, Netherlands, play Alberta Suri-
Phyllis Schlomovitz
UNIVERSITY OF CALIFORNIA,
SANTA CRUZ
BEAUTIFUL WOODED CAMPUS OVERLOOKING
THE PACIFIC
ALL DEGREES WITH HARP MAJOR
EXTENSION COURSES IN HARP
ANNUAL SEMINAR IN PEDAGOGY
IMPROVISATION-ARRANGING-REPERTOIRE
On Campus-July 12-23, 1976
(University of California Credit)
WRITE:
UNIVERSllY OF CALIFORNIA,
SANTA CRUZ
DEPT. 32
SANTA CRUZ
CALIF. 95060
ALSO-MUSIC AND ARTS INSTITUTE OF SAN FRANCISCO
2622 JACKSON ST.
SAN FRANCISCO, CALIF. 94115
HOME STUDIO: 1682 HAMILTON AVE.
PALO ALTO, CALIF. 94303
SUMMER/1976
43

44
THE CHRISTMAS
HARPIST
by Marilyn Marzuki
Easy to intermediate harp solos-­
with and without pedals. Includes
some of the all-time great
Christmas crowd-pleasers.
Annotations by
JUDITH M. COSTELLO
0-4999-$2.95
CARL FISCHER, Inc.
62 Cooper Square
New York, N.Y.10003
ORIGINAL HARP REPERTORY
Edited By
NICANOR ZABALET A
Ludwig Van Beethoven (1770-1827)
VARIATIONS ON A SWISS AIR
The only work written for harp by this famous composer.
Pub. in 1798 ($2.00)
Johann L. Dussek (1760-1812)
SONATA
The composer wrote several concertos, sonatas and
sonatinas--also various short works. This sonata is
taken from "TROIS SONATES POUR HARPE" ($2.00)
SPANISH MASTERS OF THE
16TH & 17TH CENTURY
ANTONIO DE CABEZGN (Parane & Variations)
FRANCESCO PALERO (Romance)
LUCAS RUIZ DE RIBAYAZ (Hachas)
$2.00
SCHOTT
London-New York-Mainz
EXCLUSIVE DISTRIBUTORS
BELWIN/MILLS PUBLISHING CORP.-MELVILLE, N.Y.
ani's Partita, Karin Wark play Pozzoli's Two Etudes,
Tournier's Six Noels, No. 4 and van Delden's Nocturne,
Mary Ann Sherman, U.S.A., play von Dittersdorfs
Konzert fur Harfe, Myung-Jin Lim, Korea, play Natra's
Sonatina, Orthel's Five Bagatelles and Un 3, an original
composition by her fellow countryman Byung-dong
Paik. Later we moved to the game room downstairs
where the audience, seated informally on the floor, or
on folding chairs, heard Ank van Campen and Riet
Keppel talk and play on Scottish harps. The graceful
little non-pedal harps, resembling the clarsach, were
made of blond wood with painted green bodies, a scottish
emblem on their columns. During a discussion
period, information on the literature and organizations
connected with non-pedal harps was given.
In the afternoon, we heard a young pupil of Madame
Berghout, a charming young lady from Japan, Masumi
Nagasawa, who could have easily slipped from The
Book of Genji with her soft, dark hair, and lustrous
brown eyes. She played van Delden's Nocturne and
Sergiu Natra's Sonatina.
That evening, Emily Heyens, harp, Ank Mulder,
flute, and Frank van Koten, oboe, gave us a chamber
music concert at the Maastricht Conservatory. They
played Krumpholtz' Sonate in F due fur flote und harfe,
Grandjany's solo for harp, Fantasie sur un theme de
Haydn, Frank Martin's Piece Breve pour flute, hautbois
et harpe, Klaus Huber's Sabath for alto flute, English
horn and harp, Lotti's Trio A dur for flute, oboe and
basso continuo, Bochsa's Nocturne pour hautbois et
harpe, Eisler's Sonatensatz fur flote, oboe and harfe,
and lbert's Deux Interludes pour flute, hautbois et
harpe. The evening's program was not only beautifully
played but was a fine showcase for chamber music for
the harp. At intermission there was coffee, tea, and
cookies in the comfortable social area which looked
out on a small park through which a Dutch canal flowed.
After the concert, we returned to our buses, passing
through the narrow streets lit with gas lamps, discussing
the music. Sandwiches, tea and coffee were waiting for
us at Europa Huis in candle-lit rooms.
On Sunday morning, August 17, Katja Noorman
and Meija Blok, Netherlands, Ruth Pladevall, Spain,
and Angela Sarkozy, Hungary, each gave a group of
numbers in the recital hall of Europa Huis. In the afternoon
we returned to the Maastricht Conservatory for
a chamber music concert by the Netherlands Harp Ensemble
consisting of Joke Brethouwer, harp, Pieter
Ode, flute, Hiu Kian Pin, violin, Joke Vermeulen, viola,
and Fred Pot, cello, which played Pierne's Variations
libres et final, pour flute, violon, alto, violoncello et
harpe, opus 51, Pierre Vellones Trio pour flute, alto et
harpe, opus 94, Henk Badings' Capriccio voor fluit,
fiool, altviool, cello en harp, Jean Francaix' Quintette
pour flute, violon, alto, violoncello et harpe, Nino
Rota's Quintetto for flute, violin, viola, cel/o and harp,
and Albert Roussel's Serenade, opus 30, pour flute,
violin, alto, violoncello et harpe.
Monday morning, August I 8, Naomi Mihara and
Keiko Sakai, Japan, played. At eleven o'clock, Dr. A.
AMERICAN HARP JOURNAL

van Jeeswijk gave a lecture on "Psychological Health
and the Performing Musician." This was a most informative
and valuable talk for those harpists who play
publicly and suffer from nervous tension. Dr. van
Jeeswijk demonstrated a few simple exercises designed
to help the musician overcome pre-concert nerves.
After the lecture, it was not uncommon to see one of us
sitting in an armchair, flexing our muscles as he had
shown us. A-stranger would have been puzzled.
In the afternoon, Yoko Nagae, Japan, played Handel's
Sonata Op. 4, Number 5, and Britten's Suite. Miss
Nagae, a small bundle of verve and vitality, was handsomely
applauded for her playing. Following her was
Irene Kotkina, U.S.S.R., whose flashing dark eyes and
brilliant smile made us believe that, truly, as she
claimed, her grandmother was a gypsy. She played
Delaplann's Sonate, Donizetti's Lucia, arranged by
Zabel, and a new exciting piece, Valery Kikta's suite
Ossian. After the music, there was a general discussion
evaluating the results of fifteen Harpweeks in as many
years; as well as among other subjects, the problems of
import duties on harps, and the value of international
competitions. It was an opportunity for the harpists of
some seventeen different countries to give their opinions.
Questionnaires were handed out to be filled in
after the discussion and returned to Madame Berghout
for analysis. Many interesting observations and facts
came out during the discussion which was led by Dr.
A. van Biemen, University of Amsterdam. It was suggested
that the International Harpweeks be held in different
countries each year. The problems brought about
by several harp competitions occurring almost simultaneously
was also brought up. It was the unanimous
opinion that the International Harpweeks were indeed
valuable and should be continued.
Henning Christiansen of Lyon-Healy, who has just
been appointed a director of that organization, had arrived
at Europa Huis on Wednesday looking flurried
and flustered because he was having difficulty getting
his equipment into Holland for his workshop on repairing
the harp. The succeeding Monday, he was radiant
because he had just cleared up the difficulties. As he
began his lecture Monday evening, he explained that,
because of the difficulties, something strange had happened
to the harp he had brought, and he removed the
cover of the harp. To our alarm, it looked as though the
harp had been through a war. It was riddled with holes.
Then the audience began to laugh for it was a cut-away
model to show the construction of the Lyon-Healy harp.
It was, indeed, a fascinating object, and received much
attention.
It was a great pleasure to see Dr. Hans Zingel and his
wife who were there for the whole of Harpweek. David
Watkins, England, was a participant of the workshop as
well as Arcola Clark, U.S.A.
An outstanding young artist, Francette Bartholomee,
from Belgium, presented a recital of contemporary harp
music on Tuesday evening, August 19, at the Maastricht
Conservatory. On her program, Madame Bartholomee
played Francis Mirogio's Reseaux which displayed
SUMMER/1976
t\t((g
\\ \Ii'
A VIDEOTAPE
-in color-
(Shown at the
1974 National
Conference of
the American
Harp Society,
Seattle)
?fl(/1/Y J/11/?f
This program presents the basics of composition and
arranging for the harp, with examples played by Lucile
H. Jennings and discussed. 10-day rental fee is $25.00;
purchase price, $275.00. There is a choice of reel-toreel
or videocassette format. Viewing time is 30 minutes.
A review questionnaire, available at 75 cents per
copy, poses 20 questions based on the script and gives
answers, additional examples, bibliography, and suggested
listening list.
Intended for reference use by composers, orchestrators,
and classes, this program is also of interest to music
clubs, chapters of the American Harp Society, arrangers,
etc.
Address:
M. J. MANLY
Dept. of Instructional Television
Ohio University
Athens, Ohio 45701
A Musician's
Harp Insurance Plan
thru
EDWARD A. GOODMAN
& co.
Insurance Specialists
One North Broadway
White Plains, N.Y. 10602
45

ursts of sound with isolated fragments. It was a stunning
technical display of harpistic virtuosity which
showed the dedicated, intelligent musicianship of
Madame Bartholomee. She also played a composition
by her husband, Pierre Bartholomee, titled Fancy,
a rollicking, engaging work which the audience found
greatly to its liking. Fully contemporary in concept,
it showed the present day composer as a man of imagination,
force and humor. Later in the program, Madame
Bartholomee played Berio's Sequenza II, showing
great insight into the composer's musical intent. There
is no doubt but what Francette Bartholomee is one of
today's outstanding interpreters of contemporary music.
Dressed in a charming silk batik dress of contemporary
design in delicate shades of rose and blue, with her
flaming red hair which hung to her waist and her sensitive
face, she was a modern-day Botticelli maiden.
The latter part of the program was given by the duo
of Sara Vos, harp, and Henk Vox, flute. They presented
Jurriaan Andriessen's Padovana di Don Chisciotte
(1792), W. F. Bon's Riflessioni (1971), Pierre de
Breville's Une flute dans /es vergers, and Rob du Bois'
Per Due (1968~the Bon and the du Bois having been
dedicated to the Vos-Duo.
Wednesday morning, August 20, Francette Bartholomee
gave a lecture-demonstration on contemporary
and avant-garde music for the harp. The audience
was able to ask questions and request that certain portions
of her previous evening's music be repeated and
explained. That afternoon, Satu Salo, Finland, played
Nino Rota's Sarabanda e Toccata and was joined by
Mariet van Dijk, violoncello, and Guus Ghijsen, violin,
to present lbert's Trio.
Chantal Mathieu, France, presented an unscheduled
short program showing herself to be a powerful young
artist, projecting her interpretations with great musicality.
She had driven in from Germany with her harp in
the back of her station wagon on her way to Paris where
she was to give a recital.
Another unscheduled appearance was that of
Madame Berghout herself. Speaking informally after
one of the afternoon presentations, she sat down at the
harp to demonstrate the different interpretations one
might present of a piece using variations of dynamics,
tempo, or rhythmic nuances to produce different moods.
Madame Korchinska then insisted that she play Sergiu
Natra's Prayer for us. At first reluctant, she hesitated,
then said, her eyes sparkling, "Yes, I shall play for you
if you insist, for I always tell my pupils that they must
play when asked-and besides, this is a very nice harp."
It was a rare privilege to hear Madame Berghout
playing thus, informally and intimately, for it was apparent
that the piece had deep meaning for her both
musically and spiritually. Her audience in their response
reflected their admiration and love for her which she
had evoked not only through her arduous work for the
advancement of the harp, but also for her great artistry.
The audience was deeply moved.
The Juilliard School
Peter Mennin, President
Instruction In Harp:
SUSANN McDONALD
JANE WEIDENSAUL
D Bachelor of Music
0 Master of Music, Doctor of Musical Arts
D Diploma, Postgraduate Diploma
D Professional Study Plan
D Scholarships Available
D Pre-College Division
LINCOLN CENTER
NEW YORK, N.Y. 10023
(212) 799-5000
46
AMERICAN HARP JOURNAL

Madame Berghout this year received the Helene de
Montigny Foundation prize which is given every three
years on the recommendation of the Lord Rector of the
University of Amsterdam to an individual "who has
served humanity in an exceptional way." Madame
Berghout was chosen this year of 1975 because of her
unique work on behalf of the Eduard van Beinum Foundation
which was founded by her in 1960 and of which
she was the director until 197 4. Dr. Jonas Salk was a
former recipient.
Madame Berghout has now founded an international
school of the harp at the Maastricht Conservatory and
has many pupils from foreign countries studying with
her. She has also been offered a handsome chateau near
Maastricht, through the generosity of friends, in which
to establish a harp center, and she is looking forward
eagerly to developing possible ideas.
Wednesday evening, August 20, was the presentation
of the final concert for the participants of Harpweek.
The performers, who are always chosen from those
who have played during the week, were Yoko Nagae
and Keiko Sakai, of Japan, Myun-Jin Lim, of Korea,
Angel Sarkozy, of Hungary, Karen Vaughan, of England,
Irene Kotkina, of the U.S.S.R., and the trio with
Satu Salo as harpist. To our great delight, Arthur Buckingham
was the accompanist on the organ for Karen
Vaughan's playing of Grandjany's Aria in Classic Style.
Buckingham with his marvelous sense of humor and
generous nature had been everything to everyone during
the week. Wherever one looked, there was Arthur-he
was indispensable, and the ultimate in "harpenstance"
occurred when, due to the inability of the scheduled
organist to appear, Buckingham was asked to accompany
Vaughan-which he did-beautifully.
Victor Salvi presented a display of harps on stage at
one of the performances at the Maastricht Conservatory
and his small non-pedal harp was the surprise package
at the dinner after the final concert.
Thursday morning, August 21, a tour of the surrounding
countryside had been planned for those wishing
to see something of this part of Holland. Seated in a
large comfortable bus, we were driven at a leisurely
pace over winding roads, down tree-lined avenues, small
cobbled streets, through statued squares and over canals
with willows on their banks and ducks swimming in the
sunshine. There were bicycles, stone houses, chateaux
and a distant view of the mines, which had 60,000
persons working in them in 1958, but which are now
closed. We passed through Harleen with its thatched
roofs; it is the oldest town in the Netherlands having
been established by the Romans. Aken aux Sainte
Chapelle, with Germany just over the hills, was a picture-book
town with its cleanly swept sidewalks, varnished
doors and sparkling windows. At Epen, which
at 321 meters is the highest point in the Netherlands,
Introduces
THE CELTIC and
RENAISSANCE HARPS
Made by master craftsmen in Italy with the same fine
workmanship and tone quality that has made SAL VI
the world leader in harpmaking.
Both harps available in a choice of finishes. Screw-out
legs for greater portability. Optional carrying case.
For further information please contact
International Harp Corporation
1649 Tenth Street
Santa Monica, California 90404
(213) 451-4000
SUMMER/1976 47

we stopped to see the three stones marked with an inscription
where the three countries of Holland, Belgium
and Germany are contiguous. A tall tower, which none
of us seemed eager to climb, provided a view that must
have been breath-taking. However, Boni Reitveld, was
soon heard sounding his trumpet from its highest platform
bringing smiles to our faces. We, meanwhile, were
seated at small round tables looking at the handsome
view of the countryside, sipping coffee laced with
whipped cream and eating ices.
Returning to Europa Huis, the afternoon was spent
preparing for the evening, the finale of the Sixteenth
International Harpweek. Given in the Staargebouw
of Maastricht, it was a brilliant affair with a concert
hall filled with elegantly dressed people. Three harpists
were presented as soloists with the Limburgs Symphonie
Orkest with Andre Rieu as conductor. The first was
Teresia Rieu, wife of the conductor, playing Maurice
Ravel's Introduction and Allegro. Madame Rieu,
dressed in a softly-fitted gown with renaissance sleeves,
played impeccably, complimenting the fine orchestra.
The second was Phia Berghout, who played Claude
Debussy's Danse Sacree et Danse Profane. Her gown
was charming in two shades of soft green, which, as
fortune would have it, echoed and was complimented
by the backdrop. She made a beautiful picture seated at
her golden harp. With great power and understanding
she brought the music to life. The orchestra blended
with her playing to perfection.
The third was Vera Dulova, premiere harpist of the
Bolshoi Theatre in Moscow and Professor of Harp at
the Moscow Conservatory of Music. At the age of nine
Vera Dulova began studying the harp and was a pupil of
Maria Korchinska. Madame Dulova, dressed in a handsome
gown of gold brocade played the Gliere Concerto,
Opus 74 for harp and orchestra. It was a virtuoso performance.
At its conclusion, the audience rose to its feet
to compliment the three artists. The hall echoed to the
applause and the artists were forced to return time and
time again for their plaudits.
After the concert, we returned to Europa Huis where
a buffet dinner was served. Boni Reitveld, as master of
ceremonies, and Arthur Buckingham kept us amused
all evening. Gifts were presented to Madame Berghout
and Madame Korchinska and the events of the past
week were discussed and enjoyed once again in retrospect.
The next morning each us departed to catch trains,
planes, and buses to return to our countries where we
would review the events of International Harpweek
for our confreres and pupils who were unable to come.
These Harpweeks are of tremendous value. Each harpist
attending is influenced by the music heard, the ideas
exchanged, and the friendships made. There is no doubt
that the future of the harp world will benefit by the
greater musical understanding and finesse which develops
out of this close association between the many
harpists from so many different countries.
MARILYN COSTELLO
Solo Harpist -
Philadelphia Orchestra
INSTRUCTOR OF HARP-
THE CURTIS INSTITUTE OF MUSIC
Scholarship Pupils Only
For Information, Write:
SECRETARY OF ADMISSIONS
1726 Locust Street
Rittenhouse Square, Phila., Pa. 19103
TEMPLE UNIVERSITY COLLEGE OF MUSIC
For Information, Write:
PRESSER HALL
13th and Norris Streets, Phila., Pa. 19122
48
AMERICAN HARP JOURNAL

