AHJ, Vol. 7 No. 1, Summer 1979

You Have The Right To Demand
The Finest Instrument in the World
Expert Craftsmen
Immediate Availability
Professionals Who Understand Your Problems
Service And Maintenance By Skilled Technicians
Fully Stocked Showrooms
Prompt Courteous Service
That Extra Caring
It's No Wonder That
Is
The World's Leading Harpmaker
When You Put Your Name On Something It's Got To Be Good
1995 Broadway, Suite 800
New York, New York 10023
(212) 787-3930
1830 Fourteenth Street
Santa Monica, California 90404
(213) 450-1890

The American Harp Journal
Vol. 7, No. 1, Summer, 1979
Editor: GAIL BARBER
P. 0. Box 5588, Beaumont, Texas 77706
(713) 866-0204; 866-2374
After June 1st, 1979
Editor: JANE WEIDENSAUL
1374 Academy Lane, Teaneck, New Jersey 07666
(201) 836-8909
Production Manager: CHARLES JENSEN
187 West Palisades Ave., Englewood, N.J. 17631
Editorial Advisor: GRACE FOLLET
Editorial Staff: ANN RIDINGS, CATHERINE
GOTTHOFFER
Editorial Board: ANNE ADAMS, MARCELLA
DECRAY, MARIO FALCAO, GRACE FOL­
LET, LILLIAN MACEDO, $YL VIA MEYER,
ROSLYN RENSCH-ERBES, ANN STOCKTON,
PA TRICIA WOOSTER
Advertising Manager: NINA DUNKEL
AMERICAN HARP SOCIETY, INC.
Marcel Grandjany, Chairman of the
Founding Committee
BOARD OF DIRECTORS
Officers: Ann Mason Stockton, President; Roslyn
Rensch-Erbes, Vice President; Patricia Wooster,
Vice President; Lillian Macedo, Secretary; Marcella
DeCray, Treasurer.
Chairman of the Board: Mario Falcao
Regional Directors: Barbara Belew, Southern;
Kathleen Bride, Midatlantic; Marcella DeCray,
Western; Lucile Jennings, Midcentral; Margaret
Ling, Midwestern; Frances G. Miller, Northcentral;
Louisa Pappoutsakis, New England;
Mary Brigid Roman, Southeastern; Suzanne
Thomas, New York; Nancy Ruth Weart, Southwestern;
Patricia Wooster, Northwestern.
CONTENTS
2. General Information
2. Membership Form
3. Eileen Malone - Sally Maxwell
6. Scholarly Consensus Johann Baptist Krumpholtz, A Brief
Biography - Rosalie R. Pratt
8. Krumpholtz: A Bibliography of Works for Harp - Jane B.
Weidensaul
10. Holliger's Sequenzen uber Johannes 1:32: A Brief Analysis and
Study Guide - Linda Warren
12. Change of Editor
12. Marcel Grandjany Fund
13. Misprint Corner
14. Business and the Creative Arts - Alan B. Coleman
17. Statement of Policy
19. Let Us Get Acquainted With Our Composers - Pearl Chertok
21. Special Memberships
23. A First! - Marilyn Marzuki
25. Minutes
26. Obituaries: A. Z. Propes - Marie Korchinska, Pearl Chertok
27. Dr. Hans Joachim Zingel - Roslyn Rensch Erbes
29. Carolos Salzedo Film
31. The Irish Harp - Part III - Nora Joan Clark
40. 16th National Conference
45. Conference Registration Form
47. Conference Exhibitor's Form
48. Sketches of New Music - Marion Bannerman
49. College Harp Instruction - Roslyn Rensch Erbes
61. People and Places - Catherine Gotthoffer
65. Concert Calendar
66. Chapter Activities
74. Young Artists Fund
77. Teachers' Directory
Directors-at-Large: Anne Adams, Doris Calkins,
Pearl Chertok, Grace Follet, Eileen Malone,
Marilyn Marzuki, Ester McLaughlin, Sylvia
Meyer.
PAST PRESIDENTS
Lucile Lawrence, 1962-66; Lucien Thomson,
1966-68; Catherine Gotthoffer, 1968-70; Suzanne
Balderston, 1970-72; Catherine Gotthoffer 1972-76.
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, 1979 by The American Harp Society,
Inc. Entered as Third Class Material at the United
States Post Office, Beaumont, Texas. Permit
Number 192. Printed by Becker Printing Company.
COVER: An original work by John Richards of New York. A
gift to Don Henry from Alfred Stein of England.
See p. 2 for subscription and advertising information and
copy deadlines.
SUMMER/ 1979

THE AMERICAN HARP JOURNAL
The Official Publication of the American Harp Society, Inc.
SUBSCRIPTION RATES:
LIBRARIES:
Two issues per year: $6.00
Send all library subscriptions to:
Jane Weidensaul, Editor
137 4 Academy Lane
Teaneck, N.J. 07666
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:
ARTICLES, PEOPLE AND PLACES,
CHAPTER NEWS, CONCERT CALENDAR,
TEACHERS' DIRECTORY:
Submit to:
Jane Weidensaul, Editor
1374 Academy Lane
Teaneck, N.J. 07666
Phone (201) 836-8909
COPY DEADLINES:
(for articles, People and Places, Chapter News, etc.)
September 15th for the Winter issue
February 15th for the Summer issue
September 15th for the Winter issue
February 15th for the Summer issue
CHANGE OF ADDRESS NOTICES:
Send to: Mrs. Dorothy Remsen, Office Manager
6331 Quebec Drive
Hollywood, CA 90068
TEACHERS' DIRECTORY:
Three-line listing of Name, Address, Phone: $10.00
with no alterations, for two issues.
Sample listing:
Sally Lou Doe, B.M., M.M .
2100 Market St., Middle City, New York 10023
Ph. HO3-2200
Each additional line of 50 characters per line: $2.00
per line, with no alterations, for two issues.
Send all Teachers' Directory material to the Editor.
FEES FOR ADVERTISING AND FOR TEACHERS' DIRECTORY LISTINGS ARE PAY­
ABLE IN ADVANCE.
Make all checks payable to:
!!7k~~Y~Yno.
TO: AMERICAN HARP SOCIETY, INC.
P. 0. Box 38334, Los Angeles, California 90038
MEMBERSHIP FORM
I would like to join. Enclosed is my check for __________ annual (Oct. I-Sept. 30) dues in the
AMERICAN HARP SOCIETY, INC. (Tax Deductible)
NAME
ADDRESS
lf'leas~ print)
CITY STATE ZIP CODE
D Please check if you are interested in joining a chapter
in your area.
□ Student Member
(21 years old or younger)
D Regular Member
0 Contributing Member
D Sustaining Member
D Sponsor
D Patron
0 BENEFACTOR
0 LIFE MEMBER
$ 8.00
$10.00
$20.00
$35.00
$50.00
$100.00
$1000.00
or more
$300,00
2
AMERICAN HARP JOURNAL

ETT,EEN MALONE
EASTMAN SCHOOL OF MUSIC
BY Sally Maxwell
NOTE: This is the first of a series of articles which
will try to familiarize students and teachers with the major
schools of music in this country. In this article we
will discuss various aspects of the Eastman School of
Music of the University of Rochester in Rochester, New
York, including an interview with the harp professor,
Eileen Malone.
The following statement by Linda Warren seems to
reflect the feeling of many other harp students at the
Eastman School who find the atmosphere both
stimulating and friendiy: "I find it very enriching to be
surrounded by musicians. There are 600 students at
Eastman, including graduate students. It's a very intense
atmosphere, but not pressured or competitive. It is
a thriving musical environment."
Within this environment, there are many opportunities
for harp students to perform at Eastman. Outside
of the numerous solo recitals during the year, there
are two orchestras and many ensemble groups: the
Eastman Philharmonia, the Eastman School Symphony,
ensembles in chamber music, jazz, contemporary
music, the opera and the composers' forums.
Just this year the Eastman Woodwind Ensemble toured
Japan and the Far East, taking a harp student with
them. Harp students also have many opportunities in
the community itself, and with various orchestras in the
state of New York.
Most students have their own harps, although the
school does have several harps. The good news for harp
students is that Eastman has locked practice rooms just
for harps, and that the school physical plant will move
harps for rehearsals and recitals that take place during
the day.
Numerous scholarships are awarded each year to
talented students who show great promise. There also
are other sources of financial aid. The degrees offered in
the area of harp performance are: Bachelor of Music,
Master of Music and Doctor of Musical Arts.
Harp students thinking of going to Eastman should
be interested in the suggested audition repertoire for
prospective freshmen: an ~tude selected from Bochsa­
Martenot, Op. 62 or Op. 34, or a sonatina by Naderman.
Also suggested are: pieces of the grade of difficulty
of F;erie by Tournier, Introspection by Salzedo,
Children's Hour by Grandjany or Largo from Violin
Sonata No. 5 by Bach-Grandjany.
Within the recently remodeled buildings of the school
there are classrooms, practice rooms, rehearsal halls
and four concert halls with excellent acoustics, seating
from 65 to 3100 people. The school is a ten minute walk
from the residence halls, and is located near the University
of Rochester where Eastman students may take
classes or take advantage of the athletic and medical
Eileen Malone
SUMMER/ 1979
3

*
*
*
* *
facilities. There are shuttle buses to both the residence
halls and to the University of Rochester.
The Eastman School is justly proud of its distinguished
faculty in all areas of music and also of the Sibley
Music Library, which has the largest collection of
musical books, recordings, and scores and documents in
the Western Hemisphere.
For many years, the Eastman School of Music has
been recognized both nationally and internationally as
an outstanding school of music. Robert Freeman, director
of the school, states: "There is a remarkable community
here of practicing artists. Some are designated
faculty, and others, students, but in a broader sense we
are all students of music, an art which, as musicians, we
will all go on studying for the rest of our lives."
* *
* *
*
For harpists, the facilities, atmosphere and faculty
are only a part of what makes a school. Most important,
of course, is the person with whom the student spends
the most time: the harp teacher. From a recent interview,
the following is an attempt to show something
about Eileen Malone: the harpist, the teacher and the
person.
Miss Malone was born to play the harp. Her father
had decided that if he had a musical child, that child
would play the harp. "When I was born, he said, 'It's a
girl, her name is Eileen and she's going to play the
harp!' So it seemed that my future had been planned,
and I am happy that his dream could become a reality.''
*
*
Her father bought her a Clark Irish harp when she was
about eight years old, and her career was born.
She began study with Lucile Johnson Rosenbloom
who then was teaching at the Eastman School where
Miss Malone later received her degree. Miss Malone also
studied with Marcel Tournier in France and then with
Marcel Grandjany in New York.
After her study, she returned to Rochester where she
played second harp in the Rochester Philharmonic with
her teacher, gave solo concerts and recitals, played for
the radio and later for television. "We played for five
radio programs a week, local and national. That was the
period when the harp played a prominent part in the introduction
of pieces and in between pieces during narration.
I think the art of modulation on the harp was born
during that period.''
When the harp position opened at the Eastman
School, Dr. Howard Hanson asked Miss Malone to
head the harp department, and the manager of the
Philharmonic asked her to play principal harp. In the
course of her orchestral career, she has played all of the
major works for harp and many new compositions
under such conductors as Iturbi, Leinsdorf, Monteaux,
Metropolis, Bernstein, Reiner, Kripps, Solti, Hanson
and presently Zinman. "Memories of many interesting
things come to mind. An exciting experience for me was
playing with the New York Philharmonic. I was first
harpist for one of their concerts on tour. Metropolis was
conducting and I played such pieces as Don Juan, Prokofieff
Symphony and The Three-Cornered Hat,
without a rehearsal."
ll
Eastman School of Music
4
AMERICAN HARP JOURNAL

In recent years, she has on four occasions served as
judge for the International Harp Competition in Israel,
and numerous times for the National Harp Competition
of the American Harp Society. She was made Musician
of the Year by Mu Phi Epsilon and was on the founding
committees for both the International Harp Association
and the American Harp Society. Miss Malone continues
to contribute to the American Harp Society as a
member of the board of directors.
Her life has been filled with great diversity in the field
of performing in addition to her teaching. "I have had
opportunities to go elsewhere, especially to New York
and California, but the greatest opportunities and
challenges seem to have been here in Rochester and at
the Eastman School.''
One of Miss Malone's greatest interests has been her
teaching. "I like teaching; the Eastman School is one of
the best in the world, and it attracts the finest talent.
The challenge to develop this talent is close to my heart.
It is not only a challenge to develop first-class musicians
and harpists, but also to develop the student as a person.''
For students entering the collegiate department of the
Eastman School, "They have to be able to play . .. "
(see suggested audition repertoire). Because of the orchestras
and ensembles there, the student has to "have
enough ability to play in an orchestra.'' They should expect
to practice at least four hours a day. "Many
students do not know how to practice. Knowing how to
work and practice is one of the most important steps in
making progress. Some people have to be taught the art
of practicing." Also, Miss Malone thinks students
should learn to memorize. "Sometimes in the orchestra,
you have to memorize a difficult passage quickly.
Everyone should learn the discipline of memorization."
To study at Eastman, Miss Malone does not believe
that a student must come from a background in any certain
method. "I don't believe there is that much distinction
between the methods. The basic principles of playing
are the same. Good finger action and relaxation are,
for the most part, the same in all methods.
She uses etudes to develop technique, but only according
to the needs of the student. "Every pupil has individuality
and you have to recognize and devleop that
individuality so that he can express something of
himself in his playing which is one of the very important
ingredients in performance.''
Miss Malone works to develop not only good harpists
but good musicians as well. "My feeling is that you
develop a musician and a harpist at the same time.
When I start a pupil, I start them with the idea of sound
and listening. If they play a scale, it should be with a
good sound, as if it were a piece."
Upon graduation from Eastman, Miss Malone thinks
that students should know the basic repertoire for harp
such as: Handel Concerto in B b, Mozart, Concerto for
Flute and Harp, Debussy Danses, Ravel Introduction
and Allegro, Faur~ Impromptu and works by Grandjany,
Salzedo, Tournier, and others, along with many
of the contemporary works for harp. Since the repertoire
of the harp has expanded, she feels the harpist
often does not have time to learn everything, so must
choose among a number of good works. The Eastman
graduate should also know the major orchestral parts
and. c_~d_e nz~,s in ? rder to be p repared fo r job
poss1b1ht1es. Expenence also plays a big role in being
able to secure a position. Students at the school are able
to acquire that in many fields."
"l_ have always felt that the music program in the
public sch?ols was very in ensitive to the harp. A with
the other instruments, the harp is a mem ber of the orchestra.
Too often the piano has been substituted for
the harp, so that young students in the schools are not
acquainted with the sound of the harp. Therefore I
think having a harp program in the public schools i; a
~ery i~portant project.'' Miss Malone herself has spent
time m establishing such programs in Rochester with
great success. Not only have talented young harp
students evolved, but also the harp gained acceptance
among other music students, teachers and composers.
Another one of her accomplishments in this field was to
establish a "Harp Methods" class in the music education
curriculum at the Eastman School.
Miss Malone thinks that the harpist of today must be
very versatile. He must be flexible enough to step in and
do just about anything. As for general background, "I
would say that the harpist of today has to be equipped
with more than just harp. For security in the future, I
try to encourage my students to pursue such areas as
theory, history of music or a foreign language so they
might be prepared to teach other courses at a college in
addition to playing or teaching the harp. Not too many
colleges are able to support a full-time harp teacher as
there are not enough students playing the harp to make
a full-time position. One must be able to teach
something else to use as a stepping stone to open the
door of the harp world.''
She endeavors to have each student leave Eastman as
an excellent harpist, musician and as a well developed
person who is ready to assume his position in the world.
Many of Miss Malone's former students have had
positions in major orchestras such as the Minneapolis,
Pittsburgh, Buffalo, Washington, Indianapolis,
Houston and Seattle Symphonies, they have won prizes
in the National Harp Competitions, the International
Harp Competitions, Fullbright Awards for study of
harp, and many have started harp departments in colleges
around the country.
Because of her talent and dedication, Eileen Malone
has made great contributions to the harp. But in addition
to her high standards of performance and teaching,
it is her quality of human understanding which makes
her so successful in the field.
"The harp has been the most dominant feature in my
life. If you are successful in anything, you must be
dedicated. It was never any chore for me to be
dedicated. I enjoyed it and liked it."
Acknowledgements: Eileen Malone, Linda Warren,
Margery Fitts and the Eastman School of Music, 26
Gibbs Street, Rochester, New York 14604.
SUMMER/1979
5

.Jane B. Weidensaul
Haydn. 2 However, this writer has found no documentary
evidence to support this theory. Matthias Haydn
was a wheelwright by trade and references to his avocational
skills as a harpist may be apocryphal.
Another widely spread statement made by William
Grattan Flood 3 claims that Krumpholtz was a friend of
Beethoven. This is highly doubtful since Beethoven was
only twenty years old when Krumpholtz died. What is
far more likely is that Krumpholtz was known to
Beethoven through the latter's close friendship with
Wenzel Krumpholtz, a younger brother of the harpist.•
Krumpholtz was associated with Haydn from August
1773 to March 1776; during this period he played the
harp in Prince Esterhazy's chamber orchestra. s Just
prior to his appointment in the ensemble, the Wiener
Diarium of 1772 gave notice of a concert at the Burg
Theater and also included advertising by Krumpholtz
for students on the pedal harp. 6
6
I am pleased to introduce Rosalie Rebollo Pratt as
guest writer for this summer issue. Professor Pratt is a
graduate of Manhattanville College, the Pius XII Institute
of Fine Arts (Florence, Italy), and Columbia
University where she received the Doctor of Education
degree in 1976. Her harp studies were conducted with
Mildred Dilling and Marcel Grandjany in this country,
and with Maria Luisa Gianuzzi in Italy. Her doctoral
research took her to the British Museum in London,
where she located the music library of Fanny Krumpholtz,
assumed to be the daughter of J. B. Krumpholtz.
A long interest in 18th century music has led to
the recording of a solo album of music by Haydn and
Mozart (Golden Crest) by our author, and to a number
of appearances at Lincoln Center and Cooper Union in
works of Mozart and Krumpholtz.
Professor Pratt has concertized extensively in the
metropolitan area of New York, and serves on the faculty
of Montclair State College where she is director of
the Montclair State College Harp Ensemble.
JOHANN BAPTIST KRUMPHOLTZ:
A Brief Biography
by Rosalie Rebollo Pratt
Johann Baptist Krumpholtz was born in Zlonice,
Czechoslovakia in 1745. He died in Paris in 1790, having
committed suicide by drowning himself in the Seine.
The son of a bandmaster, Krumpholtz grew up in Paris,
where he received his musical education largely from his
father's instruction. 1
Research into Krumpholtz's background as a young
harpist reveals little about early instruction on the inc
strument. Roslyn Rensch states that Krumpholtz learned
to play the harp as a result of studying with Matthias
18th Century Hooked Harp
Krumpholtz received instruction in music composition
from Joseph Haydn; his lessons with Haydn took
place during his tenure in the Esterhazy orchestra. As a
harpist he was respected in Germany, having toured in
Leipzig, Dresden, Frankfurt and Coblenz directly after
his Esterhazy years. Fetis su'ggests that his meeting with
Anna Maria Steckler occurred in Metz, her place of
birth. 7 There is misinformation in this citation, as well
as in both the Grove's and Flood entries. These sources
claim that the young lady's name was Meyer. However,
first editions clearly indicate that Krumpholtz dedicated
works to "Madame Son Epouse, ci-devant Steckler."
Volume 7 of Die Musik in Geschichte und Gegenwart
verifies this by listing the lady in question as Steckler,
born in 1755 in Metz and having died in London in
1824. 8 It states further that Krumpholtz instructed
Fraulein van Steckler on the harp and then married her
in 1780. 9
In France, Krumpholtz was sought after both as a virtuoso
and a composer for the instrument. He designed
two extra pedals for the harp, one which acted as a swell
AMERICAN HARP JOURNAL

pedal and the other which acted as a muting device.
From this, he went on to develop his own symbols for
altering the sound production of the instrument.
Although considered a great virtuoso in Europe,
Krumpholtz was surpassed by his wife who received acclaim
as the greatest harpist of the day. Their marriage
lasted only eight years, after which time she eloped to
London with another man. Mme. Krumpholtz made her
London debut in 1788 and received warm notices, including
the statement that she made her instrument
sound like an Aeolian Harp. Her concert career appears
to have been active from 1790 to 1800 in London, where
she was very much in demand both as soloist and corecitalist
with Dussek. After 1803 there is no more mention
of her concertizing and it is probable that she
retired from an active career. 10
Krumpholtz's place as a composer for harp has not
been clearly established. Grove's Dictionary emphasizes
his role both as teacher and designer, the latter role
referred to in a letter written by the Academie in 1787 to
Krumpholtz, complimenting him on the improvements
made on the instrument. 11 Willi Apel dismisses Krumpholtz
as a composer by citing " ... an artistically rather
inferior repertory of solo pieces for the harp beginning
. . . with the compositions of J. B. Krumpholtz
(1745-1790) and M. M. de Marin (1769-1861)." 12 This
value judgment does not coincide with references from
other reputable sources which disagree with Apel. F~tis,
for example, praised Krumpholtz highly:
An original genius, a deep feeling for harmony,
and unexpected modulations are noticed in the music
of Krumpholtz, and despite the time which has gone
by since it appeared, the variations of taste, and the
improvements made on the harp, it would still be
considered excellent if it had not been scattered for a
half-century, and if it had not become quite scarce.''
As Fetis points out in the above citation, the scattering
of the corpus of music by Krumpholtz and the difficulty
in obtaining copies of his works may account for
the lack of knowledge of and interest in this music.
William Grattan Flood states: "However, it is as a
writer for his instrument that we wish to arrest the
reader's attention." 14
The Larousse Encyclopedia of Music (1971 English
Language Edition) gives a very positive endorsement:
"In twelve preludes Krumpholtz summed up the technique
of the instrument, adding to the developments of
his predecessors the discreet use of enharmonic notes,
which allowed the instrument more flexibility in
modulation, for Hochbruker's harp could only be used
in the keys most usual in the 18th century." 1 5 In his
review of a harp recital given on February 29, 1972,
Robert Sherman, New York Times critic, praised one of
the Opus 14 sonatas of Krumpholtz: " .... a charming
sonata by the 18th century harpist and composer,
Johann Baptist Krumpholtz .... The twelve minute
sonata . . . . listed as a New York premiere, was a
delight, going its thoroughly predictable way in a
thoroughly ingratiating fashion . . . . '' Citations such
as these suggest that the works of Krumpholtz should be
made available to the harp teacher and student for their
SUMMER/ 1979
evaluation and use.
The works of J. B. Krumpholtz are primarily for the
harp, either as a solo instrument or with ensemble.
There are several works for voice and also for voice and
harp. 1 • These works do not have opus numbers and are
described by the RISM entry as being related to the subject
matter of popular novels of the day.
The compositions of Krumpholtz available to this
writer are contained in a body of music comprising the
18 known opera for harp. In addition to these 18 opera,
there are quartets, duos, airs and transcriptions for harp
and a concerto in F for piano or harpsichord. All of
these works are without opus numbers.
Krumpholtz combined the qualities of performer,
composer and teacher. Works such as any one of the six
concerti or two simphonies for harp illustrate his flair
for technically demanding harp writing. Yet Opp. 8, 12,
13 and 14 are clearly intended for the developing harpist.
The gradation of difficulty is clearly in sequence
and obviously conceived by an experienced teacher.
Opus 14 is a collection of 4 sonatas which represent very
sophisticated devices and techniques in harp writing of
this period. Sonata no. 4, Op. 4, is such an example.
As a designer of the harp, Krumpholtz was preoccupied
with perfecting the instrument. In I 720 the
Bavarian lutenist, Hochbrucker, had devised a
mechanism which literally lifted the harp from its
primitive status as a folk instrument into the realm of an
instrument which had possibilities for more complex
systems of music. The arpa doppia of Italy had been a
cumbersome affair with a dual stringboard which proved
entirely too complicated for practical use.
Hochbrucker conceived the idea of a pedal system connected
through the pillar of the instrument to a system
of hooks which moved against the strings of the harp
and thus altered the sound by a semitone. This single action
mechanism is attributed to him although Mme. de
Genlis claimed it to be the invention of the Brothers
Gaiffre. 11 Hochbrucker' s first attempt produced five
pedals only; a Lithuanian gentleman by the name of
Oginski added the extra two pedals and brought the
system up to the number of pedals now in use. Krumpholtz
worked with Naderman and finally succeeded in
having the latter produce a harp to his specifications.
The new design added two more pedals, the first of
which increased or diminished the sound of the strings
by opening a series of wooden shutters, and the second
of which placed a dampening mechanism on the strings.
In 1787, the new instrument was presented.in Paris and
the citation from the Academie des Sciences is given at
the beginning of Opus 13: "Ces differentes decouvertes
ont ete approuvee par 1 Academie Royale des Sciences le
21 Novembre 1787 ...." The citation, in addition to
approving the new instrument, offers congratulations to
Mme. Krumpholtz for her superior talent in performing
works written by her husband. The statement closes
with a word about the success of M. Krumpholtz's invention.
In 1785 Krumpholtz tried out the idea of a soundintensification
device, or swell pedal. He used a sliding
piece of wood placed at the rear of the harp body. By
7

sliding the wood up and down, the string sound was
either increased or decreased. In 1786 Naderman took
Krumpholtz's idea and implemented it as a series of
doors at the square openings of the rear body frame. A
pedal placed at the bottom center of the harp caused the
doors to open and close.
The "Sourdine" was a muting device, controlled by
another pedal which was located on the left side o( the
harp. This pedal was connected to two rods which ran
parallel to each other on either side of the center strip of
the harp. The center strip, located on the sound board,
is the section from which the harp strings come through
and on up to the tuning pins in the neck of the harp.
Krumpholtz designed his pedal mechanism in the
following manner:
1. A long cord ran between each string, moving
crosswise between both rods and attached at the top
of the kneeblock to a spring and, at the bottom, to
another spring.
2. Between both these rods and connected to the
cord there were pieces of leaJher.
3. With the motion of the pedal the entire ladderlike
structure moved, causing the leather-tipped
cords to press upon each string and dampen it.
Veq' little is known about the circumstances of
Krumpholtz's suicide except that it was clearly an act of
desperation. His wife had, by his own admission, surpassed
him as a concert harpist. Her continued infidelities
finally proved too much for him to bear. He
was only 45 years old when he drowned himself in the
Seine. 18
:fortunately for the harp world, Krumpholtz remained
a teacher to the very last months before his death. He
gave instruction on the harp to a young student by the
name of Plane. When Krumpholtz died, Plane recognized
the legacy which needed only gathering and
publishing. He performed this task shortly after Krumpholtz
died and called the work Principes Pour la Harpe.
The Principes is a concise method for playing the harp
and gives specific exercises and technical data for
developing skills. Short models and examples are offered,
together with brief but clear explanations of
methodology. It must be remembered that the organization
of the material is the work of Plane. His intent was
to give sequence to his teacher's ideas and he assures the
reader that he has remained faithful to his master's
technique.
• • • • • • * * • • * •
A further installment on the Principes of Plane is
planned.-JW
3
W. H. Grattan Flood, The Story of the Harp (New
York: Charles Scribner's Sons, 1905), p. 117.
4
Grove's Dictionary, vol. 4, p. 860.
5
Ibid., p. 859.
6
lbid. This appears to be the first public mention of
Krumpholtz.
1
F. J. Fetis, Biographie Universe/le des Musiciens,
2nd. ed., vol. 5 (Paris: Impression Anastatique, 1875),
p. 122.
8
Die Musik in Geschichte und Gegenwart, vol. 7
(Kassel: Barenreiter-Verlag, 1958), col. 1841.
9
lbid.
10
lbid.
''Grove's Dictionary, p. 859.
12
Willi Apel, Harvard Dictionnary of Music, 2nd. ed.
(Cambridge, Mass.: Belknap Press of Harvard University
Press, 1969), p. 377.
' 3 Fetis, Biographie Universe/le, p. 123. [I have taken
the liberty of translating the original French of Professor
Pratt's manuscript. -JW]
1
•Flood, The Story of the Harp, p. 117.
1 5
The Larousse Encyclopedia of Music, English edition,
edited by Geoffrey Hindley (London: Hamlyn
Publishing Group Ltd., 1971), p. 262.
16
International Inventory of Musical Sources [RISM],
Series A: Einzeldrucke vor 1800, vol. 5 (Kassel:
Barenreiter-Verlag, 1975), p. 170.
11
J. George Morley, Harp Playing (South Kensington,
London, 1918).
18
Grove's Dictionnary, vol. 4, p. 860.
KRUMPHOL TZ: A Bibliography of Works with Harp
Jane W eidensaul
Readers who are interested in the total compositional
corpus of Krumpholtz, republications of the various
works, and the locations of libraries which hold the
original source material are referred to Repertoire International
des sources musicales: Einzeldrucke vor 1800,
ed. Karlheinz Schlager, vol. 5 (Kassel: Barenreiter,
1975). The RISM series is held by major public and
university libraries with special music resource collections.
The original spellings have been preserved in this
bibliography, and only the first apparent printings have
been listed in the interests of space. Precise dating is
generally impossible.
Vocal Music
8
FOOTNOTES
1
Grove's Dictionary of Music and Musicians, 5th ed.,
edited by Eric Blom, vol. 4 (London: St. Martin's Press,
1954), p. 859.
2
Roslyn Rensch, The Harp: Its History, Technique
and Repertoire (New York: Praeger Publishers, 1969),
p. 109.
Op. 1.
Le songe de Luci. Romance, avec accompagnement
de piano ou harpe. Paris: Naderman.
Instrumental Works
Six sonates [E-flat, B-flat, F, C, A-flat, E-flat] pour
la harpe avec accompagnement de violon. Paris:
Cousineau, author.
AMERICAN HARP JOURNAL

Op. 2. Recueil de douze preludes et petits airs pour la harpe.
Paris: Cousineau, author, Sieber.
Op. 3. Quatre sonates [E-flat, c, F, E-flat] pour harpe avec
accompagnement d'un violon, contrebasse, et deux
cors. Paris: Cousineau, author, Sieber.
Op. 4. Deux concerto [E-flat, B-flat] pour la harpe avec accompagnement
de deux violons, alto et basse, deux
hautbois, deux cors ad libitum. Paris: Cousineau,
author, Sieber.
Op. 5. Deux duo [F, B-flat] pour deux harpes, dont la
seconde partie peut etre executee Sur le piano forte,
ou sur le clavecin a jeux de buffle. Paris: author,
Naderman, Mme Oger.
Deux duo pour deux harpes . . . arranges en simphonies
concertantes avec accompagnement de
violon, flute, basson, deux cors et contre-basse ...
oeuvre V. Paris: author, Cousineau, Salomon.
Op. 6. Deux concerto [F, E-flat] pour la harpe avec accompagnement
de deux violons, alto, basse, et deux hautbois,
deux cors ad libitum. Paris: author, Cousineau.
Op. 7a. Cinquieme concerto [B-flat] pour la harpe, lequel a
ete execute par !'auteur le jour de Noel de l'annee
1778 au Concert spirituel et dans lequel est renferme
!'air de O ma tendre musette, en variation ....
Paris: author, Naderman, Mme Oger.
Op. 7b. Deux sonates ... arrangees en duos pour harpe et
piano par Gatayes. Paris: author, Mercier.
Op. 8. Six sonates [B-flat, G, F, E-flat, F, c] pour la harpe
dont Jes cinq premihes avec accompagnement d'un
violon OU flute obligee tres faciles a executer, elles
peuvent aussi se jouer seules .... Paris: author.
Op. 9. Sixieme concerto [F] pour la harpe avec accompagnement
de deux violons, deux hautbois, deux cors, une
flute, taille, et basse. Paris: author, Cousineau.
Op. 10. Recueil contenant differens petits airs varies, une
sonate et un petit duo pour deux harpes. Paris:
author, Naderman.
Receuil de petits airs varies pour la harpe dont celui
de Marlborough, J'ai du bon tabac, et un par
!'auteur avec accompagnement d'un violon et autres
airs de chant ... oeuvre X. Paris: author, Naderman.
Op. 11. Deux simphonies [F, G] pour la harpe seule ou avec
accompagnement de deux violons, deux cors, une
flute et une basse. Paris: author, Cousineau.
Op. 12. Quatre sonates non difficilles [F, E-flat, G, F] pour
la harpe seule ou avec accompagnement d'un violon
et violoncelle. Paris: author, Naderman, Cousineau.
Op. 13. Les quatre premieres sonates [B-flat, F, C, G]
detachees de la collection de pi~ces de differents
genres distribu~es en six sonates d'une difficulte
graduelle pour la harpe, et praticable sur le forte
piano avec accompagnement d'un violon ad libitum.
Paris: author, Naderman, Cousineau, Le Due,
Boyer, Imbault, Deroullede, Mme Le Mercier.
Op. 14. Les deux dernieres sonates [E-flat, c] de la collection
de pieces de differents genres. Paris: author, Naderman.
Op. 13/14. Collection de pieces de differens genres
distribuees en six sonates d'une difficulte graduel!e
pour la harpe et le forte piano et dont Jes quatre
SUMMER/ 1979
premieres sont avec accompagnement d'un violon ad
libitum. Paris, author, 1786.
L'amante abandonnee. Air parodie en francais et en
italien sur !'adagio de !'oeuvre XIV, avec accompagnement
de harpe ou de forte piano, d'un violon et
contrebasse ad libitum. Paris: author, Naderman,
Cousineau, Le Due, Mercier, Sieber, Imbault,
Deroullede, Boyer.
Op. 15. Quatre sonates en forme de scenes de differens
caracteres. Paris: author.
Dem, sonates en forme de scenes di mezzo-carattere
pour la harpe praticables aussi sur le forte-piano,
avec accompagnement d'un violon ad libitum ...
oeuvre XV. Paris: author, Naderman.
Op. 16. Quatre sonates [C, F, G, E-flat] chantantes et peu
difficiles pour la harpe seule ou avec accompagnement
d'un violon et basse. Paris: author, Naderman.
Op. 17. Trois sonates pour la harpe, dont la premiere en
forme de scene ' avec accompagnement de violon ad
libitum. Paris: author, Naderman.
Op. 18. Deux sonates en forme de scenes de differens
caracteres, d'une difficulte graduelle, pour la harpe,
praticables aussi sur le forte piano. Paris: Naderman.
Instrumental Works with Harp Published without
Opus Number
Three favorite sonatas [B-flat, F, C] for the pedal
harp with an accompaniment for a violin ad libitum
... selected by Ph. J. Meyer junr. London: Robert
Birchall.
Andante du celebre Haydn [Hob. I:53 11 ] arrange
pour la harpe, avec accompagnement de violon ad
libitum. Paris: Naderman.
A favorite sonata (E-flat] for the harp. London:
Lavenu & Mitchell.
Avec Jes jeux dans le village. Air with variations for
the harp. London: Robert Birchall.
La musette favorite avec variations . . . et un air
irlandois varie. [Performing medium uncertain.]
Paris: Cochet.
Jer recueil d'airs en variations pour la harpe, par
differents ma'itres de cet instrument. [The first collection
contains a rondeau of Krumpholtz, varied by
him.] Paris: Sieber fils.
A NOTE FROM THE EDITOR
The name of Patricia Jaeger was inadvertently omitted
as the author of the article ''The Evening Harp Class
for Beginners: One Teacher's Way," which appeared on
p. 28 in the Winter 1978 issue of this magazine. We
regret very much that this happened and wish to be sure
that Ms, Jaeger receives credit for this informative and
helpful article.
9

