AHJ, Vol. 5 No. 3, Summer 1976

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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
Page 2 and 3: The world's leading harpmaker The m
Page 4 and 5: THE AMERICAN HARP JOURNAL The Offic
Page 6 and 7: that in the modern harpsichord, by
Page 8 and 9: 6 ferent editions (as indicated by
Page 10 and 11: Jefferson in a letter to his daught
Page 12 and 13: &nmp~ouu 8'ortrtg llullrttu It stir
Page 16 and 17: Orleans, and Pittsburgh. The duplic
Page 18 and 19: eing ordered. I asked him to please
Page 20 and 21: music director of the Kansas City P
Page 22 and 23: SPECIAL MEMBERSHIPS In June, 1970,
Page 24 and 25: the mixture of harmonies, and the l
Page 26 and 27: NEW RECORDINGS Please send all info
Page 28 and 29: for his wife. Further, Tristram was
Page 30 and 31: A NOTE OF APPRECIATION I have been
Page 32 and 33: AMERICAN HARP SOCIETY, INC. THIRTEE
Page 34 and 35: 10:00 AM 10:30 AM 12 :30 PM 1:00 PM
Page 36 and 37: PRIVATE CAR: North-South Interstate
Page 38 and 39: FOOD SERVICE: Cafeteria style at La
Page 40 and 41: HARPWEEK-1976 Phia Berghout announc
Page 42 and 43: 40 compositions for harp by PATRICI
Page 44 and 45: International Harpweek 1975 by Patr
Page 46 and 47: 44 THE CHRISTMAS HARPIST by Marilyn
Page 48 and 49: ursts of sound with isolated fragme
Page 50 and 51: we stopped to see the three stones
Page 52 and 53: Century Club and for the American A
Page 54 and 55: has written a new major work for th
Page 56 and 57: Stephanie Curcio has performed Wond
Page 58 and 59: Schlomovitz's home; and Pamela Stut
Page 60 and 61: form. Carla Wong Gee and Toynette W
Page 62 and 63: The traditional St. Patrick's Day m
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UCLAeXtension ANNOUNCES MILDRED DIL
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Tape Library. This excellent tape t
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Our next meeting will be held Febru
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A concert in memory of Marcel Grand
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March 21 in the auditorium of Calva
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SUZANN YOUNG DAVIDS, B.M., Oberlin,
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AHJ, Vol. 5 No. 3, Summer 1976

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