PEOPLE
and
PLACES
Compiled by Marcia Cutter
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.
Following Martine Geliot's appearance with Jean­
Pierre Rampal in Carnegie Hall on January 23, a reception
was given by the American Harp Society to
which all members in the East were invited. It was very
well attended and afforded a pleasant opportunity to
get better acquainted. Mrs. Marcel Grandjany was
among those who enjoyed greeting Mlle. Geliot.
A reception for Nicanor Zabaleta was given by the
Los Angeles Chapter following his January 31 recital
in Royce Hall. This afforded a gala opportunity to present
the Citation awarded to him by the American Harp
Society IN RECOGNITION OF OUTSTANDING
SERVICE TO THE HARP. The presentation was
made by Catherine Gotthoffer, A.H.S. President, in
behalf of the Society.
Catherine Gotthoffer has appeared on the Monday
Evening Concerts in a performance of Canzana for 12
instruments conducted by the composer, Charles
Wuorinen, and at California Institute of the Arts in
Songs of Paradise for bass soloist, harp and percussion,
conducted by the composer, Harold Budd. This season
she has been the orchestral harpist for occasional concerts
with the California Chamber Symphony, Pasadena
Symphony, Glendale Symphony and for the Los Angeles
appearance of the San Francisco Ballet. Unusual Hollywood
engagements have included two recent television
specials, The Comedy Awards and The Grammy
Awards, and pre-recordings for the Barbra Streisand
film, A Star is Born.
The Centro Cultural Cubano presented Isela Gomez­
Rossi in concert February 22, 1976, in New York City.
Sharon Hanjiaro, who studies with Eileen Malone
at the Eastman School of Music, played Cesar Franck
Symphony with the All-University Symphony Orchestra
February 15 at Strong Auditorium. In June she will
perform a noon-time recital at the Trinity Episcopal
Church in Hartford, Connecticut. In January, Linda
Warren, also a student of Eileen Malone, played C.P.E.
Bach Sonate at the United Presbyterian Church. She
also played solo harp in Capriccio Espagnol in the Esso
Orchestra at Eastman Theatre in February. Amy
Wilkins of the same studio, played with the Finger
Lakes Symphony in February; also with the orchestra
at the State University of Brockrort. Andrea Wittchero
played her Master recital in the new Howard Hanson
Hall, March 18. Andrea is also a student of Eileen
Malone. Rita Tursi of the same studio, has received a
Fulbright award to study harp in Paris, France next
year. Rita also played a harp recital for the Rochester
SUMMER/1976
PEARL CHERTOK
will conduct an intensive seminar on the
beautiful campus of Sarah Lawrence
College, Bronxville, N.Y. summer
of 1976, stressing the
understanding and interpretation of harp
I iteratu re.
Magnificent living and practising
facilities. Limited enrollment.
One-half hour from New York City
museums, Lincoln Center and other
cultural events.
Guest composers, stimulating master
classes.
JULY 18-31
Write to:
Pearl Chertok
630 Fifth Avenue-Room 2107
New York City, N.Y. 10020
for further information
49

Century Club and for the American Association of
University Women.
Carrol McLaughlin gave a harp recital at Canada
House, Trafalgar Square, London late 197 4. She again
returned to London in August 1975 to study with
Madame Maria Korchinska. She has a six month contract
to play harp each afternoon at Inn On the Park
Hotel, Park Lane, London. Her repertoire includes
Jazz, Pop, and Classical music.
Several members of the San Jacinto Chapter are playing
in the Houston area: Louise Lantz Trotter, The
Brownstone Restaurant, Friday and Saturday evenings;
Virginia Robbins, Hyatt-Regency Window Box Restaurant,
nightly; Mary Jane Osborn, Daddy's Money
Restaurant, Sunday Brunch; Monica Martin, "Muskrat"
Band, Steak and Ale Restaurant, Katy Freeway at
Wilcrest, Monday through Saturday evenings; Theodore's
19th Century Fox Club; Daddy's Money Restaurant;
Roxanne Rangel, The Regatta Inn Restaurant,
Seabrook, Texas, Sunday evenings.
Members of The New York Harp Ensemble performed
in Mexico City in April, 1975, returned to give
concerts in Connecticut and New York before going on
a Fall tour of Europe which included many concerts in
Spain, Sicily, and Italy.
The Juilliard School presented an all Grandjany harp
recital in memory of Marcel Grandjany, Thursday
evening, February 5, 1976 in the Paul Recital Hall.
Performing that evening were Rhonda Smith, Amy
Schulman, Nancy Allen, Maria Gautreaux, Sarah
Bullen, Gretchen Van Boesen, Grace Paradise, and
Maritza Bolano.
Cecilia Kay White, age 14, was named the Bicentennial
winner of "Miss Colorado Teen." She is currently
a student of Mary Beth Reed and is a member of
the Cecilian Chapter of AHS.
Rhonda Smith, Juilliard student, presented two senior
recitals last Fall: October 19 she performed in the Egner
Memorial Chapel, Muhlenberg College, Allentown,
Pennsylvania and November 20 in the Paul Recital Hall
of the Juilliard School.
Irma Louise Clow has just celebrated her twentyfifth
year with the Civic Light Opera as harpist in Los
Angeles and San Francisco. In early 1975 she toured
with Yul Bryner in "Odyssey." She has also played with
"Holiday on Ice" in Los Angeles and San Francisco.
Dolores Stewart, harpist, and Camille Stewart,
daughter, a flutist, have performed in a number of concerts
in the Chicago area. They appeared December at
the Christian Church of Hoffman Estates, Illinois;
December 12, Woodfield Mall Concert; December 13,
Palatine National Bank; December 14, Community
Orchestra and Chorus; and December 24, Queen of the
Rosary Church, Elk Grove. February, 1976, Dolores
played with Tempo Players and Orchestra of Oak Park
in performance of My Fair Lady.
Hellman's Angels is currently playing at The Village
Gate, Thompson and Bleeker Sts. in New York, every
Tuesday evening, 9:00 p.m. to 1 :00 a.m. The trio features
Mike Gari, guitar, Lyle Atkinson, bass, and
Daphne Hellman, harp. Daphne also plays at Reno
Sweeney's during cocktail hour. During February the
trio played at Columbus University in Georgia, doing
a three-day workshop. They also played in Gainesville
ARISTID von WURTZLER
Harp Instruction af
NEW YORK UNIVERSITY
School of Education
Division of Music Education
THE NEW VORk HARP ENSEmBLE-
und..- the direction of
ARISTIDvDNWURTZlER
UNIVERSITY OF BRIDGEPORT
Bridgeport, Connecticut 06602
Hofstra University
HEMPSTEAD, L. I., NEW YORK 115 50
Arletld
von Wurtzler
the musical heR1taqe society inc.
1991 s11oaoway, new yoRk, n. y. 10023
vt1ldeH e,'tst /(ecorda,
220 Broadway, Huntington Station, N. Y.
FOR INFORMATION WRITE:
Dr. Aristid von Wurtzler
140 West End Ave.
New York, N.Y. 10023
Telephone: (212) 362-9018
ll ■ rb■ r■
Pnlewska
Ev ■
Jaslar
Grace
Paradise
Permanent Stand-by Members:
MONICA JARECKA MARY ZSIGA BENEDETTO
Department
of Music
UNIVERSITY OF BRIDGEPORT
ANNOUNCING
Hr•
Yun Chung
Dr. Harrison R. Valante,
Chairman
BICENTENNIAL FESTIVAL AND HARP MASTER
CLASS
JUNE 26-JULY 1, 1976
FEATURING: NYHE, A. VON WURTZLER, NICHOLAS
FLAGELLO (COMPOSER)
CONN. FESTIVAL ORCH., UNDER THE DIRECTION OF
DR. HARRISON R. VALANTE
NEW WORKS BY FLAGELLO, SERL Y, LEONARD
BEl~NSTEIN, VON WURTZLER ETC.
BROCHURES AVAILABLE
50
AMERICAN HARP JOURNAL

and Tampa, Florida. The first three weeks of March
they played at Paul Pines Tin Palace, The Bowery at
Second Street, New York. Their program consists of
jazz standards, Swinging Shepherd Blues, Watermelon
Man, Doxy, Honeysuckle Rose, Ballin' the Jack, Down
the Road a Piece, The Entertainer, some country and
western, gospel, as well as adaptations of Baroque
music: Scarlatti, Paradie, LeClair, and Bach. Daphne
uses a big Lyon & Healy 23, with a Barcus Berry drum
pick-up attached to the sounding board and a Fender
Princeton amplifier pitted with a twelve-inch speaker
for better tone. They travel in a Chevy Carryall. The
harp has small casters screwed on to the front crown
and bass so that the harp rolls in column down, and is
steadied by bolsters between the three-quarter back
seat and the side of the car.
During late March and April they had a repeat threeweek
tour of Melbourne, Sydney, Brisbane, and Perth.
Jennifer Marra played a program of harp music in
December, l 975, at The Historical Museum, New
Haven, Connecticut.
Merilee Murphy played "Wolcum Yole" from the
Ceremony of Carols on January 10, 1976, at the Greenfield
Hill Congregational Church.
Emily Oppenheimer played works by Bizet, Stravinsky,
and Debussy on January 17 with the Stamford
Symphony, Skitch Henderson, director, in Westhill
High School. On November 2, 1975, she played at a
banquet of mayors from all over the world, held at
Pepsi-Cola headquarters in Purchase, New York. On
November 22 she played with the Bridgeport Symphony,
Peter Nero conducting.
Edith Floyd is the harpist at Hamden Plains United
Methodist Church. She plays for special occasions in
Hamden, Connecticut.
John Senior, harpist, and Barli Nugent, flutist, played
a joint recital on January 18, 197 6, at the Darien Library,
Darien, Connecticut. Works by Bach, Telemann,
Demase, Ibert, Chopin, Chou Wen-Chung, and Debussy
were played.
Ria Royce was a member of the American Youth
Symphony on its summer European tour. She performed
her Junior Recital at Interlochen Arts Academy in November.
Ria was a concerto winner at IAA in November
and will perform the Handel Concerto in the spring
with the IAA orchestra. Ria and Laura Okuniewski
toured Michigan in January giving duo-harp recitals in
schools for the Outreach Program. Laura was a concerto
competition winner at IAA and performed the
Debussy Dances with the IAA orchestra in February.
She spent some time at the Summer Harp Colony of
America in August and September. Laura will be giving
her Junior Recital in May at IAA. Their teacher, Elisa
Dickon, recently participated in a performance of
George Crumb's Ancient Voices of Children during a
weekend devoted to Mr. Crumb's music.
Teacher, composer, conductor, Janos Kiss of Bay
Village, Ohio, had four of his compositions premiered.
One of these, Western Legend, Rhapsody for Harp and
Orchestra, received its premiere performance in Lakewood,
Ohio, on February 16, 1975, on the occasion of
the Fifth Anniversary Concert of The West Suburban
Philharmonic Orchestra, under the baton of Mr. Kiss.
The orchestra's harpist, Claudia Kapp, was the featured
soloist, giving a beautiful performance. Mr. Kiss
NOW AVAILABLE
GUT STRINGS
• Manufactured in Switzerland in
Salvi's own String Factory
• Hand-selected gut
• Finest quality
• Perfectly gauged
Years of research have gone into
bringing the discerning harpist the
finest gut strings available at a sensible
price. A full stock in Los Angeles now
assures immediate delivery.
We also carry a full line of white nylon
and wire bass strings as well as special
wires for the Celtic and Renaissance
harps.
International Harp Corporation
1649 Tenth Street
Santa Monica, California 90404
(213) 451-4000
SUMMER/1976
51

has written a new major work for the cello, Concerto
for Violoncello and Orchestra, which was premiered
February 29, 1976, at the Sixth Anniversary Concert of
The West Suburban Philharmonic Orchestra, featuring
principal cellist Joseph Wetula. Mr. Kiss has written a
most important part for the harp in this cello concerto,
and Claudia Kapp, will assist on the harp.
Lynette Nelson gave a series of harp demonstration
programs for all music classes and European social
studies classes at Minnetonka High School during January
and February, 1976. Some one thousand students
attended.
Jann Mattheis performed the American Folk-Hymm
Suite by Dale Wood in the Plymouth Congregational
Church on February 15, 1976, and in the Walker Art
Center on February 17. Both performances were with
the Plymouth Festival Bell Ringers, Philip Brunelle,
organ, and Lynne Aspnes conducting. This is the ensemble
that presented this work at the American Harp
Society Conference in June, 1975.
Lynne Aspnes and Jann Mattheis presented a twoharp
program for a "candlelight and wine" concert on
March 2, 1976, at the Northstar Ballroom, University
of Minnesota, St. Paul campus. Works by Brahms, Milhaud,
Ravel, and Debussy were performed as well as
the premiere of a work for two harps by Steven Paulus,
member of the Minnesota Composer's Forum.
Valeria Wilhelm, member of the Eisenhower High
School orchestra, will travel with the orchestra to Atlantic
City, New Jersey, for the convention of the Music
Educators National Conference. This is the only high
school orchestra chosen to play for the convention, and
special harp parts have been written for Ms. Wilhelm.
Julie Miller, from Crookston Minnesota High School,
will travel to Grand Forks, North Dakota, to perform
Sousa's operetta El Capitan with the North Dakota
University Players.
Mildred Dilling toured in Scotland in the Fall and also
played in Paris and London. She held her annual
workshop in London. In the Fall there were appearances
with orchestra in Kokomo and Marion, Indiana,
as well as Community Concerts in Wisconsin. In Januarty
she played in Washington, D.C., and gave two recitals
at Pensacola Junior College, in Pensacola, Florida,
and two in Tallahassee. She had workshops in the Fall
in Chicago and Indianapolis as well as at Ohio University;
in January there were workshops at Florida State
University, Tallahassee, for the Class of Mary Roman.
Miss Dilling will give a one-week workshop there November
8-15 and a recital November 6. On February
23, 1976, she gave a Community Concert in Lincoln,
Illinois, and flew to the West Coast for a recital at the
University of Oregon, Eugene, on February 27. She was
appointed as one of the judges for the Ruth Close Harp
Scholarship Awards February 28-29. She had a two-day
workshop at the University of Oregon, a second workshop
in Chicago, and workshops at the University of
Oregon, in Concord, California, and in San Francisco.
Miss Dilling will have her Thirteenth Annual Master
Class and Workshop, with Dorothy Victor teaching pop
harp, at UCLA, June 28 to July 9. She will give a
workshop for the Bayview Conservatory July 16-18. In
September and October she will have her annual tour
in Scotland, England and France. Miss Dilling has held
monthly workshops in her New York studio; the fifth
season will start October 30, 1976.
Patricia John's compositions for the non-pedal
harp, Let's Play Series, "Clown Dance," "Arithmetic,"
and "Canoe," were presented on the opening program
of the Sixteenth International Harpweek, which featured
the non-pedal harp, at the Maastricht Conservatory,
Maastricht, Holland, August 15. She is currently
serving as president of the San Jacinto Chapter of the
American Harp Society, Houston, Texas, and is also
serving as an officer of the Curtis Institute of Music
Alumni Association, Region XIV, Texas 1975-1976.
On October 26, she was the guest soloist at the First
Unitarian Church, Houston, Texas, playing her suite
for harp alone, "Sea Changes." The San Jacinto Chapter
of the American Harp Society presented her in a group
of her own compositions at the Museum of Fine Arts,
Brown Auditorium, Houston, Texas, on November 16.
She was the guest soloist on December 9 for the opening
night "Candlelight Tour" of the Harris County Heritage
Society, in the Eastlake Parlour of the Pillot House in
Sam Houston Park, Houston, Texas. The program was
televised by Channel 2, Houston, Texas and shown on
December 10. On December 14, she was presented by
the Contemporary Arts Museum, Houston, Texas, in a
lecture-recital entitled "The Contemporary Harp," with
comments on the music, the history and the development
of the harp. KPFT-FM, Houston, Texas, December
1 7, asked her to be the first of the artists to be presented
on their newly inaugurated hour-long, livebroadcast
Fine Arts Series, playing her own compositions
and speaking informally. She was elected in 1975
as an associate of Jones College, William Marsh Rice
University, Houston, Texas. On January 1 7, 197 6, she
played her composition "Preamble," composed specially
for the occasion, which was presented by the
Mayor and Council of the City of Houston and the
Library Board of the Houston Public Library at the
dedication ceremonies of the new Central Library
Building, in conjunction with the American Bicentennial.
Mayor Emeritus Louie Welch gave the introductory
remarks for the composition.
Shannon Williams, student of Patricia John, has been
harpist for her Spring Forest Junior High School Orchestra,
Houston, Texas, during the past year. She was
also selected as harpist for the All-District Junior High
School Orchestra for 1976. She played solos during the
month of November for her school's PT A meeting and
for two of the school assemblies. In December she gave
a program of harp solos for the Museum of Fine Arts,
Houston, Texas, in the Mies van der Rohe Cullinan
Hall.
Guinndolyn Harris, student of Patricia John, was
presented by the Museum of Fine Arts, Houston, Texas,
on December 20, in the Masterson Junior Gallery, in a
solo recital in conjunction with the exhibition "Two
Hundred Years of Christmas in America." She was
soloist for the Christmas Mass of the Upper School of
Duchesne Academy, Houston, Texas, where she is
finishing her high school studies.
Shirley Ruth is playing pop harp in the dining room
of the Hanover Inn, Hanover, N.H. Shirley will also
be touring with the Revere Bellringers and organist,
Harry Allaire, of Woodstock, doing the American Folk
52
AMERICAN HARP JOURNAL