10
Holliger's
Sequenzen uber Johannes 1:32:
A Brief Analysis and Study Guide
Linda Warren
Linda Warren holds a Bachelor's degree from the
Eastman School of Music, with a double major in harp
and music theory. She has studied with Sally Maxwell
and Eileen Malone. In 1972 and 1975, she was a finalist
in the National Competition of the American Harp
Society, and in 1977 she won a Ruth Lorraine Close
Award. She is Music Director for Contemporary Worship
at the Downtown United Presbyterian Church in
Rochester, and plays second harp in the Rochester
Philharmonic. In addition to her many achievements as
a harpist, Ms. Warren is also a proficient pianist and
organist, and will begin graduate work in theory at
Eastman in the fall.
-Jane Weidensaul
Heinz Holliger (b. Langenthal, May 21, 1939) is probably
best known for his facility on the oboe, having
won international prizes in both 1959 and 1961, but he is
also a talented composer, formerly a student of Pierre
Boulez. His wife, Ursula, is a gifted harpist, and many
of his pieces, quite naturally, are scored for oboe
_and/or harp. He prefers to compose for chamber
ensembles, and writes in a free atonal style. He and his
wife also pursue active concert and recording careers.
The Sequenzen uber Johannes I:32, written in 1962
for solo harp, is one of his few works for a single instrument.
Yet, the way in which he exploits all possible timbres
of that instrument makes clear the pervasive influence
of the chamber music style.
The piece is highly structured, but refuses to fall into
any strict compositional pattern. The sections marked
tempo exact present straightforward statements of a
twelve-tone row. The twelve-tone technique presents
every note within the octave once in a specified order
before presenting any pitch again. Ideally, all notes are
equally emphasized, without the sense of tonal hierarchy
that is set up in earlier styles of music. The row
may be presented in various forms, including transpositions,
inversions, retrogrades and fragments. The
specific notes of a twelve-tone piece are wholly derived
from these manipulations of the row.
Holliger follows this method more in spirit than in
detail. A row is presented in this piece in the seven tempo
exact sections: the row is Cb. Bb, D~ D#, C#, At 0#,
G~, Et F~, c4, and F#, (enharmonic spellings do not
affect the row}, but it does not appear in its entirety
anywhere else in the piece.
The key to this may be found in the associations of
the word Sequenzen in the title of the piece. It is the
German plural of the English word sequence, which
labels the piece as seven sequences on the Biblical text,
seven being a symbolic number both in the Bible, and in
all of Christian theology.
Probably the most likely definition of sequence is the
one pertaining to Gregorian chant (ca. 800-900). As
defined in the Harvard Dictionary of Music, '' sequences
[in Gregorian chant] originally were long melismas sung
without text after the word Alleluia .... Later these
melismas were underlaid with a text."' Relating this to
the Holliger piece, the tempo exact sections represent
the Alleluia, and the fibre sections represent the
melismas. The text is John 1 :32 - I saw that the Spirit
descended as a dove from heaven, and rested on Him -
though this is not declaimed with the music. 2
This is an apt definition for the Holliger for several
reasons. First, Apel goes on to say that "the relationship
between the sequence melody [our fibre section)
and the Alleluia melody [our tempo exact section] is by
no means wholly clear. In most cases the sequence
begins with the phrase for the word 'Alleluia' but
thereafter it continues freely.'' 3 This is exactly the structure
which Holliger uses. The relationship between the
tempo exact and its corresponding fibre section is
nebulous, but it is certain that there is a connection in
use of material, particularly at the beginning of the fibre
section; this will be discussed later.
Secondly, there is the question of the relationship between
the text and the music. In chant, there is a
noticeable lack of word painting or mood setting as a
function of the music. In the Sequenzen, there is also
this lack of description. In general ways orie can see connections
between the style of the music and the mood of
the text, but it is difficult to clearly define this relationship.
The fibre sections represent digressions from the
rigors of the row. Most of them begin with a figure that
has some connection to the previous tempo exact, but
they continue freely after that. The tempo exact sections,
then, are exact not only in tempo, but also in note
choice, while the fibre sections are freer in note choice.
In the first fibre, for instance, the first four pitches are
an exact transposition of the four pitches in the
preceding tempo exact. The next five pitches of the fibre
reiterate the notes of the tempo exact back at the
original pitch level, but in a different order this time,
and adding on the next note of the row (Db). The next
four pitches are again a transposition of the original
four of the tempo exact, but also in a different order.
Obviously there are connections between the material in
the tempo exact and fibre sections, but like the sequences
in Gregorian chant, the exact pattern or system
being used is not easily discovered. It would appear that
each fibre section is a fantasy-like improvisation on its
preceding tempo exact, as the melismas of the plainsong
sequence have their base in the preceding Alleluia
material, but this is more in spirit than in actual notes.
The piece is a large arch form, with the center at no. 4
of the following diagram. Almost every aspect of the
piece supports this fact, and that there is no fibre section
after the last tempo exact shows an attention to the symmetry
of the form.
AMERICAN HARP JOURNAL

Diagram: Form as reflected in the tempo exact sections.
I 2 3 4 5 6 7
tempo •=60 a= 50 a= 60 •=40 a= 60 a= 50 •=60
no. of notes 4 2 3 I 3 2 6
range low D# middle C low F middle C low D#
p.d.1.t.
T = section with tuning key slide.
= tremolo section using rubber covered metal rod.
effects T harmonics I nails T harmonics
There are several special problems connected with
performing this piece. One concerns the use of harmonics
other than our normal octave harmonics.
Holliger uses additional harmonics which sound an octave
and a fifth above the string played, and two octaves
and a third above the given pitch. All of these are used
regularly by other string players, particularly violinists,
who have only four strings, yet produce a multitude of
pitches by use of harmonics. We rarely see anything
other than octave harmonics in the harp literature, but
in spite of their infrequent occurence, it is still possible
to play them just as beautifully as the octave harmonics.
All that is required is extra practice on their placement.
To accustom yourself to this, try the first four pitches of
the harmonic series on the fifth octave A, which will be
the easiest place to experiment. First, play the string
without any harmonic. This is the fundamental. Next,
play the first partial, or overtone, (the octave harmonic),
which is placed at the midpoint of the string.
The next harmonic, (the second partial), will be placed
at the point which is one third the distance from the top
of the string to the bottom. This produces the pitch
which is an octave and a fifth above the fundamental.
The third partial, (the pitch which is two octaves above
the fundamental), is created by stopping the string at the
point one fourth the distance from the top of the string
to the bottom, and the fourth partial will sound when
the hand is placed one fifth the distance from the top of
the string, resulting in the pitch two octaves and a third
above the fundamental. In this way, it is possible to play
the first four partials of the harmonic series. Practice of
this nature will make it easier for you to place correctly
the harmonics notated in this piece. Also remember that
harmonics in flats need to be placed higher than harmonics
in naturals, and that those in sharps will be
lower than those in naturals, owing to the changing
length of the string.
Regarding the glissando with the tuning key, it is
possible to get the exact pitches which Holliger has indicated.
Using a wooden key - holding it as you would
to tune - place the metal part of the key against the
string. As with playing harmonics, the only problem is
correct placement of the key. Practice it enough so that
you memorize the places where those particular pitches
will sound, especially since they are part of the row, and
it is important that the pitches be exact.
Holliger's requirement for a rubber covered metal rod
in the execution of the tremolo at no. 4 is best filled by a
triangle beater (consult your local percussionist). The
proper effect is obtained by using something slender (a
tuning key is too fat), so the triangle beater is just right.
It can be covered with rubber tubing (available at
surgical supply stores), such as percussionists use on
their mallets. Cover the entire beater, so that if it is
dropped, it won't damage the harp. Keep your wrist
loose.
Holliger has carefully marked every type of articulation.
Extra attention to the following markings when
they occur will give the piece distinct color and
character:
L. V. let vibrate.
et. An abbreviation for the French etouffer, this
applies only when specifically marked. It is
Holliger's way of ensuring that those particular
notes are staccato.
senza According to the Harvard Dictionary 4 a batbattuta
tuta is analagous to a tempo after a ritard, indicating
a return to strict time after some deviation.
Senza battuta, then, means that the
following pitches should not be played in the
strict tempo which came directly before.
-ca.60- This is called spatial notation. Simply set the
I metronome at 60, and fit the notes in as they
come. When notes are farther apart, allow
more time. Similarly, when notes are written
closer together, play them sooner. The notational
value of each note will not be strictly
observed. Don't let this confuse you, but notice
the marking Libre, and let the different values
be a guide, not a restriction.
Also be attentive to changes of clef and register. Be
sure to observe all Bva and loco markings. And do not
be afraid of the dynamics. Careful adherence to
Holliger's markings will make the piece more dramatic
and expressive. Enhance moods and colors by making a
difference not just between f and p, but also between p
and pp and ppp, and f and ff and fff
One final note: give it time in performing and in
learning. In preparing it, take time to notice the structure,
and make it clear in the way you play it. Even
though this music is different from what you are used to
hearing, give it a chance, because the more you play it,
the more you will understand it and enjoy it. It has been
selected as required repertoire in two competitions this
summer, (the Close Awards, in San Francisco in June,
and the Seventh International Competition in Israel in
September), so we will all be hearing much of this work
in the next few months.
In performing it, have the courage to wait. Do not
worry that your audience will be bored. On the con-
SUMMER/ 1979
11

trary, waiting a little longer will increase the tension and
drama, and increase the effectiveness of the piece.
'Willi Apel, The Harvard Dictionary of Music, 2nd
ed. (Cambridge, Mass.: Belknap Press. 1969), p. 764.
'Luciano Berio also wrote Sequenzas after this
fashion, including one for solo harp.
3
Apel, p. 765.
•Apel, p. 86.
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: 6331 Quebec Dr.,
Hollywood, CA 90068. Contributions are tax
deductible.
CHANGE OF EDITOR
For nine years Gail Barber has served as Editor
of the Journal. It has been a demanding job during
which time she also has had the responsibilities
of a family as well as functioning as a full time
professional harpist and college professor. Now
additional business opportunities necessitate her
resignation from this position. I am sure I reflect
the feelings of all of us when I express sincere
thanks to her for her dedication to the Society in
constantly striving to offer a publication of merit
that at the same time would be apJJealing and
worthy of the entire membership.
So that the Journal schedule can proceed as
smoothly as possible under these circumstances, -
Jane Weidensaul, at the request of the Executive
Committee, has agreed to act as editor of the
Winter issue. All material for the Winter issue
should be mailed to her at 1374 Academy Lane,
Teaneck, New Jersey 07666. Confirmation of the
permanent editor will be made at the meeting of
the Board of Directors in June.
Ann Mason Stockton
President
In celebration of our 90th Anniversary,
members and friends of the American Harp Society
are cordially invited to be the guests of
Lyon & Healy Harps
at the Banquet, as well as the usual cocktail party,
1~9~~
at the Sixteenth National Conference
at Mills College, Oakland, California
First
I Lyon&Heal
Harp
Saturday, June 23, 1979
Cocktails at 5:30 P.M.
Banquet at 7 :00 P.M.
12
AMERICAN HARP JOURNAL

Misprint Comer
Our material for this issue consists of a few corrections on Solos for the Harp Player, selected and edited by Lucile
Lawrence, and published by G. Schirmer, Inc. Confirmation of the misprints was provided by Ms. Lawrence, and also
by Kathleen Bride who has been engaged in recording the harp compositions of Nicolas Flagello. Flagello's Berceuse is
also available separately from Lyra Music Co. The numbers refer to page, system, and measure.
A few pedal adjustments should be made in the final system of page 54: m. 1, e-natural at beat 4 (cancel e-natural
following); m. 4, B-natural at beat 2.
SUMMER/ 1979 13

14
Business and the
Creative Arts
A Mutually Profitable Relationship
By Alan B. Coleman
Dr. Alan B. Coleman is Dean of the Southern Methodist
University School of Business. He has been untiring in his efforts
to create an attitude of understanding and appreciation
of the arts in our future business leaders.
This article appeared previously in the program booklet of
the Dallas Symphony Association, Inc. It is printed here by
special permission.
The relationship of creative arts to business is a large
and more profitable one than most of us realize.
Moreover it has grown increasingly close and important
in recent years. Why should there be a mutually profitable
relationship between the creative arts and
business? Because there are clear, positive benefits for
both the arts, artists, and the profitable and efficient
conduct of business. The involvement of the arts in
business is, quite simply, crucial to the success of the artist
and the businessman. Let's examine why this is true.
From the artists point of view
Throughout history the arts have always been supported
by patrons. The arts will always require
patronage, encouragement, and financial support for
their successful execution. The traditional patrons of
the arts have been monarchs - kings, queens, and
princes, as well as organized religions, especially during
the flowering of the arts beginning with the
Renaissance. After the 18th century art patronage
gradually began shifting towards the landed aristocracy
and particularly towards aristocrats who combined both
political and commercial power.
But in the early 19th century the character of political
power and wealth began to change substantially due to
perhaps the most far-reaching peaceful revolution in
world history: the industrial revolution of the 19th century.
This fundamental change in productive and
technological capability brought with it the ris~ of immense
industrial wealth and power. At the same time
the 19th century witnessed a beginning decline of
monarchy's wealth and influence throughout the world.
Thus in the 19th century there gradually began to
emerge significant numbers of new patrons of the arts
- the successful industrial entrepreneur. As these new
industrial entrepreneurs gained economic and political
strength they began to replace the traditional role of
monarchy and organized religion in support of the arts.
This shift of power and patronage continued and accelerated
in the early 20th century. World War I hastened
the decline of major monarchies, while World War Il
laid the groundwork for the emergence of new centers
of political and economic power and the creation of
large numbers of new independent nations. Major
economic and financial power became increasingly
distributed towards business and industry as a result of
these historic changes.
At the same time another major event affecting the
arts, artists, and business, began to emerge with explosive
force: the rise of technological innovation in
communication. This revolution in communications
technology, for the first time in man's history, made it
possible for creative artists to reach literally millions of
persons on a worldwide basis. Improved technology
permits widespread dissemination of graphic, visual and
performing arts of all kinds. The emergence of air travel
permitted artists to move about the world quickly and
with relative ease. The development, on a national and
then international basis, of radio, and subsequently
television, broadened the artists' performing
capabilities to reach audiences of international scope
and heretofore unimagined size. Most recently live
satellite television transmissions literally have linked the
artist with worldwide audiences crossing cultural boundaries
and opening opportunities for artistic communication
on a truly gigantic scale. How many people,
for example, recently heard and watched Vladimir
Horowitz perform the Rachmaninoff Second Piano
Concerto on Public Television with the N. Y. Philharmonic
orchestra? Probably millions!
Thus the arts and artists now find themselves communicating
on an international scale with vast audiences,
while the new emerging patrons of the arts have
become the business entrepreneur and, increasingly, the
modern corporation itself. The capability to reach these
large, highly receptive audiences naturally carries important
commercial and profit implications. Business
organizations have practical concern about reaching
large numbers of people to encourage the use of their
products and the "sale" of the corporation itself. Increasingly,
business leaders, through their own personal
and cultural development, have grown sensitive to the
happy combination of the creative arts as a contribution
to society and the quality of life while simultaneously
helping the commercial and industrial mission of
business enterprise. This practical business-arts relationship
has been particularly encouraged by the individual
philanthropic and artistic interests of entrepreneurs
who have supported the arts through their
own private patronage.
And finally, from the artists' point of view, this new
partnership with business is highly significant since the
philanthropic capability of the modern corporation and
the individual entrepreneur is extremely large,
pluralistic, and diversified. The philanthropic capability
today of the modem corporation, and the successful entrepreneur,
far exceeds the capability of monarchs and
princes in an earlier age. More importantly, this new
base of philanthropic support allows a broader distribution
of patronage over a much wider geography, nationally
and internationally. The combined potential for
support of the arts through the new partnership with
business is the most powerful base ever experienced in
the history of performing and creative arts.
AMERICAN HARP JOURNAL

VENUS HARPS
Inquiries Are Welcome
GET ACQUAINTED WITH OUR SELECTION
OF HARPS PRODUCED BY THE WORLD'S
MOST SOPHISTICATED MASTER CRAFTSMEN
VENUS HARPS
MANUF. BY W & W MUSICAL INSTRUMENT CO.
3868 W. GRAND AV.
CHICAGO, ILLINOIS 60651
(312) 278-4210 or (312) 278-4238
SUMMER/1979
15

16
The role of performing arts to business profits
From the business point of view there are at least two
major reasons why support of the arts is critical to
business profits.
First, the successful conduct of business activity today
requires the arts and highly creative people. And second,
business on a highly specialized, large volume
basis crucially depends on the modern city. The concentration
of skilled and unskilled people vital to business
clusters in cities - and the vitality, liveability and health
of cities is greatly influenced by the creative arts. Let's
examine each of these propositions in more detail.
Business today requires a surprisingly large number
of artistic and creative individuals. Examples abound
and have become such a part of our daily experience
that we perhaps do not observe them. The marketing,
advertising, design, and promotion functions of modern
enterprise require a broad variety of artistic inputs. For
example, the automobile industry each year undertakes
major restyling of its product line, requiring design
talent, advertising and promotional skills, musical, acting,
broadcast film talents, and commercial art - all
contributing to an immense, creative new product effort
in this one industry each year to reposition product lines
and stimulate new customers and markets. The advertising
industry uses a very broad range of artistic and
creative skills for the promotion and sale of innumerable
products.
Further, we see an increasing emphasis in business on
the skills of architects in design and in building, and on
rhe work of interior designers for more attractive offices
and work areas. Some companies, for example the John
Deere organization, invest large sums of money in
paintings, sculpture, and other forms to enhance the
working environment at company facilities.
These are by no means isolated examples. As one
observes more carefully how business uses the arts to
enhance profitability we can see the deep penetration of
the creative arts to assist in reaching customers. Unquestionably,
too, there are examples of marginal or objectionable
taste involving the arts and business. That is
really not the issue here, even though we may sometimes
deplore such lack of sensitivity and taste. The central
issue is that the arts and creative capabilities are viewed
by management today as a necessary element in the conduct
of profit-making enterprise. This fact has immense
signifiqmce to the arts, to artists, and to all of us as
consumers.
An additional value of business interest and support
for the arts reflects the importance of bringing a more
human dimension to the large corporation in a world
that has grown increasingly depersonalized. Although
the modern corporation is often extremely large, it
nonethel.ess remains a collection of people with a particular
mission, and its senior leadership reflects the
drives, aspirations and personalities of individuals.
Many thoughtful business leaders recognize that as the
corporation becomes large it also can become depersonalized.
Business executives view contact with the corporation's
publics through the arts as an attempt to
communicate on an entirely different level, which is
valuable to our society as a whole. One thinks, for example,
of the very long relationship of the Texaco Company
in sponsoring the Metropolitan Opera broadcasts
as an example of a large and sustained corporate effort
which may reflect in part these goals. The Mobil Corporation's
sponsorship of "Masterpiece Theatre" on
CBS provides yet another high-quality illustration.
Very often we see within the corporation, as an essential
part of its commercial activity, the interweaving of
artistic concepts within the very character of the
business enterprise. For example, I served as Chief Executive
Officer of two companies - The Yosemite Park
and Curry Co., in Yosemite National Park, and The
Sun Valley Co., in Idaho, both of which worked particularly
closely with the creative arts as an essential part
of company operations. In Yosemite there is deep public
concern for aesthetic values in this great national part.
Hence, the company had to recognize and be very sensitive
to interests in design and architectural aspects of
any new public facilities. The public generally, together
with several public interest groups, monitored closely
the Yosemite Company's aesthetic sensitivity as it conducted
its various hotel, food service, retailing, and
recreational operations within that magnificent national
park environment. At the Sun Valley Co. in Idaho, a
Creative Arts Center was organized by the company so
that guests and residents of Sun Valley might include on
a regular basis the creative and performing arts within
the scope of their visit or their permanent residence at
the valley.
Another and quite different example, drawn from the
Texas area, relates to the Club Corporation of America
(CCA), the largest operator of private country and city
clubs in the United States. As a matter of policy CCA
extensively uses paintings, sculpture, classic antique furniture,
and other elements of fine art and design to
enhance the aesthetic sensitivity and personality of their
individual couniry and city clubs. This is not only a matter
of artistic interest but of sound business practice.
The environment of these private meeting places is
greatly enhanced by their artistic setting.
Thus we see in the practical, profitable operation of
business a variety of examples where the arts and the artists
play a key role, just as do practitioners of finance,
accounting, and manufacturing, in the successful performance
of a profit-making enterprise.
A second major reason why business needs a relationship
with the arts relates to the modern commercial
necessity for large cities and mass markets. Our entire
business system today, worldwide, is based on major
cities and population concentrations. Business could not
operate on its present scale without the modern city. But
how do you make and keep large cities livable and attractive?
The pattern in the United States and around
the world seems clear: great cultural institutions thrive
in great cities and the "best" cities normally have the
best and strongest cultural and artistic institutions, such
as symphonies, museums, libraries, great universities
and theaters. It is these cultural institutions which provide
the human "glue" which helps keep the large
AMERICAN HARP JOURNAL

modern city interesting and attractive to those who live
there. The diversity and richness of the arts help all of us
to enjoy life in metropolitan centers where the arts tend
to cluster and thrive. The performing arts add richness
and meaning to the daily life of the city. Business has a
vital stake in helping to make the great cities of the
world more attractive and livable places and to support
those efforts which cause the cities to retain their vitality
and interest.
There is still another key dimension of the importance
between the arts and business - the freedom of expression
and the triumph of the individual. This relationship
may not at first be so obvious. But the arts represent
probably the greatest single expression of individualism
and free human spirit known to man. The flowering of
that freedom and free expression is important to our
social, political, and spiritual well-being. At the same
time, business activity, at least in America, is still largely
free and largely private. But we see privacy and independence
increasingly threatened by the excessive and
dangerous growth of government at all levels, both here
and abroad. I believe that business has a vital stake in
remaining as free as possible and that the performing
arts share a similar goal. Hence the mutual support by
business to relate to other forms of expression and
creative activity that similarly value and require
freedom seems to provide a natural and healthy
alliance. The effective performance and conduct of
business in a free society is vital to the political,
economic, and material well-being of us all. Similarly, a
free environment for the performance and creation of
artistic expression is crucial.
Finally, there is another interesting and perhaps
ironic relationship between business and the arts. In the
long run it is probably true that many highly successful
business "performers" will become and remain better
known and more famous for their support of cultural
and artistic institutions than for their prowess and success
in business. How many people know very much
about the careers of Carnegie, Corcoran, Frick,
Hirschhorn, Guggenheim and Mellon? Probably many
more people are aware of these names because of their
great support and patronage of the arts than for the particular
character of their professional activities. Thus at
the individual level, where many would like to leave
their own imprint on society, however small and modest
it may be, the partnership between the arts and business
provides for the successful business executive one of the
best means of leaving an enduring footprint on the long
pathway of human development and progress.
Statement of Policy
The American Harp Society, Inc., condemns the unauthorized
reproduction of published harp music. Not
only is it illegal but it discourages the publication of
harp music so vital to harpists.
71te Summez 1/azp eotonp o/ dlmezlca
CAMDEN, MAINE
THE SALZEDO SCHOOL
A Non-Profit Institution
ALICE CHALIFOUX, Director
JEANNE CHALIFOUX, Assistant
For Information Address:
ALICE CHALIFOUX, 115 South Lane, Chagrin Falls, Ohio 44022
SUMMER/ 1979
17

REQUIRED READING FOR HARPISTS:
ROSLYN
RENSCH's
BOOK
THE HARP, ITS HISTORY, TECHNIQUE AND REPERTOIRE
Available from the publisher, GERALD DUCKWORTH, LTD.
(The Old Piano Factory, 43 Gloucester Crescent, LONDON, NW 1)
Or your favorite Harp Maker, Music Seller, or Bookstore.
18
AMERICAN HARP JOURNAL

Let Us Get
Acquainted
With Our
Composers
Pearl Chertok
NUNCIO MONDELLO
Nuncio Mondello was born in Boston and became 1
clarinetist and saxophone player of international fame
as a teenager, when he was featured with the Benny
Goodman Orchestra and known as "Toots Mondello".
He turned to studying the flute with James Pappoutsakis
and composition with Wallingford Riegger, Schillinger
and Paul Creston. He became a staff woodwind
player for the Columbia Broadcasting System and
started to write for all the instruments that surrounded
him. He has written extensively for chamber ensembles
and symphony orchestra. He has also recently published
a method for saxophone.
For harp he has written a Sonatina, two dances: a
Siciliana and Salterello, and Poem for flute and harp,
dedicated to James Pappoutsakis, flutist and Louise
Pappoutsakis, harpist.
When asked how he felt about writing for harp, Mr.
Mondello replied: "At first I found the harp very confusing,
between all those strings and pedals. I was
pleasantly surprised to find that the harp can play legato
and sostenuto and am always intrigued to hear the
music that harpists have written: after all, no one knows
the harp as well as one who plays it. Now I think that I
shall write a work for harp and clarinet or saxophone.''
One of my favorite tales about Nuncio Mondello occurred
at a recording session at CBS when we were going
to record the Poem for flute and harp. I thought it
would be of interest to have a tape of the composer
playing the flute part. The light went on in the studio
which indicates "stand by", then it changed to
"record" ... It ran for about 3 minutes when suddenly
you hear Mr. Mondello exclaim, "This music is impossible,
I need a cigarette!".
SUMMER/ 1979
Nuncio Mondello
Actually, Nuncio Mondello's music is skillfully written
and very beautiful. His approach to the harp is totally
fresh and original.
SCHUMAN and MENNIN write for HARP
Two important new works were premiered in Tully
Hall at Lincoln Center in New York City this past fall.
William Schuman's In Sweet Music for voice, harp,
flute and viola was played by the Tully Chamber Players
in October. Osian Ellis was the harpist. The work was
commissioned by the Tully Chamber Players in honor
of the tenth anniversary of their concert series. Alice
Tully and William Schuman spoke after the performance
of the work and Miss Tully, honorary member of
The American Harp Society, cut the birthday cake. The
work received excellent reviews.
The Newark Boys' Choir introduced Reflections of
Emily by Peter Mennin in December 1978. Grace
Paradise played the harp. The work is scored for treble
voices and harp, piano and percussion and was commissioned
by the National Endowment of the Arts. This
work also received very fine press. Each composition is
25 minutes in duration and written for harpists with
considerable musical equipment.
The Schuman work is being published by Theodore
Presser and the Mennin work by G. Schirmer.
The American Harp Society appreciates the attention
and depth of understanding these renowned composers
have shown for our instrument.
19

Scientific
Practice
by
Jane B. Weidensaul
Scientific Practice is compatible with any
technical method and can be read with profit
by teachers and students of all ages. Based
on the latest methods in the fields of music
psychology and pedagogy, it includes positive
recommendations on planning the practice
hours, development of habit formation and
velocity, mental memorization, and ancillary
studies.
$3.50 postpaid
Other publications by
Jane B. Weidensaul
SONGS AND CAROLS FOR TWO
Six easy duets for harps or
harp and any melody instrument
Carl Philipp Emanuel Bach:
SOLO FUER DIE HARFE
A scholarly performance edition in collaboration
with E. Eugene Helm, Ph.D. This realization,
which includes full notation of the ornaments,
has been adopted by a number of
major teachers and performers entered in the
Israel Competition.
Willow Hall Press
137 4 Academy Lane
Teaneck, N. J.07666
20
AMERICAN HARP JOURNAL

SPECIAL MEMBERSHIPS
In June, 1970, the Board of Directors established
several new membership classifications for those who
expressed an interest in contributing more than the
regular membership dues as an added financial support
to our many projects. At present these special memberships
are Contributing ($20), Sustaining ($35), Sponsor
($50), Patron ($100), Benefactor ($1000 or more), Life
($300).
We wish at this time to express our 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 LIFE MEMBERS
Pierre Boulez
Mrs. Marcel Grandjany
Miss Alice Tully
LIFE MEMBERS
Alice Lawson Aber
Mrs. Joseph Thomas Ackerman
Anne Everingham Adams
Dr. Burton Adams
Mrs. Harry Lacey Armstrong
Mrs. Suzanne H. Bress
Daniel H. H . Casebeer
Ronald J. Clevers
Margaret Rupp Cooper
Dorothy Snively deBretteville
Marcella DeCray
Marylee Dozier
Peter E. Eagle
Laura Erb
Catherine Gotthoffer
Elizabeth Halliday
Mrs. Betty Helmer
Patricia John
Dorothy Knauss
Joseph E. Longstreth
Joan Mainzer
Patty Masri
Gloria McDaniel
Sylvia Meyer
Samuel Milligan
Tsutomu Mimura
Dean Owens
Elaine Peters-Brewer
Dorothy Remsen
William H. Rohm
Ann Mason Stockton
C. Stuart Stockton
BENEFACTOR
Lucile Rosenbloom
PATRONS
Mr. G. Howard Briggs
SUMMER/ 1979
Edward A. Goodman & Co.
J. Scott Grimes
Walter Krasicki
Lucy Lewis
Lillian Macedo
SPONSORS
Marion Bannerman
Doris Calkins
Karl E. Carlson
Marilyn Costello
Roslyn Rensch Erbes
Myfanwy Evans
Jack W. Heger
Ruth K. Inglefield
Margaret W. Ling
Susann McDonald
Mr. James Roy Mitchell
Jack Nebergall
Frank Olin
Marjorie Tyre
SUSTAINING MEMBERS
Mimi Allen
Ruth Cobb
John B. Escosa, Sr.
Mrs. Hugh S. Espey
Ralph Fryer
Anna B. Hall
Gladys Hubner
Gertrude Peterson Hustana
Kevin Jay Lowry
Michael Murray
Deborah Holly Robinson
Mrs. Loren Schnack
CONTRIBUTING MEMBERS
Gloria Agostini
Milagros D. Aguilar
Mr. Terry Allworthy
Michael D. Amorosi
Mrs. Victor Amoth
Prof. Christine Anders
Dorothy Anthony
Lynne A. Aspnes
Paddy Attebury
Joan Gustafson Axelson
Mrs. W. F. Barber, Jr.
Marguerite A. Barnard
Penny Howk Beavers
Jan Bishop
Shirley Blankenship
Ralph Bodek
Rachel Boothroyd
Alice Singer Brantley
Kathleen Bride
Patricia Brown
Peggy Brown
Anna Bukay
Mrs. Diana M . Carney
Mrs. Helen C. Carrell
Joan H. Ceo
Marjorie Chauvel
Miss Berta Lou Clark
Richard A. Cook
Cynthia Cooper
George Crews
Agnes A. Crisci
Martha M. Dalton
Gregory Davies
Jeune Bellinger Davis
Acacia Brazil deMello
Mrs. Donald H. Dewey
Fausto Dias
Eileen Dishinger
Mrs. Clayton S. Doss
Mrs. Kenneth Drake
Julia Herrmann Edwards
Mrs. James H. Elgin
Joan Ashley Ennis
Trudy Faust
Eleanor Fell
Grace Follet
Roberta Franklin
Walter D. Gaisford, MD
Mrs. Lucille Garlock
Priscilla Claudius Gray
Ann Gravenstein-Campbell
Eleanor Shaffner Guthrie
Hannah Lee Barry Hagan
Patricia Adams Harris
Stephen R. Hartman
John Hastings, Jr.
Paula Hayes
Marian Rian Hays
Laura Marriott Hearne
Marilyn J. Helsley
Jackie Pates Henninger
Dorothy Dregalla Henschen
Madeline Henshaw
Nancy Legg Hercher
Edward C. Herfort
Miss Barbara Hiatt
Russell S. Howland
21

Elaine Humphreys
Emmy Hurlimann
Kumiko Inoue
Patricia Jaeger
Lucile H. Jennings
Mary May Johnson
Robert Jones
Wanda Crockett Jones
Kathryn Julye
Renee S. Kapp
Laura Kerr
Sheila Larchet-Cuthbert
Esther B. Laughlin
Mrs. Robert Lauver
Karen Lindquist
Mrs. Helen L. Linn
Judith Liston
Judy Loman
Ruth Johannsen Lynch
Mrs. Malcolm MacGregor
Sally Maxwell
Mrs. Harry P. McClintock
Mrs. Ester McLaughlin
Frances G. Miller
John N. Miller, Jr., MD
Verlye Mills
Mary Jean Mizener
Marjorie Mollenauer
Jude Mollenhauer
Margarita Csonka Montanaro
Mrs. Una Morgan
Priscilla Mueller
Helen C. Nash
Mrs. Louis Neyman
Clint Nieweg
Charlotte F. Paine
Mrs. Lynne Palmer
Louise Pappoutsakis
Alice R. Pardee
Patricia Patrick
Camille L. Peterson
Betty Holsteen Price
John J. Reardon
Susana Remeny
Joyce E. Rice
Virginia Robbins
Helen Rogers
Margaret Ross
Donna Rupert-Yorke
Phyllis Schlomovitz
John Singleton
Della M. Slaughter
Hope Sullivan
Elaine Sweeney
Jean M. Thomas
Mrs. Van Thompson
Beverly Neal Thomson
Don St. Cyr Toups
Elizabeth Turrell
Kathryn Thompson Vail
Betty Valentine
Mrs. Derek vanOsenbruggen
Valerie van Pechy
Rebecca Lewis Wagner
Mr. Phillip E. Walker
Mrs. T. H. Weed
Linda Wellbaum
Albertina Weygandt
Margaret B. White
Mrs. Louise Whittington
Mrs. Raymond Whitwer
David S. Williams
Billie Wolfe
Linda Wood
Frances Cohen Woodhams
Patricia Wooster
Geraldine Shanks Wright
Jacquelyn Wunschel
Matsue Yamahata
Vonette Yanaginuma
.THE
RENAISSANCE
Overall Height
(including 14" legs)
Overall Width
Width of Soundboard
Number of Strings
Highest String
Lowest String
Weight
63"
26"
11½"
34
A (First octave)
C (Sixth octave)
22 pounds
INTERNATIONAL HARP CORPORATION
1830 Fourteenth St.
Santa Monica, Ca. 90404
(213) 450-1890
1995 Broadway
Suite 800
New York, New York 10023
(212) 787-3930
22
AMERICAN HARP JOURNAL

A First!
by Marilyn S. Marzuki
The American Harp Society has recently taken very
agressive action in making the harp more visible and
more accessible to the public. Our President, Ann
Stockton, had the foresight to see that it was time for us
to take the harp to the people. While it is true that the
Society provides its members with many services, the
next natural step was to service the public by educating
them as to the harp's versatility and accessibility.
With this in mind, our initial approach was to exhibit
at a national educational music convention. We chose
the Mid-West National Band and Orchestra Clinic, held
in Chicago December 11-16, 1978, as our first venture.
It attracts many people yearly (7 ,000-10,000), and all
teachers there are instrumental directors - the very people
who have the need for, and the influence to, obtain
harps for their groups. In addition, the exposure could
attract potential Society members.
,·~,.
• ~~: ·,·
HAR
1,1 .
I: .. ·
IN YOUR
SCHOOL-
WHY
NOT?
The sign at the booth, designed and constructed by artist
Lois Henderson of Miami.
The American Harp Society's booth at the Mid-West
National Band and Orchestra Clinic, December 11-16,
1978, Chicago.
What a beneficial experience it was! Just by being
there, we created a greater awareness of the harp in
everyone who passed by our booth. For the people who
stopped and expressed interest, the personal contact was
much more effective than any mailing could be. Obviously,
the harp has more of a chance of being introduced
in their schools than it ever did before.
It was wonderful public relations for the Society.
Many who stopped were either harpists or friends of
harpists not currently members; this direct contact will
help stimulate the growth of AHS.
Ideally, we would like to have displayed a wide variety
of pedal and non-pedal harps but lack of booth space
prevented this. Because it was a public school music
convention, the non-pedal model was chosen for
SUMMER/1979
display. It seemed a most appropriate introduction to
the harp not only because of size, but especially of cost,
as cost is such an item in the schools. In the future, conventions
of another nature might warrant the exclusive
use of pedal harps.
The three harp manufacturers who supported AHS
by contributing to our recent competition were contacted
to participate in the exhibit in two ways: to lend
non-pedal harps and to donate any materials relating to
harp in the schools. Of the two manufacturers of the
non-pedal model, Salvi was unfortunately out of stock
but Lyon-Healy was able to supply one for our booth.
Both firms also contributed some very interesting and
apropos brochures concerning harp-in-the-schools programs;
this material was available to anyone who stopped.
We certainly appreciate both Henning Christiansen's
and Suzanne Balderston's interest and efforts
in making our first venture as successful as possible.
In addition to these handouts, we were also able to
provide visitors with some informative literature about
the Society as well as some fine magazine reprints.
Dorothy Remsen supplied us with membership
brochures, and Gail Barber with AMERICAN HARP
JOURNALS. Ann Stockton wrote an excellent synopsis
23

of the Society's goals and services. Relating to our involvement
in educational music conventions, she said in
part that the Society "is constantly seeking ways to increase
awareness of the harp in public school education.
One of the ways is through the use of the less expensive
non-pedal harp in public schools. With it the young person
has the opportunity to gain basic knowledge and
facility proceeding on to the more diverse pedal harp as
his physical and musical growth indicate."
Aalrko• Harp SodelJ
Marilyn Marzuki (right) shows a harp-in-the-schools
booklet to directors (from left) Mr. Louis Witt, Minnesota,
and Dr. Newton Sims, Alabama.
Michael Shallow (right) AHS Chicago chapter president,
describes the intricacies of the harp to directors
(from left) Mr. John Brawders, Illinois and Dr. James
Pierce, New York.
Lucile Jennings contributed her WRITING FOR
THE MODERN HARP. Reprints of three magazine articles
were also given away: "The Harp Program In The
Public Schools" by Jeanne Henderson (THE
AMERICAN HARP JOURNAL - Winter 1977),
"Understanding The Student Harpist" by Marjorie
Chauvel (THE INSTRUMENTALIST MAGAZINE
-May 1968) and "What A Difference A Harp Makes!"
by Euana B. Gangware (THE SCHOOL MUSICIAN
-October 1978). We owe our special thanks to Mr.
Leonard Kay, Publisher of THE SCHOOL MUSI­
CIAN, for donating the latter reprint - his way of helping
the Society in our efforts. It was also a pleasure to
meet Euana Gangware, author of that article, who
visited our booth.
A typical day at the Mid-West resembled any other
educational music convention. The booths were open
from 9:00 AM to 5:00 PM daily. Beginning at 9, crowds
of people would enter the exhibit hall, distributing
themselves among the 250 exhibits. Such concerns as instrument
manufacturers, fund-raising companies,
music dealers, publishers, band uniform companies and
schools of music were represented. Two other groups
like ours had booths: T.U.B.A. and The Percussive Arts
Society.
A very special feature attracted people to our booth: a
large sign in the shape of a harp proclaiming: "HARP
IN YOUR SCHOOL - WHY NOT?" We wish to thank
Miss Lois Henderson, Assistant Art Director for Columbia
Pictures Publications, Miami, for designing and
constructing this attention-getter.
The presence of one interested spectator at our booth
would cause several more, then many more people to
stop by to listen to the demonstration. The typical questions
were asked about the harp, of course, but also:
"How could I use this in my school situation?",
"Where can I find a teacher?", etc. This routine would
be repeated many times throughout the day. Other
visitors included the aforementioned friends of harpists,
which always prompted a look at the AHS Directory to
see if they were members. In the many cases where the
names were not listed, the friend was encouraged to pass
our AHS materials on to his/her harpist friend.
Although we have a large membership (about 2400),
there are thousands more harpists in this country alone
and ways to reach these non-members must be found. It
appears that conventions are one way.
Throughout the day and evening there are clinics,
meetings and concerts. The concerts are presented by
outstanding school groups from all over the country. At
this particular convention, the Michigan Youth Symphony
was one of the performing groups; it was thrilling
to hear their three fine harpists and to greet them and
their conductor at our booth the next day.
Our Chicago AHS chapter gave us much support in
our endeavor. Michael Shallow, Chicago chapter president,
not only recruited volunteers to help man the
booth but he also donated much of his own time there.
Other Chicago chapter members who were so generous
with their time was Jeannette Buerk, Honor Conway
and Nona Conway.
Serious interest in beginning harp programs was expressed
by orchestra/band directors from such varied
locations as Harvard, Illinois; Holland, Michigan;
24
AMERICAN HARP JOURNAL

Newark, Ohio; Harrisonburg, Virginia; Lafayette, Indiana;
Rockford, Illinois; Northfield, Minnesota;
McPherson, Kansas; Evansville, Indiana; etc. Even the
director of the First Marine Division Band at Camp
Pendleton, California, said that he had never had a harpist
in his band but he would take it up immediately
with his Commanding Officer. There were some
teachers who already have harps in their schools, which
was pleasing to learn; however, we now could give them
AHS literature for their non-member students, some of
whom might not even be aware that AHS exists.
Visits to the booth were made for other reasons as
well. A Montreal, Canada, teacher - himself a potential
harp student - had no idea how to find harps, teachers,
etc. Several music store owners needed this same kind of
information in order to answer their customers' questions
on the subject. We had copies of THE
AMERICAN HARP JOURNAL on hand and showed
them that through the JOURNAL's advertisers they
could get the information they needed. Service band
members and other musicians stopped to share their
musical experiences with harpists. Band/orchestra composers
were able to ask questions about our instrument,
further educating and encouraging them about harp
writing. Even the famous band composer, Vaclav
Nelhybel - who already writes well for harp - was an
honored guest. An Ohio string teacher who is a selftaught
harp teacher was able to learn more about harp
playing - certain facets of which were a mystery to her.
Friends were made with officials of a well-known strobe
tuner manufacturer; as a result, this company may join
AHS and advertise in the JOURNAL.
Throughout the convention, directors would occasionally
ask for a list of orchestra and/or band arrangements
which include harp parts. To my
knowledge, no such lists have ever been compiled. It
would be an excellent idea to do so to further encourage
directors with harpists to use harp more frequently, and
to show those directors without harpists what is
available with harp. Such lists could be published in the
JOURNAL so that all AHS members could benefit by
them. Is there anyone willing to make this a project? It
would be not only a unique but also valuable donation
to the Society. We would need one list of music playable
by junior high/senior high orchestras, and another list
of music payable by junior high/senior high bands.
Your sources of information could be the directors
themselves or publishers of band and orchestra music.
If you are a college music major currently in need of a
Mr. Louis Witt (middle) and Dr. Newton Sims (right),
directors from Minnesota and Alabama, hear about
available harp music from Marilyn Marzuki.
topic for a paper or a masters' thesis, here is the perfect
project!
In summary, Ann's idea was an innovative yet
necessary step forward for the Society. In my opinion,
this kind of exposure is an excellent way to expand the
Society's horizons. It also seems most fitting that a nonprofit
group such as The American Harp Society should
contribute this valuable service to the public.
Professional Music Copying
and Music Engraving
-publication quality work
-copyright service available
for quotations and
further information contact:
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.
Michael D. Amorosi
8467 West 4th Street
Los Angeles, California 90048
(213) 658-5674
SUMMER/ 1979
25

26
Obituaries
A. Z. Propes
The harp world lost a great leader with the unexpected
death of Mr. Propes in January, 1978. He was
the sole organizer of the first Israel International Harp
Competition in 1959 which drew an unprecedented
number of harpists from all over the globe. The feat was
all the more remarkable for a man who was neither a
harpist himself nor worked professionally in music. He
was an official of the Israel Tourist Board. The many
Harp Associations we know today and also the International
Harp Week held annually in Holland, all of
which sustain our many friendships, professional and
personal,. owe their very existence to Mr. Propes' 1959
gathering. He was a wonderful man, very
knowledgeable, who worked relentlessly to keep the
contest going, despite the tremendous difficulties in his
country over the past decade. I do not know of anyone
who could take his place.
Maria Korchinska (Reprinted
by kind permission of the United Kingdom Harpists'
Association. First appeared in UKHA Magazine No. 46,
March 1978.)
"The harpists are the ntarest and dearest to our
hearts," was the way that Mara Propes always expressed
it. One day, I asked her husband A. Z. Propes, how
they come to know the harp. Had they heard the harp as
children in their native land of Russia? Mr. Propes
seemed pleased to have the opportunity to tell the tale.
He said, "One Sunday afternoon, when Mara and I was
in New York, we went for a leisurely stroll and passed a
church with the most beautiful sounds floating in the
air. The church doors were open and there at the harp
was a tall, distinguished looking man, playing, We
walked in and sat down, absolutely enthralled by the
music. The harpist played and played and we wished he
might go on forever. When the program was over we
went back to talk to him and that was the way Marcel
Grandjany introduced us to the harp. Sometimes later,
when discussing music with Isaac Stern, I asked him if
he knew the beauty of the harp. He replied that he certainly
did and wouldn't it be wonderful to hold an International
Harp Competition in Jerusalem, city of David,
first and foremost harpist of all.'' With the help of Mr.
Grandjany to guide him, the first International harp
Competition took place in 1959."
Mr. Propes devoted his life to the homeland of Israel.
In his later years he directed his energies to the cultural
life and morale of the people. He is the founder of the
International Harp Competition, the Israel Music
Festival, and the International Choir Assembly, and
directed all of them single-handed.
During this time one of his happiest assignments was
to commission composers to write new works. He was
delighted to contact Igor Stravinsky who was coming to
Israel for his first visit on November 17, 1963. The
Israeli government wanted to commission him to write a
new work in honor of this momentous occasion and invited
Stravinsky to conduct. Mr. Propes and Mr.
Stravinsky enjoyed many long visits, speaking in their
native Russian and reminiscing ab.out their
backgrounds. However, the purpose of these visits was
to make an agreement on the fee for the commissioned
work. Each time Mr. Propes brought up the subject Mr.
Stravinsky would gracefully change the subject. Mr.
Propes returned to Israel with nothing to report. Nov.
17, 1963 arrived with Mr. Stravinsky as a tourist in
Israel. Mr. Propes took him to see as many biblicalhistorical
places as he could cram into one day. Mr.
Stravinsky was so greatly moved and inspired that he
announced the first thing the following morning that he
would write, "Abraham and Isaac" with a Hebrew text
from the Bible for voices and orchestra, without fee!
Mr. Stravinsky returned to Hollywood and completed
the work. "Abraham and Isaac" had its premiere in
Israel with Mr. Stravinsky conducting on August 23,
1964 at the summer music festival and was performed in
New York City with the N.Y. Philharmonic, conducted
by Robert Craft, the following year.
In 1970, during the fourth International Harp Competition,
Mr. Propes was very busy taking care of innumerable
details, with all running smoothly. He asked
me to find out if the contestants were well taken care of
in the university dormitory. I was told that the only
complaint was that there was nothing to eat before bed,
and many of them were hungry after the long evening
session of listening to 4 or 5 contestants. When I told
this to Mr. Propes, he was furious. After the last contestant
had finished playing and the busses were filled with
contestants, judges and guests of honor, Mr. Propes
asked my husband and me to drive over to the dormitory
with him. When we reached our destination, Mr.
Propes asked us to wait for him, that he would only be a
minute. It was a balmy night with the strong breeze of
Jerusalem blowing the fragrance of all the herbs and
flowers that grow wild.
Soon we heard raised voices coming from the
housemother and Mr. Propes. She said, "But they ate
them all the first day!" He said, "You were supposed to
have cookies, juices and milk at all times", and with
great anguish, "The CHILDREN have been going to
bed hungry."
Yes, the harpists were nearest and dearest to his
heart!
Pearl Chertok
As y,re go to press we have just been advised
of the death of Maria Korchinska of Great
Britain.
AMERICAN HARP JOURNAL

Dr. Hans Joachim Zing el
November 21, 1904 - November 16, 1978
by Roslyn Rensch Erbes
With the death of Hans Joachim Zingel last fall the
music world and harpists in particular lost a truly
dedicated musician and scholar. His dissertation, Harfe
und Harfenspiel vom Beginn des 16. bis ins sweite Drittel
des 18. Jahrhunderts (Halle, 1932)' is a gold mine of
well-researched information. In the following years,
and well into the 1970s, Dr. Zingel produced a series of
outstanding publications all concerned with the harp.
In 1951, on my first trip to Europe, I just missed
meeting Dr. Zingel at Bayreuth. The student group I
was travelling with attended a performance of "Die
Walkure" and when I slipped into the orchestra pit,
during an intermission, to meet the six harpists who had
been playing so beautifully, I was told that Hans Zingel
also played there but was not performing on that day. I
was very disappointed that we could not delay our trip
so that a meeting would have been possible. It was not
until 1962, when I was again on a tightly scheduled tour,
that I was able to meet Dr. Zingel in Cologne. However,
prior to that and through the years we corresponded
from time to time, and he kindly sent me copies of many
of his works.
Articles by Hans Zingel published in the 1930s in Acta
Musicologica, Archiv fur Musikforschung, Das Orchestra,
and other German magazines, include such a
range of titles as: "Musik fur 'Klavier oder Harfe"',
"Zur Bibliographie der Schulwerke fur Harfe", "Die
kreuzsaitige 'Arpa de dos ordenes"', "Wandlungen im
Klang - und Spielideal der Harfe", "Franz Liszt und die
Harfe", and "Studien zur Geschichte des Harfenspiels
in klassischer und romantischer Zeit". Thus it is evident
that even then, although the title of his dissertation suggests
that his concern was chiefly with the European
harp of the Renaissance, Baroque and Rococo periods,
many more phases of the harp interested him and were
keenly researched by him.
When that magnificent undertaking Die Musik in
Geschichte und Gegenwart was published (Vol. 5 which
includes the "Harfe" article is dated 1956), Hans
Hickmann wrote the comprehensive article on the harp
in the ancient world, while Hans Zingel covered the progress
of the instrument from the early Christian era into
the 20th century. Both sections of the article were well
illustrated and documented throughout; there was appropriately
meticulous attention to sources. The Fall
SUMMER/ 1979
Dr. Hans Joachim Zingel
1958 issue of Harp News magazine published the first in
a series of articles from Dr. Zingel's encylopedia entry.
The translation by Ursula Stechow was commendable;
Dr. Zingel' s prose style is not one which lends itself easily
to translation.
Hans Zingel was responsible for many other notable
publications including a German harp journal, articles
on virtuoso harpists, such as Parish-Alvars, Reni~ and
Zabaleta, and a slim but authoritative volume on the
baroque harp, Harfenspiel im Barockzeitalter, (Gustav
Bosse, Regensburg, 1974). In addition he rediscovered
and edited much music for the harp. Of the music probably
the best known is Zingel's edition of Johann Baptist
Krumpholtz's "Sonate" for flute and harp (Nagels
Musik-Archiv, Hannover, 1933). Zingel's editions of
the solo and ensemble music Louis Spohr composed for
his harpist wife, Dorette Scheidler, also did much to
refocus the attention of 20th century harpists on these
historically important works.
However, of all Dr. Hans Zingel's publications, the
crowning achievement is the four volume work entitled
Neue Harfenlehre (Hofmeister, Leipzig). Volume one
of this series includes fifteen photographs of Zingel's
hands on the harp strings, clearly illustrating various
technical points; there are countless musical examples
and exercises; the text appears in both German and
English. Volume two includes ninety-nine pages of
carefully selected music ranging from the preludes of
Johann Sebastian Bach, and pieces by such famous harp
world names as Hochbrucker, Mayer, Backofen and de
Marin, through the Etudes of the harp world giants:
Posse, Bochsa, Labarre, Naderman, Godefroid;
Fiorillo, Dizi, Kastner and Holy. (This volume in particular
is one which every harpist should own.)
Volume three of the sedes is devoted to orchestral
studies. Beginning with an excerpt from Monteverdi's
"Orfeo" this volume includes harp parts taken from the
27

THE HARP STUDIO
Quality repairs at competitive prices
new necks & soundboards
Re-riveting, re-finishing & gilding
Regulations (in your home if desired)
137 Webster Street East Boston MA 02128
( 617) 569 6642
28 AMERICAN HARP JOURNAL

compositions of some thirty-five composers, from the
17th through the late 19th century. Here is certainly an
invaluable gathering for the orchestral harp student.
The final volume, four, of Zingel's Neue Harfenlehre
consists of a thirty-eight page essay on the development
of harp playing, plus thirty excerpts from both solo and
ensemble music for the harp. The latter section begins
with an anonymous work of the 13th century and pieces
of early Spanish and Irish attribution, and concludes
with solos by Parish-Alvars. A rich feast indeed of
music for the harp alone, with other instruments, and
with voice.
The essay of volume four was translated into both
English and Russian. The English translation (definitely
not done by Zingel) is of poor quality; it is hoped that
the Russian translation fared better. The English
translation printed in volume one was not ideal, but it
did not jarr as does the translation of volume four. The
nature of the two texts may have something to do with
this since in volume one Zingel is discussing the processes
of beginning harp study and English has never
been the first language of all harp teachers. Therefore,
as we might during an "actual" lesson, we understand
what is intended and can easily disregard an awkward
turn of phrase, etc. However, the publisher should really
be taken to task for burdening volume four of
Zingel's superior efforts with a transladon that does a
distinct disservice to the years of careful research and
writing which so obviously preceded Zingel's original
essay. On the positive side, however, perhaps this poor
translation will stimulate harpists with some knowledge
of German to make that additional effort themselves to
read this comprehensive study in the original.
The combination of performer, teacher, research
scholar and writer, which is not often come by in any
field of the arts, set Dr. Hans Joachim Zingel apart.
This disarmingly modest gentleman deserves a fitting
tribute from harpists of today and of the future, all of
whom can benefit greatly from any study of his extensive
and knowledgeable publications.
~
Carlos Salzedo Film
A color motion picture of Carlos Salzedo has been
reproduced on 8 mm film.
Although this is a silent, amateur film, one is able
to see how Salzedo played the harp. He plays portions
of three numbers: Flight, Introspection, and
Whirlwind. 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.
For information write to: Helen Brem, 2687
Chatsworth Blvd., San Diego, CA 92106.
University of Northern Colorado
School of Music GREELEY, COLORADO 80639
SUMMER/1979
29

-~4"'......,.
t-' - .:.....
,.:-

THE IRISH HARP
by Nora Joan Clark
PART III CONTEMPORARY USE OF THE IRISH HARP
Introduction
It had been my innocent intention, quite a few years
back when I began serious study of the subject, to investigate
the whole story of the Celtic Harp and to learn
of the harps of the peoples of Ireland, Scotland, Wales,
Cornwall, the Island of Man, and of Brittany, and likely
of European Renaissance and the Middle Ages as well,
and to seek out representative music of the various
regions and learn to play this on the appropriate harps.
Five years ago I fell back before my own intentions and
admitted that I would have to limit my writings, at least,
to that of the Irish Harp. Now, with the increased
weight of new information rising on every side, I shall
have to skip lightly over even this preferred subject if I
am ever to bring my writing to a close, in the interest of
picking up my harp again. May I assure the interested
reader, and the prospective scholar, that the subject of
the Celtic Harp is vast and well deserves the attention of
more serious scholarship as well as artistic interpretation.
With this series of articles I have, perhaps, opened
a door to an earlier style of harp playing for those who,
heretofore, were familiar only with the modern-day
pedal harp. I must move on now to the present, exciting
revival of the Irish Harp, stopping only to raise a few
questions that will need to be answered by others who
are in a better position than I am to investigate these
ideas, and to touch upon a few highlights of the story.
It is tempting to speculate upon the influence of exiled
Irish harpers who were forced from their homeland by
centuries of oppression. What became of the harpers
who were banished from Ireland during the later years
of Queen Elizabeth's rule at the end of the 16th century?
We know of one, Rory Dall b Cathain, who was a
member of a noble family of County Derry, but who
resided principally in Scotland after the downfall of
Hugh O'Neill. Rory Dall (da/1 meaning "blind") who
played before King James VI of Scotland (James I of
England), and was the composer of the lovely air, ''Oh,
give me your hand", still played today, died about 1650
in Scotland at extreme old age. Was it he who played the
harps we know of as the Lamont Harp and the Queen
Mary Harp, so similar in form to the Trinity College
Harp? How many other Irish harpers took themselves
off to other parts of the British Isles or even to Europe?
We could theorize about the influence of harpers who
may have fled with their lords to the Continent during
the Flight of the Earls, O'Neill and O'Donnell, in 1607;
or again at the end of the 17th century, with the Flight
of the Wild Geese; or again at the end of the 18th century
in the collapse of the rebellion of 1798, just a few
years after the Belfast Harp Festival of 1792 and the
publication of Edward Bunting's first collection. Considering
the hopeful relationship of the Irish to the
French, one wonders to what degree the French school
of harp playing has been enriched through the centuries
by Irish harpers who despaired of life in their native
country. Certainly the classic repertoire for concert, or
pedal, harp has been served elegantly by French composers
and French harpists. One also finds excellent
music for "Harpe Celtique" or "Harpe sans pedals",
published in France today. The harp has been prominent,
likewise, in Spain; and in Italy, final resting place
of O'Neill and O'Donnell.
19th Century
Moreover, with due respect to Turlough O'Carolan,
the great 17th-18th century Irish harper, I treat
cautiously the epitaph at the graveyard of Carolan,
which I have read and heard quoted with firm finality:
"Within this churchyard lies interred Carolan, the last
of the Irish bards. He died March 25th, 1738. R.I.P."
This inscription was placed there by Lady Louisa
Tenison about the year 1858.'
It is well known that Denis Hempson was a great performer
and a master of the old Irish Harp technique. He
lived to the remarkable old age of 112 years, retaining
his mental faculties to the end of his life and playing the
harp on the day before his death at Magilligan on
November 5, 1807. Bunting described Hempson's performance
with astonishing proficiency upon the wire
strings in the ancient manner. Hempson's harp was the
handsome instrument known as the Downhill Harp,
made and poetically inscribed in 1702 by Cormac
O'Kelly of Ballynascreen, County Derry.
"In the days of Noah I was green:
After his flood I've not been seen
Until seventeen hundred and two, I was found,
By Cormac Kelly, under ground;
He raised me up to that degree,
Queen of Music they call me." 2
The Hidden Harp
One notices, reexamining the roster of harp players at
the Belfast Festival that these were all men, with the
single exception of Rose Mooney, and that they were
drawn generally from counties to the north and east of
Ireland, that is, in the vicinity of Belfast. Considering
SUMMER/ 1979
31

32
the difficulty and hazard of travel at that time as a
serious limitation, as well as the customary confinement
at home of women, it is not hard to believe that there
were, indeed, surviving harp players in other parts of
the country who did not appear at the Festival, and that
these could have been women as well as men who were
still in a position to carry on the tradition in modest
fashion at home. Do we not observe today that the majority
of harp players are women? Is there any reason to
think that women have not always played the harp, and
perhaps with great proficiency, since little other education
would be available to them, but have done so in
private or the more secluded circumstances of the home
or convent? A career as an itinerant performer would
have been virtually unthinkable.
Denis Hempson began his harp studies, at the age of
twelve (1707) with a woman, Bridget O'Cahan: "for in
these old times, women as well as men were taught the
Irish harp in the best families, and every Irish family
had harps in plenty."'
Consequently, to state as I did, at the conclusion of
my previous article• that the old Irish harp disappeared
about the beginning of the 19th century does not mean
that the Irish harp was extinguished, but does mean that
its use and form changed and it became more obscure as
public conditions and tastes changed. Public use of the
instrument declined, but the harp did not "die out".
Egan Harps
Early in the 19th century Dublin harp-maker John
Egan began producing harps that differed from the
traditional sturdy Irish harps with the flat angular onepiece
sound box. His harps, though small in size, took
on the lines and construction of the pedal harps that had
since appeared in France and England made by Sebastian
Erard, (patented 1810). These were still strung with
thin brass or steel but did not have a good tone. Still influenced
by developments in the pedal harp design,
Egan designed a "Portable Harp" with mechanical
features resembling those of the pedal harp, but in an
instrument only three feet high and which, consequently,
could be carried about as the Irish harps had always
been. A change from metal to gut strings improved the
tone and avoided the excessive vibration of metal strings
in conflict with mechanism. Instead of pedals, this small
harp had ditals, or seven small levers set into the hollowed
but traditionally bowed forepillar that could actuate
discs mounted in the neck above each string and shorten
the string, thereby raising the pitch one half-step, in the
manner of the pedal harp.
Egan's hybrid was a good attempt to answer the harpist's
desire for pitch change of the strings in a portable
harp, but it did not survive. However, the altered body
form of the Irish harp was copied a century later by the
American harpmaker, Melville Clark. There is an example
of the Egan Portable Harp (1819) in the
Metropolitan Museum of Art, New York, in the Crosby
Brown Collection (1889). Although Egan's harps
became fashionable and were enjoyed for a while by the
wealthy, by the mid-nineteenth century Ireland was so
badly devastated by the Great Famine and the disrupted
social system that bare struggle for existence allowed
little leisure or means for harpmaking or harp playing.
The Great Famine
The potato blight of 1845-46 wiped out the principal
source of sustanence for a large part of the population.
Without going further into the deplorable reasons for
this, it is sufficient to say that starvation and disease and
the absentee landlord system took mortal toll, and hundreds
of thousands of Irish had to emigrate in order to
survive. Thousands fled to Britain, and even greater
numbers surged across the Atlantic to America in a
steady stream for the next fifty years, reducing Ireland's
population by one-half.
Those who survived the crossing landed in Boston or
New York and established Irish communities in these
cities, or moved southward to Philadelphia, the cradle
of American independence, or westward to the industrial
centers of Detroit and Chicago, or northward to
Montreal or Toronto in Canada. Many had to work at
the most menial jobs in order to support themselves.
Gangs of Irishmen worked on the building of the
railroads, keeping up their spirits with song and drink,
giving a particular Irish flavor to the history of that
westward expansion. All brought their memories of
home and separation, most with old tunes in their heart;
some of the more fortunate brought a fiddle or other instrument
from home, but they left scant record of the
harp.
Late 19th - early 20th Century
The desperation of each ensuing century seemed
worse than that of the previous as Ireland sank into
depletion and despair toward the end of the 19th century.
All aspects of culture suffered along with the suffering
population. Quoting Giovanni Costigan: ''The
Famine still further weakened the declining hold of the
Gaelic language upon the Irish people. For its ravages
had been most severe, the emigration most concentrated,
in those areas of the west and southwest where
the majority of Gaelic speakers had lived. As Douglas
Hyde put it, in the years after the Famine, the language
'just wilted off the face of Ireland.' Between 1861 and
1891, except in certain districts of the Gaelteacht 5 , the
old language died out almost completely. In 1891, according
to Dr. Hyde, there were fewer Gaelic speakers
in all Ireland than there had been before the Famine in
the single province of Connacht. " 6 Irish traditional
music, song, and dance dwindled likewise.
Little wonder that the Irish Harp went mute.
From this depth positive change came about slowly.
In 1893 Douglas Hyde (1860-1945), who was to become
the first President of Eire in 1937, and his supporters
founded the Gaelic League for the purpose of preserving
and restoring Ireland's native language and with it
the essential link to the past. William Butler Yeats
(1865-1939) appeared at a time of need to inspire the
Irish Literary Revival and a great outcry. With Lady
Augusta Gregory (1852-1932) he founded the Abbey
Theatre in 1904, which would become an intellectual
center for the spirit of Ireland's rebirth. Here were pro-
AMERICAN HARP JOURNAL

duced the plays of Yeats, Lady Gregory, John Millington
Synge, Patrick Pearse, Sean O'Casey, George
Bernard Shaw, and a succession of other notable
playwrites.
Irish nationalism finally erupted in rebellion on April
24th, 1916, ignited by the passions of a gentle
schoolmaster, Patrick H. Pearse (1879-1916), author
and martyr of The Easter Proclamation of 1916. The
Proclamation of the Provisional Government of the
Irish Republic, delivered by Pearse under the portico of
the General Post Office in Dublin is the Irish equivalent
of our Declaration of Independence. Within three weeks
all seven signers of The Proclamation were shot.
Ireland rose, but it would be another whole generation,
however, before the Republic of Ireland was proclaimed
on April 18, 1949, severing a bondage of eight hundred
years.
Preservation of the Irish Harp
Looking back, we find that harp playing, although
diminished by the end of the 19th century, was kept
alive in the early years of this century by Catholic nuns.
Two convents in Dublin that have long offered harp instruction
are Loreto Abbey at Rathfranham, and the
Dominican Convent at Sion Hill, Blackrock. In an
earlier article 7 I mentioned the service of Mother Attracta
Coffey of Loreto Abbey in preserving harp playing,
early in this century, and of her successor, Mother
Alphonsus O'Connor, who was the early harp teacher
of Sheila Larchet Cuthbert, now the leading professional
concert harpist in Ireland. Mother Attracta's
published Studied and Irish Harp Tutor (1903) are incorporated
into The Irish Harp Book, edited br Sheila
Cuthbert on behalf of the Irish Harp Society, Cairde na
Cruite, and published in 1975 by Mercier Press.
Musical instruction of all kinds has long been
available at the Royal Irish Academy of Music
(R.I.A.M.), founded in 1856, and now established on
Westland Roy in Dublin. Mrs. Mercedes Bolger Garvey,
a prominent concert harpist, was Professor of Harp for
some years at the R.I.A.M., and is now associated with
the College of Music, Chatham Row, Dublin. The
emblem of the R.I.A.M. is an Irish Harp, surmounted
by a crown, and surrounded with a garland of
shamrock. Anne Crowley, B.Mus., who studied concert
harp with Mercedes Bolger and Maria Korchinska, is
now Professor of Harp, teaching both Irish Harp and
pedal harp at the R.I.A.M. The current Syllabus of examinations
for the Academy lists rigorous requirements
for examination in harp and most other instruments, as
well as orchestra, singing, theory and harmony, speech
training and public speaking.
Other harpists to whom we are indebted for preservation
of the harp, early in this century, were Treasa Ni
Chormaic and Caroline Townsend. Treasa Ni Chormaic,
described by Mrs. Mercedes McGrath Bolger as
the "real descendent of the old Harpers," was taught to
play by her father and had many pupils. Caroline Townsend,
who was an authority on Irish culture, was the
teacher of Mairin and Roisin Ni Sh~ and their sisters.
Mairin Ni Sh~ (Mairin Bean Ui Feirit~ir) recently
SUMMER/1979
celebrated her Silver Jubilee of teaching Irish Harp and
other subjects at Sion Hill Convent. In over twenty-five
years she has taught hundreds of harpists to play and
sing with the harp, and prepares young harpist-singers
who perform for delighted guests at Jury's Hotel in
Dublin and elsewhere. A graduate of the University College
Dublin, (U.C.D.) she studied voice and piano at the
Royal Irish Academy of Music, and harp with Miss
Townsend, and has performed widely, representing
Ireland in Celtic countries and in the United States. A
revival of interest in the Irish Harp can be traced to An
T~stal (cultural festival) of 1953, when Mairin Ni Sh~
presented several of her pupils in performance. These
were Mary O'Hara, Dierdre Ni Fhlionn, and Kathleen
Watkins. They were invited to take part in the celebrations·
in London and to perform on BBC Radio and
Television, at which time Mairin lectured in London on
the subject of Irish Harp. This was received with enthusiasm
and the performers were soon very much in demand.
Mairin's husband, Michaeal Feiriteir, teaches Classics
at Castleknock College, and both are dedicated to Irish
culture and language. (This might be the occasion to
point out that Irish women frequently use their maiden
names, though married. The form Ni preceding the
maiden or parental name means "daughter of", while
the form Bean ui, followed by the husband's surname
means, literally, "woman of" or "wife of". Mairin
might also be addressed, in English, by her pupils for_instance,
as "Mrs; J;erriter. ") I had th,e pleasure o~
meeting both Mairin and her sister Raisin Bean Ui
Thuama on my recent visit to Dublin. Mairin and her
pupils at Sion Hill entertained me with singing to thefr
own accompaniment on Irish Harp in the style made
famous by her illustrious former pupil, Mary O'Hara.
Roisin Ni Sh~, also a graduate of U.C.D., has also
performed widely as an Irish Traditional Singer and
singing to her own harp accompaniment, on Radio and
Television, as well as for An Oireachtas (Irish language
festival), and at the Celtic Congresses. Roisin and her
husband S~amus O Thuama, have a large, musical family.
They entertained me graciously in their home with
Roisin singing and playing traditional airs on her
original MacFall harp while her son accompanied his
mother with the flute.
It was also my pleasure on my recent trip to Dublin to
meet Miss Nancy Calthorpe, a prominent musician,
teacher, and composer. A native of Waterford, she
comes from a family of professional musicians
associated with the musical life of Waterford for over a
century. From a very early age she studied music, first in
Ireland, and later in London and the Continent. She
holds the Licentiate Diploma of the Royal Academy of
Music, London (teacher of Singing) and the Licentiate
Diploma of the Trinity College of Music, London
(teacher of Pianoforte). She studied Singing and Irish
Harp under Sheila Larchet Cuthbert and Mairin N{ Sh~.
She has taught at Loreto Abbey and Sion Hill and is
now on the Teaching Staff of the Dublin Municipal College
of Music, Catham Row, just off Grafton Street in
the center of Dublin. She teaches Harmony, Theory,
33