Hymn Suite April 25th, in Lebanon, N.H. and April
28th in Woodstock, Vt., with several more engagements
throughout Vermont and New Hampshire during the
Spring.
Gretchen Hercher, a Wichita State University student,
played at the Wichita Club in December and January.
Sharon Hall subbed for Gretchen twice in January.
Sharon J. Hall played for a Fall Style Show at the
Downtown Holiday Inn, Topeka, Kansas, October 11.
She also played for a private party at the Topeka
Country Club on October 2. Ms. Hall gave a program
featuring harp solos and pieces for harp and voice for
the Family Night Dinner at the Scottish Rite Temple
in Topeka. Sharon played for the Mulvane Art Museum
fund drive party, February 20, 1976. She also assisted
the First Baptist Church Handbell Choir in performing
American Folk Hymn Suite by Dale Wood. The work
was played in the State House Rotunda in Topeka, Kansas,
on February 22, 1976, at 3:30 p.m. Ms. Hall gave a
Harp Methods Class to string students on February
26, 197 6, at 9: 30 a.m. at Wichita State University,
Wichita, Kansas. She played daily at the Topeka Club,
from 5-7 p.m., throughout the month of March. Wichita
harp students of Sharon will be heard in an informal recital
on May 15, 1976, at 10 a.m. in Miller Concert Hall
at Wichita State University. Ms. Hall will give a Faculty
Harp Recital at Wichita State University on September
30, 197 6, in Miller Concert Hall.
Sue Taylor, harpist with the Arkansas Symphony
Orchestra, has been featured in the Ravel Introduction
and Allegro with the Chamber Orchestra in a series of
concerts throughout the state. She was harpist for four
performances of the Nutcracker Ballet in Little Rock in
December.
Heather Holmes played Christmas music throughout
the midnight mass on Christmas Eve at Our Lady of
Perpetual Help Catholic Church at Germantown,
Tennessee.
Bill Butner was harpist for The Relevation of the
Seven Seals, a new work by Harlo McCall, Minister of
Music at Madison Heights United Methodist Church,
Memphis, Tennessee. He played in Clokey's When the
Christ Child Came at Trinity United Methodist Church,
and in Peterson's Christ ls Born at the Broadmoor
Baptist Church, in December. Bill and his wife Harriet,
flutist, gave three programs in December and January,
all in Memphis.
Sue Taylor played in Benjamin Britten, Ceremony
of Carols, on December 2, with the University Chorus
at the University of Arkansas, Little Rock.
Frances Phillips played in the Fantasticks, on December
4-7, with the Southwestern Singers, Hardie Auditorium,
Memphis, Tennessee.
Elizabeth Cobb Houston played the Handel Concerto
on December 28 at the Lindenwood Christian Church,
Memphis, Tennessee. She also gave a solo recital on
January 15 at Rider College, Lawrenceville, New
Jersey.
Sue Taylor performed the Bruch Scottish Fantasy
on February 29 with the Northwest Arkansas Orchestra,
Richard Fuchs, violinist, in Fayetteville, Arkansas.
Linda Wilson and Marian Jackson Huselton played
music for two harps on February 29 in Idlewild Presbyterian
Church, Memphis, Tennessee.
ROSLYN
RENSCH
Author of The Harp, its History, Technique
and Repertoire
Published by Duckworth, London, and
Praeger, New York.
Teacher of harp
Indiana State University
Terre Haute, Indiana.
For information about harp study as a
music major, or as an elective, and for
scholarship information, address:
Dr. Roslyn Rensch Erbes
701 Delaware Avenue
Terre Haute, Indiana 47804
SUMMER/ 197 6
53

Stephanie Curcio has performed Wonder Tidings
by LaMontaine, at the Community Church in Durham,
New Hampshire; entertained with her student Nancy
Sweet at the Bicentennial Yankee Doodle Fair in the
Durham schools; played, together with her student
Karen Martin, the Nutcracker Ballet, performed by the
Boston Ballet and the Nashua Symphony; and also performed,
along with other works, Britten's Young Person's
Guide to the Orchestra, given in February at a
young people's concert by the Nashua Symphony. On
March 11 she gave a solo performance for the Music
Guild of Durham; and on March 15, a solo performance
for the Nashaway Women's Club, Nashua, New
Hampshire.
Marcella DeCray gave the following performances
with the San Francisco Contemporary Music Players
in San Francisco: on March 22, the world premieres of
Dualities for Harp by David Sheinfeld, and Linea
Meridiana by Charles Boone, for harp and other instruments;
and on March 30, Ukiyo-e for Harp by George
Rochberg. The above three works are dedicated to
Marcella DeCray.
Ruth Sipple Barber played for the Sixtieth Anniversary
Tea of the Allentown, Pennsylvania Women's
Club, on December 16 at the Club House. From December
IO through 22 she played nightly dinner music
for the Shrine Club. On December 23 she gave a forty
minute recital at Zion's Church Candlelight Service,
with the organist accompanying.
David Humphreys gave the first performance of a
new work, Solitaire, by Edward Artaega, for solo ballet
dancer and solo harp; the performance took place in
February at the Vancouver East Cultural Centre. The
work was written for the Paula Ross Dance Company.
Lanalee de Kant, with the Purcell String Quartet,
gave a program of French music for harp and strings
at the Vancouver East Cultural Centre, in March.
Lisa Anderson played the Handel Concerto and
Ravel's Introduction and Allegro on February 27 with
the Anchorage Symphonyi and on March 2 with the
Juneau Symphony. Lisa is presently attending the Oberlin
Conservatory of Music.
The Serenaders, directed by Patricia Jaeger, gave an
Irish Folk Song Program on March 14 at the Museum of
History and Industry, Seattle, Washington; on March
17 at "The Park Shore" Retirement Home; and on
March 19 at "The Hearthstone" Retirement Home.
They also performed on December 5 at "The Hearthstone"
Retirement Home, on December 12 at "The
Theodora" Retirement Home, on December 13 at the
Harp Society Holiday Program, on December 16 at
"The Norse Home," on December 17 at the "Tallmadge
Hamilton House for Senior Citizens," and on December
21 at the United Methodist Temple "Christmas
Silver Tea." Maier Masco and Kim Collison played
harp.
Scott Grimes, principal harpist, and Paul Baker performed
with the Seattle Philharmonic Orchestra on
February 4 in Renton, Washington, on February 6
in Lacey, and on February 8 in Meany Hall at the University
of Washington. The program included the Symphony
No. 2 by Howard Hanson; Schelomo, Hebraic
Rhapsody by Ernest Bloch; Poem for Orchestra by
Charles Loeffler; and Luminescence I by William
Bailey (world premiere in 1975 with Pamela Vokolek).
54
The School of Music and the Office of Lectures and
Concerts at the University of Washington presented a
Harp Recital on December 6, directed by Pamela Vokolek.
The program included the Mother Goose Suite by
Ravel, transcribed by John Escosa, performed by the
University Harp Ensemble (Sylvia Siddons, Kathleen
Duffy, Karen Gottlieb, Rita Linaman, and Mary
Frank); Discourse for harp and violoncello by Edmund
Rubbra (Rita Linaman, harp, and Pamela Roberts, violoncello);
Berceuse by Nicolas Flagello (Mary Frank);
Sonata for flute and harp, 1964, by Jean-Michel
Damase, Allegro moderato (Terri Skjei, flute, and
Karen Gottlieb, harp); Danses Sacree et Profane by
Debussy (Kathleen Duffy, harp, and David Estep,
piano); Concertina for two harps, 1962, by Lex van
Delden (Kathleen Duffy and Karen Gottlieb); Berceuse
Antique by H. Osieck (Mary Frank, Sylvia Siddons,
Rita Linaman); Habanera by Ravel, transcribed
by Alice Chalifoux (Nanette Smith, flute, and Sylvia
Siddons, Harp); Triptych, 1975, first performance, by
Lynne Palmer (Sonoro, Lyrico, Rhythmico), the University
Harp Ensemble.
Adele Girard has performed for fashion shows in the
Tea Room at Frederick and Nelson's on several
Wednesday afternoons.
Rochelle Martinez-Mouilleseaux will be featured at
the Fairlane Music Festival entitled "Evenings at Fair­
Iane" in Dearborn, Michigan. Her performances will
include the Mozart Concerto for Flute and Harp with
Sally Freise, flautist, and Barbara L. Daoust, pianist,
and Introduction and Allegro by Ravel. The program
will take place the first week in May, and be held at the
Fairlane Estate, home of automotive pioneer, Henry
Ford.
Stephanie Pelz will present her graduation recital at
the University of Michigan School of Music on April 1,
1976. Her program will include the Mozart Concerto
for Flute and Harp with flautist Robin Kani and a
twelve piece orchestra, Dello Joio's Bagatelles, and
Tailleferre's Sonata for Harp. Ms. Pelz was solo harpist
with the Colorado Philharmonic orchestra in its 1975
Summer season, participating in its thirty-two concerts
which included her presentation of Debussy's Danses
Sacree et Profane.
Sue Saurwein will present her graduation recital at
the University of Michigan School of Music on April
16, 197 6. Her program includes the Handel Concerto
in B-flat, the Hindemith Sonata, and the Debussy
Sonata for Flute, Viola and Harp.
Lin Neimesto will be touring the Canary Islands
playing opera with the University Symphony Orchestra
this May and June. This past Spring she was featured in
the University of Michigan Contemporary Directions
ensemble, playing Improvisations for Harp and Pizzicato
Piano by Conrad Eakin. Ms. Neimesto will present
her Master's graduation recital at Interlochen
Music Camp this Summer. lnterlochen Music Camp is
the Summer home for the University of Michigan School
of Music.
Holly Lanning will be touring the East Coast as harpist
with the University Wind Ensemble, University of
Michigan. Included on the Summer tour are such bicentennial
cities as New York and Philadelphia.
Martha Burwell, with two other Stephens College
faculty members, played the Goosens, Trio, in Feb-
AMERICAN HARP JOURNAL

uary. She also performed the lbert, Entra'act and the
Jolivet, Pastorates de Noel on a faculty recital. In April
she will perform the Mozart, Concerto for Flute, Harp,
and Orchestra. She has performed with the Stephens
Symphony in their '75-'76 concert series.
Juliet and Jantze Wanzek and Jan Myers, three
Stephens harp students, are also members of the symphony.
They have performed for Youth Symphony fund
raising galas and in many student recitals throughout
the school year.
In December Martha Burwell and Juliet Wanzek
played Christmas Duets and performed the Vaughan
Williams, Magnificat with the Stephens Concert Choir.
Jan Myers gave her Senior Recital this year playing
such works as Caplet's, Spanish Divertissement, Prokofieffs
Prelude in C, Dussek's Sonata, and Rameau's,
Rigaudon.
For one of the Stephens Dance Recitals Martha Burwell
and her students Jan Myers and Lisa Bakers
played the Satie, Gymnopedies transcribed by Mimi
Allen.
Kathy Kienzle, as new solo harpist with the Duluth
Superior Symphony Orchestra, performed the Debussy
Danses at the regular subscription concert March 20.
Other solo appearances included the Mozart Concerto
for Flute and Harp with Marian Valasek, flute, and
the University of Minnesota Duluth Symphony, the
Ravel with the UMD Chamber Players, and the Handel
Concerto with the University of Wisconsin Superior
Orchestra. A busy schedule of recitals for clubs, schools
and colleges in the upper midwest included performing
Ernst Krenek's Sonata for Harp at a festival honoring
will be the harpist and teacher at the Eastern Music
Festival in Greensboro, North Carolina June 26-August
7 for the sixth Summer.
Lee Ann Anderson has been appointed Adjunct
Assistant Professor of Harp at Kent State University.
She continues as solo harpist with the Youngstown
Symphony and guest artist at Youngstown State University.
On February 8 she gave a recital of contemporary
music in Hudson, Ohio. On February 21 she
played the Mozart Concerto for flute and harp with the
Greenville Symphony Orchestra, Greenville, Pennsylvania.
On February 27 she presented a faculty recital
at Kent State University School of Music, Kent, Ohio.
John Hastings has recently finished nine weeks performing
in the Fantasticks.
Cynthia Gordon has just completed a four month
engagement at the Parker House in Boston. She
emphasized classical selections in the new "Parkers"
for Sunday brunch; and in this hotel's nightclub, "The
Last Hurrah," she sang and played ballads and blues,
ragtime and country-western.
Phyllis Schlomovitz arranged a Master Class for
Professor Josef Molnar during his November, 1975,
West Coast Tour, which she instigated. The Master
Class was an outstanding success, with thirty harpists
attending as either participants or observers. Among
those who played for Mr. Molnar were Robin Chudy,
Nancy Frank, and Henry Spiller of U .C.S.C. harp class,
and also Gayle Evans, Lisa Pease, Nancy McIntyre,
Lisa Reyff, and Pamela Stutzke. A reception honoring
Mr. Molnar was held following the class in Miss
· =-s - =~.
the composer at Hamline University in St. Paul. Kathy
For students
from junior high
through college . ..
North Carolina
School of the Arts
Box 4657, Winston-Salem, North Carolina 27107
SUMMER/1976
55