Figure 1 M~irin Ni Sh~ and Pupils at Sion Hill Convent Blackrock, Dublin.
34
Aural training, Piano, Singing and Irish Harp at the
College of Music which includes over fifty professors of
musical arts on the staff. Miss Calthorpe has acted as
Adjudicator at all leading Irish Festivals and in 1966
was awarded An Oireachtas prize for her setting of three
Irish Songs to Irish Harp Accompaniment. She has won
the Dr. Annie Patterson Medal three times at the Dublin
Feis Ceoil for Arrangements for Voice and Irish Harp.
Figure 2 M~irin Ni Sh~ playing the MacFall Harp for
Patrick J. Hillery.
Many of her pupils have obtained scholarships and
premier awards at Festivals at home and abroad.
Anticipating the 300th anniversary of the birth of
Turlough O'Carolan (1670), Miss Calthorpe brought
out, at her own expense, a small collection of ten
Carolan airs nicely arranged for Irish Harp, titled, "A
Tribute to O'Carolan." At that time a special observation
of Carolan's birth was held by the harpists, presided
over by the notable harpist Gwendolyn Mason. Eventually
this was republished by Waltons in 1976.
Publication of "The Calthorpe Collection, Songs and
Airs arranged for the Voice and Irish Harp" by Nancy
Calthorpe, in December 1974, was the occasion for a
handsome reception given by Allied Irish Banks, sponsors
of the publication, in Dublin. It was also the first
official function of President Cearbhail b Dalaigh (Carrol
O'Daly), representing C~irde na Cruit. Many of
Ireland's leading artists contributed to a concert that
evening, includin& Sheila Cuthbert, Gr~inne Yeats,
Mary O'Hara, Mairin and Rbisin Ni Sh~, Geraldine
O'Grady, the leading violinist, accompanied on the
Irish Harp by her sister, Eily and Eily's husband, a wellknown
tenor, Frank Patterson. It was a memorable
event in more ways than one, so it was amply covered by
the press who also heralded the return of Mary O'Hara
to the concert stage, and from this occasion Mary's
public reputation quickly soared again.
Since this time two more collections by Nancy
Calthorpe have appeared: "A Celtic Bouquet for the
Harp", a selection of favorite songs, airs, and a harpviolin
duet arranged for the harp; and Ocht nAmhr~n,
"Eight Songs" (in Irish), with harp accompaniment.
Nancy, who lives on historic Fitzwilliam Square, has
two Irish harps: one made by George lmbusch, the
other by Robert Morley.
AMERICAN HARP JOURNAL

--·~------
Figure 3 Nancy Calthorpe at her Doorway on Fitzwilliam
Square, Dublin.
Another distinguished performer and teacher of the
Irish Harp is Grainne Yeats (Grainne Ni Eigheartaigh),
who is an authority on Irish folklore and performs
traditional Irish songs, singing to her owll' harp accompaniment.
She is the qau~hter of the well-known
historian, the late P. S. 0 Eigeartaigh. Her husband,
Senator Michael Yeats, is the only son of the late
William Butler Yeats. Grainne Yeats has toured extensively,
both in Europe and America and, recently, in
Japan where there is a flourishing interest in Irish Harp.
Mrs. Yeats is a graduate in History of Trinity College,
Dublin, and received her musical education at the Royal
Academy of Music, as well as privately.
Grainne and Michael Yeats' daughter, Caitriona
Yeats, continues the artistic tradition as a professional
harpist with the pedal harp. Caitriona Yeats was a prize
winner in the Fifth International Harp Contest held in
Jerusalem in September, 1973. She studied the concert
harp in Holland with Edward Witsenburg after early
harp study in Ireland. Caitriona spent some time in
Brookline, Massachusetts, recently, but is now living in
Sweden.
Charles Guard, a fine young harp player from the Isle
of Man, who plays Scots Gaelic music with the group,
The Whistle-binkies, is a student of Grainne Yeats.
Harpmakers
The "Tara Harp" made in Belfast in 1902 by James
MacFall for Cardinal Logue became the prototype for a
style of Irish harp made later by Waltons' of Dublin.
Waltons' presented this harp under the name "Bardic
Harp". The soundbox of the MacFall harp was shaped
like that of the pedal harp, with a rounded back, and the
harp was set upon little feet. The forepillar was bowed,
the head of the harp was high, and the whole thing
Figure 4 Celtic Harp by Walton, Dublin 1978
elaborately decorated with Celtic designwork. A ringtype
device for raising the pitch of the string was
mounted in the neck above each string. Strings were a
combination of gut in the treble and fine wire in the
bass. Waltons' Musical Instrument Galleries, a wellknown
music firm in Dublin, have recently produced a
new design, the "Celtic" Harp, with an improved string
and lever system of adjustable semitone blades. This
may be had with ornate Celtic design pokerwork, or
unadorned. The Walton harps are made on the premises
at their large store on North Frederick Street by harpmaker
Charles Jordan and his son. They also make
several smaller models. Mr. Patrick A. Walton, a Director
of the firm, takes a personal interest in the harp and
his daughter Aideen is currently studying the harp.
Quinn Harps
Other contemporary Irish harp makers are the Quinn
brothers, who formerly maintained a workshop on the
premises of the Royal Irish Academy of Music, but now
work out of their home. 8 During World War II, when
instruments and supplies were so very scarce, John
Quinn, an expert craftsman, was called upon frequently
by Professor Annie Faban, who taught harp at Sion Hill
Convent and also at the R.I.A.M., to repair the instruments
in her charg~. The head of the Music Department
at Sion Hill, Sister Angela, was intensely devoted
to the revival of the Irish harp, and she used to prevail
upon Quinn to accept harps for repair that were long
past their best and needed considerable skill and effort
to restore. When I visited their workshop in the fall of
1973 Patrick Quinn told me the story of how his brother
became a harpmaker:
"The idea for the Quinn Harp was born on the day
that Sister Angela sent John what he described as a 'bag
of bits' to repair. John remarked that it would be easier
to make a new harp than to repair this collection of
junk! With her usual charm Sister Angela challenged
SUMMER/ 1979
35

36
him to just that. He accepted the challenge, and from
then on he was 'hooked.' It took him a year to produce
the first model, but typically of him, he was not satisfied
and continued to experiment with structural design,
always with the singular thought that it must be an instrument
with a simple design but a quality of tone."
Once John Quinn was sure that he had a harp that
was a practical instrument, he commenced to make
them for selected customers in Ireland, the U.S.A., and
Holland. All of this time, he continued to experiment
with various woods, tuning blades, and various types of
pins, and incorporated his new ideas into the current instrument.
He expanded his market to France, Italy, and
Germany and became internationally recognized. He
was helped by his brother Daniel, who was a piano tuner
and had ample experience in the tuning and tone
qualities of instruments. When John died in 1960 Daniel
Quinn decided to carry on the business, despite ill health
and scarcity of materials. Patrick (Paddy) Quinn
entered the business in 1966, doing both the managerial
work and practical work in harp making and harp
finishing, which is all hand-rubbed French-polishing.
Paddy's sister, Mary, and her son, John Maguire, joined
the family craft about 1972, and now Paddy's three
sons are coming into harpmaking as well. The Quinn
family's service to the R.I.A.M. goes back to the time of
its establishment in Westland Row, about 1856.
The Quinn brothers accepted my order for a new harp
(in 1973), and about six months later my hand-made
Irish harp arrived at SEA-TAC airport, still in tune
from the hands of the Dublin harpmaker. The body of
the harp is carved from one piece of mahogany, with
rounded back and no seams. The neck and pillar are
also of mahogany, French-polished to a rich brown.
The soundboard is decorated with pokerwork, while the
Dublin crest decorates the top of the pillar. The Quinn
harp is 43 inches tall and 23 inches wide, and sits upon
four little feet. It has 31 strings, of which five are fine
wound wire and the rest of thin gut. The strings of the
present-day Irish harps are noticeably thinner than the
corresponding strings used for pedal harps. It is tuned
like the Clark Irish harp, from bottom E to upper G,
and has large brass tuning blades set in the neck to raise
the pitch of each string.
I was introduced to the venerable Sister Angela
Walshe, O.P., by M~irin Ni Sh~ when I visited Sion Hill
Convent last October. I was charmed by her dignified
manner and speech, brilliant and twinkling eyes, small
and great stature in white traditional nun's garb. I
laughed to think how Paddy Quinn had shaken his head
ruefully while he told me how Sister Angela had
"pearsecuted my brither, John, until he made her a
harp."
The visionary, Sister Angela, was Mary O'Hara's
singing teacher.
• • • • • • • • •
Several new harpmakers have appeared lately in
Ireland. One is Joe Porter, who makes harps for Comhaltas
Ceoltoiri Eireann. These are available at their
headquarters, Cult~rlann na hEireann, Belgrave
Square, Monkstown, Co. Dublin.
Another fine harpmaker is Calm Maher (Calm b
Meachair), a former schoolteacher who has been making
harps professionally for several years now. Calm
has a fine workshop at The Craft Courtyard, Marley
Park, Rathfarnham, Dublin 14. His harps, which I have
played, are well made and have very good tone.
All Irish harpmakers that I am acquainted with prefer
to use the traditional gut strings, for best tone, with
fine, wound wire strings in the bass.
Wire-strung Harps
Another whole category of Irish Harp, which, unfortunately
I cannot cover now for lack of space and time,
is the revival of the wire-strung harp. This very interesting
subject deserves serious consideration, and, I
might say, special technique. Alan Stivell, of Brittany,
and Derek Bell, of Ireland, are the principal artists who
perform on the wire-strung harps. Christopher Warren
has done considerable research on the subject. A young
American woman, Sylvia Woods, who tours and performs
with Robin Williamson and His Merry Band,
plays the wire-strung harp very expressively.
Derek Bell
Derek Bell came into my life, musically speaking,
during the spring of 1975 when, laid up with a broken
leg and unable to drive or play my pedal harp, I had
plenty of time to listen to records. Fortunately I had just
rewarded myself for completing extended University
studies by the purchase of a recording with Irish Harp
which I had noticed advertised in Folk Harp Journal:
The Chieftains 4, with Derek Bell, harp. Until that time
my sole source of inspiration in Irish Harp was Mary
O'Hara and, as far as I knew at that time, she would
always be apart from us, in the monastery to which she
had retired years before. Derek brought me another,
fascinating example of Irish Harp - solely instrumental,
played expressively and fluently, both as solo and in
the company of such jolly lot of musicians as I had
never heard before! I was rejuvenated from the efforts
of academic research, from the discouragements of attempting
to play pedal harp in orchestra, and the confusion
in my own mind about the existence of the instrument
to which I had devoted so much lonely, academic
study: the Irish Harp. Here was someone who really
knew Carolan, who could pronounce for me the sounds
I needed to hear to believe in the life of Irish instrumental
music. It was an important turning point for me.
From the anxiety that I would never play the harp again,
since I couldn't play my pedal harp and wouldn't play
my Irish harp, depressed as I was about the condition of
Irish music at that time, I eventually coaxed my Irish
harp to imitate the sounds of the lovely air, "Carrickfergus",
and then the lively tune, "Morgan
Magan", and even the mysterious "Mn~ na hEireann."
heard for the first time as Derek played them. I even
went out to play these tunes at the Northwest Regional
Folklife Festival, on Memorial Day 1975, cast and all,
and discovered other devotees of Irish music, right in
my own back yard, one might say, and delightful music
that I had never heard in all the years of classic music
study at the University. By the next winter I received
AMERICAN HARP JOURNAL

The Chieftains 5, with Derek Bell's exotic Celtic harp
featured on the cover, surrounded by the bold companion
Irish instruments, and heard the exotic sound of
Figure 5 Deidre O Callaghan playing the new Colm
Haher Harp (1976)
the wire-st~ing hari;i accompanying the Uilleann pipes in
Roy Dall O Cathain's tune, "Give me your Hand."
There was no turning back; the Irish Harp had found
me and I heard it and the other grand Irish instrumental
music. Presently came the good news from Sheila
Cuthbert that Mary O'Hara had returned to the outer
world and had resumed her career with most remarkable
success. Now there were two inspiring examples of Irish
Harp, the thoroughly womanly Mary O'Hara, and the
thoroughly manly Derek Bell.
1976 brought me The Irish Harp Book by Sheila
Cuthbert, a masterful collection of music for the Irish
harp. 1977 brought The Chieftains 6, with more splen-
SUMMER/1979
Figure 6 Derek Fleetwood Bell 1979
did harp music by Derek Bell, as well as his oboe and the
delicious sound of his tiompan, which resembles the
sound of hammered dulcimer but more jingly, and more
Carolan tunes played on a replica of the metal-strung
Offogerty harp. On the Chieftains Live recording we
hear the familiar "Carrickfergus" and "Carolan's Concerto",
but the loveliest is "Carolan's Farewell to
Music", a piece I can't describe.
Derek Bell's first solo album Carolan's receipt (Claddagh
Records Ltd., CC18? was presented to me in appreciation
of a little performance I gave of Carolan's
music in Seattle, in 1977. I've been studying it ever since
for it is a unique resurrection of Turlough O'Carolan
(1670-1738), recreated by Bell.
We were promised Derek's second volume of Carolan
pieces for last Christmas, but have seen no sign of it yet.
It is to be called "Carolan's Favorite" and includes
more of the old brass string harp, occasionally two
harps, five numbers with strings, three with Chieftains,
one with flute and one with pipes, but always one harp
or another strongly solo.
Thus far I have heard Derek only through recordings.
I hope to hear him live this month in Vancouver, British
Columbia on The Chieftains' first tour to the Pacific
Northwest.
Derek's music has already spoken for him, but one is
interested to know where he came from and how. A
native of Belfast, Derek holds degrees from Trinity College,
Dublin, and from the Royal College of Music,
London. He is proficient at the piano, oboe, cor
anglais, xylophone, dulcimer and, needless to say, harp:
double action harp, gut "neo-Irish" and medieval wirestrung
harps, and tiompan. He is, in addition, a composer.
He began his harp study, as an adult, with Sheila
Larchet Cuthbert, followed by study with Gwendolyn
Mason, O.B.E., in London, and later with Artiss de
Volt, Sea Island, Georgia. In 1965 he joined the B.B.C.
in Belfast as solo harper for the B.B.C. Northern
Ireland Orchestra, but resigned this position in 1975 to
devote his energies to the much-travelled and highly successful
Chieftains.
Mary O'Hara
So much is currently written about Mary O'Hara,
both in the popular press and in critic's reviews that I
feel deafened by the clamour of voices rushing to tell us
what I have believed for twenty years: that Mary
O'Hara is a unique artist of great stature and compelling
beauty. In order to avoid oversentimentalizing
about a woman I have never met, nor heard perform in
person, but have been strongly influenced by these
twenty years, I will quote the words of her friend
Padraig O'Tuathail in his notes to the recording, "Monday
Tuesday" by Mary O'Hara, released in 1977 by
Emerald Records Ltd. 9
After 13 years of monastic silence Mary O'Hara
is back again on the music scene and in full bloom.
She is giving recitals, doing radio and television
programmes.and enchanting new friends (and old)
with that voice that has sold her a million records.
The music critics have given her an enthusiastic
37

38
Mary O'Hara
welcome. "A singer without peer" declared the
Salisbury Journal; "Magic undimmed" wrote
Charles Acton in the Irish Times.
Lovers of Irish music, or indeed of good music
anywhere, need no introduction to Mary O'Hara.
The story of her life is as interesting as it is tragic
and in some ways has helped to make her the folk
legend that she is.
Mary O'Hara was born in Sligo in the west of
Ireland, educated mainly in Dublin where she
learned to play the harp. At sixteen she did her
first radio programme and later represented
Ireland in the Celtic Congress in Scotland. More
radio programmes, an appearance at the
prestigious Edinburgh Festival, TV work and a
contract with The Decca Record Company followed.
At the age of 20 she had her own B.B.C. TV
programme on Saturday nights and later on her
own children's TV programme on the B.B.C. During
this period she made known to the British
television public many of the beautiful but hitherto
little-known traditional songs of Ireland and
Scotland. Because of her ability to satisfy both the
purist and pvpu1ar taste, her series was received
with wide acclaim.
In 1956 at the age of 21, Mary O'Hara married
American poet Richard Selig and set out to live in
the United States where her music talent won
quick recognition. Describing a Mary O'Hara
Washington concert, Paul Hume, the celebrated
music critic of the Washington Post wrote that
"she raised to a new high level the art of folk singing".
But unknown to everybody, even to parents
and close friends, the young couple kept a tragic
secret: Richard Selig was dying of Hodgkins
disease and fifteen months after she was married,
Mary O'Hara was alone again. Richard Selig w::is
dead.
For 4 years after her husband's death Mary
O'Hara toured the world giving recitals and concerts,
radio programmes and television appearances
and getting rapturous acclaim
everywhere. Then suddenly when at the top of her
profession, she disappeared into a strict Benedictine
monastery in England, never intending to sing
or play the harp again. But God's ways as she
says, are not ours and today Mary O'Hara is at the
brink of a second comeback with new songs and
new insights gleaned from her monastic sojourn.
That was two years ago. In the meantime, with the
release of her two new recordings, "Mary O'Hara, at
the Royal Festival Hall" (Chrysalis CHR 1159), recorded
live at the concert of November 5, 1977 in London,
and the latest, "Music Speaks Louder Than Words"
(Chrysalis CHR 1194), in September 1978, followed by
an extensive concert tour of the United Kingdom and
concert at The Palladium, London's great popular
theatre, Mary's popularity has soared to the point where
she has just been voted "Irish Person of the Year, 1978,
in Britain"' 0 •
What is it that has compelled my attention to this artist
all these years? Although it is hard to explain I might
just say it is the aura of authenticity, of simplicity and
sophistication at one and the same time, of an artist who
is both childlike and profound. And it is the wedding of
song with harp accompaniment that takes us back to the
ancient function of the Irish Harp: the bardic union of
the Poet and the Muse. It is this that sets Mary O'Hara's .
music apart from all others, for me.
Richard Selig was a young American poet of the
greatest promise, who died in New York, October 1957,
at the age of 27. He was born in New York City and
reared in Washington D.C. After studies in psychology,
drama, Greek, and French at various universities
elsewhere in the world, he came to Seattle in 1950, at
about the age of 21, to study at the University of
Washington with our great poet, Theodore Roethke. He
graduated, in English, from the University in 1952 and
later held a teaching fellowship here. During his stay in
Seattle Richard enjoyed the friendship of Mark Tobey,
many years his senior, and association with other
notable artists and intellectuals. In 1953 he was appointed
Rhodes Scholar from the Pacific Northwest to
Oxford University, where he spent three years at
Magdalen College. During this-time Richard Selig and
Mary O'Hara met, and were married, as previously
noted, in 1956. One volume of Richard Selig's POEMS
was published by the Dolmen Press, Dublin Press,
Dublin; copyright by Mary Selig, 1962, but is now out
of print.
Although the beauty of Mary O'Hara's early Celtic
songs with harp accompaniment is undeniable, and the
renewed pleasure her rare voice gives to the more
popular and universal songs of the current Chrysalis
recordings is very appealing, the element that interests
me the most is the appeaqmce of her own compositions.
AMERICAN HARP JOURNAL

I think, the finest feature of Mary O'Hara's new,
mature style is her composition, or setting, as she terms
it, of her late husband's poetry to music. Listen carefully
to Among Silence if you would hear the historic Irish
triad of poetry, voice, and harp. Be transported to the
pond, - - -
"Where bubbles dawdle, green wands wave and tadpoles
jerk;""
and enjoy the sensuous imagery of Celtic harp and song.
NOTES
' Donal O'Sullivan, Carolan, The Life Times and
Music of an Irish Harper (London: Routledge and
Kegan Paul Ltd., 1958), Vol. 1, p. 104.
2
Edward Bunting, The Ancient Music of Ireland
(Dublin, Hodges & Smith, 1840; repub. Dublin,
Waltons, 1969), p. 76.
3
Bunting, 1840, p. 74.
4
Nora Joan Clark, "The Irish Harp, Part II, 17th
and 18th Century Irish Harpers," American Harp Journal,
Winter 1978.
s Gae/teach!: the name for the Gaelic-speaking part of
Ireland.
6
Giovanni Costigan, A History of Modern Ireland
(New York; Pegasus, 1970), p. 188.
7
Nora Joan Clark, "A Renaissance of the Irish
Harp", American Harp Journal, Winter 1976.
8
Quinn Harps, 13 Walkinstown Parade, Dublin 12.
There is a fine photograph of the Quinn Harp in The
Irish Harp Book by Sheila L. Cuthbert (Dublin: Mercier
Press, 1975).
9
"Monday Tuesday", Mary O'Hara, GES 1167,
Decca Record Co. Ltd.
10
The Irish Post, January 27, 1979, p. 8.
11
"Mary O'Hara At the Royal Festival Hall",
Chrysalis, CHR 1159. Richard Selig, Poems (Dublin:
Dolmen Press, 1962) p. 26.
CREDITS
Figure 2 Irish Press, Dublin.
Figure 4 Waltons, Dublin.
Figure 6 Claddagh Records, Dame House, Dame St.,
Dublin.
Figure 8 Silhouette, Mary O'Hara, courtesy Padraig
O'Tuathail.
INTERNATIONAL HARP SEMINAR
PEARL CHERTOK will conduct an intensive
two week seminar on the
beautiful campus of Sarah
Lawrence College,
Bronxville, N.Y. -25
minutes from Manhattan.
July 8 - July 21, 1979
ION IVAN-RONCEA Winner, 1976
International Harp
Competition Guest Artist
MARILYN COSTELLO, 1st harpist of the
Philadelphia Orchestra
and head of the harp department
at the Curtis
Institute of Music in
Philadelphia will be
special guest.
Orchestral playing and
extensive chamber music
under the direction of
Harold Glick, conductor.
Sight reading, the Longy
solfege method, with
Katherine Rowe.
write to:
Pearl Chertok
56 N. Greenwich Road
Armonk, N.Y. 10504
SUMMER/ 1979
39

40
AMERICAN HARP SOCIETY, INC.
SIXTEENTH NATIONAL CONFERENCE
MILLS COLLEGE - OAKLAND, CALIFORNIA - JUNE 19-23, 1979
SCHEDULE OF EVENTS
TUESDAY, JUNE 19th - Special Pre-Conference Day
10:00 AM to 5:30 PM Registration and distribution of all tickets.
White Hall Registration Office
11:00 AM to 12:15 PM Workshop: The Harps of Latin America
Carlos Reyes and Roland Robinson
Mills Meeting Room
12:30 PM to 1 :30 PM Lunch
1:30 PM to 5:30 PM
2:00 PM to 3:15 PM
3:30 PM to 4:45 PM
5:30 PM to 6:30 PM
6:00 PM to 7:45 PM
6:30 PM to 8:00 PM
8:00 PM
Founders Commons
Exhibit Rooms Open
Student Union
Workshop: Irish Harpers of Today & Yesterday
Nora Joan Clark and Patricia Jaeger
Marylee Dozier, Moderator
Mills Meeting Room
Workshop: The Irish Harp in Japan
Josef Molnar
Mills Meeting Room
Dinner
Founders Commons
Board of Directors Meeting
Lucy Stern Building
Registration and distribution of all tickets
White Hall Registration Office
Informal Irish, Folk, Latin American Harp Concert
Lorenzo Gonzales, Ed Lange, Mary Emily Mitchell, and Sylvia Woods
Concert Hall
Reception honoring the artists immediately following the concert
Mills Meeting Room
NB: Meal service schedule, Founders Commons
Breakfast - 7:00 AM to 8:30 AM
Lunch - 12 Noon to 1 :00 PM
Dinner - 5:30 PM to 6:30 PM
Exhibit Rooms wills be open in the Student Union:
Wednesday, Thursday and Friday - 9:00 AM to 12 Noon & 1:00 PM to 5:30 PM
Saturday - 9:00 AM to 12 Noon. Closed Saturday afternoon.
WEDNESDAY, JUNE 20th
9:00 AM to 5:30 PM Registration and distribution of all tickets.
White Hall Registration Office
9:00 AM to 10:15 AM Meetings of Committees at the discretion of the chairmen
Lucy Stern Building
10:30 AM to 12 Noon Adult Avocators
10:30 AM to 12 Noon
1 :00 PM to 2:00 PM
2:00 PM to 3:15 PM
3:30 PM to 4:30 PM
Frances Miller & Emily Oppenheimer, Leaders
Location to be announced
Mini-Meeting
Nora Joan Clark, Patricia Jaeger, Josef Molnar, Carlos Reyes, and Roland Robinson
Location to be announced
General Membership Meeting followecl by open discussion
Concert Hall
Board of Directors Meeting immediately following the General Membership Meeting
Lucy Stern Building
Chapter Reciprocals
Concert Hall
Duo-Harp Concert
David Dunn and Isobel Frayling-Cork
Concert Hall
AMERICAN HARP JOURNAL

6:30 PM to 8:00 PM
8:00 PM
Reception honoring the artists and welcoming all registrants immediately following
the concert
Refreshments courtesy of Venus Harps
Mills Meeting Room
Registration and distribution of all tickets
White Hall Registration Office
Open Solo Recital
Ion Ivan-Roncea
Concert Hall
Reception honoring Ion lvan-Roncea immediately following the concert
Mills Meeting Room
THURSDAY, JUNE 21st
9:00 AM to 10:15 AM
10:30 AM to 11:45 AM
12 Noon to 1 :00 PM
1:30 PM to 5:00 PM
5:30 PM to 6:30 PM
6:30 PM to 9:00 PM
FRIDAY, JUNE 22nd
By appointment for
groups of 7-10 persons
9, 10, or 11 AM
2, 3, or 4 PM
9:00 AM to 10:15 AM
10:30 AM to 11:45 AM
12:45 PM to 1 :45 PM
2:00 PM to 3:15 PM
3:30 PM to 4:45 PM
8:00 PM
SATURDAY, JUNE 23rd
9:00 AM to 10:15 AM
10:30 AM to 11:45 AM
12:30 PM to 2:45 PM
Workshop: To Strobe or Not To Strobe
John Fuller and Marjorie Tyre
Mills Meeting Room
Workshop: The Fine Art of Playing Chamber Music
Linda Wood and instrumentalists
Mills Meeting Room
Special luncheon for the Board of Directors, Chapter Presidents (or an appointed
representative), Committee Chairmen, Past National Presidents & Past Board Chairmen
(by reservation only)
Faculty Dining Room
Sightseeing bus tour of San Francisco and the Bay and a 75-minute harbor cruise (by
reservation only)
Cocktails on the lawn
Courtesy of Salvi Harps
Steak Barbeque on the lawn (by reservation only)
Strolling harpers beginning at 7:00 PM
Workshop: The Technique of Tuning - an approach based on acoustical understanding
and the use of the strobe as an ear-training .device
Jane W eidensaul
Lucy Stern Building
Workshop: New Music, New Notation
Susan Allen, Alyssa Hess and Lou Anne Neill
Mills Meeting Room
Workshop: The Harp in Opera, Ballet and Symphony
Anne Adams, Faith Carman and Beatrice Rose
Mills Meeting Room
Regional Meetings
Locations to be designated
Workshop: On Workshops
Phyllis Schlomovitz
Mills Meeting Room
Workshop: Programming & Presentation in the Duo-Harp Field
John Escosa and Joe Longstreth
Mills Meeting Room
Chamber Music Concert
Julia Herrmann Edwards, Mario Falcao, Karen Lindquist, JoAnn Turovsky
Concert Hall
Reception honoring the artists immediately following the concert
Mills Meeting Room
Workshop: How to Prepare for Competitions
Nancy Allen
Workshop: Are There Merits to Group Teaching the Harp?
Penny Howk Beavers and Marjorie Chauvel
Mills Meeting Room
Board of Directors Meeting
Lucy Stern Building
SUMMER/ 1979
41

3 :00 PM to 4:00 PM Workshop: The Electrifying Harp
Lucile Jennings and Richard Felciano, Composer
Mills Meeting Room
5:30 PM Buses leave for Lawrence Hall of Science, Berkeley
Cocktails courtesy of Lyon & Healy, Inc.
Jack Nebergall, Harp
7:00 PM Banquet at Lawrence Hall of Science, Berkeley
Courtesy of Lyon & Healy, Inc.
Liza Rey, Harp
REGISTRATION INFORMATION
The Sixteenth National Conference (including a
special pre-conference day) will be held in the San Francisco
area June 19-23 on the campus of Mills College,
5000 McArthur Boulevard, Oakland, California 94613,
hosted by the Bay Area Chapter, Marcella DeCray,
Chairman. Mills College, located on 127 acres of treeshaded
seclusion in the hills east of San Francisco, is
rich in California heritage. Creativity is sparked by the
unique combination of rural tranquility and urban
stimulation. You may take advantage of the campus
recreational facilities including the swimming pool and
tennis courts and near-by golf, boating, horseback
riding and ocean beaches. A tour of some of the
breathtaking scenery of the area is planned. The Bay
Area Chapter exrends a warm invitation to all and we
look forward to welcoming you.
TRAVEL INFORMATION - AIR: Oakland airport,
served by major airlines, is the closest to Mills College.
Taxi service from the airport to the campus is
$9.00 per cab (accommodating up to 4 passengers). Bus:
AC Transit, Rt. #57, leaves the airport every 20 minutes
from 6 AM to Midnight and stops at the entrance to the
campus. Fare 35

ar cruise. Buses will return to the Mills College campus
in time for cocktails on the lawn, hosted by the Salvi
Harp Company, followed by the STEAK BARBECUE
at which strolling harpers will play and sing under the
stars.
WEATHER - In June it is usually sunny and pleasant
with temperatures ranging from 60 to 80 degrees. It is
suggested that everyone bring a sweater or jacket.
Women will be comfortable with walking shoes. Mills
campus is replete with recreation facilities.
BANQUET - To celebrate their 90th year as harp
makers Lyon & Healy, Inc. cordially invites all
registrants to cocktails and the banquet on Saturday
evening at famed Lawrence Hall of Science, Berkeley,
overlooking San Francisco Bay. Registrants who plan to
attend please check the appropriate space on the
Registration Form.
Karen Lindquist
SPECIAL PRE-CONFERENCE DAY - June 19, a
day of workshops and performances dedicated to Irish,
Folk and Latin American harps. This additional day is
included in the Registration Fee.
ADULT AVOCATORS - Those of you who participated
in the first-ever program of this kind last year
in Sioux· Falls will want to be the first to sign up for
another chance! Music for perusal and harps (pedal &
non-pedal) will be available for practice and a spur-ofthe-moment
performance for each other. If you want to
participate, check the appropriate box on the Registration
Form for June 20, 10:30 AM to Noon.
THE TECHNIQUE OF TUNING WORKSHOP -
Conferees may sign up for this workshop to be held on
Friday, June 22, by appointment (9, 10, 11 AM or 2, 3,
4 PM) for groups of 7 to IO participants. The workshop
is based on acoustical understanding and the use of the
strobe as an ear-training device. If you wish to attend,
check the appropriate box on the Registration Form.
Liza Rey
Mario Falcao
Julia Herrmann Edwards
SUMMER/1979
43

REGISTRATION - RESIDENTS (Housing-meals
package): The conference registration fee is $15.00 for
AHS adult members and $12.00 for AHS student
members. NON-RESIDENTS: The conference registration
fee is $23.00 for AHS adult members and $20.00
for AHS student members 21 years of age or under.
Your name tag will admit you to all concerts,
workshops, lectures, and the Saturday banquet.
PLEASE NOTE: ALL REGISTRANTS MUST
HAVE PAID 1978-79 NATIONAL DUES. Annual
adult dues of $12 ($10 + $2 reinstatement fee) or student
dues $10 ($8 + $2 reinstatement fee) for those 21
years of age or under, should be sent payable to the
American Harp Society, 6331 Quebec Drive,
Hollywood, California 90068.
Those family members not registered may attend concerts
and workshops as desired by purchasing single ad-
missions available to the public (Concerts $4,
Workshops $2).
SPECIAL NOTE: White Hall Registration Office
will be open from 7:30 AM to 11 :00 PM. Residents must
check in within these hours.
TO REGISTER: Complete the Registration Form
and return with conference and special activities fees to:
American Harp Society 1979 Conference, 30 Commonwealth
Ave., San Francisco, California 94118.
Please make check payable to: AHS 1979 Conference.
Registration must be completed by May 31, 1979. If
you register and then are unable to attend, a refund will
be granted provided the registration is withdrawn in
writing prior to May 31, 1979. There will be a $2 handling
charge.
Mills College
Dining Hall
Mills College
Residence Halls
44
AMERICAN HARP JOURNAL

AMERICAN HARP SOCIETY, INC.
SIXTEENTH NATIONAL CONFERENCE
MILLS COLLEGE - OAKLAND, CALIFORNIA - JUNE 19-23, 1979
CONFERENCE REGISTRATION FORM
Please complete this form and return before May 31, 1979 with your check for conference and special activities fees
payable to: AHS 1979 Conference, 30 Commonwealth Avenue, San Francisco, California 94118.
If you register and then are unable to attend, a refund will be granted provided the registration is withdrawn in
writing prior to May 31, 1979. There will be a $2.00 handling charge.
PLEASE PRINT ALL INFORMAITON ON THIS FORM.
ALL REGISTRANTS MUST BE 1978-79 MEMBERS OF THE AMERICAN HARP SOCIETY, INC.
Please register - - - ------ - --- ------ - - - - ---- - -------­
Mr /Mrs/Ms/Miss (Name as listed in the AHS Directory)
Address
City ___________ _ ___ _ _ _
State _________ _ _ _ _ Zip ____ _ _ _ Daytime phone _ _ ___ _ _____ _ _
(Area code + number)
Name(s) of additional registrant(s)
State of residence
(Mr /Mrs/ Ms/Miss)
RESIDENTS (Housing-meals package)
Register ____ AHS adult member(s) at $15.00 each
____ AHS student member(s) at $12.00 each
(21 years of age or under)
NON-RESIDENTS
Register ____ AHS adult member(s) at $23 .00 each
____ AHS student member(s) at $20.00 each
(21 years of age or under)
$
$ _____ _
$ _ _____
$ ______
HOUSING AND MEALS are available as a package only (dinner, overnight, breakfast, lunch) at $22.00 per day,
single or double occupancy. The limited number of single rooms will be assigned in the order that requests are received.
The housing-meals package begins with dinner on Monday, June 18, and ends with lunch on Saturday, June 23.
The housing-meal package is available to families provided one member is registered.
Circle dates you wish to have the housing-meals package beginning with dinner each day.
June 18 19 20 21 22
_ _ __ person(s) @ $22.00 per day with meals
$ _____ _
___ _
_ _ _ _
Single room(s) Name(s,__ ___ _____ ____ _ _
(Mr/Mrs/Ms/Miss)
Double room(s)
SUMMER/ 1979
TOTAL THIS PAGE
$=====
45

RESIDENTS (Housing-meals package) may have overnight only accommodations on Sunday, June 17, and Saturday,
June 23.
Sunday June 17 overnight
Saturday June 23 overnight
________ person(s) @ $12.00 each
--------· erson(s) @ $12.00 each
$ ______ _
$ ______ _
ROOMS ARE TO BE VACATED BY NOON, SUNDAY, JUNE 24.
MEAL SERVICE FOR NON-RESIDENTS - Advance arrangements must be made for on-campus meal service in
Founders Commons.
Circle days you desire to purchase the following meals:
Lunch - June 19 20 21 22 23
Dinner - June 10 20 21 22
---------~unch(es) @ $3.25
_________ dinner(s) @ $4.25
$ ______ _
$ ______ _
SPECIAL MEALS AND ACTIVITIES: by reservation only. Tickets will be distributed at the registration desk.
LUNCHEON, Thursday, June 21, for the Board of Directrors, Chapter Presidents (or an appointed
representative), Committee Chairmen, Past National Presidents and Past Board Chairmen.
Residents (Housing-meals package)
Non-residents
_________ _.unch(es) @ $3.25
--------~uncb(es) @ $6.50
$ ______ _
$ ______ _
SIGHTSEEING, Thursday, June 21 - Bus tour and harbor cruise
_________ erson(s) @ $10.00
STEAK BARBEQUE, Thursday, June 21
Residents (Housing-meals package)
Non-residents
@ $7.50
-------- --- @ $12.00
$ ______ _
$ ______ _
TOTAL THIS PAGE $======
TOTALPAGEl
$ _____ _
TOTAL AMOUNT ENCLOSED $ ======
TUNING WORKSHOP
Friday, June 22 (for groups of 7 to 10 people)
Please circle time preferred
______ person(s) 9AM 10AM
ADULT A VOCATORS
Wednesday, June 20, 10:30 AM to 12 Noon
llAM
2PM 3PM 4PM
_____ __,..erson(s)
BANQUET (registrants only)
Saturday, June 23
_____ _,..erson(s)
----~Pedal harp(s)
_____ Non-pedal harp(s)
46
AMERICAN HARP JOURNAL

CONFERENCE EXHIBITOR'S APPLICATION
The American Harp Society will again be offering exhibit space at their 1979 Conference, June 20-23 in Oakland,
California. Exhibitors are assured optimum viewing location at a minimal charge. Only those who have purchased exhibit
space may make sales at the Conference.
Please type or print:
NAME OF INDIVIDUAL OR FIRM _
_______________ _
STREET ADDRESS _____________________ _
CITY __________ STATE _________ ZIP _____ _
Please reserve
_______ Display table space(s) 3 'x3' @$37.50 each
_______ exhibit area(s) approximately 8 'xl 1 ' @ $75.00 each for the first area and
$37 .50 for each additional area this size.
___ ____ Chapter exhibit area@ $25.00
• • • • • • • • • • • • • • • • • • • •
Please indicate if you will require tables and chairs or any other additional material. At this
writing we expect that the college will furnish them free of charge. Should the college decide
to charge a nominal fee for this equipment, each exhibitor will be expected to absorb this
cost in addition to the exhibit area fee.
_________ tables
_________ chairs
_________ extension cord _________ need to be near an outlet
______________ other, if available
_ ___ exhibit material will be mailed or shipped to the College prior to the Conference
AMOUNT ENCLOSED:
Check should be made payable to The American Harp Society, Inc., and mailed with this application
before May 20, 1979 to Beverly Colgan, 999 Rose Ave., Oakland, CA 94611.
SUMMER/1979
47

SKETCHES OF
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,
4265 Congress St., Fairfield, CT 06430.
48
Teach Yourself To Play the Folk Harp by Sylvia
Woods. May be ordered from Sylvia Woods, P. 0. Box
29531, Los Angeles, CA 90029.
Here are twelve lessons that teach the student step by
step to play the instrument. There are exercises and folk
and classical pieces. This is an excellent book for any
student, irregardless of previous musical training.
The book contains musical information that can be
applied to any harp. It advances slowly and if each
lesson is learned thoroughly the player should have no
difficulty.
There is clear information as to note values, fingering,
placing, counting, etc. Everything is arranged in the
key of C and there are no accidentals.
It contains an appendix on tuning and harp care,
replacing strings, etc.
I think this will prove to be a very valuable beginner's
book. Most of our books progress too quicklyespecially
my own.
Suite for Harp and Orchestra by Irwin Heilner.
I Prelude Andante, • = 60. Moderato, ti = 76.
Cadenza Adagio - Pedal patterns are frequently inserted.
Molto moderato, • = 96, followed by
Largamente, ti = 52 for 1 measure, then Molto
moderato, • = 80. There are several effective glisses
and triplet passages. Pedals are carefully marked. This
is not difficult music but it must be played with skill.
II Blues. Larghetto, • = 54. Contains long arpeggiated
chords and cadenza-like passages. At A• = 62.
Here Harp II or Piano carries the melody or moving
part.
III Impromptu. Allegro brillante, ti = 132. Andante,
• = 84. Allegro,• = 126. Meno mosso - has a masterful
ending. This is undeniably a most effective composition.
The rendition must be pure and the performer
must have a fine technique.
For the Harp
by
PATRICIA JOHN
T ACHYSTOS, (Swift) Price $2.50
APRILLE, Price $2.00
MNEMOSYNE, Price $2.00
HENRIETTE, Price $2.00
SEA CHANGES, Price $3.00
1. Fog Off Pelican Spit
2. Summer Squall
3. Surf
AMERICANA
1. Preamble, Price $2.00
2. A Time of Snow, Price $2.00
3. Imago lgnato, Price $2.00
LET'S PLAY Series for non-pedal harp
CLOWN DANCE, Price $2.00
ARITHMETIC, Price $1.00
CANOE, Price $1.00
Available: Lyon - Healy* Salvi
Ul:ill THE PANTILE PRESS
~ 1414 Milford Street
Houston, Texas 77006
AMERICAN HARP JOURNAL

College Harp Instruction
Questionnaire Results, Part I
By Roslyn Rensch Erbes
In January, as chairman of a newly designated AHS
committee, "Schools and Faculties for Harp Instruction",
I mailed more than 300 questionnaires to college
and university music directors and to harp teachers affiliated
with schools of higher education. The purpose
of the questionnaire was to survey the present status of
harp instruction at these schools, and to make this information
available to AHS members. Half of the questionnaires
have now been returned. Very special thanks
for their cooperation in this initial project goes to the
many institution officials and harp teachers who so
promptly completed and returned questionnaires.
Questionnaire answers indicate that almost every institution
having a harp teacher on its faculty offers
scholarship help of some type. Scholarships, especially
graduate assistantships, are also offered by several institutions
not listing a faculty harp teacher. Most institutions
offering harp instruction own one or more
harps, however, thirteen of the institutions reporting no
faculty harp teacher own a total of nineteen harps. (In
this era of greatly increased interest in the harp such instruments
are resources which should not be
overlooked.) Bachelor of Music (BM) and Bachelor of
Arts (BA) degrees dominate the degree offerings; many
institutions also offered Master's degrees in either area;
a few institutions are also qualified to confer some form
of doctorate (PhD, DMA, etc.). In addition to harp
lessons, some ensemble playing (harp, orchestra, etc.) is
possible, for credit, at most institutions. Many harp
recitals, by teachers, students, traveling professionals,
etc., will be given at various institutions this year. AHS
members interested in more specific information about
any of these institutions are advised to correspond
directly with the harp teacher or music chairman.
A copy of the questionnaire appears below. Selected
information from completed questionnaires follows
with institutions listed in alphabetical order by states.
For each entry the institution name and address are
given first, followed by the name of the harp teacher, or
"No", meaning that no harp teacher is listed on the institution's
faculty; a qualifying statement may also
follow the "No".For each institution entry, the number
of all "Yes" answers for questions 8 through 23 is then
listed, plus additional information supplied by the person
answering the questionnaire.
Completed questionnaires will be kept on file. A
xerox copy of any completed questionnaire will be sent
to an AHS member on request. However, due to the
SUMMER/ 1979
high cost of postage, and xerox cost, requests for questionnaire
copies should include 35¢ in stamps (or a
stamped self-addressed envelope and 20¢ in stamps) for
each questionnaire desired.
If you are currently teaching harp at a college or
university, your music department chairman, or you, at
your school or home address should have received a
questionnaire. Omissions were unintentional but it is
likely that some have occurred. If the institution where
you teach is not represented in this list please do help
save both time and additional postage by sending your
answers directly to me (701 Delaware Avenue, Terre
Haute, IN 47804). Questionnaire responses received
after February 12, 1979, will be included in the
Fall/Winter issue of the AHJ.
AMERICAN HARP SOCIETY QUESTIONNAIRE
1. Institution name and address _ _ _____ _
2. Your name and title _ __________ _
3. Does institution's faculty include a harp teacher?
Yes ___ No ___ (If No, return of the Questionnaire
is still important to this survey. Please
check everything that is applicable.)
4. Division including harp: a. Music Department
___ b. School of Music ___ c. College of
Music ___ d. Other _ _________ _
5. Harp teacher's name and address _____ _
a. Full time faculty ___ b. Part time faculty
___• c. Duties, if any, other than harp instruction
6. Harp teacher's rank: a. Professor ___ b.
Associate Professor ___ c. Assistant Professor
___ d. Instructor ___ e. Other ____ _
7. Is harp teacher a member of the American Harp
Society? Yes ___ Chapter _ _ _____ _
No __ _
8. Institution degrees offered (list both undergraduate
and graduate)
a. With harp as major _ _________ _
b. With harp as minor __________ _
9. Are harp scholarships available? Yes __ _
No __ _
10. Are other-designated scholarships available to harp
students? Yes ___ Please elaborate ____ _
No __ _
11. Is a student harp recital part of institution's degree
requirements? Yes ___ For which degree(s)? _
_ ______________ No __ _
12. Which of the following are offered to qualified
harp students for credit? a. Private harp lessons
___ b. Class harp lessons ___ c. Harp
Ensemble ___ d. Symphony Orchestra ___ e.
Opera Orchestra ___ f. Chamber Orchestra
___ g. Concert Band __ _
13. How many harps does institution own? ____ _
Maker name(s) and approximate age(s) of harp(s)
49

14. Are beginning harp students accepted? a. Yes, but
only if full time enrolled students ___ b. Yes, if
full time enrolled, but harp cannot be taken for
college-level credit ___ c. Yes, if _ ____ _
------------- d. Yes, no restrictions
___ e. No __ _
15. Can harp students, beyond beginners' level but not
otherwise enrolled at institution, enroll for harp
lessons? a. Yes, no restrictions ___ b. Yes, if_
___ ____________ c. No __ _
16. Is non-pedal harp instruction offered? Yes __ _
No
17. Is a fee charged for student practice time on school
owned harps? a. Yes ___ b. Only if student is
not enrolled full time ___ c. No __ _
18. Is campus studio space available for student owned
harps? a. Yes ___ b. Only if student is enrolled
for harp lessons ___ c. No __ _
19. Is harp instruction cost included in the regular tuition
fee? Yes ___ No __ _
20. Are graduate assistantships available to qualified
harp students? Yes ___ No __ _
21. If Yes to #20, would duties include: a. Harp
teaching ___ b. Harp playing ___ c. Other_
22. During this year will any harp recitals be given at institution?
Yes ___ No __ _
23. If Yes to #22, who will play? a. Harp teacher
___ b. Graduate harp stut:lent(s) ___ c.
Undergraduate harp student(s) ___ d. Student
harp ensemble ___ e. Touring professional harpist
___ f. Other _____ _ ____ _
24. Does institution's library subscribe to The
American Harp Journal? Yes ___ No __ _
If there is any particular way that the Committee on
Schools and Faculties for Harp Study, of the American
Harp Society, could help you regarding the status of
harp instruction at your institution, or if there is additional
information you would like us to have re your institution,
please note same below. Completed Questionnaires
will be kept on file. Some information from them
will be included in forthcoming issues of the American
Harp Journal. Thank you very much for your participation.
Part I
Degree abbreviations
BA - Bachelor of Arts
BF A - Bachelor of Fine Arts
BM - Bachelor of Music
BMA - Bachelor of Musical Arts
BME - Bachelor of Music Education
BS - Bachelor of Science
DA - Doctor of Arts
DM - Doctor of Music
DMA - Doctor of Musical Arts
Ed - Education
MARIO FALCAO
Scholarships Available
Bachelor of Music
Music Education
Performance
Bachelor of Arts - Applied Music
Music History
Music Theory
Bachelor of Fine Arts
Musical Theatre
Bachelor of Science - Sound Recording
Technology
(Tonmeister)
Bach'elor of Science
Music Therapy
Master of Music - Music Education
Performance
Theory/
Composition
FREDONI~
SfATE UNMRSllY COLLEGE
Fredonia, New York 14063
Department Of Music
50
AMERICAN HARP JOURNAL

Solos
DEUX PIECES, Op. 20
Robert Casadesus
DIALYSIS
NEWEST HARP MUSIC
Superior selections from the
most extensive Harp catalog in the USA
(DJ $7.25
Jared Beynon (DJ 2. 75
LA MANDOLINE (Grande Fantaisie)
Parish-Al vars (DJ 9.25
THE MINSTREL'S ADIEU TO HIS NATIVE LAND
John Thomas (Ml 3.50
NOCTURNE & PANTOMIME
Daniele Zanettovich
RECUEIL DE PRELUDES
(DJ
R. N. Charles Bochsa (M)
RECUEIL DE SONATES ET DE VARIATIONS
R. N. Charles Bochsa (M)
STRETIO
Patrick Moreland
SUITE CHAMPETRE
Serge Gut
TRANSCRIPTIONS FOR HARP
(Bach, Handel, Mozart)
Giulia Cola
TROIS PRELUDES
Jacques Casterede
(M)
(El
(E-M)
(DJ
6.25
10.50
7.50
5.50
4.25
1.95
6.75
4 FUGUES
R. N. Charles Bochsa
6MORCEAUX
Gisele Harpe
30 ETUDES PROGRESSIVES
L.Concone
BOOKI
BOOK II
50 LE(:ONS PROGRESSIVES
R. N. Charles Bochsa
BOOK!
BOOK II
110 EXERCISES JOURNALIERS
R. N. Charles Bochsa
Duets with Harp
(El 6.25
(El 8.25
(M) 10.50
(D) 9.25
(El 6.00
(Ml 6.50
(M) 7.50
CAPRICCIO (Clarinet & Harp)
Aubert Lemeland (M) 6.00
EOLIENNE (Flute & Harp)
Ida Gotkowsky (El 8.00
INTRODUCTION ET SCHERZO-VALSE (Flute & Harp)
Julien-Franc;ois Zbinden (M) 6.75
STRATUS (Flute & Harp)
Yoshihisa Taira (0) 6.75
prices subject to change without notice
For a FREE copy of the NEW Theodore Presser Company Harp Catalog, please write DEPT. AH-11
THEODORE PRESSER COMPANY • BRYN MAWR, PA.19010
LA - Liberal Arts
MA - Master of Arts
MF A - Master of Fine Arts
MM - Master of Music
MME - Master of Music Education
MS - Master of Science
PhD - Doctor of Philosophy
Alabama
Auburn Univ., Auburn 36830. No replacement since retirement
of Marjorie Tyre.
Troy State Univ., Troy 36081. No.
Arkansas
Arkansas State Univ., State Univ. 72467. No.
Univ. of Arkansas, Little Rock 72204. No.
Arizona
Arizona State Univ., Tempe 85281. No. 13. Two.
Northern Arizona Univ., Flagstaff 86011. Elizabeth Turrell.
Sa. BM, BME, BA, MM, MME. b. A degree in anything is
possible with a music minor. 10. Orchestra scholarship. 11.
Degree in performance requires one hour sr. recital; recital in
jr. year advised; thirty minute recital for MME. 12a, d, e, g.
13. One. 14b. 15a. 16. 18a. 20. 21b, c. Musicianship assistance.
23a.
Univ. of Arizona, Tucson 85721. Susann McDonald. Sa.
BM, MM. b. BA, MA. 9. 10. BM, MM. 12a, b, d, e, f, g. 13.
Two. 14d. 15a. 16. 17c. 19. 20. 21a, b, c. Studio class teaching.
22. 23b, c, e.
California
California Institute of the Arts, Valencia 91355. Catherine
Gotthoffer. Sa. BFA, MFA. 9. 10. 20th Century Players. 11.
BFA, MFA. 12a, d, f. 13. Two. 14b. 19. 22. 23b, e.
SUMMER/ 1979
State Univ. Fresno 93740. Penny Howk
Beavers. Sa. BM, MM. b. Education BM, MM. 10. Several
general music. 11. BM, MM. 12a, d, g. 13. Two. 14d. 15b. If
taken on Extension. 18b. 19. 22. 23b, c.
_____ State Univ., Long Beach 90840. Marjorie
Call. Sa. (Performance degree) BA, MA 10. State scholarship
on basis of residence and need. 11. Performance. 12a, d, g. 13.
One. 14. Yes, if music major. 19. 22. 23c. Students must come
to teacher's home for lessons.
State Univ., Los Angeles 90032. Susann
McDonald. Sa. BM, BA, MA. 10. Zack Memorial scholarships
for any music major. 11. All. 12a, c, d, g. 13. Three. 18a.
19. 22. 23c.
State Univ., Sacramento 95819. Marylee
Dozier. Sa. BM, BA, MM. b. BA, MA. 10. Auditions for
music scholarships. 11. All. 12a, d, g. 13. Two. 14c. Iftaken as
Beginning Harp Class. 15b. If applying thru Creative Arts
Program or Extension. 16. 19.
_____ State Univ., San Francisco 94123. Marjorie
Chauvel. Sa. BM, BA, MM. b. BA. 9. 10. If qualified. 11.
BM, MM. 12a, b, c, d, e, f, g. 13. Two. 14a, c. Enter in Beginning
Harp Class. 16. 18b. 19. 20. 21a. Possibly, c. 22. 23b, c,
d.
Dominican College, San Rapfael 94901. Linda Wood. Sa.
BM, MM, DMA. b. BA. 10. Performance scholarships on
competitive basis with all instruments. 11. BM, MM plus
thesis. 12a, b, d. 13. Two. 14. If enrolled in pre-coll. or extension.
15a. 16. 18b. 21b, c. Teaching beginners and class
lessons. 22. 23a, c.
Loyola-Marymount Univ., Los Angeles 90045. JoAnn
Turovsky. Sa. BA major in music. b. available undergrad. 10.
Same as for all students at Coll. 12a, c, d. 14c. Open to full
51

52
Deiro's
HARP
CENTER
Folk & Student Harps
in stock
Featured above, Trinity College Harp.
A lap-size instrument, 24 strings, Tenor C to E,
strung in brass wire like the original. 31 inches
overall, beautiful solid Walnut throughout.
Other larger sizes available.
Exclusive Dealers for the New York
Metropolitan Area For
Aoyama Harps
CATALOG ON REQUEST
Dciro's Harp Center
133 7th Avenue South
( ot 1 0th Street in Greenwich Village)
New York, N.Y. 10014
(212) 675-5460
THE
OUSTON
ARP b\e
&:;:..:trice Schroeder Rose,
Director
RECORD OF CHRISTMAS MUSIC
as heard on PBS-Television
For Information Write:
''HARPS''
P. 0. Box 635
Bellaire, TX
77401
time music major or minor undergrad. credit. 15b. Undergrad.
credit thru Continuing Education dept. 16. Possible. 22. 23a,
f. Faculty recital, harp, violin, cello trio. Expanding emphasis
on strings in Music dept.; harp lessons available now for first
time.
State Univ., Northridge 91330. Suzanne
Balderston. 8a. BM, MM, BA. b. Same. 10. Very small music
dept. one. 11. BM. 12a, d, e, g. 13. One. 14d. 15. If enrolled
through Extension Division. 18a.
Univ. of California, Santa Barbara 93106. No.
Music and Arts Institute, San Francisco 94115. Phyllis
Schlomovitz. 8a. BM. b. Same. 9. 10. Outstanding Performers,
Pacific Music Society. I I. BM. 12a, f. 13. One. 14b.
I Sb. Full time harp students, not for credit. 17. l Sc. Limited.
19. If full-time for credit students. 23a, c, e. Possible, f. Harp
performances on mixed recital programs.
Pomona Coll., Claremont 91711. Jo Ann Turovsky. Sa. BA,
MA. b. BA. 9. 10. Special grants to pay lesson costs. 11. BA,
MA. 12a, c, d, g. 14d. !Sa. 16. 18a.
San Domenico School of Girls, San Anselmo 94930. Linda
Wood. 10. Performance and academic. 12a. 13. Two. 14c. If
on Extension. !Sb. If on Extension. 16. lSa. 22. 23a, c. Private
girls school (K-12). Music students have school time for practice;
theory required; weekly recitals, lectures, faculty performances.
On "Concerto Night" four students perform as
soloists with San Francisco Symphony members. Scholarships;
optional room and board available.
San Francisco Conservatory of Music, San Francisco 94113.
Marcella DeCray. 8a. 9. 11. 12a, d. 13. Three. 14c. If taught
by associate, Beverly Colgan; d. No restrictions as to full time.
15b. If they enroll only for harp lessons. 16. With Beverly Colgan.
18b. If enrolled full time. 19. 20. 21a. 22. 23a.
Stanford Univ., Stanford 94305. Marjorie Chauvel. Sa. BA
in music, DMA, PhD. 9. 10. All scholarships throughout
scho.ol available. 12a, d, e, f. Wind ensemble. 13. One. 14c. c.
If they study privately with Chauvel until advanced enough to
qualify. 16. 17a. 18a. 20. 21c. 22. 23b, c.
Univ. of California, Los Angeles 90024. Marjorie Call. 8a.
BM, MM. 10. State scholarship on basis of residence and
need. 1 I. BM. 12a, d, e, f, g. 13. Two. 19. 22. 23c. Only music
majors may study harp through UCLA. Students in other
depts. may take private lessons at the school but not for credit.
Univ. of Pacific, Stockton 95211. Marylee Dozier. Sa. BA,
MA. b. Same. 10. Audition for music scholarship. 12a, b, d, g.
13. One. 15b. If pay fee. 16. 17a. lSa.
Univ. of Redlands, Redlands 92373. Marjorie Call. Sa. BM,
MM. b. Yes, also dual degrees, five yr. basis. 9. Possible talent
scholarships by audition. 10. State on basis of need. 11. Music
majors. 12a, c, d, g. 13. Three. 14d. 15b. Student may enroll
for harp only, through School of Music. lSa. 19. 22. 23c, d.
Univ. of Southern California, Los Angeles 90007. Susann
McDonald. Sa. BM, MM. b. Same. 9. Limited. 11. BM, MM.
12a, b, c, d, e, f, g. 13. Four. 22. About eight. 23a, b, c, f.
Class recital.
Univ. of Southern California Community School of Performing
Arts, Los Angeles 90007. JoAnn Turovsky. 10. Based on
need. 12a, b, c, d. 14d. 16. 18a. 22. 23b, c. A prep. school;
credit not given but students of any age or level may enroll.
Canada
Univ. of Western Ontario, London, Ontario N6A3K7.
Marie Lorcini. 8a. BM, BA, BMA, MM, MA. b. Same. 10.
General for all instruments. 11. All. 12a, c, d, f. 13. One. 14a.
15. Special student with previous degree in other instrument.
16. lSa. 19. 22. 23a, c.
Colorado
Colorado Coll., Colorado Springs 80903. Patricia Vaeth
AMERICAN HARP JOURNAL

Croke. 8a. BA in music with emphasis on harp. 12a, g. 14d.
15a. 16a. 17a. 18a. Yes, in dorm. b. 22. Possibly. 23a, d. Interested
in information re classical or Pop harpists who might
be in state or interested in appearances at school.
_ ___ _ State Univ., Fort Collins. Suzann Davids. Sa.
BM, BA, MM, MA. b. BM, BME, BA, MME. 9. IO.
Academic, etc. 11. All. 12a, c, d, e, f, g. 13. Two. 14d. 15b. If
there are not too many other harp students. 16. 17a. 18b. 19.
22. 23a, c, d.
Univ. of Colorado, Boulder 80309. Helen Lunn. 8a, BM,
BME, MM, MA. b. BA. 9. 10. By performance audition. 11.
BM, MM, MA. 12a, e, f, g. 13. Two. 18b. 19.
Univ. of Denver, Denver 80210. Suzann Davids. 8a. BM,
BA, MM, MA. b. BM, BME, BA, MME. 9. 10. Academic,
etc. 11. All. 12a, c, d, e, f, g. 14d. 15b. If there are not too
many other harp students. 16. 17a. 18b. 19. 22. 23a, c, d.
Univ. of Northern Colorado, Greeley 80639. Kathy Bundock.
8a. ME, Performance, Theory-Comp. b. Same, plus
Choral cond., Piano, Music history. 9. 10. Merit, Orchestral.
11. ME, Performance. 12a, b, d, e, f, g. 13. Two. 14c. If piano
proficiency is acceptable. 15a. 16. 17c. 18b. 19. Yes, if music
majors, otherwise $15.00 per quarter. 20. 21. Probably playing
harp. This is the first year for the harp program.
Connecticut
Central Connecticut State Coll., New Britain 06050. No.
Delaware
Univ. of Delaware, Newark 19711. No.
District of Columbia
Howard Univ., Washington 20059. No. We include harp as
possible major or minor; when we have student(s) interested
we hire an instructor part-time from National Symphony
Orechestra.
Florida
Florida International Univ., Miami Tamiami Campus
33158. Margarita Montero Inclan. Sa. BM. 9. 11. 12a, d, f. 13.
One. 18a. 19.
State Univ., Tallahassee 32306. Mary B.
Roman. Sa. BM Performance, MM Performance. b. Composition,
Music history, Music therapy, Choral, Instrumental
music ed. 9. 10. Out-of-state tuition waivers. 11. BM Performance,
MM Performance. 12a, d, e, f, g. 13. Five. 14d. 15a.
16. 18a. 19. 20. 21b. 22. 23a, d, e, f, g.
Jacksonville Univ., Jacksonville 32211. Leslie K. Johnson.
Sa. BM, BME, BA, BFA. b. Same. 9. 10. Band, Orchestra. 1 l.
12a, b, d, g. 13. Two. 14d. 15b. If non-credit. 16. 17. Only if
not enrolled at all. 18a. 19. 22f. Non-credit students.
Univ. of Central Florida, Orlando 32816. No.
Univ. of Florida, Gainesville 32611. Clementine White. Sa.
BM, MM, MFA. b. MA. 9. 10. Need scholarships through
univ. student financial affairs office. 11. All undergrad.
degrees. 12a, b, c, d, g. 13. Two. 14b. If student has sufficient
piano background. !Sb. If they have credentials to enroll as
coll. students or post-baccalaurate students. 18b. 19. 20. 21c.
Teaching various music labs. 22. 23a, b, c.
Univ. of Miami, Coral Gables 33124. Edward Vito. Sa. BM,
MM, OMA. b. Same. 9. 10. 11. All. 12a, d, e, f, g. 13 . Three.
14d. 15b. Yes, if for credit. 19. 20. 21b. 22. 23a, b, c.
Univ. of South Florida, Tampa 33620. Kathryn C. Holm.
Sa. BA Performance and Music ed., MM Performance. b.
Same. 10. Service awards and out-of-state tuition waivers thru
Music dept., also general financial aid thru univ. 11. Performance
degree, BM, jr. and sr. recital, MM, one recital. 12a, c,
d, e, f, g. 13. One (Purchasing two more, 1980). 14c. If enrolled
in non-major level; even major section lessons, if ability
and space permits. 15b. As special students (non-degree). 16.
AUTHORIZED DISTRIBUTOR
AND SERVICE CENTER
FOR THE WEST COAST
CATHER I NE and DUANE DOTSON
P.O. Box 381, 530ValenciaStreet
EI Granada, California 94018
415-726-4755
SUMMER/ 1979
53