Schlomovitz's home; and Pamela Stutzke, Phyllis
Schlomovitz, and her husband, Ken Sorenson, entertained
Mr. Molnar for dinner. All felt that it was an
outstanding class.
Phyllis Schlomovitz presented two solo recitals in
March: on Wednesday the 10th at 8:00 p.m. in the
Sunnyvale Community Center Concert Hall, 550 Remington,
Sunnyvale, California; and on Friday the 19th
at 8:30 p.m. at the Arch Street Concerts, 1750 Arch
Street, Berkeley, California.
Karen Wat, a third-year medical student at Loma
Linda University, Loma Linda, California, and a harp
student of Marjorie Call, was harpist with the Claremont
Symphony Orchestra on February 8, 1976, in a
Bicentennial concert which included works by Copland,
Dvorak, Chadwick, Green, and Hanson. She also played
Britten's Ceremony of Carols on December 11, 197 5,
with the Hemet High School Chamber Singers, and on
December 14, 1975, with the Calvary Presbyterian
Church Chancel Choir of Riverside, California. She was
also harpist with the Redlands Bowl Symphony Orchestra
this past summer.
Alice Pardee and Sarah Lillard, harpists with the
Jacksonville (Florida) Symphony, again played in the
annual December production of the Nutcracker Ballet
at the Civic Auditorium in Jacksonville.
Among orchestra members featured as soloists in the
Jacksonville Symphony's free High School Concert
Series this winter was Alice Pardee, playing the Cadenza
and Third Movement of the Ginastera Harp Concerto.
Carol Mukhalian, undergraduate harp major at the
University of Puget Sound, traveled to Europe with the
University's Adelphian Concert Choir as harp soloist
and accompanist. The group performed a series of fifteen
concerts and made six special appearances in England,
Scotland, and Ireland during the period March
25 to April 16. The Adelphians, a forty-two member
mixed voice group, featured music of the countries
visited as well as works of American composers. Carol
is principal harpist with the Tacoma Symphony Orchesua.
She has performed with the Seattle Symphony
Orchestra as second harpist.
On October 26, 1975 Marylee Dozier gave the premiere
performance of three works for harp at a Crocker
Art Gallery, Sacramento, California, the concert sponsored
by the Sacramento Alumnae of Sigma Alpha Iota.
The compositions were written especially for Miss
Dozier and the other performers by local composers.
The pieces, all composed in the Summer, 1975, were:
Sonatine for Flute and Harp by Gaylen Hatton; Sonata
for Viola and Harp by James Adair, a former winner of
Northern California Harpists Association Composition
Award; and Chamber Music For Women's Voices and
Harp (Texts from Chamber Music by James Joyce) by
Jerome Rosen.
On October 19 Miss Dozier was the first harpist ever
to play for the California State Convention of the Order
of Eastern Star. She performed Contemplation by Henriette
Renie before the Necrology Service and continued
with background music through the service. She then
performed Sarabande by Handel/Grandjany, preceding
the Devotional Service. On November 18 Miss Dozier
played the harp part of Serenade for Flute, Harp
and Strings by Howard Hanson with the University
of the Pacific Conservatory Orchestra in Stockton. On
56
November 24 she performed Introduction and Allegro
of Maurice Ravel with the California State University,
Sacramento, String Orchestra. On December 7 Toynette
Wong Johnson and Marylee Dozier played the harp
parts to Berlioz' Symphonie Fantastique with the University
of California, Davis, Orchestra. In December
Miss Dozier performed the harp accompaniment of
Ceremony of Carols by Britten with the Vintage High
School Girls' Concert Choir in Napa, and on December
18 the harp accompaniment of Wonder Tidings
by John LaMontaine with the American River Community
College Choir, Sacramento.
Anne Cox had a busy fall season serving as principal
harpist of the California State University Symphony
Orchestra at Long Beach, performing such numbers as
Strauss' Death and Transfiguration, Respighi's Fountains
of Rome, and Ravel's Rhapsodie Espagnole. She
also appeared in the Bellflower Symphony, and in the
Lakewood Philharmonia when they performed Mahler's
Symphony No. I and Holst's The Planets. Furthermore,
she harped in the CSULB Chamber Choir, the CSULB
New Music Ensemble, and the North Long Beach
Brethren Orchestra. Anne is currently preparing to go
on tour with the CSULB Symphony and the CSULB
Symphonic Band in the Spring. She is also planning to
give two performances of Ravel's Introduction and Allegro
in April, with the Lakewood Philharmonia and the
Haydn Orchestra. In addition, Anne will be appearing
with mezzo-soprano Sally Spencer in the Spring and
with saxophonist Allen Mitts in the Fall.
During Irish Heritage Festival Week, Hope Sullivan
gave a recital of Irish airs on the Troubador, preceded
by a lecture in which she traced the history of the long
association of Ireland and the harp. The program took
place at the Bicentennial Commission Headquarters as
part of bicentennial ceremonies in Rhode Island.
Eileen Dishinger, who is currently principal harpist
of the Kansas City Philharmonic, will be returning to
Aspen this summer where she is on the faculty as well as
principal harpist of the Aspen Festival Orchestra. An
additional activity is to provide dinner music for the
American Restaurant, one of the finest in Kansas City.
Also, working in the capacity of a consultant, Ms. Dishinger
is now doing comprehensive evaluations for aspirants
of the harp who travel to Kansas City from other
parts of the midwest for this service.
Students of Lynne Palmer, Seattle Chapter, were
presented in an afternoon recital March 6. Performing
on the program were Julie Ambrose, Debbie Ayling,
Paul Baker, Robin Bennett, Debbie Ewell, Jocelyn
Scott, Alison Skerlong, Susan Stillions and Robin
Woodworth.
In December, Pamela Cohick Rants made her first
television appearance as a soloist and accompanist in
the "Stockton Chorale Christmas Television Special."
She performed the solo and several selections from
Ceremony of Carols by Britten. Her biography was
selected to appear in the 1975 and 1976 editions of
International Who's Who in Music.
During the summer of 1975, Kathleen Attanasi, Miss
Delaware of 1974, performed at the "Compass Lounge"
in Cape Cod, Massachusetts, for a ten week engagement.
During the Fall, she performed at the Shorem­
Americana Hotel and various private clubs and embassies
in Washington, D.C., such as the University
AMERICAN HARP JOURNAL

Club, Touchdown Club, British Embassy, Smithsonian
Institute, Gunston Hall, and the Sons of the American
Revolution. During the Christmas holidays she performed
Britten's Ceremony of Carols in the First Presbyterian
Church in Wilmington, Delaware. She also
performed the third movement of the Mozart Concerto
for flute and harp with the Mt. Vernon Chamber Orchestra
in Mt. Vernon, Virginia.
Winter's Sonnet, for flute, harp, and organ, written
by Janos Kiss and dedicated to The School of Fine Arts,
Willoughby, recently received its premiere performance
in a faculty concert performed by Nancy Mae Iden,
flute; James E. Hawkins, organ; Dennis Gross, harp.
Spring-at Last! written by Janos Kiss for the Mimura
Harp Ensemble of Tokyo, Japan, has been performed
during their concert tours throughout the world
and has recently been recorded on RCA Red Seal Label
along with works by other composers in an album entitled
'Music of the World by Harps.'
A major work, Ballet for Harps, written by Janos
Kiss for the Mimura Harp Ensemble, received its premiere
performance December 20, 1975, conducted by
Tsutomu Mimura at Asahi Seimei Hall in Tokyo--performed
by fifty harpists!
Libby Gruender played in the Tallahassee Renaissance
Fair in October. She was soloist for the Christmas
Eve Midnight service of the First Presbyterian Church.
Amy Finnell accompanied the choir of the First
Baptist Church of Dothan, Alabama, for their performance
of A Ceremony of Carols. She also plays with the
Capital Singers of Tallahassee, Florida.
The Florida State University Opera Company continues
to call on area harpists for their performances.
Amy Greenwald played for the November production
of Oklahoma and Margaret Semski and Judy Bailey
will play in the February performances of Strauss Die
Fledermaus. Ms. Semski also was soloist for the Women's
Chorus Christmas Vespers Program.
Karen Jackson plays with the orchestra and the handbell
choir of the First Baptist Church of Tallahassee.
Ruth Mitchell and Karen Kruglich joined with a
flutist, cellist, and violinist to play Japanese chamber
music for the East Hill Baptist Church on October 5.
Kathy Mitchell performed at the Christmas Eve midnight
service for the Tallahassee Church of the Advent.
Anna Marie Mendieta of San Francisco has been
harpist understudy to Celeste Everson in the California
Youth Symphony in the San Francisco Bay Area. The
following season she will move to first harpist with the
youth orchestra. She has also played with the St.
Ignatius High School Orchestra of San Francisco.
California State University at San Francisco presented
its annual harp department concert under the
tutelage and direction of Majorie Chauvel, Lecturer in
Music at the College, in March. A trio of harps performed
as well as the solo harpist. Those who participated
in the concert this year were Celeste Everson,
Barbara Low, Randall Wong, Bennetta Heaton and
Anne Stigall.
The Sixteenth Annual Spring Harp Concert will be
presented by Marjorie Chauvel at Cubberly Performing
Theatre in Palo Alto on May 2, 1976. Harpists from
Mrs. Chauvel's departments at Stanford University and
San Francisco State University as well as her private
studio will appear. Two sets of duo harpists will per-
SUMMER/197 6
Encore Harp Service
Worldwide Listings
Let us fist your harp for sale or for rent
Any make, size, or model
Let us put you in direct contact
with interested buyers or renters
Let us direct you to available harps
for sale or for rent
HARP SALE or RENTAL LISTING
Send: make, age, condition, serial number and price
Cost: $5.00 for three months listing
INQUIRY FOR HARP SALE
or HARP RENT AL
Monthly bulletin prepared listing available harps for sale
or for rental including addresses and full particulars
COST: $2.00 per monthly bulletin
THIS IS ONLY A CLEARING HOUSE - No sales
or rentals negotiated - No phone calls honored
For full information send for free flyer.
ENCORE HARP SERVICE
4100 Old Adobe Road
Palo Alto, Ca. 94306
Sa1111s and Carols
far two
Six easy duets
for harps
or harp and any melody
instrument
arranged by
Jane B. Weidensaul
$2.50 postpaid
WILLOW HALL PRESS
1374 ACADEMY LANE
TEANECK, N . .J. 07666
57

form. Carla Wong Gee and Toynette Wong Johnson
will appear again this year. Also a young duo of Kristin
Petersen and Katie Riley. The Persichetti Serenade
for flute and harp as well as the Debussy Sonata for
flute, harp, and viola will be played by Stanford harpists
Carol Littlefield and Mary Jane Chase. Solo harpists
will include Jane Levin, Phyllis Huie, Barbara Low,
Anna Marie Mendieta, Bennetta Heaton, Marianne
Stewart, Nancy Heine, Honey Hillman, Norma Hatfield,
Kristin Weathaford, Anne Stigall and Randall
Wong.
Marjorie Chauvel and a team of her advanced students
are in the process of researching all professional
facets of the harp. Some sixty American professional
harpists will be questioned. The data will be compiled
and published. It is Mrs. Chauvel's hope to make available
information for today's serious harp student entering
college. What opportunities are available in the
various fields and what study, knowledge and experience
are necessary to pursue them. Mrs. Chauvel
would be very happy to receive word from those who
would be interested in the material upon its completion.
Contact her at 4100 Old Adobe Road, Palo Alto, California
94306.
On November 21, Susann McDonald and Milton
Thomas, violist, performed the Bax Sonata at Hancock
Hall, USC. They have also recently recorded the work,
due for release this Spring. During 1976 Ms. McDonald
will do four Community Concert tours across the USA
and Canada, including Victorville, California on April
11. During June and July she will be concertizing in
solo recitals and as an orchestral soloist throughout
Mexico, Peru, Brazil, and Argentina.
On February 5, students of Susann McDonald and
Jane Weidensaul at Juilliard presented a memorial
concert for Marcel Grandjany at Paul Hall, Lincoln
Center. The program was comprised solely of M.
Grandjany's best known compositions and transcriptions.
Nancy Allen, Rhonda Smith, Amy Schulman,
Maritza Bolano, Gretchen Van Boesen, Grace
Paradise, Sarah Bullen, and Maria Gautreaux participated.
At the University of Arizona in Tucson on March 7,
Liza Rae Butler performed her Master's recital. On
March 4, Jo Ann Turovsky, graduate assistant to Susann
McDonald, appeared in Crowder Hall. Their students
will give a recital in Crowder Hall on May 4.
Roxanne Olshausen will give her Master's recital at
Hancock Hall, USC, on May 14.
Students of Susann McDonald at USC will appear on
May 16 at Hancock Hall. Her students at California
State University at Los Angeles will give a recital on
June 7.
After surviving the move to California last year,
Nancy Gustavson Bartlett is settled in her home in the
Los Angeles area and has resumed her private teaching.
She has just completed work on a new set of compositions
for the pedal harp featuring glissandos. These
have been published and are on sale at harp music
dealers.
Seven-year-old Naoko Yoshino performed works by
Renie, Grandjany, Zamara, and Pratt on the Young
People's Concert in Los Angeles on December 6 and
on the January 25 semester recital of the USC Community
School of Performing Arts.
58
Mary Spalding Portanova is actively engaged in
building a harp department at Pepperdine University in
Malibu. She and her students perform regularly at the
University and for the community. On April 23 she will
appear as a soloist in San Diego for the Rotary International.
Carol Baum performed as harpist with the New York
City Opera/Los Angeles Production in November. She
also participated in two premiere performances in December:
Eugene Zador's new Christmas opera Jehu,
and John La Montaine's The Nine Lessons of Christmas,
with the William Hall Chorale. On January 11 she
participated in the opening bicentennial performance of
the American Music Consort at the Mermaid Tavern.
And from February 16 to March 7 she was in her ninth
season with the American Ballet Theater, including full
length productions of Raymonda, Swan Lake, Giselle,
Petrouchka, and Les Sylphides.
Since September Lou Anne Neill has performed with
Frank Zappa, six weeks of Hello Dolly at the Schubert
Theater, and five performances of the Nutcracker Ballet.
On December 15 she participated in the Monday
Evening Concert performance of Harold Budd's Sons of
Paradise, and on March 14 at the Mermaid Tavern
she gave the West Coast premiere of Conversation Piece
by John Addison, for two singers, harp, and keyboards.
Ms. Neill will be playing throughout the bicentennial
year with the American Music Consort. In November
she gave solo recitals at UCLA and the Clark Library.
On February 8 she appeared in a Young Artists' Fund
Concert in Portland, Oregon, and will give the Scholarship
Concert in Los Angeles on April 9 at the Theatre
Vanguard.
Besides playing regularly at the Warehouse Restaurant
in Marina del Rey, De Wayne Fulton is in his
fourth year of affiliation with the American Federation
of Women's Clubs, performing over forty concerts a
year in the western USA. In December he gave a two
hour seminar on pop harp for the students of Susann
McDonald at USC. And on January 25, Mr. Fulton
gave a private recital at the home of Fess (Daniel
Boone) and Marci Parker, who are great patrons of the
harp. He will be playing the Mozart Concerto for flute
and harp with flutist Tony Brazier at Immaculate Heart
College on April 7.
Ruth Grams, Harpist-Artist-in-Residence at Whittier
College, has been giving recitals and lectures
throughout the Whittier, La Mirada, and La Habra
school systems all year. On October 25 she participated
in the faculty recital at Whittier College.
Irma Louise Clow was busy this year with a tour of
Odyssey, starring Yul Brynner. Besides eleven weeks
in Los Angeles and seven in San Francisco, she went
to Philadelphia, Toronto, Boston, Houston, Fort Worth,
and Chicago. She also performed in Camelot for seven
weeks in San Francisco. This is her twenty-fifth year as
harpist with the Los Angeles and San Francisco Light
Opera Association.
In November, Ann Stockton performed Autumn, by
Virgil Thomson, for solo harp, strings, and percussion
with the Los Angeles Chamber Orchestra, Neville
Mariner conducting. She subsequently recorded the
Thomson and other works with the orchestra on two
albums for Angel records.
The Ravel Introduction and Allegro was performed
AMERICAN HARP JOURNAL

y Lois Adele Craft at the University of Nevada on
November 23.
On February 15 the Horatio Parker cantata Hora
Novissima was performed by Dorothy Remsen at the
All Saints Episcopal Church in Pasadena. In early
March she gave a workshop on "The Freelance Harpist"
at USC. On May 8 she will appear as one of twelve
soloists at UCLA in Henri Lazarofs Chamber Concerto.
Dorothy will also perform the Raynor Brown Concertina
in Albuquerque, New Mexico, on June 24.
Wanda Crockett Jones has been actively engaged all
year in performing solo concerts for women's clubs
and private and public organizations throughout the
Southern California area, including an appearance at
Knott's Berry Farm. Her program, "My Love Affair
with the Harp," has been in great demand.
Since September, Felice Pomeranz, freshman, has
given four recitals at the University of Redlands. She
also performs regularly with the Redlands, Desert,
Riverside, and San Bernardino Symphonies.
On March 19, Monica Nichols performed the Mozart
Concerto for flute and harp with flutist Janet Laichas
at John Marshall High School in Los Angeles.
The Mozart Concerto was performed twice in December
by Duqhessa McGuffin, harp, and Marlys Marstellar,
flute, for the Glendale Philharmonic Committee
and the La Canada Presbyterian Church. Ms. McGuffin
also played selected harp solos at a Christmas concert
at the Huntington-Sheraton, Pasadena, on December 16.
Harpist Marilyn Parker, also president for the American
Indian Scholarship Fund, was selected in January
to be honored by the Los Angeles City Human Relations
Commission's Bicentennial Salute to the Women
of Los Angeles for outstanding volunteer service to the
community.
Nina Dunkel, guest harpist with The Hopewell Consort,
played a program of Medieval and Rennaisance
music in New York on March 21. The concert included
works by Machaut, Binchois, Dufay, Brumel, Dalza,
Lasso, Attaingnant, Ortiz, Obrecht, Cutting, Dowland,
Weelkes, Morley, and Cornysh.
On March 17, Donna Hossack and Paul Douglas
gave a flute and harp recital at the University of British
Columbia in Vancouver, B.C.
Gail Barber played a recital for the Contemporary
Music Symposium at Texas Tech University in January.
She was joined by Margaret Redcay, flute, and Marna
Street, viola. She continues to play with the Midland­
Odessa and Lubbock Symphonies.
During March Ms. Barber played the premiere performance
of The Shepherds, a medieval mystery play set
to music by Mary Guerrant. Gail Barber is currently
composing a new suite for harp ensemble to be performed
by the New Mexico Harp Ensemble at the Conference
in Albuquerque in June.
Jill Justice Wade, a student of Gail Barber, will play
her Junior Recital on April 11. She is harpist with the
Lawton Philharmonic.
Carol Berg and Alice Lindsey will play the Strauss
Dance of the Seven Veils with the Texas Tech University
Band during April.
SUMMER/1976
Laura Lackey and Cindy Garrett were the harpists
for the All-regional Orchestra Concert during February
in Lubbock, Texas.
Chelcy Bowles, a recent graduate of Texas Tech, will
play a recital at the Beaumont (Texas) Museum of Art
on April 22.
CHAPTER
REPORTS
Each chapter is responsible for sending a Chapter Report to
The A merirnn 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.
BOSTON
President--Susan Allen, 45 Kenwood St., Brookline,
Massachusetts 02146
The Boston Chapter held its first meeting of the 75-
76 season on September 28 at the Grace Episcopal
Church in Newton, Massachusetts. After a particularly
lively open meeting, Susan Allen, president, set the example
and performed for the membership immediately
followed by a fascinating demonstration of the Paraguayan
harp by Frank Romero.
On October 15, at the Grace Episcopal Church, Phyllis
Schlomovitz was guest of honor. She discussed her
new book on harp technique and graciously played for
the Chapter.
On October 26, the American Harp Society and the
Massachusetts Institute of Technology sponsored a recital
by Kathleen Bride at M.I.T. The details of the
presentation were worked out by the Boston AHS.
On February 14, 1976, at the Grace Episcopal
Church, Carl Swanson, vice-president, will present a
program on the maintenance and repair of the harp.
This meeting was arranged by popular request.
CONNECTICUT
President-Edith Floyd, 20 Taft St., Hamden, Connecticut.
The first meeting of the Fall took place on October
19, 1975, at the home of Caroline von Kleydorff in
Wilton. After a short business meeting, our guest, Phyllis
Schlomovitz, introduced and reviewed her book of
instruction for the young student that the publisher will
soon have ready.
At 3:00 p.m., November 15, the fall Student Recital
was held at Neighborhood Music School in New Haven.
The following members participated in Christmas
Music Activities during the Month of December: Emily
Oppenheimer, Susan Dahl Davis, Deborah Davis, Allyn
Bryson, Ray Pool, Rebecca Flannery, Lois Bannerman,
John Senior, Mary Beth Zsiga, Wendy Kerner, Edith
Floyd, Ellen Knecht and Desmond McCarthy.
59

The traditional St. Patrick's Day meeting will be
held, for the third year, at the home of Desmond and
Connie McCarthy, Sunday, March 14, at 3:00 p.m.
Our April meeting will be held at the home of
Margaret Barnett in Westport, April 25, at 3:00 p.m.
Rebecca Flannery will be our guest artist, playing a
program on her harp.
In May we have another Student Competition for
two Scholarships that we award annually. Plans will be
made for our annual Adult Concert to be given in June.
METROPOLITAN NEW YORK
In October Dorella Maiorescu appeared with a singer
in Carnegie Recital Hall; Beth Schwartz and Ray Poole
played at the Fifth Avenue Presbyterian Church; and
Phyllis Schlomovitz played a recital at Carnegie Recital
Hall and was given a fine reception by Pearl Chertok
and Georgia Vraz at the home of Miss Chertok.
In November we were visited by the lovely Anne
Adams; Nancy Allen was presented at Carnegie Recital
Hall and was very well received; Osian Ellis the British
harpist appeared a number of times, some in concert
with Peter Peers; Rhonda Smith played a graduation
recital at the Juilliard Paul Hall and was very well received;
and Kathleen Bride played most excellently
at the Recital Hall.
In December lots of people played the Ceremony of
Carols, among them Susan Goodman Jolles and Jane
Weidensaul; Assunta del' Aquila performed the Mozart
Concerto a number of times. The chapter held a meeting
at which our youngest members played for us; they were
Miss Kedeshian, Miss Marion, and Miss Jolles (age 6).
Mrs. Jolles appeared on Educational Television in a
piece by George Crumb, Ancient Voices of Children,
part of the Music Project for Television Series. Kathryn
Easter is in the pit at the hit show Shennandoah.
Eleanor Fell and Kathrine Karlsrud alternate at the
St. Regis Hotel when not entertaining on music cruises.
In January we were visited by Catherine Gotthoffer,
Ann Stockton, Susanne Balderston and Dorothy
Remsen, at the time of the concert given by Jean Pierre
Rampal and Martine Geliot. The California ladies made
a lovely reception for the visiting harpist, and all had
a lovely time.
Lucien Thomson went to Minneapolis in October to
give a class on the teaching of beginners and is due
again in March to visit the Jubal Chapter for their music
education auditions.
Mario Falcao played in Carnegie Recital Hall on
March 5. Zabeleta played in Tulley Hall on March 4.
Sarah Cogan will make the Spring tour to the Midwest
with the Yale Symphony Orchestra. The Metropolitan
New York Chapter is due to have a Spring meeting on
April 25. Our Music Education Auditions will take
place on April 3 and May 8.
LONG ISLAND
The Long Island Chapter of the American Harp
Society began its 1976 season with Music Education
Auditions held February 22 and 29 at the Bannerman
Studio. Participating were: Marlene Brown, Anastasia
Sasowski, Pamela Hollister, Rose Hochberg, Gwendolyn
Howard, Margot Neyland, Catherine Olwell and
Ellen Van Duzee. The Judges were Katherine Corkrey
and Edward Herfort.
60
Saturday afternoon, February 7, 1976, John Senior
was seen on Channel 2 with the New York Philharmonic
Orchestra under the baton of Leon Barzin playing the
Mozart Concerto for Harp and Flute with Gary
Schocker, flutist. The Concert was taped previously for
presentation both nationally and internationally.
The Annual Meeting was held the last Sunday in
April at 610 Front Street, Hempstead, in conjunction
with a reception and musicale presented by Gwendolyn
Howard, Ellen Van Duzee, Pamela Hollister and John
Senior. Some fifty members and guests attended. The
Chapter has continued its Fall and Spring adult pupil
recital parties which have been so successful.
It is with great regret that the Chapter announces the
death in November of Lillian Moor, charter member
who served the Chapter as Treasurer, as Publicity
Chairman and as Chairman of the Concert Committee.
Her daughter Martha Moor, formerly Executive Director
of the Temple University Music School is now
giving harp concerts in the Boston area. She is also an
expert calligrapher and is a contributor to the music
column of the Boston Globe.
The thirteenth annual concert for the benefit of the
Ruth Bannerman Hart music fund will be held at the
Garden City Cathedral House the last Saturday in October.
The Chapter will present the Bannerman Harp
Ensemble including: Lois Bannerman, Katherine Corkrey,
Pamela Hollister, Hana Mitacek, John Senior and
Lesley Hart Tracy. Featured will be a new Bicentennial
composition by John Senior with Lois Bannerman as
soloist.
WASHING TON, D.C.
The following officers for 197 5-7 6 were elected by
means of a mail ballot in September:
President . . . . . . . . . . . . . . . . . . . . . . Sylvia Meyer
Vice-Pres .................... Barbara Seidman
Secretary . . . . . . . . . . . . . . . . . . Deborah Dubuque
Treasurer . . . . . . . . . . . . . . . . . . . . . . Dennis Cory
The first Chapter event of the season, in November,
combined a potluck supper with attendance at a concert
of the Chamber Music Society of Lincoln Center.
The noted English artists, Osian Ellis, harpist, and
Peter Pears, tenor, were soloists in a truly distinguished
program at the Kennedy Center Concert Hall. About
fifty harpists and friends were in the large audience.
Most of them had enjoyed the pre-concert supper with
Christina Woollen, student harpist, and her father,
composer-pianist Russell Woollen, who were delightful
hosts. Society members will remember Russell
Woollen's AHS-commissioned work, Music for Harp,
Oboe ( or Flute), and Percussion, premiered at the 1970
National Conference.
Plans for additional Chapter events include a chamber
music recital at American University on February
23. Four professional members: Dotian Carter, Lois
Edwards, Alyce Rideout Reilly, and Barbara Seidman
will perform with assisting artists. A Harp Repair
Clinic has been scheduled for May 8-9 with Mr. Henning
Christiansen. The annual student recital will take
place later in the Spring.
Chapter membership has increased this season from
thirty-two to nearly sixty. The first Fall mailing-to
about one hundred persons--included a detailed questionnaire
which will be discussed at the Spring business
AMERICAN HARP JOURNAL

meeting. There was a large response to the Chapter's
first effort to include all the members in planning its
activities by means of the questionnaire.
Individual members are enjoying a busy season.
Barbara Seidman has given three performances of The
Garden of Adonis, a new work for flute and harp by
Alan Hovhaness, with flutist Barbara Dirks. Mary Freeman
Kay plays frequently with the Belair (Maryland)
Madrigal Singers as harp soloist or accompanist.
Dotian Carter, in addition to her busy National Symphony
schedule, plays regularly with the Twentieth
Century Consort and fills many independent recital
engagements. Student harpists Cheryl Taylor, Kay Kendall,
and Patti Irvin are members of their county or
school youth orchestras.
CHARLOTTE
President-Linda Booth, 3325 Donovan Place, Charlotte,
North Carolina, 28215
On June 8, 1975, the Charlotte Chapter of the
American Harp Society gave its annual Harp Ensemble
Recital. The Recital was dedicated to the memory of
Marcel Grandjany. It was held at the University of
North Carolina at Charlotte. Those taking part were
Linda Booth, Lyn Bridickas, Anita Burroughs, Ron
Canipe, Elizabeth Graham, Deborah Love, Miriam
Weiss, and Bill Van Patten. Elizabeth Graham, who is a
student at Auburn University, was guest harpist. She
and Linda Booth played the Sixth French Suite of Bach,
Gavotte by G. Martini, On Wings of Song by F. Mendelssohn,
and Spanish Dance No. 5 by E. Granados.
The combined group performed M. Grandjany's Eleanor
and Marcia, and -Sally and Dinny; Fraicheur, selected
Short Stories, and Chanson dans la Nuit by
Salzedo; Pavane, composer unknown; and Triptic
Dance by Beauchant. Windmill Sketches by Gail Barber
was accompanied by slides of scenes from the Southwest,
which were projected on a large screen behind the
harpists.
On February 14, 1976, a meeting was held at the
home of Linda Booth. The first item of business was
the election of officers, whose terms will extend over the
next two years. Linda Booth and Ron Canipe were
re-elected to their respective posts of President and
Vice-President. Karen Williams, a new member of our
Chapter, will serve as Secretary-Treasurer. Plans were
put into motion for drafting by-laws for our Chapter, as
well as the June recital of the Charlotte Harp Ensemble.
Members were encouraged to bring items to be included
in the scrapbook, which will be taken to the
Convention by our President. Mr. Oliver Rowe was
unanimously elected to Honorary Membership in the
Charlotte Chapter due to his numerous contributions to
music and musicians in our area. The Allied Arts and
Science Council of Charlotte/Mecklenburg has taken
the Charlotte Chapter of the American Harp Society
as an affiliate member of their organization. They represent
the wide range of cultural interests to be found
in this locale.
This year has found Ron Canipe performing in the
Raleigh, North Carolina, area. Anita Burroughs has
become the harpist for the Greenville, South Carolina,
Youth Symphony and plays second chair in the Greenville,
South Carolina Symphony with Linda Booth.
Bill Van Patten is now attending the Cleveland Insti-
SUMMER/1976
THE FLORIDA ST ATE UNIVERSITY
SCHOOL OF MUSIC
Tallahassee, Florida 32306
announces a
one week
WORKSHOP for HARP
conducted by
MILDRED DILLING
November 8 to November 13, 1976
Hosted by the Harp Class of
Mary Brigid Roman
MILDRED DILLING will give a Harp Recital
and a talk on the History of the Harp
Illustrated on ancient instruments
from her collection.
Saturday evening November 6 at 8:15 o'clock
at Opperman Music Hall
School of Music, Florida State University
Tickets at box office.
For further information
write to Ms. M. B. Roman
NEW RECORDING
Music for Harp and Violin
Elizabeth Roth, harp
Wolfgang Roth, violin
A first release of original compositions by
The Roth Duo.
G. Rossini ..... .. .. Andante con Variazioni
C. Saint-Saens . . ... . .... Fantaisie Op. 124
F. W. Rust ... . .. . . ... . . Sonata in A major
Henk Badings . . . . . . . . . . . . . . . . . . Cavatina
$5.98, please add 50 cents postage
W. ROTH
1620 Redcoat Dr., Charlotte, N.C. 28211
61

UCLAeXtension
ANNOUNCES
MILDRED DILLING'S
THIRTEENTH ANNUAL
MASTER CLASS
AND WORKSHOP IN HARP
SUMMER 1976
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
June 28-July 9, 1976
Fee: $80
For enrollment and credit information write:
Arts in Continuing Education
UCLA Extension
Los Angeles, CA 90024
EXCITING
NEW
STEREO
ALBUM
At UCLA
.... representing Eleanor Fell's wide range of
musical styles ... from the classical to the
popular all in her own arrangements.
SIDE I SIDE 2
Malaguena
Bouree
Besame Mucha
Donkey
Eleanor Rigby
Serenade
Autumn Leaves
Forbidden
First
Games
Arabesque
Fur Elise, Man
Satin Doll
and a Woman
Meditation
62
Available from:
$5.00
Vanderbilt Records
4 Park Ave. (11-G)
New York, N.Y. 10016
tute, and Miriam Weiss will be one of the harpists in
the upcoming opera productions at Bob Jones University.
In addition to being on the faculty of the University
of North Carolina at Charlotte, Linda Booth is
still doing the Artist-in-Residence program for the
Charlotte schools.
TALLAHASSEE
President-Mary Brigid Roman, 1318-C Charlotte
St., Tallahassee, Florida 32304
Members of the Tallahassee chapter continue to participate
in numerous activities in the community and to
travel extensively for performances elsewhere. Mary
Brigid Roman has formed a harp, flute and viola trio
with two other Florida State University faculty
members, Kari Pugh Gunderson and Dale Olsen. The
Kharmadan Trio does not advocate a stodgy atmosphere
with tuxedos and spotlights; instead, they wear colorful
folk costumes and use special lighting. In their first
concert they presented a program of Impressionistic
music and received spirited applause from the large
audience. Karen Jackson is the librarian for mentally
retarded residents at Sunland at Tallahassee; she tells
stories with harp accompaniment. The university harpists
are much in demand to play in student recitals;
there is a trend away from literature with piano accompaniment
to more innovative and individual programming
which often calls for harp.
In January Mildred Dilling gave a master class for
area harpists. She played several solo recitals as well.
The members were delighted to meet her and look forward
to her return next Fall for an extended visit when
she will present a workshop and play a recital.
On February 2 a chapter meeting was held at Amy
Finnell's house. Members greeted new harpists in Tallahassee-Ruth
Houdeshel, Sandy Kuehn, Silvia
Fink.ell, Missy Huff, Karen Kruglick, Amy Greenwald
and Amy Shreve. Mary Brigid Roman showed the new
members various harp journals and gave them a list of
dealers of harp music. Amanda Finnell played tapes
from the Seattle convention on loan from the Society's
tape library. Dr. Ramona Beard, retired organ professor
of Florida State University, described her visit
in the 1930s to the home of famous harpist Maud
Morgan (1860-1941 ). Miss Morgan was a student of
Charles Oberthur and lived in Prince's Bay, New York.
Disregarding the strict orders of her organ instructor,
Dr. Beard also studied harp and said even then "the
harp crowd were nice people." Chapter members selected
the program for the Spring recital. This year members
decided to present a harp ensemble; eighteen harps
will be used.
MOBILE
President-Cynthia Tappan
The Mobile Harp Chapter met in the home of Mrs.
Rockne Lee on January 30, 1976. New officers were
elected. They are as follows:
President: Cynthia Tappan
Vice-president: Jeanne Kearley
Second vice-president: Elizabeth Gould
Secretary-Treasurer: Thelma King
The Mobile harpists are looking forward to a concert
on February 8 of Heidi Lehwalder, harpist, and her
husband James Fields, pianist. Plans were made to en-
AMERICAN HARP JOURNAL