54
Octave
1st
2nd
3rd
4th
5th
6th
7th
HARP
STRINGS
NOW YOU CAN OBTAIN YOUR COMPLETE
HARP STRING NEEDS FROM US.
Golden Gut
$1.25
1.90
3.00
5.00
8.00
Prices, each string
Nylon
~
.75
1.00
1.80
3.00
QUALITY HARP STRINGS
AT REASONABLE PRICES
Prices include taxes, insruance and postage
ENCLOSE FULL AMOUNT WITH ORDER
Bass Wire
4.00
4.00
4.00
VANDERBILT MUSIC CO.
Box 443, Murray Hill Station, New York, N.Y. 10016
Phone: (212) 685-5412
STUDY PROGRAMS
1~FRAN CE
THE CAMPUS IS THE CITY OF PARIS ...
ACADEMIC YEAR
October 15 - May 20
JANUARY INTERIM
December 27 - January 23
SUMMER IN FRANCE
July 1 - August 4
FASHION WORKSHOP
September June January
TWO WEEK INTENSIVE WORKSHOPS
JUNE and SEPTEMBER
DATES: 2 to 15 or 17 to 29
FRENCH LANGUAGE• PAINTING• SCULPTURE
SERIGRAPHY • CERAMICS • ENGRAVING
ART HISTORY • PHOTOGRAPHY • THEATER
DANCE • FRENCH CUISINE • MUSIC FASHION
PARIS AMERICAN ACADEMY
ECOLE DES DEAUX ARTS ET DE LANGUE.i
9 RUE DES URSULINES
PARIS 75005. FRANCE
PHONt: 325, 35 09 325 oa 91
Probably in 1980. 18a. 20. 21c. Only class piano teaching. 22.
23a, b, c, d, f. Guests from area chapters, AHS. Extensive opportunities
in area for paid performances by qualified
students.
Georgia
Emory Univ., Atlanta 30322. Judith Beattie. Sa. LA degree
only, major is theory and history with harp as instrument. 9.
Lessons only. 11. BA. 12a, d. 14d. 19. Yes, for majors only.
Georgia Southern Coll., Statesboro 30458. No.
_____ State Univ., Atlanta 30303. Judith Beattie.
Sa. BM, MM. 9. 11. BM, MM. 12a, c, d, e, g. 19. 20. 21b, c.
Research interests of student. 22. Probably. 23c.
Valdosta State Coll., Valdosta 31601. No.
Hawaii
Univ. of Hawaii, Honolulu 96822. No.
Idaho
Univ. of Idaho, Moscow 83843. No. 13. One.
Illinois
Bradley Univ., Peoria 61625. No. We had a harp teacher
part time until she moved out of town. We used Peoria Symphony's
harp.
Illinois Wesleyan Univ., Bloomington 61701. No replacement
since retirement of Ruth Krieger. 10. Need. 12a, d, e. 13.
One. 14a. 19. Yes for music majors; no for LA students. No
teachers seem to be available; no particularly strong demand
for harp at present time.
Northern Illinois Univ., DeKalb 60625. No. Harp instruction
contemplated, part time, probably in near future. Currently
we engage professionals when harp is needed in
ensembles. If and when instruction is provided: Sa. BM, MM.
b. Secondary. 10a. 11. BM, MM. 12d, g.
Roosevelt Univ., Chicago Musical Coll., Chicago 60605.
Edward Druzinsky. Sa. BM. b. MM. 10. String scholarships;
from full to partial. 11. All. 12a, d, f. 13. One. 14d. 15a. 17a.
18a. 19. Plus $10.00 applied music fee.
Southern Illinois Univ., Edwardsville 62026. Laura Hearne.
Sa. BM, BA, MM. b. BA. 10. 11. BM. 12a, d, e, f, g. 13. One.
18a. 19.
Univ. of Illinois, Urbana 61801. Shirley Blankenship. Sa.
BM. 9. 10. 11. BM. 12a, d, e, f, g. 13. Four. 14c. If not
counted toward music major. 18b. 19. 22. Probably. 23a, c.
Western Illinois Univ., Macomb 61455. No. 9a. 12d. 13.
One. 15a. 19a. 22. 23c, e. Student interest in starting harp program
here.
Indiana
Ball State Univ., Muncie 47306. Lilian Phillips. Sa. BM, BS,
BA, MM, MS, MA, DA. b. Same. 9. 10. High scholastic
average, state, all by audition which may be arranged. 11. BM,
BA, MM, MA, DA. 12a, b. For minor beginners, c, d, e, f, g.
13. Four. 14c. But not as majors. 15b. But without coll. credit.
16. 17. $2.50 for key to room each term. 18b. 20. 21a, b, c.
Helping to tune, string and general maintenance of instruments.
22. 23a, c, b, d, e, f. Chamber music. Solo recital
required of majors at jr., sr. and grad. levels; some selected
soph. play recitals.
DePauw Univ., Greencastle 46135. Bernice F. Grubbe. Sa.
BM in performance. b. BM in music ed. 9. 10. 11. Performance
major. 12a, c, d, f, g. 13. Two. 14d. 15a. 18b. Yes for
music majors; no for LA students. 22. 23a.
Indiana State Univ., Terre Haute 47809. Roslyn Rensch
Erbes. Sa. BA, BS (BM in near future). b. Same. 9. 10. 11.
BM. 12a, d. 13. Two. 14c. On consent of harp teacher. 15b.
On consent of harp teacher. 16. 17. 18a. 19a. 20. 21c. Orchestra
librarian, etc.
AMERICAN HARP JOURNAL

Indiana Univ., Bloomington 47401. Peter E. Eagle,
Margaret B. White. 8a. BM, BME, MM, PhD. b. Many. 9. 10.
Friends of Music, also individual. 11. All. 12a, b, c, d, e, f, g.
(26 different ensembles) 13. Classified. 14a. 15a. 18a. 19. 20.
21a, b, c. Harp maintenance. 22. 23b, c.
St. Mary-of-the-Woods Coll., St. Mary-of-the-Woods
47876. No. Sr. Mariam Cecile Hermann and Sr. Brigid Boyle,
retired; harp instruction possible but not for coll. credit. 10.
Creative Art Scholarship. 13. Two. 14a. 15b. With consent of
harp teacher. 16. 17a. 18a.
St. Mary's Coll., Notre Dame 46556. No replacement since
retirement of Janey Bell Waterhouse. 13. Two.
Iowa
Mt. St. Clare Coll., Clinton 52732. Sr. Augusta Carrico. (Jr.
Coll.) 9. 10a. Need and no-need assistance. 12a. 13. One. 15a.
16a. 18a.
Ottumwa Heights Coll., Ottumwa 52501. Sr. St. John Ven
Horst. (Jr. Coll.) 9. 10. Academic or service. 11. Not a full
recital but all students have an opportunity to play solo alone
or with string orchestra accompaniment. 12a. 13. Four. 14.
Some harp students are coll. students here; others are elementary
or high school students, or adults, interested in harp. 16a.
18a. 19. Yes, if student is enrolled in other college courses. 22.
Harps will be included in programs. 23.f. Any student
prepared to play.
Univ. of Iowa, Iowa City 52242. Susan Saurwein. 8. BM,
BA, MA, MFA. b. Same. 9. 10. Music activity scholarships
available to under-grad. music majors. 11. All. 12a, c, d, e, f,
g. 12. One. 14d. 15a, 16. 17c. 18b. 22. 23a, c, d. Univ. oflowa
is in process of expanding harp dept. and its facilities; young
harpist's applications encouraged.
Kansas
Bethany Coll., Lindsburg 67456. Geraldine Wright. 10.
Music. 11. BA. 12a, d, f, g. 14a. 16. 18a. 19. 22. 23c.
Fort Hays State Univ., Hays 67601. No. 9a. 12d, g. 20. 21b,
c. Instruction in other areas (theory, etc.).
Kansas State Univ., Manhattan 66506. Florence Schwab.
8a. Under-grad. degree. b. Same. 11. 12a, d, e, f, g. 13. One.
14d. 15a. 16. 18b.
Pittsburg State Univ., Pittsburg 66762. No. 13. Two. 18a.
20a. 21a, b.
Southwestern Coll., Winfield 67156. No.
Univ. of Kansas, Lawrence 66044. Margaret W. Ling. 8a.
BM Performance MM Performance. b. BM, BME, BM
Theory. 9. 10. Scholarship Halls (Academic). 11. BM Performance,
MM Performance. 12a, c, d, e, f, g. 13. Three. 14c. If
not a major or minor. 15b. If not enrolled in another institution
of higher learning. 16. 17a. For non-music students only.
18b. 19. Yes, if music major. 22. 23a.
Washburn Univ. of Topeka, Topeka 66621. Elaine Christy.
8a. BM, BME possible. 9. 10. Freshman Award. 11. BM. 12a,
d, f, g. 14d. 15a. 18a. 19. Yes, if music major.
Wichita State Univ., Wichita 67208. Nancy Hercher. 8a.
BM, MM. b. BME. 9. 10. Scholastic. 11. BM Performance,
BME Harp major. 12a, d, e, f, g. 13. Four. 14d. 15b. If admitted
to the univ. 17. Basic applied fee of $5.00. 19.
Kentucky
Murray State Univ., Murray 42071. No. Harp instruction
possible with Dorothy W. Mason, faculty member, but not for
credit. 14b.
Univ. of Louisville, Louisville 40222. No. 8a. BM, MM. 9.
10. General scholarships available to all music students. 11.
MIKROKOSMOS FOR HARP
Selections from BARTOK'S Piano Teaching Masterpiece
Skillfully arranged and edited by MAR IL YN MARZUKI·
Now HARPISTS will benefit from this great music which has been a staple in the training of
pianists for the past 30 years.
ADVANTAGES TO STUDYING BARTOK 01\1 THE HARP ARE MANY:
Strengthening rhythmic ability
Exposure to contemporary style at an early age
Ensemble experience -
Independence of hands
Important and fun!
Excellent sightreading material
Probably the most important collection for STUDENT HARPISTS this century!!
For PEDAL and NON-PEDAL teaching
On sale at all leading music stores. On-Approval copies available if requested on organizational
or professional letterhead from:
BOOSEY & HAWKES
P.O. BOX 130, OCEANSIDE, NEW YORK 11572
SUMMER/ 1979 55

56
BJ\,,, MM. 12a, d, g. 13. Two. 15b. If an acceptable audition is
presented. 17b. 18b. 19. 22. 23c.
Louisiana
Louisiana Tech Univ., Ruston 71272. No. 9. 10. Choral, Orchestra,
Band, Piano. I l. BFA. 12d, e, g. 13. One. 18a.
Tulane Univ. (Newcomb Coll.), New Orleans 70118.
Rachael Van Vorhees. 8a. BFA. 10. Financial aid only. I l.
BFA. 12a. 18a. 22. 23a, c.
Maryland
Univ. of Maryland Baltimore County, Baltimore 21218.
Geraldine Elliot. 8a. Bachelor. b. Same. 10. Scholarships
available to all music students. 11. BM. 12a, d, f, g. 13. One.
14d. 15a. 16. 18a.
Massachusetts
Cape Cod Conservatory, West Barnstable 02668. Cynthia
Gordon. (Community School of the Arts) 14d. 15a. 16. 19.
23d, f.
Wellesley Coll., Wellesley 02181. Louise C. Poppoutsakis.
8a. Music major only, BA. 13. One. 14b. 17a. 18a.
Michigan
Andrews Univ., Berrien Springs 49104. No.
Central Michigan Univ., Mt. Pleasant 48859. No. 13. One.
18a.
Kalalmazoo Coll., Kalamazoo 49007. Evelyn Iverson. 8a.
BA (Applied music, Music ed., Church music, Music history,
Theory & Comp.) 10. Music merit scholarships. 1 l. Applied
music; other students encouraged to give recitals. 12a, d. 14a.
16. 18a. 19. For music majors; non-music majors pay private
lesson fee. 22. 23c.
Michigan State Univ., East Lansing 48824. Evelyn Iverson.
8a. BM, BE, MM, ME, Phd. 9. 10. Music, Orchestra, Band.
10. BM, MM. 12a, d, e, f, g. 13. Three. 18a. 19a. 22. 23a, c.
Northern Michigan Univ., Marquette 49855. No. 13. One.
A number of students are studying harp with a teacher in a
nearby community.
Western Michigan Univ., Kalamazoo 49008. 8a. Undergrad.
degrees in Applied music, Music ed., Music therapy; Grad.
degree in Performance. 10. Write for information. 11. Applied;
other students encouraged to give recitals. 12a, d, g,
Wind Ensemble. 13. Two. 14c. If they pay private lesson fee.
16. 18a. Usually. 19. For harp majors. 20. 21c. Music therapy,
Theory. 22. 23. String area recitals for b, c.
Minnesota
Augsburg Coll., Minneapolis 55405. Lynne Aspnes. 8a. BA,
MA. b. BA in Ed., Therapy, Theory, History. Same for MA.
9. 10. Regular academic scholarships. 1 l. All. 12a, c, d, f, g.
14b. 16. 18b. 22. 23a.
Macalester Coll., St. Paul 55105. Gladys Hubner. 8a. BM.
9. Thru Friends of Music. 11. 12a, d, e, g. 13. One. 14a. 15a.
16. 18a. 19. 22. 23c.
Univ. of Minnesota, Duluth 55812. Kathy Kienzle. 8a. BM
Performance. BA in Ed., MM Performance. b. BA in Ed.,
Theory, Composition, History. 9. 10. Regular Music dept.
scholarships. 11. Performance degrees. 12a, c, d, e. 13. One.
14d. 15a. 16. 18a. 19. Yes, if music major. 22. 23a, c, d, e.
Possibly.
Missouri
Culver-Stockton Coll., Canton 63435. No. Harp lessons for
non-credit can be arranged in Quincy, Illinois. (Harps burned
in fire, 1977 .)
Montana
Univ. of Montana, Missoula 59812. No.
Nebraska
Univ. of Nebraska-Lincoln, Lincoln 68588. No. Harp instruction
available through local non-faculty person, or
through two teachers in Omaha, one of whom has part-time
affiliation with Univ. of Nebraska at Omaha. Our students
could study harp as minor and transfer it to this campus.
Other arrangements could be made for counting off-campus
instruction in harp with teacher of qualifications equivalent to
those of univ. faculty members.
New Jersey
Montclair State Coll., Upper Montclair 07043. Rosalie R.
Pratt. 8a. BM, BA, MM. b. BA, MA 9. 10. Music dept.
scholarships. 11. All majors. 12a, c, d, f. 13. One. 14a. 15b. If
they serve in ensembles. 16. On prep. division level. 19. Yes,
on under-grad. level; no, on grad. part-time level. 20. 21 b, c.
22. Harp Ensemble has proven successful showcase for harp
program.
Princeton Univ., Princeton 08540. No. Orchestra participation
possible but not for credit.
William Paterson Coll. of New Jersey, Wayne 07470. Jane
B. Weidensaul. 8a. BA, BS. 10. General funds. 11. All. 12a, c,
g. 18a, b. 19. 22. 23c.
New York
Juilliard School, New York 10023. Susann McDonald. 8a.
BM, MM. Prof. Study Plan Diploma. 9. 10. 12a, b, c, d, e, f.
13. Five. 19. 22. 23a, b, c, f. Class recital.
Manhattan School of Music, New York 10027. Lucile
Lawrence, Jane B. Weidensaul. 8a. BM, MM, DMA. b. Same.
9. 11. All; three for DMA. 12a, c, d, e, f, g. 13. Four. 15. If
they meet certain requirements as special students. 16. In prep.
only. 19. 20. Only in DMA. 21a. Rarely. c. Depends on individual.
22. 23b, c.
New York State Univ. Coll., Potsdam 13676. Peg McLennan.
8a. Music Ed. b. Same. 10. Proof of need. 12a, b, c, d, e,
f, g. 13. Seven. 14a. 16. 19. 20. 21a, b.
_____ Univ. Dept. of Music, Music Ed., New York
10003. Artistid von Wurtzler. 8a. M and PhD in performing
arts. 9. 10. 11. MM, PhD. 12a, c, d, e, f, g. 13. One. 14d. 15a.
19. 22. 23b, d, f. New York Harp Ensemble.
Onondaga Community Coll., Syracuse 13215. Gail Rupert
Lyons. 12a, d.
Syracuse Univ., Syracuse 13210. Gail Rupert Lyons. 8a.
BM, MM. 11. BM Performance, MM. 12a, d. 13. One. 14c. If
music major wanting minor instrument. 19.
State Univ. of New York, Albany 12222. Marjorie Hartzell.
8a. BA in music. 10. Univ. scholarships perhaps. 12a, b, c, d,
f, g. 13. One. 18b.
State Univ. of New York, Buffalo 14214. Suzanne M.
Thomas. 8a. BA, BFA, MFA. 9. 10. Tap awards. 11. BFA,
MFA. 12a, d, e, f, g. 13. One. 18a. 19. 20, 21b. 22. 23a, c.
Vassar Coll., Poughkeepsie 12601. No.
North Carolina
Univ. of North Carolina, Charlotte 28223. Linda Booth. 8a.
B. of Creative Arts. b. Degree of student's choice. 10. Thru
UNCC at large. 11. B. of Creative Arts. 12a, b, c, d, e, f. Wind
ensemble. 14d. 15a. 16. 17. 18a. 22. 23a, c, d.
Ohio
Baldwin-Wallace Conservatory of Music, Berea 44017.
Alice Chalifoux. 8a. BM, MM. Music Ed. degree. b. Music
Ed. 9. 11. BM, MM. 12a, d, e, f, g. 13. One. 14b. 15a. 18a. 19.
22. 23c.
Bowling Green State Univ., Bowling Green 43403. Ruth K.
lnglefield. 8a, BM, BA, MM. b. BM, BA. 9, 10. Academic,
etc. 11. All majors. 12a, b, c, d, e, f, g. 13. Ten. 14d. 15a. 16.
AMERICAN HARP JOURNAL

HARP
MUSIC
Unaccompanied harp unless otherwise noted.
LUDWIG VAN BEETHOVEN
Variations on a Swiss Air (ed. Zaba!eta -
70 38510} ................. . $3.50
JOSEF BLANCO
Concerto for 2 Harps (ed. Kastner -
71 A4809). . . . . . . . . . . . . . . . . . 8.50
MANUEL RODRIGUES COELHO
4 Susanas after "Suzanne un jour"
(ed. Kastner- 71 A4633)........ 5.75
5 Tentos from "Flores da Musica" (1620}
(ed. Kastner - 71 A2506}. . . . . . . 8.50
EUrop~an
American
JEAN FRAN(:AIX
Cinque piccoli duetti - for Flute and
Harp (71 A6128) . . . . . . . . . . . . . 5 .25
Jeu poetique - six movements for Harp
and Orchestra
Piano reduction (71 A6248) ..... .
Harp part (71 A6248PT) .... .. . .
Quintet for Flute, Harp and String Trio
Score (71 A5889}. . . . . . . . . . . . . 14.00
Parts (71 A5206) ............. 14.00
Trio for Flute, Harp and Cello
(71 A6499} .......... . ..... .
PAUL HINDEMITH
Sonata (1939) (71 A3644} .. ... ... . 10.50
HEINZ HOLLIGER
Sequenzen ueber Johannes I: 32
(71 A5472) . . . . . . . . . . . . . . . . . 7.00
JOHANN BAPTIST KRUMPHOL TZ
Sonata (ed. Zinge! - 71 A5437} 8.50
PHILIPP JACOB MAYER
Sonata (ed. Zingel - 71 A5394} 6.00
BERNARD RANDS
Formants I - Les Gestes (50 14207} . . . 5 .00
A vai!able from your favorite music dealer or directly from Dept. AH/
EUROPEAN AMERICAN MUSIC DISTRIBUTORS CORPORATION
195 Allwood Road Clifton, New Jersey 07012
18a. 20. 21 a, b, c. In charge of strings, etc. 22. 23a, b, c, d, e,
f. Preparatory division students. Addt'l opportunities; Perform
in small ensembles, partial recitals, community perf.;
competition preparation; foreign summer study arrangements.
Capitol Univ., Bexley 43209. Jean Harriman. Ba. BM, BA,
b. BM, BA, BEd. 9. 10. Academic, general need. 1 I. BM, BA.
12a, c, d, e, f, g. 13. One. 14d. 15a. 16. 19. If enrolled as student
in univ. 22. 23a, f. Undergrad. student at studio recitals.
Cleveland Institute of Music, Cleveland 44106. Alice
Chalifoux. Ba. BM, MM, DM. b. Music Ed. from Case­
Western Reserve Univ. 9. 10. II. All. 12a, c, d, e, f. 13. Three.
14c. Ifin prep. dept. 15a. 17b. 18b. 19. 22. 23b, c, d. Advanced
students teach beginning students.
Denison Univ., Cranville 43023. No.
Kent State Univ., Kent 44343. Lee Ann Anderson. Ba. BM,
MM. b. BM, BA, MM, MA. 9. 10. Student loans. 11. BM,
MM. 12a, b, d, f, g. 13. Two. 14. If student has had two years
piano. 15a. 16. 18a. 19. 20. 21c. Would depend on degree program.
Oberlin Conservatory of Music, Oberlin 44074. Alice
Chalifoux. Ba. BM. 9. 10. II. 12a, c, d, e, f. 13. Five. 14c. If
studying in Coll. and studying with students. 18a. 19. 22. 23c,
d. Advanced students teach beginning students.
Ohio State Univ., Columbus 43210. Jean Harriman. 8a.
BM, BEd, BA. b. Same. 9. 10. General financial aid. II. All
majors. 12a, c, d, e, f, g. 13. One. 14a. 16. 18a. 19. 22. 23a, c.
As part of studio recitals.
Univ. of Cincinnati, Cincinnati 45220. Linda Wellbaum. Ba.
BM, MM. b. Probably, ifrequested. 9. 11. BM, MM. 12a. For
credit if full-time student. 13. Two. 14c. If full time enrolled
and only as a minor. 15a. 16. 17b. 18b. 19. 20. 21a. Perhaps in
prep. dept., b. 22. 23c, f. Teacher has performed recently on
two faculty recitals.
Youngstown State Univ., Youngstown 44555. No. Results
of this survey might assist us in acquiring a program in harp.
Oklahoma
Oklahoma State Univ., Stillwater 74074. No. 9. 10. All
Univ. financial aid. 12 d, e, g.
Oral Roberts Univ., Tulsa 74171. Eleanor Schettler. Ba. BM
Performance. 9. 10. General coll. aid scholarships. 11. BM
Performance. 12a, d. 18b.
Oregon
Marylhurst Education Center, Marylhurst 97036. Sr. M.
Emerentia. Ba, b. Yes. 9. 10. Partial. I I. Undergrad. 12a, d, f.
13. Three. 14b. 15a. 16. 17a. 18b. 19. 20. 21a, b. 22. 23c.
Graduates and students are employed in Oregon Symphony,
Portland Youth Symphony and in several Dining Halls.
Pennsylvania
Carnegie-Mellon Univ., Pittsburgh 15213. Paula Page. Ba.
BFA, MFA. 9. 10. Scholarships based on need and talent. 11.
BFA, MFA. 12a, c, d, e, f, g. 18a. 19. 20. 21a, b. 22. 23a, c, d.
Chestnut Hill Coll., Philadelphia 19118. Sr. Caliope Proios.
Ba. BA, BS (Music Ed.). b. Same. 10. Any academic scholarship.
11. Both. 12a, c, d. 13. Two. 14b, c. If part time enrolled
or even if not enrolled. 15a. 18a. 22. 23b, d.
Curtis Institute of Music, Philadelphia 19103. Marilyn
Costello. Ba. BM, Artist's Diploma. 9. All scholarship. 10.
Student aid for expenses. 11. Both. 12a, c, d, e, f. 13. Six. 18a.
Possible. 19. No fees at school except application fee, $25.00.
22. 23c, d. Limited number of students. Auditions held in
spring for vacancies in fall when such anticipated for coming
year.
Edinboro State Coll., Edinboro 16444. No.
Univ. of Pennsylvania, Philadelphia 19104. No.
SUMMER/1979
57

Dr. Shirley Meyer Blankenship
Artist Teacher
Harpist - Composer
Assistant Professor
School of Music
University of Illinois
Performance Experiences Available:
chamber music
orchestra
jazz
opera
contemporary music
Univ. of Pittsburgh, Pittsburgh 15260. No. Only undergrad.
degree is BA, applied music included. If student requested
harp study, passed entrance audition and was accepted into
undergrad. coll., we would search for an instructor for that
student.
West Chester State Coll., West Chester 19380. No. 8a. BM,
BA, BS, MM. b. BM, BS. 10. Based on GPA and achievement.
11. All in which harp is major. 12a, d, e, f. 13. Two.
18b. 20. 21b, c. Possible other assignments in theory, history,
etc. Students who major in harp may study with one of two
well qualified teachers in West Chester-Philadelphia area.
Students pay for lessons; applied music fee is waived. Students
approved for this kind of independent study receive grades and
perform in recitals; lessons are usually given by visiting teacher
on campus.
Tennessee
George Peabody Coll., Nashville 37203. No.
Memphis State Univ., Memphis 38152. Marian Huselton.
8a. BM, MM. b. BM ed. 11. All. 12a, d. 13. One. 14d. 19.
Southwestern at Memphis, Memphis 38107. Ruth Cobb. 8a.
BM, BA. b. BA. 12a, f, g. 14c. If enrolled through Music dept.
in beginner catagory. Prep. dept. also accepts beginners;
awards a high school certificate after completion of courses in
theory, recital. 15b. If student studies privately. 16. 18a.
Univ. of Tennessee, Chattanooga 37403. No.
Texas
Amarillo Jr. Coll., Amarillo 79105. No replacement since
retirement of Madeline G. Henshaw.
Angelo State Univ., San Angelo 76901. No.
Houston Baptist Univ., Houston 77074. Patricia John. 8a.
Undergrad. 10. Grant in aid-Music performance. 11. BM,
BFA in music. 12a, c, d. 13. One. 17a. 22. 23a, c.
North Texas State Univ., Denton 76203. Charles
Kleinsteuber. 8a. BM, BME, MM, MME. b. Same. 9. 10.
Work scholarships. 11. BM, MM. 12a, c, d, e, f, g. 13. Five.
14a. 17a. 18a. 20. 21a, b. 22. 23a, b, c, d.
Rice Univ., Houston 77001. Beatrice Schroeder Rose. Sa.
MM (five yr. course). 9. 10. Tuition grants. 11. MM. 12a, d, f.
13. One. 19.
Southern Methodist Univ., Dallas 75275. Julia Herrmann
Edwards. 8a. BM in harp. b. MM in harp. 9. 10. Orchestra,
Work-study, Texas Equilization Grant. 11. BM, MM. 12a, d,
e, f, g. 13. One. 14a, c. If they enroll in Evening Coll. as
special student. 15b. Same as 14c. 16. 17a. 18b. 19. Yes, for
music majors. 22. 23f. Participation on chamber music program
by symphony harpist.
Texas Woman's Univ., Denton 76204. David S. Williams.
8a. BA, BS, MA. b. Same. 9. 10. Mary Gibbs Jones scholarship.
11. BA, BS, MA. 12a, d, e, f, g. 13. Two. 14d. 15a. 18a.
20. 21b, c. Look after harp. 22. 23a, c.
Texas Tech Univ., Lubbock 79409. Gail G. Barber. 8a. BM,
BME, MM, PhD Fine Arts. b. All and BA. 9. 10. Orchestra.
11. BM, BME, MM, PhD. 12a, c, d, e, f, g. 13. Three. 14d.
15a. 16. 17a. 18b. 19. 20. 21a, b, c. Possibly elementary theory
if qualified. 22. 23a, b, c, d.
Trinity Univ., San Antonio 78284. Laurie Buchanan. Sa.
BM, BA. 11. BM. 12a, d. 13. One. 14d. 16. 19.
Univ. of Houston, Houston 77004. Beatrice Rose
Schroeder. Sa. BM (Applied), BM (Music ed). 9. 11. BM. 12a,
c, d. 13. Two. 14. If piano background. 19. Additional music
fee. 20. Only if needed (rarely). 21c. Whatever is needed. 22.
23c, d.
Univ. of Texas, Arlington 76019. No.
Univ. of Texas, El Paso 79968. Gayel Panke Gibson. 8a.
BM (Harp Performance or music Ed). b. 10 undergrad.
58
AMERICAN HARP JOURNAL

Green Mountain
Folk Harp Workshop
with
Or. Rosliim Rensch
Author of THE HARP. ITS
HISTORY. TECHNIQUE ANO
REPERTOIRE. Published by
Gerald Duckworth. Ltd.. Londo!L
Derek Bell
Irish hari>er with
THE CHIEFTAINS
Accomodations at: July 30 - August 3. 1919
THE SCHNEIDERHAUS •
A beautiful chalet lodl.!e
Campsites available
, .
Lessons. lectures. ensembles, concerts
and research for harPists of all levels
(Pedal and folk harPsJ
To be held at:
THE TOURIN MUSICA
Duxbury. Vermont
--.... -._~ ~ ·,.-~'/j~J':;,,;:~·
Limit~d _enrollment
.., , ..
For information write:
I':
Christina Cooper Tourin
P. 0. Box SZS •• . ~ . . ,. . f
Duxbury, Uermont 056?6 .' \_ · ' ' - -~degrees.
6 grad., 32 specific areas. 9. 10. General music, Orchestra,
Academic. 11. BM (Perf. full jr. and sr. recital; Ed.,
half sr. recital). 12a, c, d, e, g. 13. Three. 14d. 15a. 18a. 22.
23a, c, d, f. Concerto with orchestra, ensemble as well as solo
recitals, soloist on univ. symphony tour. Enthusiastic support
of harp students at all levels; students are allowed to use Univ.
harps in the El Paso Symphony and other performing areas.
Utah
Brigham Young Univ., Provo 84602. Louise Pratt. 8a.
Degrees in Performance, Pedagogy, Music Ed. 9. 11. Performance.
12a, b, c, d, e, f, g. 13. Two. 14c. 15a. 22. 23a, b, c, e.
Virginia
Shenandoah Coll. and Conservatory of Music, Winchester
22601. Alyce Rideout. 8a, b. All. 9. 10. All purpose. 11. BM.
12a, c, d, f, g. 13. One. 14d. 15a. 18a. 20. 23a, c.
Vermont
Univ. of Vermont, Burlington 05401. Elizabeth T. Dahl. 8a.
BM, BME, BA. b. Possible. 11. All. 12a, c. Harp with other
instruments, d. 13. One. 14d. 15a. 16. 17a. 18a. Dorm room.
Washington
Seattle Pacific Univ., Seattle 98119. Lynne W. Palmer. 8a.
BA. b. BA in Music ed., theory and lit., music in church.
10.Small music scholarships available in instrumentalists of accepted
performance level. 11. BA Performance. 12a, b. Possible,
d, e, f, g. 14a. 16. 18a. 22. 23c.
Washington State Univ., Pullman 99164. No. 10. 12d, e, f,
g. 18a. 20. 21a, b. Interested in obtaining grant for harp purchase,
as instruction can then be provided.
SUMMER/1979
West Virginia
Fairmont State Coll., Fairmont 26554. No.
West Virginia Univ., Morgantown 26506. No. 10 Performance
grant awards. 13. One. 18a. 19. Applied lessons
generally included.
Wisconsin
Alverne Coll., Milwaukee 53215. Jeanne Henderson. 8a.
BM, BS in Music ed. b. Same and BS in Music therapy. 9. 11.
All with harp major. 12a. 13. One. 14a. 22. 23a, c, d, e.
Lawrence Univ., Appleton 54911. No.
Univ. of Wisconsin, Milwaukee 53201. Jeanne Henderson.
8a, b. BM, BS in Music ed., BS in Music therapy; MM, MME.
9. 10. Write to Music dept. 11. BM Performance. 12a, b, d, e.
13. One. 19. 20. 21b, c. Teaching theory perhaps. 22. 23a, c, e.
Univ. of Wisconsin, Superior 54880. Kathy Kienzle. 8a. BM
Performance. b. BA in Ed., Theory, Composition, History.
10. Regular Music dept. scholarships. 12a, d, f. 13. One. 14a.
15a. 16. 18b. 19. Yes, for music majors; non-majors must pay
a fee. 22.
Univ. of Wisconsin, Whitewater 53190. No. JoAnn Hagele
Hobbs, instructor in piano, plays harp on campus and teaches
privately.
Wisconsin Conservatory of Music, Milwaukee 53202. Danis
Kelly. 8a. BM, MM. b. Same. 9. 11. BM, MM. 12a, d. 13.
One. 14d. 15a. 16. 22. 23a, c. Also pre-coll. Youngsters who
take private harp lessons are entitled to free theory classes.
59