tertain them at a reception on February 7 in the home
of Marian Lee.
Coming concerts in the area were announced and
plans were made to attend. One of these concerts is the
Harp Ensemble of Auburn, May 16.
Terri Thames is playing the harp part in Peter Pan,
a Univer ity of South Alabama production.
Lynette Perlman will play in the district competition
of the Al abama Mu ic Teachers Association on March
20. If her grade is high enough she will then compete on
a state level. She is the first harp student to enter this
competition in Alabama and we all wish her well.
Marian Lee played in the Clara Schumann concert
in Mobile on January 26. She is playing in the Mobile
Opera Guild's production of Susannah. She will play
the trio and duo from Saint-Saens Oratorio on Palm
Sunday. In May she will play in the nationally televised
production of America's Junior Miss.
MEMPHIS
President-Betty Conaway, 1940 Central Ave.,
Memphis, Tennessee 38104
On September 30, 1975, the Memphis Chapter held
a meeting at the home of the President, Betty Conaway.
The Chapter is celebrating its tenth anniversary,
and scrapbooks of members and events were on display
. Announcement were made concerning fo rthcoming
programs of interest in thi area. Barbara Wehlan,
harpist with the Memphis Youth Symphony, performed
the first movement of the Handel Concerto.
Chapter members have enjoyed a busy season. In
addition to symphony, opera, church, and college programs,
the new Hyatt Regency Hotel has featured harp
music in the Terrace Garden Room. Chapter members
participating have been Betty Conaway, Marian Jackson
Huselton, Carolyn Mill , Frances Phillips, Barbara
Wehlan, and Linda Wilson.
Another Chapter event was the open house on December
7 for the Tennessee Society for the Preservation
of Antiquities held at the historic Fontaine House. Harp
solos were performed by Bill Butner, Heather Holmes,
Genelle Mink, Mary Abbay Sayle, and Cindy Wellman.
Agnes Crisci was in charge of arrangements.
Plans are underway for Educational Auditions to be
held later in the Spring.
NASHVILLE
President-Mary Alice Hoepfinger, 944 Sunset Drive,
Cookeville, Tennessee 38501
The First Meeting of the Nashville Chapter under its
new charter of September 1975 was held on December
6 at the Nashville apartment of its president, Mary Alice
Hoepfinger.
Chapter officer are: President- Mary Alice Hoepfinger
Vice-President- Mary Lee Armstrong (also
Chapter Representative) Secreta ry-Treasurer-Rosemary
Evans Hinman. Other Charter members are: Dana
Cooprider Nashville; Cindy Dowell, Cookeville; Nita
Pacua, Nashville; and Lilbume Theuer, Nashville.
Present membership is seventeen.
Cindy Dowell and Alfrae Johnson gave a short program,
and slides taken by Mary Lee Armstrong at the
June Conference in Minnesota were shown. We heard
Susann McDonald's recital in memory of Henriette
Renie, recorded at the 1975 Conference for the A.H.S.
SUMMER/1976
Just off the press
Two unknown Harp Concertos!
Zvonimir Ciglic ( • 1921)
CONCERTINO (ca. 13')
for Harp and String Orchestra
score and solo part HG 1104, $18.00
Franz Petrini (1744-1819)
CONCERTO NO. 4
for Harp and Chamber Orchestra
HG 961 score $30.00/solo part, $13.50
Orchestra material on hire
MUSIKVEALAG HANS GERIG (Cologne)
Sole Distributors for U.S.A./Canada
MCA Music, a division of MCA, Inc.
Melville, New York 11746
NEW PUBLICATIONS
PHYLLIS SCHLOMOVITZ'S
"Beginner's Harp Book"
Comprehensive first 2 years
for the student with no prior music
training. Many original and transcribed
pieces that sound well for recitals.
Glissando pieces for non-pedal or pedal harp.
$8.00
Also
"Four Christmas Carols"-very easy beginner
$1.25
"Four Delta Songs"-by Karl Carlson
Easy but showy glissando pieces for
pedal harp $2.50
order from
HARPRESS OF CALIFORNIA
P.O. BOX 61148
Sunnyvale, Calif.
94088
63

Tape Library. This excellent tape thrilled and inspired
everyone.
At the next meeting on February 28, the Chapter will
audition portions of upcoming senior recitals by two of
the members: Cindy Dowell of Tennessee Technological
College in Cookeville, and Alfrae Johnson of Fisk University
in Nashville.
Announcements were made of pending programs:
Mary Alice Hoepfinger, harpist with the Nashville
Symphony: the Debussy Danses, for the Ballet South, of
Memphis, and Britten's Ceremony of Carols, in Nashville;
Cindy Dowell. Saint-Saens' Christmas Oratorio,
in two Knoxville churches, and special Living Christmas
Tree services before Christmas, also in Knoxville; Dana
Cooprider, the Saint-Saens Christmas Oratorio in two
Nashville area churches, and the Nutcracker Ballet in
Murfreesboro, Tennessee.
CHICAGO
President-Mr. Ellis Schuman, 2129 W. Pierce Avenue,
Chicago, Illinois 60622
The first in a series of tributes to distinguished harpists
living in the Chicago area was presented on February
1 sponsored by the Chicago Chapter. A reception
in honor of Alberto Salvi brought together a large gathering
of musicians, friends, and former students of this
highly respected artist and teacher. Mr. Salvi, one of the
Founding Committee members of the American Harp
Society, retired several years ago after a long and impressive
career.
Slide photographs showing highlights from Mr.
Salvi's musical life preceded a musical tribute played
by Lynne Turner. Ms. Turner, 2nd harpist with the
Chicago Symphony and a former Salvi student performed
Salzedo's Theme and Variations in honor of the
occasion. Chapter President Ellis Schuman presented
a plaque to Mr. Salvi commemorating the event. Mr.
Salvi's thanks came in the form of an unexpected performance
of a quiet Dizi Etude.
ANN ARBOR
President-Rochelle Martinez-Mouilleseaux, 242
Murray, Ann Arbor, Michigan 48103
The Ann Arbor, Michigan, chapter will participate in
a harp department student recital at their home base,
the University of Michigan School of Music, February
24, 1976. The following program will be performed at
the School of Music Recital Hall: Elizabeth Panzer­
Andante allegro and Larghetto from Handel's Concerto
in b-flat; Melody Knoper-May Night by Palmgren
and Berceuse by Faure; Cathy Holtz-selections
from Marcel Grandjany's Children's Hour; Rebecca
Hess--Andantino from Mozart's Flute and Harp
Concerto; Melissa Frew-Allegro from C.P.E.
Bach's Sonata; Stephanie Pelz-Bagatelles by Dello
Joio, and Taliferre Sonata; Holly Lanning-Peschetti
Sonata, Susan Saurwein--Pastorale and Interlude
from the Debussy Sonata; Rochelle Martinez-Mouilleseaux
Introduction and Allegro by Ravel; Lin
Neimesto--Pieme's Impromptu Caprice. Ruth Dean
Clark is the head of the large harp department at the
University of Michigan.
NORTHERN MICHIGAN
President-Laura Okuniewski, 28635 Freda Court,
Madison Heights, Michigan 48071
The 1975-76 season of the Northern Michigan
Chapter began with a recital in May given by members
who are students of the lnterlochen Arts Academy. The
program was dedicated to the works of Marcel Grandjany.
In October, Alice Chalifoux came to lnterlochen to
hold Master Classes. Dinner and our meeting ended
this exciting day. The following day Janet Paulus and
Judy Sullivan, students of Miss Chalifoux and alumnae
of Interlochen, treated us to a duo-harp recital.
Our next meeting will center around a Repair Workshop
presented by Mr. Christiansen. Harpists from
around the State will be invited.
A reception honoring Alberto Salvi was given by the Chicago Chapter on February 1, 1976. From left to right are:
Lynda Plunkett, Michael Shallow, Nona Conway, Alberto Salvi, Ellis Schuman, Elizabeth Dorris and Aileen Peters.
64 AMERICAN HARP JOURNAL

MILWAUKEE
President-Linda Schottler, 7712 W. Villard Ave.,
Milwaukee, Wisconsin 53218
The Chapter met on October 15, 1975 at the home
of Linda Schottler. During the meeting, plans for a
Marcel Grandjany memorial recital, previously suggested
by Jeanne Henderson, were discussed. Kenneth
Merkel brought and displayed the beautiful troubador
harp which he built for his daughter, Sally. The tone
was excellent as demonstrated by Linda Schottler. Mr.
Merkel is now building a violin. Mary Radspinner was
elected secretary to replace Cindy Heiden who is in
California studying with Susann McDonald; and Jessica
Suchy, student of Jeanne Henderson, played the
Handel B-flat Concerto which she later performed with
the Milwaukee Civic Symphony. Refreshments were
enjoyed by all afterwards.
A second meeting was held on February I, 1976 at
the home of Louise Draeger. The Grandjany Memorial
Recital was the main topic, the date being February 22,
1976, at 3:30 p.m. at Alverno College in Milwaukee.
The order of the program, including solos, transcriptions,
and ensembles, was decided upon and the Madison
and Chicago Chapter were invited. The Milwaukee
Chapter is also sponsoring a compo ers' competition in
honor of the late Edward Aldrich, former harpist. $100
will be awarded to the Wisconsin resident who composes
the best harp solo by August 1, 197 6. A new
member, Diana Miller, was welcomed, and Mary Radspinner
performed several pieces for the group. The
gathering was brought to a close with refreshments.
MINNESOTA
After last year's 12th National Conference, interest
was run high in educational improvement of the relationships
between our own harpists and orchestral
conductors in our area. Many local musicians who attended
our concerts during the Conference were
amazed and pleased to find so much local talent available.
The result has been a sharply increased use of our
Chapter members in community, school, and college
orchestras-not to mention in church services. This is a
spin-off from the Conference that none of us anticipated
but from which all of us are benefiting. So we have
tried to do those things that will help us do a good job
within the community. One of these things is to invite
Lucien Thomson to come to Minneapolis for the Minnesota
Chapter and to Sioux Falls for the Jubal Chapter
to work with local advisors on the educational program
of playing for these people, receiving comments on the
musical aspects of that playing, trying to improve the
solos chosen and then playing them again a month
later for the local advisors. Our young people are most
excited about this project and response has been excellent.
The Chapter itself is benefiting also because
our programs are much improved-we like that-it
gives more of our young students an opportunity to play
for us.
WICHITA
President-Ann Buckheister, 5821 Clarendon, Wichita,
Ks. 67220
The Wichita Chapter entertained Ann Hobson with a
luncheon while she was in Wichita as a guest harpist
with the Wichita Symphony November 24.
SUMMER/1976
I SAW THE WILD G-EESE FLY
IIAl:lYZNt(lHI.N
G
•· ....
RHYTHM FOR HARP, a
method book containing
a unique collection of
original updated exercises
and selections by
Verlye Mills and Stella
Castelluci, distinguished
artists in TV and the
recording industry.
Two 331/J STEREO
records are included.
$15.00 + $1.00 postage.
Order from:
J. FORREST MUSIC CO.
5228 Laurel Canyon Bl.
N. Hollywood, Ca. 91607
..
j
J. FORREST MUSIC CO.
offers these two publications:
"I Saw The Wild
Geese Fly," harp solo,
by Harry Zimmerman,
musical director and arranger
in TV and films,
and "Rhythm for Harp."
I Saw The Wild Geese Fly
$1.50 + 50c postage
Order from:
J. FORREST MUSIC CO.
5228 Laurel Canyon Bl.
N. Hollywood, Ca. 91607
HARP ALBUM:
REPERTOIRE PRIMER
HARP ALBUM:
REPERTOIRE PRIMER
by M•rilyn Mauulu
and Barbara Kapl:m
tor PEDAL and NON-PEOAL harps
I
I
1#/ll
ti''
FOR HARP
~ C~CI
The best book for beginners on the harp that I have
ever seen in all my years of teaching.
- ALICE CHALIFOUX
A good addition to the harp repertoire.
- EILEEN MALONE
A much needed addition .... Use of ensemble is
especially fine.
- MARJORIE TYRE
* SPIRAL-BOUND/MORE THAN 100 PAGES
* BEGINNING BOOK FOR ALL HARPS
* 21 ENSEMBLES BEGINNING 1st LESSON
* CAN USE THROUGH ADVANCED LEVEL
PRICE: $9.95
Available wherever fine harp music is sold or from
STUDIO P/R, INC.,224 S. Lebanon St., Lebanon, IN. 46052
65

Our next meeting will be held February 28 at
Wichita State University. A program will follow the
business meeting. Several students of Sharon Hall will
perform. Mary Bickford and Ann Simonson will conclude
the program with the first movement of the
Damase Sonata for flute and harp.
Our last meeting will be sometime in May. Several
of our members are anticipating attending the AHS
National Conference this Summer in Albuquerque.
LOUISIANA
President-Barbara Belew, 4022 Wooded Drive,
Lake Charles, Louisiana 70601
The 1975-1976 year is proving to be a most exciting
one, which was opened by a September meeting
held at the home of our president, Barbara Belew, in
which we combined business, music and pleasure.
Following a report of the Minnesota conference,
brought by our president and Charles Coley, one of our
newer members, a program honoring Grandjany was
presented. Susan Coleman, James "Bubba" Walters
and Lori Mosing played Dancing Lambs, and Chronis
Sofras, a former Grandjany student, played several
Renaissance Spanish works by Cabezon and Palero and
Nadermann's Sonatine No. 2.
We have welcomed nine new members this year, including
Lisa Bustle, Valerie Fuller, Marvin Gaspard,
Cara Harmon, Dolly Hawthorne, John Huber, Jane
Regan, Cliff Seiber and John Singleton, and have been
pleased to have Christine Barbour return to us after a
year as a touring vocalist with the Louisiana Foundation
Singers.
Since we have lost only a few members, we feel strong
at our current membership of twenty-five national
members, along with our six hardy souls who are family
members. These are Joseph Barbour, Bob and Betty
Coleman, Mary Singleton, Pamela Sofras and Jimmie
Ussery.
Our president entertained us with a well-attended
"casual party" in December which featured informal
harping by almost everyone and a feast of silent films
brought by chapter member Nowell Daste, as well as the
inevitable edibles.
Although illness struck us, the small group in attendance
at our January meeting enjoyed hearing some of
our youngest and newest members play for us; included
in the day's program were Charles Coley, Valerie Fuller
and Cara Harmon. We also worked on plans for a
March program, to be open to the public.
Ten national and family members, with some guests,
were able to attend one of Nicanor Zabaleta's February
performances in Houston, Texas, when he performed
the Ginastera Concerto for Harp with the Houston
Symphony; we were treated royally by members of the
San Jacinto Chapter and enjoyed our visit immensely.
Our March meeting, which will be in the form of a
public recital, our second such endeavor, is our Bicentennial
project, in which we will be assisted by the
McNeese State University Chapter of Sigma Alpha Iota.
We will feature two area composers, MSU faculty
member Dr. Robert Jordahl and Chapter member
Charles Libbey, on a program which is totally American
except for one French work (by Debussy) in keeping
with Louisiana's French heritage.
Our performers will include the Louisiana State Uni-
66
versity Dance Theater group, headed by family member
Pamela Sofras, the SAi Singers of MSU, cellist Edward
Steiner of the McNeese faculty, "Bubba" Walters on
flute, harpists Barbara Belew, Susan Coleman, Maryce
Pickering and Chronis Sofras, and LSU instrumentalists,
including harpist Becky Adams, who will be heard
by tape recording.
Of course, our next big project will be to work toward
a sizable delegation to send to the New Mexico Conference.
SAN JACINTO
President-Patricia John, 1414 Milford Ave., Houston,
Texas 77006
The San Jacinto Chapter of the American Harp
Society opened its 1975-1976 season on October 12,
1975, with a drive for new members, by presenting
John Hastings, harpist, as guest soloist in a program
which ranged from Bochsa through Spohr, Toumier,
Albeniz, Turina, Halffter and Renie. Mr. Hastings was
not only guest artist, but also acted as our host in his
beautiful home. Camaraderie after the program was
heightened by delectable food-the miniature pizzas on
rye bread were a great success, and the peacocks in
the garden were admired by everyone.
Patricia John, Louise Lantz Trotter and John Hastings
were presented by the chapter on November 16,
197 5 at the Museum of Fine Arts, Brown Auditorium,
Houston, Texas, in a program open and free to the
public. Each artist played a group of numbers. Mr.
Hastings played Albeniz and Toumier, Mrs. Trotter a
group of romantic harp pieces, and Miss John played
her own compositions, including her latest, A Time of
Snow.
The December 7, 1975 meeting of the chapter at the
Southwest Fondren II Clubhouse, Houston, Texas, was
a joyous occasion with a program of harp music for the
non-pedal harp. The beautiful small Fondren Clubhouse
with comfortable easy chairs, a fireplace and
picture windows was a delightful setting for the six
small non-pedal harps which "came to the party." First
on the program, in deference to our coming American
Bicentennial Year, was a picturesque group of young
people in colonial costume. Miss Jay Wing was the
harpist who accompanied her sister, Miss Flinta Wing,
who sang, and her brother, Trey Wing, who played the
drum. Shannon Williams and Guinndolyn Harris each
gave a group of solo numbers. Cheryl Eglestone (bells),
Christie King (autoharp), Julie Collins and Cynthia
Cooper played ensemble numbers. Martha Gay gave a
short talk and demonstration on her clarsach which
she brought back with her on her return from England
this year. A Christmas party waited for us after the
program at the new home of Louise Lantz Trotter with
a roaring fire in the fireplace, candles, cups of punch
and delicious small individual fruitcakes, baked by our
party chairman Barbara Harris and her daughter,
Guinndolyn.
The San Jacinto Chapter issued a monthly newsletter
this year to all of its members to keep them informed on
matters at a national and local level relevant to the
Chapter.
Nicanor Zabaleta was honored at a champagne reception
by the chapter in the home of one of its members,
Mrs. James P. Griffith, on February 6, 1976,
AMERICAN HARP JOURNAL