WINNING HAND!
Iron

PEOPLE and PLACES
Compiled by Catherine Gotthoffer
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.
Nicanor Zabaleta gave the American premiere of the
Montsalvatage Concerto and the world premiere of
Terna y Variaciones, Op. 100, by Turina on March 6, in
Washington, D.C., with the National Orchestra. On
February 15 he gave the world premiere of the Surinach
Concerto with the Grand Rapids Orchestra.
Barbara Skully Dechario recently performed the
premiere performance of the opera Galileo Ga/i/ei written
by Ezra Laderman and Joe Darion and performed
by the Tri-Cities Opera Company in Binghamton, New
York. This past Christmas she played the premiere performance
of A Solemn Music for Christmas, for
chorus, harp and string quartet written by Jack
Johnston. In March Ms. Dechario will perform the
Mozart Concerto with the Geneseo Chamber Symphony
and in June will play the same work with the Binghamton,
NY Symphony.
Cynthia Gordon is playing the Cape Festival Orchestra,
the Cape Chamber Players, the Cape Cod Symphony
and the Fall River Symphony. She was featured
at the Tenth Sandwich Youth Concert at the Conservatory
in West Branstable. Following are some of the
recent appearances of the Paulson Harp Ensemble;
Historical Society, Spring Lake New Jersey; First Congregational
Church, Union New Jersey; Morristown
Woman's Club, Morristown, NJ; Prospect Presbyterian
Church, Maplewood, NJ; Ukranian Arts Center, New
York, NY; Bloomfield College, Bloomfield, NJ; Seton
Hall University, South Orange, NJ; South Orange
Woman's Club, South Orange, NJ.
In November, Jude Mollenhauer, harpist with the
Pennsylvania Ballet Company, was soloist with the
Marple-Newton String Ensemble playing the Handel
Concerto in Bb and the Danses of Debussy. In December
she played the Premiere of Professor Edward Con'e
Duo for violin and harp at Princeton University. Also
on the program were the Debussy Sonate for flute, viola
and harp and Serenade # 10 for flute and harp by Vincent
Persichetti. She performed Britten's Ceremony of
SUMMER/ 1979
Carols with various choral groups in Philadelphia, as
well as twenty performances of The Nutcracker with the
Ballet. She will be heard in the Choral Hymns from the
Rig Veda by Gustav Holst with The Phildelphia Singers
March 5, 1979. On February 24, Miss Mollenhauer will
play two short recitals of ancient Irish music for the
opening of the exhibit of "Ancient Treasures of Ireland
-1500 B.C. - 1500 A.D." at the Philadelphia Museum of
Art. At Temple University Center City on March 12, she
will play another premiere of a work by Ron Thomas -
Sacred Song for alto voice, alto saxophone and harp.
Also on this faculty recital with saxophonist, Marshall
Taylor, will be Villa-Lobo~ Quatuor for harp, flute,
saxophone and celeste with women's voices and Pierre
Vellones' Rapsodie for alto saxophone, harp, celeste
and percussion. Future concerts include the lbert Trio
for violin, violincello and harp April 6, Upper Black
Eddy, and April 8, Bethlehem, PA with the Lenape
Chamber Ensemble.
In its 1978-79 concert season the New York Harp
Ensemble performed in Berrien Springs, Michigan; Rexburg,
Idaho; Salt Lake City, Provo, Logan and Ogden,
Utah; Hayward, California; Portland, Eugene and
Forest Grove, Oregon; Kerrville and Sequin, Texas; St.
Frances, Kansas; Big Rapids, Michigan; Cherokee
Village, Arkansas; New York City, N.Y. Performances
in Canada included Nanaimo, Port Alberni, Kitimat,
Terrace, Smithers and Prince George, British Colombia;
Calgary and Claresholm, Alberta; Pinawa and Carman,
Manitoba; Guelph and Brantford, Ontario. On
December 24 the Ensemble appeared on the Today
Show, NBC Television. In May and June they will tour
Mexico, Honduras, Nicaragua, Colombia, Bolivia,
Paraguay, Argentina, Brazil, Venezuela, Aruba, Martinique,
St. Maarten, and Ecuador.
Amy Winchell was harpist in several performances of
Amah/ and the Night Visitors at the School for the Performing
Arts in Louisville, Kentucky. Therese Elder
was the winner of the Junior High School Strings Division
of the McDowell Music Club competition. She will
go on a three weeks tour of Romania with the Floyd
Country Youth Orchestra this summer. Lisa Petrilli was
soloist with the Louisville Jefferson County Youth Orchestra,
performing the Handel Concerto. She won the
McDowell Music Club competition for Senior High
School students; and will be featured soloist with the
Kentucky All-State Symphony in March, playing Grandjany's
Aria in Classic Style. While at Interlochen
61

Music Camp last summer Lisa's performance of Ravel's
Introduction and Allegro was recorded for public sale
by the camp.
Anne LeBaron, harpist and composer, was awarded
two national prizes for her composition, Medtamorphosis,
scored for piccolo and flute, oboe, B-flat
clarinet, horn, tenor trombone, percussion and harp:
the Beams Prize and the David S. Bates Award. The
harpist in the premiere performance was Jennifer Little.
Marjorie Tyre appeared February 28 with flutist
Frances Lapp Averitt and Peter Spurbeck, cellist, on the
Auburn Chamber Music Series.
Artiss de Volt has invited the Atlanta, Tallahassee,
and Jacksonville Chapters to have a regional meeting on
St. Simons Island, June 9 and 10. The main event will be
a symposium on Alfred Holy, the famous Austrian harpist.
Dolores Chilsen Mielke of Bowling Green, Kentucky,
is preparing a directory of harpists with brief
biographies and will welcome responses.
Bill Butner has enjoyed a busy season in Memphis
and the surrounding area. He has played for both the
Democratic and Republican receptions, and was harpist
with the Memphis State Concert Band in a Symphony
by Hovhaness.
Frances Phillips and Agnes Crisci of Memphis attended
the first Summer Festival of Jazz and Pop Music for
Harp at Santa Barbara. Frances plays in the Garden
Terrace Room of the Hyatt Regency.
In December, Agnes Crisci played a program in
Brownsville, Tennessee, of works by Salzedo, Corelli,
Debussy, and the Aria in Classic Style by Grandjany.
She was assisted by Roland Crisci, organist.
Danis Kelly gave a performance of the Castelnuov­
Tedesco Concertina for Harp and Chamber Orchestra
this season in Milwaukee.
The Indiana State University Harp Workshop of
June, 1978, directed by Roslyn Rensch Erbes, has been
awarded a certificate for Innovative Programming by
the North American Association of Summer Sessions.
Her article on antique, modern, and non-pedal harps
appeared in the Tri-State Trader, a weekly publication
for antique enthusiasts.
On October 7, Margaret Nelson joined the UNL Symphony
Orchestra in their presentation of Glazounow's
Symphony #5, and on October 20 she played with the
Nebraska Chamber Orchestra. In December, Mrs.
Nelson and students Lori Brunsen, Cynthia Coleman,
Julie and Lisa Ferguson, and Mary Watts presented a
Christmas ensemble program.
Suzanne Shields performed Britten's Ceremony of
Carols with the El Dorado Junior High Schoof Chorus
in December. She played in the Hutchison Symphony,
the Emporia Symphony; and on February 11 performed
Sonata in F Major for horn and harp by Dauprat with
Jeanne Fisher at Wichita State University.
In January the New Mexico Chapter of A.H.S. entertained
Heidi Lehwalder, guest soloist with the New
Mexico Symphony Orchestra, in the home of Sylvia
Giomi and her parents. Gene Wilson presented pro-
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
62
AMERICAN HARP JOURNAL

UNIVERSITY
W HARTFORD
Rebecca Flannery
INSTRUCTOR IN HARP
Donald A. Matt ran, director
Degrees Offered:
Bachelor of Arts (Major in Music) • Bachelor of Music
Master of Music • Master of Music Education
Doctor of Musical Arts • Artist Diploma
Certificate of Advanced Graduate Study
Scholarships, Assistantships and Fellowships
Julius Hartt School - Non Credit Division
All Ages
Director of Admissions, Hartt College of Music
University of Hartford/200 Bloomfield Avenue
West Hartford, CT 06117
Telephone: (203) 243-4465
REbECCA
FlANNERY
INSTRUCTOR IN HARP
Degrees offered:
Bachelor of Music
Bachelor of Fine Arts
Bachelor of Science, Music Education
Master of Music
LESSONS AND PERFORMANCE
OPPORTUNITES FOR NON-MAJORS
PREPARATORY SCHOOL OF MUSIC
All ages
For information:
I­
::)
u
-1-
u
UJ
z
z
0
u
u..
o
Music Department, Box U-12
University of Connecticut ,
Storrs, Conn. 06268 ,,,,,,.,,,,
Telephone: (203) 486-3728 ~
c.., ~
UNIVt~Jo~~
A1
grams for the National Association of Retired and
Veteran Railroad Employees, Retired Teachers Association,
Albuquerque PEO Chapters, and church groups.
In Santa Fe Dr. William Grabowski is principal harpist
for the Greer Garson Theater. He played and recorded
Alice Parker's Three Carols for Children's Chorus and
Harp which has been used by Public Broadcasting
System television in several cities. He will play Die
Fledermaus for Opera West in March. Christina
Megeath performed Christmas music in two Los Cruces
churches. Randy Field, in addition to Albuquerque solo
and ensemble appearances, played in the Rosell Symphony
Orchestra for their February concert. National
Federation of Music Clubs programs will keep Susan
Davis and Lacey Bingham busy in March and May.
Laura Smithburg will play for the Albuquerque High
School production of Carousel this spring. Nancy Ruth
Weart continues playing in the orchestra of the Albuquerque
Civic Light Opera Association.
Shana Norton played a harp recital at Abilene Christian
University on December 10, 1978, where she is the
harpist with the orchestra. During the fall of 1978,
Shana played at Demetriades restaurant each weekend
evening.
Barbara Don Brooks played the Britten Ceremony of
Carols with the Abilene Harmony Club Choir on
December 6, 1978, and with the Abilene Chorale on
December 16, 1978. She is the harpist with the Abilene
Philharmonic Orchestra.
Two major chamber series in Los Angeles began this
SUMMER/1979
season with works featuring the harp. Nancy Allen performed
the Debussy Dances on the opening concert of
the Los Angeles Chamber Orchestra on October 9th.
Lou Anne Neill performed the Ravel Introduction and
Allegro on the opening concert of the Monday Evening
Concert Series on October 16th. Amy Shulman performed
the Debussy Sonata on another concert of the
Monday Evening Series on November 13th.
On January 30th, radio station KXLU in Los Angeles
aired a program devoted to the harp in competitions
which was moderated by Diana Steiner. Featured in the
interview and musical program were A.H.S. President,
Ann Mason Stockton, and contestants Joann Turovsky,
Marcia Dickstein, and Tamara Bischoff.
Marilyn Berger played for the two-month run of the
West Coast premiere of The Grass Harp in North
Hollywood; a local production of The Roar of the
Greasepaint, the Smell of the Crowd; and accompanied
Lisa Karlan, vocalist, at the Santa Monica Community
College.
Konrad Nelson recorded two harp parts for one
movement of Recesses, a new ballet, choreographed by
Bella Lewitzky and composed by Larry Attaway. At the
premiere performance on February 27 at the Los
Angeles Music Center, he played one of the parts, synchronizing
it with one on tape. Two more movements
employed flute and electric piano in the same manner,
and the coda brought all three instruments together.
Phyllis Schlomovitz and associated teachers, Reni~ S.
Quinn and Elizabeth Bacigalupi, presented 15 pupils in
63

64
WRITE FOR OUR CURRENT BROCHURE
CASWELL HARPS
15095 FRUITVALE AVE., SARAT(]]A, CA. 95070
FLOWING SONGS
by Virginia Kendrick
harp arrangements by Anne Ransom
all for medium or medium high voice
Before the World Was
moving setting of verses
from Proverbs 8
Jade Summer
melodic, impressionistic,
strong coloration
Two Songs:
Wealth of Mine
lyrical, pastoral, rippling
Tribute
rich in modern, colorful
harmony
$1.50
$1.75
$2.50
available from:
Schmitt Music Co.
88 South 10th Street
Minneapolis, Minn. 55402
National WATS Line 1-800-328-8480
Minnesota WATS Line 1-800-292-7959
the Annual Christmas Concert on December 10, 1978,
at Trinity Lutheran Church, Palo Alto. Performers
were: Michaela Alioto, Amy Stone, Amanda McIntyre,
Mary Quinn, Heather Windes, Liest Mathis, Potts
Cahill, Laurie Dick, Reni~ Quinn, Judy Hernandez,
Beverly Sebanc, Peggy Osborne, Lynne Gruver, and
Lisa Pease. Lynne Gruver gave a premiere performance
of On the Banks of the Nile for Harp and Voice, by
Menlo Park composer, Frank Van West. Lynne Gruver
sang this song and When David Sang by Karl Carlson at
a meeting and fund raising Fair for Peace in Alto in
November. She and Heather Windes also played solos
as a part of the entertainment. Heather Windes played
for The King and I production in San Jose in February
and March.
Potts Cahill, Michaela Alioto, Laurie Dick, and
Reni~ Quinn, performed in recitals at the Institute in
San Francisco on February 4, 8 and 11th.
Pamela Stutzke has been appointed assistant to
Phyllis Schlomovitz by the Dean of Music and Arts Institute
of San Francisco.
Marjorie Chauvel has trained and directed several recent
concerts. On February 25, Stanford harp students
Marianne Stewart, Carol Littlefield, Jane Irwin, Ruth
Bonaparte, and Tamar Richards appeared in a program
that included flute, voice, and ensemble as well as solo
harp. At California State University of San Francisco
on March 11, a concert of aeolian harp duet; harp and
wind ensemble; harp and piano; and solo harp was
presented by Bennetta Heaton, Katherine O'Keefe, Linda
Berg, and Pamalia O'Shea. April 29th will see the
"19th Annual Spring Harp Concert" at Cubberly Performing
Theatre in Palo Alto. Leslie Weinfield, Cynthia
Stretch, Anna Marie Mendieta, Wendy Gamble,
Katherine Riley, Laura Gatlin, Tina Peratis, Gretchen
Hellman, and Nancy Oeth will present works by Salzedo
and Grandjany, as well as other compositions in the
standard repertoire.
Anna Marie Mendieta will be the soloist with the
California Youth Symphony in their spring concert,
performing the Suite from Childhood by Harl
McDonald.
The harp students of Deborah Ricks who performed
in a Christmas recital in Los Gatos were Tisha Sheeder­
Cheney, Dorothy Bowen, Donna Hunt, and Eileen
Walsh.
Patricia Wooster performed the Debussy Dances with
the Bellevue Philharmonic Orchestra in Bellevue,
Washington, on March 29 and April 1, 1979. Juliet
Olszewski, also from Bellevue, was selected for the All­
Northwest Orchestra for the M.E.N.C. Conference in
Montana in March. Karen Skinner, from Tacoma,
Washington, was appointed harpist for the All­
Northwest Band.
The Duo Reyns-Bonnet (Piet Reyns, flute; Alex Bonnet,
harpist) made an interesting tour of Iran in April
and May 1978. The Duo, played in Teheran, Shiraz,
Isfahan, Rezayeh, Gargan, Rasht, Rud bar, and Lahijan.
The last evening was a concert for the Dutch
amabassador, the Dutch colony and several guests. The
major part of all the audiences were young people, 12 to
AMERICAN HARP JOURNAL

30 years of age. Both Mr. Reyns and Mr. Bonnet are
residents of Holland.
Alpha Delta Kappa, International Honorary Sorority
for Women Educators, announced that Mary Emily
Mitchell was the recipient of their Fine Arts Grant,
awarded this year to a harpist. Linda Booth was selected
as alternate. Forty-four harpists applied for the grant.
From tapes and supportive material sent by these applicants
five finalists were selected by the Alpha Delta
Kappa Award Committee. The five finalists were flown
to Kansas City and heard there by judges Roslyn
Rensch Erbes, Margaret W. Ling, and Debbie Wells.
Mary Emily Mitchell received $4,000 and Linda Booth
received $1,000. Mary will be a featured performer at
the next national convention of Alpha Delta Kappa.
The organization, which has 45,000 members, gives two
Fine Arts Grants each year. In 1979, in addition to the
award in harp, similar grant money was given in Needle
Art.
Gail Barber played the Gliere Concerto with the Lubbock
Symphony Orchestra in March. Texas Tech
University featured the following students in a harp
recital in April: Carol Berg Actkinson, Felice Franks,
Elizabeth Hall, Andra Rodden, Carla Scaletti and
Sharon Towndrow. Carla Scaletti will be featured in a
Percussion Ensemble Concert playing Waves, her own
composition for harp and percussion.
A Musician's
Harp Insurance Plan
thru
EDWARD A. GOODMAN
& co.
Insurance Specialists
One North Broadway
White Plains, N.Y. 10601
CONCERT CALENDAR
MAY, 1979
5 - Susann McDonald, Gliere Concerto, San Gabriel
Civic Orchestra, Civic Auditorium, San Gabriel, CA
JULY, 1979
12 - Phyllis Schlomovitz, Concerto for Harp and
Chamber Orchestra by Gerard Victory, Hull Symphony
Orchestra, Hull, England
18 - Phyllis Schlomovitz, Concerto by Gerard Victory,
Dublin Radio Orchestra, Dublin, Ireland.
22 - Phyllis Schlomovitz, Recital, York University,
Heslington, Yorkshire, England
24 - Phyllis Schlomovitz, Concerto by Gerard Victory,
Yorkshire Music Festival Orchestra, York University,
Yorkshire, England
SUMMER/ 1979
"TEACH YOURSELF TO PLAY
THE FOLK HARP"
Book by SYLVIA WOODS
$ 5.98 + 50¢ postage
companion cassette -
$4.98 + 50¢ postage
Sylvia Woods
P. 0 . Box 2 9 5 2 1
Los Angeles, CA 90029
Distnbutor of Folk Harps
65

CHAPTER ACTIVITIES
Each chapter is responsible for sending a Chapter Report to The American
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.
NEW CHAPTERS
Please direct inquires about the organization of new chapters to Sylvia
Meyer, Chapter Chairman, 3673 Upton St., N.W., Washington, D.C.
20008.
66
CONNECTICUT
President, Emily Oppenheimer, 12 Outer Rd., So.
Norwalk, CT 06854.
The annual harp scholarship fund recital was held on
September 24, 1978 at the Silvermine Guild of Artists in
New Canaan, Connecticut. Members of the chapter
who performed included Ruth Berman Harris, Emily
Oppenheimer, Rebecca Flannery, Lois Bannerman
Senior and John Senior with Lisa Bressler, cellist, as
guest artist. The program included works by Handel,
Hovhaness, Faure, Parish-Alvars, and three pieces for
cello and harp written by Ruth Berman Harris. A reception
was held in Hays Hall, an art gallery, hosted by
David and Dolores Crego. The concert was well attended
so the chapter will again be offering scholarship aid
in 1979.
On October 29, 1978, a meeting was held at the home
of Mrs. Edith Floyd in Hamden. June Wachtler, in her
sophomore year at Yale University, gave a solo recital
which included works by Handel, Bartok, Grandjany,
and Caplet. The Chapter then heard from three
members some reminiscences of their studies with
Carlos Salzedo: Thelma Spargo, Joan Marie Bresnahan
and Ruth Berman Harris.
The Christmas season found everyone busy performing
throughout the state of Connecticut. As usual "The
Sounding Board", Christmas Calendar edition with
details of concerts and church services that included
harp, was mailed to the membership.
LONG ISLAND
President, Edward Herfort, 12 Pine Road, Syosset,
N.Y. 11791.
The Board of Directors of the Long Island Chapter
held meetings on November 13th, December 28th and
February 12th, at the home of Joan Kerwin in Garden
City.
An Elementary School Harp Education Program is
being sponsored by the chapter. Jeanne Fintz Goldstein
and Kathryn Ripp Sisley visit Nassau and Suffolk County
schools to acquaint the children with the harp in an
informal setting of small groups. So far, more than 2000
children have been exposed to the harp and its music
through this program.
A series of concerts by young college-age harpists
with Long Island roots will begin on April 21st at the
Valley Stream Library. Amy Berger will present the first
of these chapter sponsored concerts. Her program will
include works by Spohr, Siegmeister, Hindemith,
Mondello and Chertok. The second concert in this series
will be presented by Barbara Ann Goldstein. A chapter
Newsletter is being sent out several times a year. The
aim of the newsletter is to announce coming events of
the chapter and its members.
METROPOLITAN NEW YORK
President, Pearl Chertok, 56 N. Greenwich Road,
Armonk, N. Y. 10504.
The 1978-79 year opened with a me'eting in October at
AMERICAN I;IARP JOURNAL

The Juilliard School
Peter Mennin, President
Instruction In Harp: SUSANN McDONALD
D Bachelor of Music
D Master of Music, Doctor of Musical Arts
D Diploma, Postgraduate Diploma
D Professional Study Plan
D Scholarships Available
D Pre-College Division
Jane Weidensaul, Instructor
LINCOLN CENTER
NEW YORKI N.Y. 10023
(212) 799-5000
the Salvi Studios at 1995 Broadway. During the business
meeting it was decided to commission a work for harp
and organ in memory of our founder, Marcel Grandjany.
Louie White was recommended as an organistcomposer.
The musical program was made up of "new
harpists in New York City". Juliette Passer from the
U.S.S.R., Sarah Voynow from Idaho, MaryAnn Sherman,
returning from studies in Holland with Phia
Berghout and Isabel Perrin from Nice, France played.
On December 28, a concert was held at the Lincoln
Center Library of the Performing Arts. The Harp In
Chamber Music was a great success with June Weidensaul,
Francesca Corsi, Susan Jolles and Suzanne
Balderston each playing with an instrumental group.
February 25th is the 3rd anniversary of our founder's
passing and a meeting will be held "in Tribute to Marcel
Grandjany".
April 30th the ensemble of the Curtis Institute of
Music will present a recital as guests of the Metropolitan
New York chapter.
WESTERN NEW YORK
President, Suzanne Thomas, 7 Ashland Ave., Buffalo,
N.Y. 14222.
The Western New York Chapter met at the South
Davis School in Orchard Park on September 25, October
18 and November 29, 1978, and has meetings
scheduled for February 12 and March 20.
At the September 25th meeting Mario Falcao discussed
the Concerto for Harp and Strings which he played
with the Orchard Park Symphony on October 27.
The February 12th meeting will include a discussion
of the care and maintenance of the harp.
The chapter is helping sponsor the March 26th concert
held at the Baker High School in Orchard Park. All
proceeds to go toward the purchase of a concert harp
for the school.
WASHINGTON, D.C.
President, Barbara Seidman, 5301 Westbard Circle,
#143, Bethesda, Maryland 20016.
For our chapter recital February 18, Karen Lindquist
and Phyllis Adam.s will be joined by flutist Maquette
Kuper and soprano Naomi Frenkel in performance of
works by Cannon, Grandjany, Jongen, Kapr, and
Mozart. The fall brought us a recital by Jim Pinkerton.
His noontime concert was co-sponsored by the Library
of Congress Choral Society and was arranged by the
Choral Society President, Leo Anderson, and D. C.
Chapter member Rebecca Wagner.
Looking ahead: We are eagerly anticipating the arrival
of Nicanor Zabeleta in March for the American
premier performance of the Montsalvatge Harp Concerto
with the National Symphony. The chapter has purchased
a block of tickets for opening night.
Lookini way ahead: Lois Edwards and Deborah
SUMMER/1979
67

Dubuque are organizing a one day conference on the
non-pedal harp to be held in Columbia, Maryland, on
June 2.
..._ - _..
~ \,
CATHERINE GOTTHOFFER
Instructor in Harp
HARP SCHOLARSHIPS
for Fall, 1979
at CALIFORNIA INSTITUTE OF THE ARTS
Full and half-tuition available, based on merit,
B.F.A. and M.F.A. Degree Programs
Performance opportunities in CalArts
Orchestra, 20th Century Players, and
Chamber Music Program
For further information write: Jerold Frohmader,
Assistant Dean, School of Music, California Institute
of the Arts, 24700 McBean Parkway, Valencia, CA
91355
PHILADELPHIA
President, Jude Mollenhauer, 4812 Springfield Ave. ,
Philadelphia, PA 19143 .
Our October 22, 1978, meeting was held at Saint
Francis of Assisi Church in Germantown, with Sister
Caliope Proios as our hostess . Harpists on our program
were Lydia Amoth, Linda Sendermaier, Michele Fella,
Valerie Lee, Donna Miller, Elizabeth Lawrence, Valerie
Townsend, Jan Christiansen, Anne Sullivan, Joan
Steinberg, and Alison Skerlong. We were happy to have
advanced students from The Curtis Institute of Music
among these participants.
Our February 4, 1979, meeting was well attended with
fifty-five people present. We distributed membership
directories with teachers identified by an asterik.
The first number on the program was played by
Monica Ford, a student of Carol Alcorn. Next were
students of Peggy Schumacker Scott; Nancy Cane,
Elaine Gross, Pamela Lorenzo, Elizabeth Lawrence,
and Valerie Townsend. Lydia Amoth played her own
harp solo arrangement of The Palms by Jean Baptiste
Faur~. The final part of the program was played by
students of Marilyn Castello; Janet Jackson, Alison
Skerlong, Jan Christensen, and Anne Sullivan.
Sen'ing Ha1pists Needs E1 1 erywhere
BULLETIN PUBLISHED MONTHLY
Listi ng, of all si1.es and ma kes
of harps an d harp related equ ipment for sal e.
$2.25 per month - $6 .50 fo r 3 months.
DO YOU WANT TO SELL YOUR HARP
MUSIC, EQUIPMENT, ETC.?
Se nd ful l particulJrs.
$6.00 for 3 month listin g.
GREAT GIFT IDEA!!
W1·ap around skirts with app li qucd harps
on th em, made to order.
Short or full leng th.
Information flyer cwai!ablc.
Sent 7 5 cents in stamps to:
Encore Harp Service
4100 Old Adobe Road
Palo Alto, CA 94306
,
FLQRIDA WEST COAST
President, Sharon Jones, 307 -55th St., Bradenton,
FL 33505 .
On September 17, 1978, a meeting was held at the
Harley Day workshop in St. Petersburg. The members
present were able to see how lutes, harpsichords, harps,
etc. were hand-crafted. A concert was presented by
local artists on some of Mr. Day's instruments. This included
Robert Davison, harpist.
On October 11, 1978, the chapter sponsored an
unusual workshop on Transactional Analysis and
Gestalt Awareness by Peter and Kathy Holm. The
workshop was offered in the "belief that our musicianship
(performing and listening) is inseparable from our
personhood, that growth in either area enhances the
other, and that the quality and enjoyment of our
musical experiences will increase as we become more in
touch with ourselves and with others."
CHARLOTTE
President, Ron Canipe, 10430 Albermarle St., #57,
Charlotte, NC 28204.
After a brief business meeting, Ron Canipe told how
he restored a Wurlitzer Harp using surgical instruments
and materials which could be purchased locally. He then
presented a program including works by Salzedo,
Caplet, Salzedo and Canipe-Arlen. Refreshments were
68
AMERICAN HARP JOURNAL

hosted by Mr. and Mrs. Evans, and members were given
an opportunity to play the restored instrument.
GEORGIA
President, Judith Beattie, 1299 Mayfair Drive, N.E.,
Atlanta, Georgia 30324.
The second meeting of the Georgia Chapter of the
American Harp Society was held on April 23, 1978, in
Atlanta. Heidi Lehwalder spoke briefly to us about problems
encountered by a touring harpist. Then a local instrument
maker, Bob Cunningham, showed us a small
Irish harp, an aeolian harp and a psaltery that he had
constructed. We then attended a recital given by Heidi
Lehwalder, harp, and James Field, piano.
The third meeting of our chapter was held at the
Shallowford Presbyterian Church in Atlanta, Georgia
on June 25, 1978, where we heard concert performances
by Ann Meredith, Marie Taylor, Joanna Daniels,
Deborah Robinson, Catherine Stephens, and Barbara
Jackson.
The fourth meeting of our chapter was held at the
home of Barbara Jackson in Dunwoody, Georgia, on
September 17, 1978. Judith Beattie, Jane Lindenborg,
and Barbara Jackson presented the program which included
discussion and demonstration of performing
popular music on the harp. Several electronic devices
used for amplification were used to give varied sounds
and rhythms to the pieces performed. Barbara Jackson
spoke about her work as a harpist at Hugo's, a
restaurant located in the Hyatt Regnecy Hotel in Atlanta.
Several pieces were performed, demonstrating this
aspect of harp playing.
The fifth meeting of the Georgia Chapter was held on
December 9, 1978, at Recital Hall of the Music Building
at Georgia State University. The concert included
Christmas music and presented harpists and guest artists
Joan Rubin, Ann Meredith, Cheryl Slaughter, Marie
Taylor, Joanna Daniels, Carol Lewis (voice and harp),
Catherine Stephens, Judith Beattie, Bette Chambless,
Nella Rigell, and Deedi Henson. After the concert,
refreshments were served and a new type of harp cart,
capable of negotiating stairs, was demonstrated.
RIO DE JANEIRO
President, Acacia Brazil de Mello, Ave Rui Barbosa
422 - 10° 22250, Rio de Janeiro, R. J. Brazil.
On December 2, 1977, a meeting was held at the home
of Acacia Brazil de Mello attended by Chapter board
members, students of the harp class of the University of
Rio de Janeiro Music School, and guests. The students
played; comments were interchanged about the performances
and music in general. Mrs. Lea Bach gave harp
music to the students, and distributed a tape record of
her own among them.
On March 2, 1978, we sponsored a lecture by Professor
Ricardo Tacuchian about "The Evolution of
Music", illustrated with recordings.
On August 30 and 31, we sponsored two meetings
with large attendance at the Music School about
Spanish Music on the Harp by the Spanish harpist
SUMMER/ 1979
UCLAeXtension
Announces
Mildred Dilling's
Sixteenth Annual
Master Class and
_ Workshop 1n Harp
Summer 1979 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 25 - July 6, 1979 at UCLA/ Fee: $150
For enrollment and credit information write:
Department of The Arts, UCLA Extension
Los Angeles, CA 90024
LUCILE LAWRENCE
New York :
Boston:
Summer:
MANNES COLLEGE
157 East 7 4th St.
10021
MANHA TT AN SCHOOL
130 Claremont Ave.
10027
BOSTON UNIVERSITY
855 Commonwealth Ave.
02215
TANGLEWOOD
Lenox, Mass.
Home address:
268 Voorhis Ave., River Edge, NJ 07661
69