during his visit to Houston when he appeared as soloist
with the Houston Symphony Orchestra. It was a brilliant
occasion with many out-of-town guests, including
Zabaleta's beautiful wife, Graciela, who had just flown
in from Spain that afternoon. Other guests included
the Spanish Consul and his wife, Senor and Senora
Erik Martel, Mr. and Mrs. William V. Whittington of
Washington, D.C., Mrs. Nancy Ruth Weart of Albuquerque,
New Mexico, who is chairman for the
coming American Harp Society's Conference, Miss
Barbara Belew, Southern Regional Director for the
American Harp Society, who brought ten other harpists
with her from Louisiana, Helen Horton of Alvin, Texas,
former president of the former Houston Chapter,
Estelle Herrington of Dallas, and Rafael Rudd of New
York City. The Houston Chronicle, February 10, did a
feature article on the event with photographs of Senor
and Senora Zabaleta and Guinndolyn Harris playing
for Zabaleta. Harpists who played during the evening
informally for the guests were Louise Lantz Trotter,
Estelle Herrington of Dallas, Maryce R. Pickering of
Lafayette, Louisiana, Guinndolyn Harris and Shannon
Williams.
Future plans for the chapter include the presentation
of Jo Ann Turovsky, winner of the 197 5 Young
Professional Division of the competition of the American
Harp Society, on May 16, 1976, under the auspices
of the San Jacinto Chapter and the Young Audiences
Fund of the American Harp Society at the Houston
Museum of Fine Arts, Brown Auditorium, Houston,
Texas. April 11, 197 6, the San Jacinto Chapter will
present its second program open to the public and free
of charge at the Museum of Fine Arts, Brown Auditorium,
Houston, Texas. Soloists will include Patricia
John, Louise Lantz Trotter, John Hastings, Cynthia
Cooper, Shannon Williams and Guinndolyn Harris.
The annual business and luncheon meeting of the
Chapter is to be held on April 24, 1976.
DALLAS
President--Julia Louise Herrmann, 6734 Mimosa Lane,
Dallas, Texas 75230
The Dallas Chapter held its annual student recital
on May 10, 1975, at the Whittle Music Company recital
hall . At that time, newly elected officers for the
coming year were presented: Julia Louise Herrmann,
President; Elaine Johnson, First Vice-President, Elizabeth
Klein, Second Vice-President; Vesta de Aumente,
Secretary; Virginia Klein, Treasurer; and Edna
McClintock, Historian.
On May 17, 1975, David S. Williams, of Dallas,
auditioned as required for the Young Professional Division
of the American Harp Society National Contest.
After his performance, President Martha Goldthorn
entertained David, his teacher, Charles Kleinsteuber,
and Mrs. Kleinsteuber, the Judges and officers at brunch
at Brookhaven Country Club.
At the opening meeting of the Fall 1975 season,
September 4, 197 5, the Dallas Chapter was very proud
to present recent Eastman School of Music graduate
and Ruth Lorraine Close Award winner, Mary Emily
Mitchell, of Dallas, in recital, in the Caruth Auditorium
on the Southern Methodist University campus. Mary
Emily's mother, Laura Harris Mitchell, assisted her at
the piano in the Ginastera Concerto accompaniment
and afterward held a reception in her honor.
SUMMER/1976
CALIFORNIA INSTITUTE OF
THE ARTS
24 700 McBean Parkway
Valencia, CA 91355
Bachelor of Fine Arts
Master of Fine Arts
Scholarships Available
CA THERINE GOTTHOFFER
Instruction in Harp
BOWLING GREEN
STATE UNIVERSITY
SCHOOL OF MUSIC
Bowling Green, Ohio 43403
Harp major and minor studies
Solo, orchestral and chamber performance
Harp ensemble
Scholarships available
B.A., B.M., M.M.
Harp Instruction by
RUTH K. INGLEFIELD
Now available from your dealer:
SPARKLERS
by NANCY GUSTAVSON
solos for pedal harp
featuring the glissando
Cloud Patterns and Sunny Skies (easy) . . . . . . . . . . .80
Gram's Lullaby (int) . . . . . . . . . . . . . . . . . . . . . . . . . .80
The Dancing Imp (int.) . . . . . . . . . . . . . . . . . . . . . . . .80
Great Day (adv.) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.50
HARP KEY CHAIN OR
PENDANT ON
GOLD CHAIN
$4.25 postpaid
Approx. size 2½" x 4"
THE DULCIMER
129 Chesterfield St.
Aiken, S.C. 29801
67

A concert in memory of Marcel Grandjany was presented
in the Whittle Music Company auditorium on
November 13, 1975, at 7:30 p.m. At this memorial concert,
members and their pupils performed works by
Marcel Grandjany.
On February 3, 1976, at the home of Julia Louise
Herrmann, Mrs. Nancy Ruth Weart of the New Mexico
Chapter met with members of the Dallas Chapter who
plan to attend the Annual Conference in June, and discussed
plans for the Conference.
On February 15, 1976, we will honor Henning
Christiansen of Lyon-Healy with a luncheon at Brookhaven
Country Club, and on May 15, 1976, we will
present our annual student recital at Whittle Music
Company.
NEW MEXICO
President-Dr. William Grabowski, College of Santa
Fe, St. Michael's Drive, Santa Fe, New Mexico 87501
On January 31, 1976, New Mexico Chapter members
and "Friends of Chapter" met for a business meeting
at the home of Nancy Ruth Weart. Purpose of the
meeting was to coordinate plans of various committees
for the 1976 June conference to be held in Albuquerque.
New Mexico Chapter members expressed appreciation
to Nancy Ruth for many hours of work spent in arranging
for the 13th Annual Conference to be held in
New Mexico. Nancy Ruth expressed thanks to "Friends
of Chapter" who are helping with the conference.
In addition to these duties, Nancy Ruth found time
to play harp in orchestra for "Kiss Me, Kate," a Light
Opera Production produced over the Christmas holidays;
was harp accompanist for "Amahl and the Night
Visitor"; harp soloist in "Hanging of Greens" program
at First Methodist Church. In November, Nancy Ruth
played with the Roswell Symphony and in March,
Randy Field and Nancy Ruth played harp in orchestra
with the Albuquerque Light Opera Production of
"1776."
Dr. William Grabowski was harpist in Los Alamos
Light Opera production of "1776" from December 6-
13; harpist for Los Alamos Choral Society, Dave Brubeck's
"A Light in the Wilderness," January 18-19;
soloist, Christmas Festival, St. Francis auditorium,
Fine Arts Museum, Santa Fe; he will be harpist for Los
Alamos Sinfonietta Bicentennial Festival of New Mexico
Composers, May 15.
Sylvia Giomi has returned to University of New Mexico
and is performing with Fine Arts Students Club
during January and February. Carla Scaletti is continuing
as harpist for Albuquerque Symphony Orchestra.
Welcome to new members Sally Ballenger Wood,
Susan Davis and Laura Smithburg.
PHOENIX
President-Karen Miller, 1500 W. 8th St., Mesa,
Arizona 85201
The Phoenix Chapter met at the home of Lucile
White on October 19, 1975. The President appointed a
committee to prepare by-laws for the chapter. The program
at the meeting was a change from our usual program
given by members performing. It consisted of
following musical scores as we listened to recordings.
Our November 11 meeting opened with the program.
The following harpists played: Jana Rae Thompson,
68
Mary Bouley, Lucile White, Karen Crandall, and
Wendy Tamis on flute, with Ester McLaughlin accompanying
her on the harp.
We are looking forward with pleasure to having Jo
Ann Turovsky perform in Phoenix on March 21, 197 6.
May 9, 1976, is the date set for our annual Spring
recital at Arizona State University.
Tips on harp etiquette and the harp in the orchestra
were given by Ester McLaughlin, with a discussion
period following her presentation.
The Chapter met on January 19, 1976. The meeting
was devoted to music composed, arranged, or transcribed
by Marcel Grandjany. Performing were
Matthew Versluis, Ester McLaughlin, Karen Miller,
and Lucile White. Our President, Karen Miller, read
portions of Anne Adams' tribute to Marcel Grandjany
that appeared in the Journal.
We are looking forward to the Conference in Albuquerque
in June.
The next chapter meeting will be held on Feb. 22,
1976. Members are going to play their own compositions
or arrangements.
TUCSON
President-Rebecca Reinhard, 3855 Calle Fernando,
Tucson, Arizona 85716.
The Sahuaro Chapter's first meeting of the Fall season
was held at the home of Rebecca Reinhard. New
officers chosen are: President, Rebecca Reinhard; Vicepresident,
Patricia Adams Harris; Secretary, Bonny
Brady. Patricia Harris and other members related their
experiences at the National Conference held this summer.
The chapter has volunteered its services for the
next conference. At this first meeting, Rebecca Reinhard
played a recording of the 1975 All-State Orchestra
program. It was decided that Chapter meetings would
be held every two months.
The second meeting was held at the home of Laura
Porter. Students of Patricia Adams Harris gave a preview
of some of the music that would be performed in
the recital coming up in December. Mark Engles played
Berceuse, Lament, and Nocturne; Rebecca Reinhard
played the first movement of Handel's Concerto in B­
flat Major, Naderman's Soruita in C Minor, and The
Fountain by Zabel. Jo Ann Turovsky told about two
California harp concerts she attended. The chapter is
looking forward to another meeting very soon.
LOS ANGELES
President-.Janet Leigh-Taylor, 5356 La Mirada Ave.,
Los Angeles, California 90029
Our season began on September 28 with a concert
by Mary Spalding Portanova, playing compositions by
William Grant Still, and Atsuko Yoshino and 7-yearold
Naoko Yoshino, performing works by Grandjany
and Tournier.
November was a very busy month. Josef Molnar gave
a Scholarship Concert on November 7 at the Los Feliz
Methodist Church. The Christmas Boutique was held on
November 23. De Wayne Fulton premiered Galliard,
a new work for solo harp by Michael Amorosi, then
was assisted by baritone Steve Osborn in works from
their new album for voice and harp. To further augment
the November harp scene, British harpist, Osian
Ellis, and Dubliner, Derek Bell, played at UCLA on the
AMERICAN HARP JOURNAL

same night in different auditoriums! Mr. Ellis then presented
a private concert at the home of Dr. Victor
Burner on November 24. We sponsored a Young People's
Recital on December 6. And on January 25, after
our regular meeting, Jennifer Lentz and Hye-Yun
Chung performed solos by Prokofiev, Watkins, and
Krenek. When Nicanor Zabaleta played at Royce Hall
on January 3 1, the local Chapter held a reception for
him afterwards. Planned for the remainder of the season
are two more meeting-concerts on March 28 and May
16. A second Scholarship Concert will be given by Lou
Anne Neill on April 9 at the Theatre Vanguard.
BAY AREA
President-Marcella De Cray, 30 Commonwealth Avenue,
San Francisco, California 94118.
In March, our annual Young People's Recital was
presented in the auditorium of Calvary Presbyterian
Church, San Francisco, by 15 students whose teachers
are chapter members. The participants were: Debbie
Hurst, Sharee Jenkins, Lisa Pease, Ann Brown, Nanette
Johnson, Francie Redinger, Darlene Jenkins, Gillian
Benet, Michelyn Russell, Carol Coe, Bliss Berry, Laurie
Dick, Mary Alice MacElroy, Laura Muribus, Melissa
Muribus, Lynn Gruver and Teriesa Tyler. Mildred
Dilling, the special guest, told us of some of her early
experiences in San Francisco.
Phyllis Schlomovitz was chairman of the Fifth National
Competition at the Bay Area level. There were
participants in three categories. The local competition
was held at the Music and Arts Institute in San
Francisco.
At the last meeting of the 1974-75 year, Elaine Sue
Humphreys played Handel's Concerto in B-ftat, Prokofiev's
Piece for Harp, Chavez' Invention II I.
The officers, elected by ballot, include:
First Vice President-Natalie Cox
Second Vice President-Roberta Peek
Secretary-Carolyn Drady
Corresponding Secretary-Michael Cole
Treasurer-Florence Gordon
The September meeting featured St. Saens' Fantasie
for Violin and Harp and transcriptions of early guitar
and lute music, together with a contemporary piece for
koto transcribed for harp. Harpists Natalie Cox and
Marcia Ham performed.
In November, the Chapter sponsored a concert by
Josef Molnar at the San Francisco Jewish Community
Center.
The November meeting focused on a demonstration
of Irish Harps, made by Jay Witcher of Santa Rosa,
Ca., to exact specifications authenticated in books on
music history. Some of the instruments were wirestrung.
A replica of a Baroque French hooked harp was also
played. In conclusion, there was a performance by the
Irish band, "The Celtic Tradition," which consists of
Irish harp, flute, fiddle, Northumbrian bagpipe and
Pennywhistle.
In January we had a champagne dinner for Nicanor
Zabaleta, featured soloist with the San Francisco
Symphony.
February's business meeting was followed by a
program of solos played by Elaine Humphreys and
Clint Venable.
Our annual Young Peoples' Recital was presented
*Need Good Gut Strings--We have them ..
FINE IRISH GUT STRINGS
SCHUBERT BRAND
* QUALITY - We guarantee all our
strings against manufactured defects.
Replacements made.
* SERVICE - Your Order shipped
the same day received by First
Class or Air Mail.
* DISCOUNT- 10% Discount on
Solid ylon Strings.
* PLEA E - Write tor Free Catalogue.
Send 'Ad' in with order-$1 Off
Keene Musical String Company
Box 54 1311-157 Street
Whitestone, New York 11357 Tel: (212) 767-8372
House of Quality and Service
NORA JOAN CLARK
Agent for
CELTIC and RENAISSANCE HARPS
NORA JOAN CLARK
1099 N.W. 167th St.
Seattle, Wash. 98177
(206) 542-2450
MUSIC FOR THE HARP
by
ROMAN RYTERBAND
SONATA BREVE* for Violin and Harp ($4.00)
DEUX SONNETS* for Contralto or Mezzo-Soprano,
Flute and Harp ($4.50)
SONATA for Two Flutes and Harp/4 movs., can be
presented individually/($6.00)
TWO DESERT SCENES for Flute and Harp ($4.00)
TWO IMAGES for Harp solo ($3.50)
•included in the Orion LP album "Chamber Music
of Roman Ryterband", Cat. No. ORS 74167
Prices include parts, add $1.00 postage & handling
Order directly from the composer:
Roman Ryterband
1073 Buena Vista Dr.
Palm Springs, Calif. 92262
(714) 327-6990
Write:
FOR SALE
TRAILER FOR HARP
Attaches to car
Built especially to transport a harp
on the highway
MRS. ROGER DURLING
P.O. Box 67
Ailey, Georgia 30410
Phone (912) 583-2228
SUMMER/1976
69

March 21 in the auditorium of Calvary Presbyterian
Church. Twenty young harpists performed.
The final meeting of the season took place in May
with a program provided by several members.
SEATTLE
President-Toby Langen, 1850 N. 53rd, Seattle, Washington
98125
The Seattle Chapter held its holiday meeting on December
13 at the Wedgewood United Presbyterian
Church. After a short business meeting a program was
given by young harpists, members of the Seattle Chapter
or students of members of the Chapter. The following
young harpists performed: Linda Dockhom, Colleen
Clarke, Stacey Shultz, Jeanna Weber, Bryndis Jonsson,
Laurie Martin, Bronn Journey, Kathy Hutchison,
Debbie Shintaken, Mane Mascoe, Joanne McIntosh,
Larissa Little, Andrea Michelson, Juliet Olezewski,
Julie Ferries. Christmas Carols were sung and accompanied
by a young group of string players and harp
directed by Mrs. Patricia Jeager. The Seattle Chapter
held its winter meeting on February 7 at the Wedgewood
United Presbyterian Church. Mrs. Joan Clark
presented an interesting lecture demonstration on the
Irish Harp. She performed on a replica of the ancient
wire string harp, the Irish Quinn Harp, the Clark Harp
and the Salvi Celtic harp.
The Seattle Chapter will sponsor the Music Education
Program auditions for students. The first phase of
the auditions will be held March 13 and the second
phase will be held on April 24.
PORTLAND
President-Marion Fouse 2125 NW Everett, Portland,
Oregon, 97210
Colette Jones has returned to the harp world. Born
and trained in France, Colette came to the West Coast
with her husband and family. She has taken up her harp
again after a career of motherhood. She is harpist with
the R. A. Long Orchestra and making solo appearances.
We have a new harpist in our midst, Elaine Seely.
Coming from Los Angeles she has joined us here and is
TEACHERS'
New England
SUSAN ALLEN, B.F.A.
45 Kenwood Street
Brookline, Mass. 02146
Phone: 617-738-8044
Graduate, California Institute of the Arts
ELIZABETH T. DAHL, B.M., Eastman
University of Vermont Music Dept.
Burlington, Vt. 05401 656-3040
SALLY ELLIOTT, B.M.
Community Music Center-Boston Center for the Arts
539 Tremont St., Boston, Mass. 02116
Phone: (617) 482-7494
PHYLLIS WRIGHT, B.M., Eastman
193 Stoner Drive, West Hartford, Connecticut 06107
Phone: (203) 521-3765
Faculty: Hartt College of Music
NELLIE ZIMMER
21 Regent Circle, Brookline, Mass. 02146
Phone: (617)-731-2545.
70
giving several recitals in the area and is hostess for the
Spring meeting. At Christmas she did Britton's Ceremony
of Carols at Lewis and Clark College.
Lou Ann Neil was presented in a recital at the
Forestry Center of an exciting combination of early and
20th century music; Ms Neil performed very well on her
recital.
Ann Gustavson performed at the Children's Mass
and Christmas Mass at Our Lady of the Lake Church.
Ruth Bonaparte has done work in these musicals:
King and I, A Little Night Music, and / 776.
Mary Teresa Gray and her father Michael Gray performed
a flute and harp duo of Christmas carols at their
church.
Peg Paulson and Kay Creighton also gave Christmas
programs for their churches.
Maria Cassalles has done solos for the McLaughlin
Symphony Auxiliary and her church at Christmas. Currently
she is doing the Bicentenial musical / Love
Music given by the Multnomah Bible College. She will
be doing a harp demonstration at a Bicentenial cultural
program at Mt. Pleasant School.
Jarn Nine joined her students in a harp ensemble
for the Freedom Train showing. This train is part of the
Bicentenial traveling history program. Another performance
took place at City Hall. She is also the harpist
for the Marylhurst/Portland State Symphony.
VANCOUVER
President-Wendy M. Humphreys, 3807 West 4th
Avenue, Vancouver, B.C., Canada V6R 1P8
The Vancouver Chapter has increased its membership
from 11 members in 1975 to 35 in 1976. We hold
four to five meetings a year which have included recitals
by our own members and a display/workshop/talk by
Mr. Tim Holbrough, a local harp maker.
We are most interested in communicating with nearby
Chapters, i.e., 3 or 4 of our members will be playing at a
meeting of the Victoria Chapter and it is hoped that this
visit will be reversed in the near future. Our aim for
197 6 is to interest more young players and non-harpists
in joining the Society. We have also elected Mrs. Rose
Rally as our first Honorary Member.
DIRECTORY
New York
MARION M. BANNERMAN
610 Front Street; Phone: 516 IV9-7560
Hempstead, N.Y. 11550
MARIETTA BITTER
167 East 71 St.
New York N.Y. 10021 Phone: 212-879-9444
SALVATORE MARIO DE STEFANO
Studio: 180 West 58th St., N.Y., N.Y. 10019
Phone: Circle 7-2835
MASTER CLASSES AND HARP REPERTOIRE
MILDRED DILLING (private & classes)
400 E. 52nd St., Apt. 9F
New York, N.Y. 10022 Tel: 212-PL3-2492
Workshop N.Y. Studio Oct. 18, Nov. 15, Dec. 13,
Jan. 10, Feb. 14, Mar. 27, Apr. 10, May 15, June 12
13th Annual Master Class and Workshop UCLA,
June 28 to July 9, 1976.
AMERICAN HARP JOURNAL

MARJORIE HARTZELL, B. M., Eastman
10 Glenwood Street, Albany, N.Y. 12203
Phone: (518 489-2071
Private Lessons; Faculty: SUNY at Albany
URSULA KWASNICKA, B.M., M.M.
106 Edtim Rd., Syracuse, N.Y., 13206 Tel. (315) 463-6034
Principal Harpist: Syracuse Symphony Orchestra
Faculty: Ithaca College School of Music
GAIL RUPERT L VONS, B.M., M.M.
4194 St. John Drive, Syracuse, N.Y. 13215
Phone: (315) 488-0744
Assoc. Prof.: Onondaga Community College
Faculty: Syracuse University
SUSANN McDONALD (limited private teaching)
Faculty, The Julliard School
Lincoln Center
New York, New York
LUCIEN THOMSON
105 W. 11th Street, New York, N.Y. 10011
Phone: (212) ORegon 5-1278
Faculty: New York University
Mid Atlantic
DOROTHY R. KNAUSS
2953 Alton Ave., Allentown, Pa. 18103
Solo Harpist: Allentown Symphony, Allentown
Symphonic Band, Municipal Opera
MARIE MELLMAN NAUGLE
Route No. I St. Thomas, PA. 17252
228 Yale Street, Harrisburg, PA. 17104
c/o Edith Sills (717) 234-0567
LEONE PAULSON
74 Ralston Avenue, South Orange, New Jersey 07079
Phone: (201) 762-9095
CECILE CEO SIEBEN, B.M., M.M.
2203 Browns Lane, Oxon Hill, Md. 20022
Phone: (301) 248-1017
Principal Harpist: Roanoke Symphony
Fulbright Scholar, Rome, Italy, 1961-62
Private Instruction, Pedal and Troubadour Harp-Home Studio
North Central
LEE ANN ANDERSON, B.M., M.M.
Univ. of Michigan
Kent State University, School of Music
Kent, Ohio 44240 (216) 672-2172, 673-3318
LYNNE ADAIR ASPNES, B.F.A.
Faculty: Augsberg College; McPhail Center Performing Arts
4324 Drew Avenue S., Minneapolis, Minn. 55410
Concert and Troubadour Harp Instruction
JILL BAILIFF
1880 Glenwood Rd. Ann Arbor Mich. 48104
Faculty: Eastern Mich. Univ. Private Studio
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
School of Music, Indiana University
Bloomington, Indiana 47401
Phones: (812) 337-9733 or 339-9440
LAURA ERB
24443 Hilliard Blvd., Westlake
Cleveland, Ohio 44145 Phone: (216) 871-1812
JOHNESCOSA
913 Hamilton Avenue, Ft. Wayne, Indiana 46806
Telephone: (219) 456-7777
Private teaching---0ff-tour (summers) only
BERNICE F. GRUBB
School of Music, De Pauw University
Greencastle, Ind. 46135 (317) 653-4750, 653-9721
DOROTHY DREGALLA HENSCHEN
1001 Overlook Drive, Alliance, Ohio 44601
Faculty, Mount Union College, Alliance, Ohio
Akron Symphony Orchestra, Akron, Ohio
Canton Symphony Orchestra, Canton, Ohio
Kenley Players, Warren, Ohio
GLADYS HUBNER
5725 Clinton Ave. Minneapolis, Minn. 55419
Phone: 869-8960
Macalester College, St. Paul, Minn.
SUMMER/1976
RUTH K. INGLEFIELD, Ph.D., Premier Prix, Paris Cons.
Bowling Green State Univ. School of Music
Phone: (419) 352-2721
LUCILE H. JENNINGS, A.B., B.M., M.A.
School of Music, Ohio University, Athens, Ohio 45701
Phone: (614) 593-3769 or 594-5587
MARIE LUDWIG
525 W. Oakdale Ave., Apt. 302
Chicago, Illinois 60657-Phone: (312) LA 5-1538
FRANCES G. MILLER
4324 Drew Avenue S., Minneapolis, Minn.
Phone: (612) 926-1749
Faculty: University of Minnesota
St. Olaf College, Northfield, Minn.
University of Wisconsin at Eau Claire
BEVERLY MYROW, B.A.
464 Lakewood, Park Forest, Ill., 60466
Phone: (312) 748-1785
ROSLYN RENSCH, M.M., M.A., Ph.D.
Professor of Humanities, Teacher of Harp
Indiana State University, Terre Haute, Indiana 47809.
Author of The Harp, its History, T(~chnique and Repertoire
(Praeger Pub., New York, I 969; Duckworth, London, 1969).
DOLORES R. STEW ART
240 N. Flake St. Palatine, Ill. 60067
Phone: 312-358-6415
LINDA I. WELLBAUM, B.M., B.S. in Mus. Ed.
2401 Van Lear St. Cincinnati, Ohio 45219
Faculty: College-Conservatory of Univ. of Cincinnati
2nd harpist Cincinnati Symphony Orchestra
Studio Phone: 475-2453; Home Phone: 721-6981
MARGARET BUEHLER WHITE
School of Music, Indiana University, Bloomington, Ind. 47401
Phones (812) 332-3991 and 337-1918
Southeastern
LINDA BOOTH, B.M., M.A.
3325 Donovan Place
Charlotte, North Carolina 28215
Faculty: University of North Carolina at Charlotte
Artist-in-Residence Charlotte Mecklenburg Schools
MARILYN SCHIEWE MARZUKI, B.M., M.M.
11103 19th Street, Tampa, Florida 33612
Phone: (813) 971-1211
Faculty: Univ. of South Florida, Manatee Jr. College
First Harpist: Fla. Gulf Coast Symphony; Fla. West Coast Symphony
Author of Harp A/hum: Repertoire Primer
MARJORIE TYRE, B.M., Artists Diploma, Curtis Inst.
Prof. of Music, Auburn Univ.-Major Harp, B.M. and M.M.
Sewanee Summer Music Center, Tennessee
Home Studio: 712 Brenda Avenue, Auburn, Alabama 36830
Phone: (205) 887-9001
MARGARET WEYMANN
947 Sumner Ave., N. Chas. S. Car. 29406
Phone: 803 744-6549
CLEMENTINE WHITE, B.M., M.M.
Associate Prof. of Music, University of Florida
Gainesville 32611. Phones: (904) 372-7168, 392-6677
Harp Dept. Faculty: National Music Camp,
Interlochen, Mich. 49643.
MARIFRED ZIEMBA
1024 Universal Dr., Columbia, S.C, 29209
Phone: 803 776-6091
Southern
JOAN HARRISON CEO
982 Celia Lane, Lexington, Ky. 40504
Faculty: Asbury College
Home Studio Phone: (606)-278-1306
RUTH COBB
Southwestern Dept. of Music, 669 University
Memphis, Tn. 38107 (901) 276-2674
ADINE B. BRADLEY
123 R Street
Salt Lake City, Utah 84103
Midwest
71

SUZANN YOUNG DAVIDS, B.M., Oberlin, M.A., M.F.A.
2732 South Fillmore Street, Denver, CO., 80210 757-4402
Faculty: Colorado State University, Ft. Collins, CO.
University of Denver, Denver, CO.
University of Northern Colorado, Greely, CO.
University of Wyoming, Laramie, Wyoming
Private and Class Instruction
EILEEN DISHINGER, B.M., Univ. of Redlands
3627 Gillham Rd., Kansas City, Mo. 64111
(816) 531-7708, Principal Harpist KC Philharmonic
Aspen Festival Orch Faculty; Aspen Music Festival
SHARON J. HALL, B.M.E.
1725 S. Fairlawn, Topeka, Kansas 66604 Ph. 272-9059
Applied Instructor, Harp, Wichita State University
Harpist: Wichita Symphony
MARGARET LING, M. MUS.
Professor of Harp-Univ. of Kansas
Lawrence, Kansas 66044
Professor of Harp-Conservatory of Music
Kansas City, Mo. 64111
DIANA-MARIE REED
14055 Foothill Circle, Golden, Colorado 80401
Private and Class Instruction Phone: 303 279-4758
GERALDINE SHANKS WRIGHT
5008 E. Morris, Wichita, Ks. 67218 Phone: 686-1770
Harpist-Friends University Community Orch. Hillside Christian
Church
Southwest
MARY K. ALEXANDER, B.M., Eastman
3221 Cumberland Ave., Waco, Texas 76707
Faculty: Baylor University, Waco, Texas 76703
GAIL G. BARBER, B.M., Eastman
3210 56th St., Lubbock, Tx. 79413 (806) 795-5116
Faculty: Texas Tech University, Lubbock, Tx.
JULIA LOUISE HERRMANN
6734 Mimosa Lane, Dallas, Texas 75230
Phone: 363-1186
Principal Harpist, Dallas Symphony
Instructor, Southern Methodist University, Dallas
PATRICIA JOHN
1414 Milford Avenue, Houston, Tx. 70006 (713) 524-9717
Composer, THE PANTILE PRESS of New York City
CHARLES KLEINSTEUBER
School of Music, North Texas State University
Denton, Texas 76203-Phone: (817) 497-3529
BEA TRICE SCHROEDER ROSE
School of Music, University of Houston
Houston, Texas Phone: (713) 461-7808
Principal Harpist, Houston Symphony
GENEVIEVE DUFFY WINKENBACH B.M., M.S.
1302 W. Wabash St.
Enid, Okla. 73701 Phone (405) 237-4608
West
ALICE LAWSON ABER, B.A. Minnesota, M.A. ('75)
P.O. Box 972-42 Winship Avenue, Ross, California 94957
Instructor of Harp: Dominican College, San Dominico School
Home Studio, Pedal Harp and Irish/Troubador Harp
Harp Publications, Owner; Phone: (415) 456-0143
SUZANNE BALDERSTON
2030 Malcolm Ave., Los Angeles, Ca. 90025
Faculties: Cal State Northridge
Music Academy of the West
Private teaching: (213) 474-2103, 451-4000
MARYJANE BARTON, B.M.
Santa Barbara, California Phone (805) 967-2261
Graduate of the Curtis Institute of Music under Carlos Salzedo
PEGGY BROWN
5534 Kingswood Drive, Citrus Heights, CA 95610
Principal Harpist Camellia Symphony Orchestra
Sacramento SymplJony School Troubadour harp demonstrations
(sponsored by Musicians Union, local 12)
Teacher, Sacramento Music Center & San Juan Unified School
District Creative & Performings Arts Center, '75, '76
MARJORIE CALL
Phone: (213) 877-7638
3895 Berry Dr., No. Hollywood, Calif. 91604
Faculty: Univ. of Redlands, UCLA, Calif. State
University at Long Beach. Limited home teaching.
MARJORIE CHAUVEL
4100 Old Adobe Road
Palo Al to, Ca. 94306 ( 415) 493-45 I 9
Le~turer in Music: CSU San Francisco, Stanford Un.
Cons. of Music UOP, Peninsula Cons., College of Notre Dame,
Home Studio
72
NORA JOAN CLARK, B.S., B.A.
1099 N.W. 167th St., Seattle, Wash. 98177
Phone: (206) 542-2450 Irish Harp Specialist
MARCELLA De CRAY
30 Commonwealth Avenue
San Francisco, Calif. 94118 (415) 751-5300
Faculty: San Francisco Conservatory of Music
MARYLEE DOZIER, B.M. Eastman, M.A.
4449 Fair Oaks Blvd., Sacramento, California 95825
Phone: (916) 489-1612
Faculties: Calif. State University, Sacramento
Cons. of Music, UOP, Stockton
GRACE WEYMER FOLLET
405 Camino San Clemente
San Clemente, Ca. 92672 Phone: (714) 492-2047
Former Head of Harp Dept., Syracuse University
CATHERINE GOTTHOFFER
Juilliard School of Music, Diploma in Harp
43748 N. Waddington Ave.
Lancaster, Ca. 93534 (805) 948-1967
Faculty: Calif. Institute of the Arts
CLAUDIA GRINSTEAD, B.A.
3190 San Pasqual Street, Pasadena, California 91107
Telephone: 795-3890
Faculty: Eubanks Conservatory, Los Angeles, California
JULIE GUSTAVSON
2928 Leta Ln., Sacramento CA 95821
Teaching: Sacramento, Stockton, Davis.
GERTRUDE PETERSON HUSTANA
1037 Jamacha Rd., El Cajon, Calif. 92020
B.S., Teachers College, Columbia Univ.
Harp Instruction: San Diego State University
Home Studio-444-2074
SISTER VIRGINIA JOSEPH, B.M., M.M.
529 West 4th St., Oxnard, Ca. 93030
Phone: (805) 483-7535
JANET LEIGH-TAYLOR
5356 La Mirada Ave., Hollywood, Calif. 90029
Phone: (213) 469-2315
SUSANN McDONALD
504 South Catalina Avenue
Pasadena, California 91106 (213) 681-1611
Faculty, USC, Cal. State Univ., L.A., Univ. of Arizona
VICKI McMASTER
4360 Rolfe Road, San Diego, California, (714) 272-5102
Harp and Piano Lessons
Music for Weddings, Parties,
and Special Occasions
MARY SPALDING PORTANOV A, B.M., M.M.
13741 Romany Drive, Pacific Palisades, CA 90272
Faculty: Pepperdine University, Malibu, CA 90265
HARP STUDIO OF PHYLLIS SCHLOMOVITZ
1682 Hamilton Ave.
Palo Alto, Ca. 94303
415-328-0468
BETH ZELENSKI, B.M.
2818 Sykes Ct., Santa Clara, Ca. 95051
Faculty: San Jose State Univ., Home Studio
Canada
LAN ALEE de KANT, B. M., Eastman
2128 West 21st Avenue, Vancouver, B.C., V6L IJ3
Phone: (604) 733-6675
DONNA HOSSACK
3993 West 21st Avenue, Vancouver, B.C. V6S IH7, Canada
Phone: (604) 228-8897
Faculty: University of British Columbia
Faculty: Community Music School of Greater Vancouver.
Foreign
TINA BONIFACIO
46 Flanders Road, London W 4 ING England
Phone: 994-5037
Mme. SOLANGE RENIE-SIGURET
(Niece of Henriette Renie-continuing Renie School)
39 Rue Boissonade, 75014 Paris, France-Tel. 326-5895 -
AMERICAN HARP JOURNAL