FOR THE RHYTHM HARPIStS
V-er1fe Mills presents:
NEW HARMONY FOR HARP
V. Mills/ Harry Zimmerman
Modern chords, progressions, rhythms, &
embellishments with examples of their use In 6
original pieces.
$10.00 + postage
RHYTHM FOR HARP
V. Mills/ Stella Castellucci
Exercises in original compositions employing
all up-date rhythm patterns: rock, Jazz, bossa
nova, ballad, blues, latln. Includes two 331/J stereo
records of all materials.
$10.00 + postage
REC.OROS
New re-release featuring Ver1ye MIiis solo
rhythm harp backed by the fantastic BIiiy May
orchestra.
$6.95 + postage
THE TWO HARPS OF VEAL YE MILLS
An excHlng innovative album of two harp
arrangements using electrically amplified harp &
special effects.
$6.95 + postage
Verlye Mills Brilhart
1330 N. Orange Dr. 107
Los Angeles, CA 90028
Order from:
International Harp Corp.
OR
183014th Street
Santa Monica, CA 90404
Lucile
Jennings
'
OHIO UNIVERSITY
Harp
I nsfruction
Prepare for a career in any field of music-including
music therapy, educa1ion, history-while specializing
in HARP. Scholarships available.
Summer Music Institute (pre-college age): July, 1979
School of Music, Ohio University,
Athens, Ohio 45701
HARP SPECIALTIES
Exquisitely detailed
ornament ... Gold-plated
over metal ...
Approximately 3" tall
r ,m,_,_. #1 .... $3.95
10 notecards plus
10 gift enclosures
each with matching
• envelopes with above design.
#2 ... . $5.50
Send check or Money Order to:
SPECIALTIES OF NOTE
.• ' P. 0. Box 278 • Springfield, IL 62705
..,...,..r--..---i#1 (IL Residents Add 5% Sales Tax)
#2
70
Maria Rosa Calvo-Manzano.
On September 1, Maria Rosa's concert at "Cecilia
Meirelles Hall" we had a reception in her honor and
gave her two harp pieces by Brazilian composers:
Tacuchian (Ritos), and Radames Gnatalli (Concerto).
On October 27, the chapter was represented at a
ceremony held at the House of Representatives of the
State of Rio de Janeiro when the House honored Mrs.
Lea Bach with a diploma of Benemerit of Rio de Janeiro
State in recognition of her devotion to harp musical
culture.
On November 9, we lectured to young students of
musical composition, illustrated by performances, having
in mind "the presentation of the harp as a musical
instrument" related to their studies.
On November 20, we had the great pleasure of
welcoming AHS President, Ann M. Stockton, and her
husband, Stuart. A reception was given in her honor
where she met chapter board members, harp students,
and three harpists of symphony orchestras of Rio de
Janeiro; Maria Celia Machado, Elza Marins, and Wanda
Eicbbauer. The harpists and the students played in
duo, and solo. We gave Mrs. Stockton some Brazilian
harp compositions. Her visit was indeed an honor.
December 11 at the home of Acacia Brazil de Mello,
all members and friends of the chapter gathered to
review its accomplishments during the 1978 year, and to
discuss ideas for future activities. Mrs. Lea Bach once
more gave harp music to the students.
LOUISIANA
President, Lisa Monsour, 206 McVay St., Lake
Charles, LA 70605.
The Louisiana Chapter received the Region Award
for 1977-78 at the first Southern Regional Workshop in
Lexington, Kentucky. The plaque was accepted in the
name of SUSAN COLEMAN, president during the year
honored.
The winter program consisted of works in the popular
idiom and other non-traditional styles. Those performing
were Susan Coleman, Barbara Belew, Lisa Monsour,
and Greg Little.
The chapter's annual public recital has been set for
April 1 with a program of music from around the world.
LOUISVILLE
President, Louise Petrilli, 2114 Village Drive,
Louisville, KY 40205.
Enthusiasm generated by the National Conference in
Sioux Falls plus the pleasure of participating in the first
Southern Regional Workshop hosted by Elaine Humphreys
and Barbara Belew in Lexington, Kentucky provided
the µnpetus to reactivate the Louisville Chapter.
A meeting was held in November at the home of Mrs.
Ralph Petrilli and officers were elected. Lisa Petrilli and
Therese Elder presented a program, and the meeting
AMERICAN HARP JOURNAL

concluded with a sound film of Mildred Dilling performing
several compositions.
Highlight of the year was hearing Nicanor Zabaleta's
two recitals at the Speed Museum Endowed Music
Series.
The next meeting will be held in March when students
of Sister Ida Jones and Elaine Humphreys will perform.
MEMPHIS
President, Ruth Cobb, 4066 Baronne Way, Memphis,
TN 38117.
A Spring meeting will be held on May 5, at the
Lindenwood Christian Church. "Many Facets of the
Harp" will be the theme of the program, and all
members are invited to participate.
The Chapter wishes to congratulate the following
members on their new positions: Marian Jackson
Huselton, principal harpist of the Memphis Symphony
and Opera Theatre Orchestras; Olivia Bruce and Jeannie
Isbell, Memphis Youth Symphony harpists; and
Leigh Cheatham, harpist with the Memphis State
University orchestra. It was good to have two members
in town and performing in December: Barbara Wehlan
from Cleveland, Ohio, and Carolyn Mills from Boston.
RICHMOND
President, Elizabeth Graham, 6B Vintage Dr., Richmond,
VA 23229.
In order to re-activate the Richmond Chapter,
Elizabeth Graham invited interested people to attend an
organizational meeting in her home on November 12,
1978. She read the charter of the American Harp Society
to show how it would apply, and officers were
elected. Ways of encouraging the playing of harps in the
area were discussed.
On December 23, a Christmas party and recital was
held at the Engligh Hills Apartment Clubhouse at which
time Debra Harrison, Karen Pettis, Helen Rice, Sheryl
Bruce, and Lisa Washington played appropriate
Christmas harp music.
NORTHWEST OHIO
President, Jan Bishop, 1000 Crystal Ave., Findlay,
Ohio 45840.
The Northwest Ohio Chapter was very sorry to see
President Judy Dow move in December to Seattle,
Wash. We wish to thank her for her work in building
the Chapter and we hope she will find much success in
Seattle. Jan Bishop is now the acting president.
Members of the Chapter have been very active during
the Fall and Winter. Ruth lnglefield played with the
Bowling Green State University Chamber Orchestra in
the premier performance of Dreams Before Dark: Poem
by Riva Kuhl. Nancy Rado spent the Winter in Vail,
Colorado, where she performed nightly at the Mark
Resort. Jan Bishop played in the Lima Symphony, making
it her eleventh season with the Symphony. Mary Majewski
presented her Senior recital and Denise Grupp
SUMMER/1979
B.M. B.A. B.F.A. M.A
UNIVERSITY OF NORTHERN IOWA
SCHOOL OF MUSIC
CEDAR FALLS, IOWA 50613
Harp instruction by
MARY BECKMAN
SCHOLARSHIPS AVAILABLE
solo
orchestra
band
ensemble
chamber
After the Conference
Spend some extra time in Enchanting
San Francisco
at the
Work Shops - Master Classes
by
Josef Molnar
Sun., June 24 - Music and Arts Institute
San Francisco's most beautifully situated
music school
and/or Mon., June 25 at the Studio of
Phyllis Schlomovitz
For information - 951 Blair Ct., Palo Alto, CA 94303
Harp News, an educational and professional
journal listed in The Music Index is a journal
about the harp and harp music. Published
semi-annually from 1950 to 1966 it still is a
constant source of reference for harpists,
composers and music researchers. Here is a
sample of the table of contents of one issue:
Contents
Third International Harp Contest. ......... ... . ... . .. .
Space, Color and Silence by Richard Felciano .......... .
The Harp in the School Orchestra and Band
by Maryjane Barton ................. .. .. ...... .
I Hear a Harp, by Dolores Chilsen Mielke ... ...... ... . .
The Netherlands International Harp Week .. ... . ...... .
International Association of Harpists and
Friends of the Harp .................. . ...... ... .
The Bay Area Chapter of AHS has seven back
issues (Fall 1963 through Fall 1966) for sale.
Send $1.00 for each issue plus $1.00 to cover
postage to:
Marcella DeCray, president
AHS Bay Area Chapter
30 Commonwealth
San Francisco, CA 94118
71

Still time to sign up for the
Harp Seminar and Tour with
Phyllis Schlomovitz
at the
Yorkshire Music Festival
Heslington, England
July 22 - 30, 1979
Write to: Phyllis Schlomovitz
951 Blair Ct., Palo Alto, CA 94303
Harpress of California
Student Materials that are comprehensive
and sound!
"Beginner's Harp Book" -
Improvise" (in 3 Vol.) and others
from your dealer or send for
Catalogue
280 Stanford Ave.
Palo Alto, CA 94306
"Learning to
72
gave her Junior recital.
In December, Guest Harpist Carrol McLaughlin
presented a Young Artist Concert in Findlay, Ohio. Ms.
McLaughlin also conducted a Jazz Workshop, during
which she lectured on jazz performance and improvisation
and played some of her own arrangements.
We're looking forward to future activities. Nancy
Glick will be performing for the Ohio State Gideon
Convention. Our Chapter will be holding AHS Music
Education Auditions for the younger students. Also, we
will be traveling to Athens, Ohio for a mini-festival of
harpists.
MILWAUKEE
President, Emmy Lou Krill, 1075 Wilson Drive,
Brookfield, WI 53005.
The Milwaukee Chapter held a combination business
meeting and shower for Vice-President Linda Schottler,
who was married in November. Music was provided by
Ann Marie Lobotzke.
Jeanne Henderson played for the Milwaukee Ballet
Company's production of the Nutcracker Suite.
Anita McKnight judged the harp entrants in the
Wisconsin Federation of Music competition.
The University of Wisconsin-Milwaukee Women's
Chorus performed Gesang au Fingal for chorus, harp,
and horns. Ann Marie Lobotzke performed with them
for a series of three concerts.
Cindy Graff played with the UWM Chamber Orchestra.
JUBAL
President, Dorothy Dueis, 2416 S. Holly, Sioux
Falls, S. Dak. 57105.
Having hosted the 1978 A.H.S. conference, this is a
year of tying up loose ends and winding down for us.
We feel the A.H.S. conference in Sioux Falls has
enhanced the value of our public school harp program,
as well as expanded onto the collegiate level at
Augustana College. In this connection we are endeavoring
to establish the continuation of a harp program at
Augustana.
Our students continue to grow and learn serving their
local schools and churches, as well as participating in
the South Dakota Symphony, Augustana College Symphony,
and South Dakota State University Symphony.
OKLAHOMA CITY
President, Theodora Owen, Rt. 1, Box 102-L, Choctaw,
OK 73020.
The Oklahoma City Chapter is sponsoring Music
Education auditions February 23-24, and April 6-7.
Charles Kleinsteuber, Harp Department Head, North
Texas State University, will act as Advisor to over 25
students. Theodora Owen, Shirley Givens, Dixie Shilling,
and Margaret Harkey are co-ordinating the auditions,
theory test, and the welcoming covered-dish supper
for Charles and his wife, Grace.
Funds are being raised through sales by chairman, -
John Fincher. Additional funds have been granted by
the Oklahoma Arts and Humanities Council which
assists non-profit, educational, community-enriching
organizations. Eligibility requirements were '' non -
profits, tax exempt" status; a detailed budget; and a
statement of benefit to the community. Slashing
through red tape was a chore, but of 25 applicants, ours
was one of eleven receiving grants.
The Chapter Christmas party, December 17, was a
business meeting, recital, and social all-in-one.
Christmas Music was provided by Doug Woodard,
Sheila Stejskal, Nona Christi Hanna, Angie Collins,
Vicki Beaty, Carol Ford, Julie Ives, Charlotte Owen,
John Fincher, Cheryl Clark, Stephanie Givens, and the
"Little Angels".
The Little Angels, an ensemble of five Troubador
harpists aged 8 to 12 years, Laura Wilson, Laura Zorn,
Diane Harkey, Karen Hickner, and T. J. Sommers also
appeared on local television playing Greensleeves,
Patapan, Jingle Bells and the Little Drummer Boy.
They are dir~cted by Theodora Owen.
The Chapter has initiated a newsletter, "The Harpist'',
to reach members in various parts of the state; the
letterhead designed by Louise Cole.
ABILENE
President, Barbara Don Brooks, 542 Highland,
Abilene, Texas 79605.
AMERICAN HARP JOURNAL

On October 25, 1978, the Abilene Chapter met at the
home of Shana Norton for a harpwarming party. Ann
Mattern, Barbara Don Brooks and Shana Norton
played.
On November 21, 1978, the chapter met at the home
of Mrs. Adrian Allen for a preview of Shana Norton's
recital.
DALLAS
President, David S. Williams, 10125 Cromwell,
Dallas, TX 75229.
The February 11th meeting was a luncheon buffet at
Brookhaven Country Club. A short program of Irish
music was sung and played by Mary Emily Mitchell.
Henning Christiansen was the guest speaker.
The annual Student Harp Recital is scheduled for
April 21, 1:00 P.M., at Whittle Music Co.
WICHITA
President, David Dillon, 1938 Marion, Wichita, Kansas.
The Wichita Chapter was pleased to host Ms. Kathy
Kienzle in a Young Artist Series Concert on October 29.
Following the concert a dinner was held in her honor at
the home of Nancy Hercher.
The fall meeting was held on November 4 at the home
of Mary Bickford. The program was presented by Van
Rey Morgan, Eileen Jones and Ron Mason, all Wichita
State University students.
LOS ANGELES
President, Wanda Crockett Jones, 935 Cresthaven
Drive, Los Angeles, California 90042.
Our November 19th meeting featured Carmen Carroll
who was assisted by violinist Stefan Krayk, flutist
Toby Caplan, and organist Arthur Buckingham. The
meeting fell on the 150th anniversary of the death of
Schubert. As a tribute to the composer the program
opened with Schubert's Ave Maria. Also on the program
were the Serenade #10 by Persichetti, Entr'acte by
Ibert, and Fantasie by Saint-Saens.
January's Board Meeting was followed by a luncheon
at the Brown Derby Restaurant in Hollywood honoring
Clifford Woolridge who is leaving us and moving to
London.
At the January 28th meeting Rebecca Reinhard
Foreman performed Siciliana by Respighi-Grandjany,
Sequenzen by Holliger, and Impromptu Caprice by
Pierne. Amy Shulman performed a group of Faur~
songs and Three Sephardic Songs by Tedesco with
soprano Joan Collopy; and the Berceuse by Faur~ and
The Fog is Lifting by Neilsen with flutist Dave Sherr.
We look forward to a recital by Carrol McLaughlin
who will perform at our spring scholarship concert in
May. On March 18th there will be a Champagne Brunch
at the home of Lillian Macedo to raise money for the
Young Artist's FUJ1d and the Harp Literature Committee.
In May we will cap off the season with a pot-luck
dinner at the home of Dorothy Victor.
SUMMER/ 1979
SANTA CLARA VALLEY
President, Christine Holvick, 34 Barry Lane, Atherton,
California 94025.
The season began with our first meeting centering on
the topics "Tension in Performance" and "Psychology
of the Harpist". We were honored to have Tiah Foster,
M.D., and Margaret Osmond-Smith, nurse in mental
health, speak on these subjects. Also at this meeting
President Christine Holvick shared her experiences
from the International Harp Week of summer '77 including
a recorded concert performance of Hymns and
Conversations for 28 Harps by Heppener.
At our Spring meeting Anne Adams was the guest
speaker. She spoke about her teacher Marcel Grandjany,
and gave us an insight into his life, his personality,
and his music. Having studied both the hand techniques
of Salzedo and Grandjany, she was in the interesting
position to speak comparatively of both. We were also
fortunate to have her perform some of Grandjany's
compositions.
EUGENE
President, Jeanne Manela, 1975 Tyler, Eugene, OR
97405.
This Fall was very busy with Harp Festival '78, sponsored
by the Harp Society and directed by Sally Maxwell.
The fifteen harpists performed to a capacity crowd
at the University of Oregon concert hall. We were happy
to have Jack Nebergall in Eugene for an informal
workshop and performance in November. In January
we were fm:tunate to have Henning Christiansen from
Lyon-Healy give a two-day harp repair workshop.
Spring plans include a workshop by Mildred Dilling
in April and a Young Artist Concert by Linda Warren in
May.
SEATTLE
President, Camille Peterson, 1208 Summerhill Pl.,
Wenatchee, WA 98801.
Our Christmas meeting program featured our
younger student members, Laura Hall, Amy Griffin,
Michelle Bradford, Jeanine Johnson, Beth Wooster,
Wendy Peterson, Lydia Strom, Andrea Mickelson,
Bryndis Jonsson, and Ellie McIntosh, playing seasonal
works. In February we were fortunate to hear Michelle
Brennan and Bronn Journey perform some pop harp
selections and share the experiences they had while attending
the "Jazz and Pop Music for Harp Festival" in
Santa Barbara last summer.. Pat Jaeger also introduced
the Wilfred Smith pedal harp to our chapter and
described its background.
Our April program will feature performances by
students who have completed both phases of the Music
Education Auditions. We were happy to have 32
students participating in the first phase in February.
Our adjudicator was Beverly Statler. There will also be
a video-taping opportunity for the members this spring,
arranged by Pat Wooster, which we think will be very
helpful in improving stage presence and performance in
general.
73

74
IRISH HARP
Books, Music, and Recordings
of
Edward Bunting, Nancy Calthorpe
Sheila Larchet Cuthbert
Derek Bell and Mary O'Hara
)\lora Joan Clark
10 99 N.\Xi 167lh

Valse Des Fleurs
P. Tschaikowsky
ROBERT McCLINTOCK
presents
Ode for Harp ........................ Price $5.50
( dedicated to Gail Barber)
musical moments
Music for Harp & Alto Sax No. I ....... .... . $5.50
45 Columbine Road-Newton, MA 02159 - (617) 969-4867
Music for Harp & Alto Sax No. II . .... .. . . . .. $6.50
EXCLUSIVE DESIGN PERSONALIZED ST A TI ONER Y
The ultimate in musical stationery - the pedal harp and
the harp cadenza from the "Waltz of the Flowers" at
the top and your name imprinted in quiet elegance at the
bottom. Fifty sheets (6 3/8 x 9 1/2) and thirty
envelopes.
$6.95 + $1.25 shipping and handling = $8.20
Mass. residents add 5% safes tax
Please specify name to be imprinted
Other available instruments with musical themes: piano,
organ, handbell, violin, cello, flute, clarinet, trumpet,
French horn, trombone and tuba.
See our unique collection of jewelry, gifts and stationery.
Write for one of our free catalogues: Musical
Moments, 45 Columbine Road, Newton, Mass 02159.
• • • • • * • •
SPECIAL: Blue and white batik-covered, handmade
MANUSCRIPT BOOK, 9 x 10, 60 pages, 8 staves,
$10.00 + $1.50 shipping and handling = $11.50.
Originally $15.00. Mass. residents add 5% sales tax.
notes from
(Prices include postage and handling)
Printed in the composer's manuscript by
the offset method, covered and bound.
Robert McClintock
P. 0. Box 255072 - Sacramento, CA 95825
Marion Bannerman writes:
Harp & Sax No. I: ". . . in hearty agreement
throughout." The Journal Fall, 1972 issue Harp &
Sax No. II: "Both [pieces] serve to enrich the
literature of these two instruments." The Journal,
Spring 1973 issue.
"A continual harmony of contrasts and blends,
never wearing on the listener.''
Robert McClintock
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 gilled
"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.
SUMMER/1979
75

THE MAGAZINE COLLECTOR
At last! A magazine collector that will keep your issues of The
American Harp Journal free from dog-eared corners and other
damage. This heavy duty, rich brown vinyl magazine collector will
store and protect your magazines making it simple to find that informative
article or unusual photograph. Featuring a modern slash cut,
it holds approximately 24 Journals. For easy identification THE
AMERICAN HARP JOURNAL is stamped in gold at the top of the
collector's backbone. You can order these now for $4.95 each (plus
sales tax for Alabama residents)
Send your order to American Harp Society, Inc.
Box 29, Vincent, Alabama 35178
Please send me~_collector(s)
Name ______________ _ _ _ _____ _
Address _____ _ _ ___________ _ __ _
City _________ State _____ Zip ______
D Check with order D Master Charge
D BankAmericard (VISA)
Master Charge includes 4 digits above your name .
..7otth!1'~§
THE AMERICAN HARP SOCIETY INC.
Cfuejokbd fite.-t .fat you and youi Juedi...
PACKET OF EIGHT NOTES [FOUR DESIGNS] WITH ENVELOPES
$3.75 plus 40¢ postage & handling•
Please make check payable to "A.H.S.-Noteworthy Instruments"
and order from
THE AMERICAN HARP SOCIETY INC.
R.R. #3 Back-O-Beyond * Sedona, Arizona 86336
'Postage & handling 25¢ per packet on orders of 10 or more to the same address,
(Arizona residents add 4 % tax]
76
AMERICAN HARP JOURNAL

TEACHERS' DIRECTORY
New England
SUSAN ALLEN, B.F .A. Cal Arts
185 Chapel St. (Rear)
Newton, MA 02158 (617) 969-5626
STEPHANIE CURCIO, M.A.
Frost Drive, Durham, New Hampshire 03824
Phone (603) 868-7334
ELIZABETH T. DAHL, B.M. Eastman
University of Vermont Music Department
Burlington, VT 05401 (802) 656-3040
SALLY ELLIOTT, B.M.
109 Webster St.
Arlington, MA 02175 (617) 646-3471
REBECCA FLANNERY, B.M., M.M.
P. 0. Box 318, New Haven, CT 06502
Phone: (203) 787-4746
CYNTHIA GORDON
Faculty: Cape Cod Conservatory
West Barnstable, MA 02668
PHYLLIS WRIGHT, B.M. Eastman
18 Pinnacle Mt. Rd., Simsbury, CT 06070
Phone: (203) 658-0389 (401) 364-6524
New York
PEARL CHERTOK
56 North Greenwick Rd.
Armonk, New York 10504
Tel. (914) 273-3868
Manhattan Studio: Judson 2-8800
MILDRED DILLING (private and classes)
400 East 52nd St., Apt. 9F
New York, NY 10022 Phone: (212) PL3-2492
Workshop NY Studio Oct. 28, Nov. 18, Dec. 9
Jan. 13, Feb. 10, Apr. 21, May 12, June 2
16th Annual Master Class and Workshop UCLA
June 25 to July 6, 1979
MARJORIE HARTZELL, B.M. Eastman
IO Glenwood St., Albany, NY 12203
Phone: (518) 489-2071
Faculty: SUNY Albany; Emma Willard School, Troy
URSULA KWASNICKA, B.M., M.M.
Principal Harpist: Syracuse Symphony
302 Scottholm Blvd., Syracuse, NY 445-1897
Faculty: Hamilton College, Clinton, NY
SUMMER/ 1979
GAIL RUPERT LYONS, B.M., M.M.
4194 St. John Drive, Syracuse, NY 13215
Phone: (315) 488-0744
Assoc. Prof.: Onondaga Community College
Faculty: Syracuse University
SUSANN McDONALD
Faculty: The Juilliard School, limited private teaching
160 W. 71st Street
New York, NY 10023 (212) 873-2314
GRACE PARADISE, B.M., M.M. Juilliard
160 W. 71st St., Apt. SR
New York, NY 10023 Phone: (212) 595-6779
GERALDINE RUEGG
60 Cedar Lane, Bronxville, NY 10708
(914) DE7-5966
LUCIEN THOMSON
105 W. 11th Street, New York, NY 10011
Phone: (212) ORegon 5-1278
Faculty: New York University
Mid Atlantic
ELISA DICKON, B.M., M.M.
3343 Weeping Willow Ln., Virginia Beach, VA 23456
Phone: 427-1732
MARIAN HARDING
East Carolina Univ., Greenville, NC
Old Dominion Univ., Norfolk, VA
DOROTHY R. KNAUSS
2953 Alton Ave., Allentown, PA 18103
Solo Harpist: Allentown Symphony, Allentown
Symphonic Band, Municipal Opera
KAREN LINDQUIST, B.M., M.M., Juilliard
8700 Overlook Rd., McLean, VA 22102
Phone: (703) 893-6244
MARIE MELLMAN NAUGLE
1205 B'nai B'rith, 130 S. 3rd St.
Harrisburg, PA 17101 Phone: (717) 233-4709
PAULA PAGE, B.M., Cleveland Inst. of Music
943 N. Sheridan Ave. Pgh., PA 15206 (412) 661-0483
Faculty: Carnegie Mellon University
LEONE PAULSON
74 Ralston Avenue, South Orange, NJ 07079
Phone: (201) 762-9095
77

78
CECILE CEO SIEBEN, B.M., M.M.
2203 Browns Lane, Oxon Hill, MD 20022
Phone: (301) 567-4017
Principal Harpist: Roanoke Symphony
Fullbright Scholar, Rome, Italy, 1961-62
Private Instruction, Pedal and Troubadour Harp -
Home Studio
Southeastern
ROSALIND BECK, B.M., B.M.E.
2261 Howard Drive
Orlando, FL 32803 (305) 645-3192
First Harpist, Florida Symphony Orchestra
LINDA BOOTH, B.M., M.A.
3325 Donovan Place
Charlotte, NC 28215
Faculty: University of North Carolina at Charlotte
Artist-in-Residence Charlotte Mecklenburg Schools
ALICE SINGER BRANTLEY, Prix Reni~, Paris
1910 Brightwaters Blvd.
St. Petersburg, FL 33704
Private Teaching (813) 896-3082
Faculty: St. Petersburg Junior College
KATHRYN CASE HOLM, M.M.
Cleveland Institute of Music
3316 Lacewood Road, Tampa, FL 33618
(813) 932-6944
Faculty: University of South Florida, Tampa
MARILYN MARZUKI
1020 N. 18th Ct., #101 Hollywood, FL 33020
(305) 923-9080
MARJORIE TYRE
Home Studio: 712 Brenda, Auburn, AL 36830
Sewanee Summer Music Center, TN 37375
CLEMENTINE WHITE, B.M., M.M.
Assoc. Prof. of Music, Univ. of Florida
Gainesville, FL 32611
Phones: (904) 372-7168 or 392-6677
Harp Faculty: Nat') Music Camp, Interlochen, MI 49643
MARIFRED ZIEMBA
1024 Universal Dr., Columbia, SC 29209
Phone: (803) 776-6091
Southern
RUTH COBB, Curtis Institute
Dept. of Music, Southwestern, 669 University
Memphis, TN 38107 (901) 767-1895
North Central
LYNNE A. ASPNES, B.F.A., M.F.A.
2606 Robbins St., Minneapolis, MN 55410
Faculty: MacPhail Center for the Arts
Augsburg College, Macalester College
JILL BAILIFF
1880 Glenwood Rd., Ann Arbor, MC 48104
Faculty: Eastern Michigan University, Private Studio
GLADYS HUBNER
5725 Clinton Ave., Minneapolis, MN 55419
Phone: 869-8960
Macalester College, St. Paul, MN
Mid Central
DARICE AUGUSTON, B.M.
4601 Forest
Downers Grove, IL 60505 Phone: 971-0370
LOUISE BENTON, B.S.
4 Philip's Court, Henderson, KY 42420
Phone: (502) 827-1336 Harpist: Owensboro Sym.
Faculty: U of Evansville (Ind.); Brescia College
Owensboro, KY Greater Owensboro Music Camp &
Festival, Maple Mount, KY (June 5-17)
HONOR CONWAY, M.M.
155 Harbor Dr., #914
Chicago, IL 60601 (312) 565-1039
PETER E. EAGLE
School of Music, Indiana University
Bloomington, IN 47401
Phones: (812) 337-9733 or 339-9440
LAURA ERB
28546 Spruce Dr., N. Olmsted, OH 44070
Former Solo Harpist Buffalo Philharmonic Orch. 8 yrs.
Faculty: Baldwin-Wallace College 1950-1971
Published: "Pops for Harp" - "Pop Goes the Harp"
Private Teaching: Cleveland Ph. (216) 235-4244
JOHN ESCOSA
913 Hamilton Avenue, Ft. Wayne, IN 46806
Phone: (219) 456-7777
Private teaching - off-tour (summers) only
BERNICE F. GRUBB
School of Music, De Pauw University
Greencastle, IN 46135 (317) 653-9721
SHARON J. HALL, B.M.E.
225 Tibet Road, Columbus, OH 43202
Phone: (614) 263-3679
DOROTHY DREGALLA HENSCHEN
1001 Overlook Drive, Alliance, OH 44601
Faculty: Mount Union College, Alliance, OH
Akron Symphony Orchestra, Akron, OH
Faculty: University of Akron
Kenley Players, Akron, OH
ELAINE HUMPHREYS, B.M., M.M.
440 Purcell Ave., Cincinnati, OH 45205 (513) 921 -1343
Harpist: Cincinnati Chamber Orch. and Lexington Phil.
Harp Insiruciton: University of KY and Morehead State
Univ.
Private Studio: 718 Hambrick, Lexington, KY 40508
Phone: (606) 233-1327
AMERICAN HARP JOURNAL

RUTH K. INGLEFIELD, Ph.D., Premier Prix, Paris
Cons.
Bowling Green State University College of Musical Arts
Phone (419) 352-2721
LUCILE H. JENNINGS, A.B., B.M., M.A.
Ohio University School of Music, Athens, OH 45701
Ohio University Summer Music Institute
Phone: (614) 593-3769 and (614) 594-5587
MARIE LUDWIG
525 W. Oakdale Ave., #302, Chicago, IL 60657
(312) 525-1538
BEVERLY MYROW, B.A.
Phone: (312) 748-1785
Professor of Applied Harp, Governors State University
Jack Forest South, IL 60466
JEANNE ZUMBIEL NORTON, B.M., Cleveland Inst.
of Music
2075 Cheshire Rd., Columbus, OH 43221
Phone: (614) 486-8567
ROSLYN RENSCH, M.M., M.A., Ph.D.
Professor Humanities, Teacher of Harp
Indiana State University, Terra Haute, IN 47809
Author of The Harp, Its History, Technique and Repertoire
(Praeger Pub., New York 1969; Duckworth, London, 1969)
LINDA I. WELLBAUM, B.M., B.S. in Mus. Ed.
2401 Van Lear St., Cincinnati, OH (513) 721-6981
Faculty: College Conservatory of Music, Univ. of
Cincinnati
MARGARET BUEHLER WHITE
School of Music, Indiana University
Bloomington, IN 47401
Phones: (812) 337-1918 or 332-3991
Midwest
KATHY BUNDOCK, B.M., M.A., Eastman
University of Northern Colorado School of Music
Greely, CO 80639 (301) 351-2678
MARGARET LING
Professor of Harp, Kansas University
Lawrence, KS 66044
MELODY MALEC, B.M.
8305 Cass St., Omaha, Nebraska 68114
Phone: (402) 391-9753
Principal Harpist: Des Moines Symphony
Harp Instructor, Omaha Public Schools
SUZANNE SHIELDS, B.M.E.
1325 W. Third, ElDorado, Kansas 67042
Phone: (316) 321-0925
FLORENCE SCHWAB
Harp Instruction: Kansas State University
Manhattan, Kansas 66502
GERALDINE SHANKS WRIGHT
5008 E. Morris Phone: 686-1770
Harp Instructor, Bethany College, Lindsborg, KS 67218
Harpist: Friends Univ. Orchestra, Hillside Christian Church
Southwest
MARY K. ALEXANDER, B.M., Eastman
3221 Cumberland Ave., Waco, TX 76707
Faculty: Baylor University, Waco, TX 76703
GAIL G. BARBER, B.M., Eastman
Dept. of Music, Texas Tech University
Lubbock, Texas 79409
Phone: (806) 742-2270; (713) 866-2374
Faculty: Texas Tech University
JULIA HERRMANN EDWARDS
6734 Mimosa Lane, Dallas, TX 75230
Phone: (214) 363-1186
Faculty: Southern Methodist University, Dallas, TX
ANNE EISFELLER, 8.M., M.M., Indiana University
3306 Mackland NE, Albuquerque, NM
Phone: (505) 255-1261
Principal Harpist: New Mexico Symphony Orchestra
GAYEL PANKE GIBSON, 8.M., M.M., Eastman
1321 Backus Street, El Paso, TX 79925
Principal Harpist: El Paso Symphony
Faculty: University of Texas at El Paso
JOHN HASTINGS, JR., A.8., M.A.
1815 Portsmouth Street
Houston, TX 77098 (713) 522-5248
PATRICIA JOHN, B.A., Wm. Marsh Rice University
1414 Milford Ave., Houston, TX 77006
Phone: (713) 524-9717
Composer, THE PANTILE PRESS, Houston, TX
Faculty: Houston Baptist University, Houston, TX
CHARLES KLEINSTEUBER
School of Music, North Texas State University
Denton, TX 76203 Phone: (817) 497-3529
BEATRICE SCHROEDER ROSE
1315 Friarcreek Lane, Houston, TX 77055
(713) 461-7808
School of Music, University of Houston
Shepherd School of Music, Rice University
Principal Harpist, Houston Symphony
ELIZABETH E. TURRELL
RR. #3, Back O'Beyond
Sedona, Arizona 86336
West
EDWINA BAIN
2524 Eastshore Dr., Reno, NY 89509
Formerly Harpist, Reno Philharmonic Symphony
Phone: 702-826-6378
MARYJANE BARTON, M.A.
Santa Barbara, CA Phone (805) 967-2216
Graduate of the Curtis Institute of Music under
Carlos Salzedo
SUMMER/1979
79

80
PENNY HOWK BEAVERS, B.M., Michigan
4945 E. Sooner Dr., Fresno, CA 93727
(209) 255-2710
Faculty: CSU Fresno
Principal harpist: Fresno Philharmonic Orchestra
MARILYN BERGER, B.M., R.M.T.
239 S. Barrington Ave. F8 (213) 476-8950
Los Angeles, CA 90049
PEGGY BROWN
5534 Kingswood Dr., Citrus Heights, CA 95610
Principal Harpist: Camellia Symphony Orchestra
School District Troubadour harp demonstrations
(sponsored by Musicians Union, Local 12)
Teacher, San Juan Unified School District
Creative and Performing Arts Center
MARJORIE CALL
Phone: (213) 877-7638
3895 Berry Dr., No. Hollywood, CA 91604
Faculty: University of Redlands, UCLA, California
State University at Long Beach
Limited home teaching
MARJORIE CHAUVEL
4100 Old Adobe Rd., Palo Alto, CA 94306
(415) 493-4519
Faculty: San Francisco State Univ., Stanford Univ.
Limited Home Teaching, Advanced or gifted only.
MARCELLA DECRAY
30 C:ommonwealth Avenue
San Francisco, CA 94118 (415) 751-5300
Faculty: San Francisco Conservatory of Music
MARYLEE DOZIER, B.M., Eastman, M.A.
4822 American River Dr., Carmichael, CA 95608
Phone: (916) 489-1612
Faculties: California State University, Sacramento
Conservatory 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
15768-5 Midwood Dr., Granada Hills, CA 91344
Answering Service: (213) 877-9871
Faculty: California Institute of the Arts
JOY HUJSAK, B.M., Eastman
8732 Nottingham Pl., La Jolla, CA 92037
Phone: (714) 453-3473
Faculty: University of California, San Diego
San Diego State University, Point Loma College
University of San Diego
GERTRUDE PETERSON HUSTANA
1037 Jamacha Rd., El Cajon, CA 92020
Harp Instruction, San Diego State Univ.
Univ. of Calif. Ext., San Diego, Home Studio
(714) 444-2074
SISTER VIRGINIA JOSEPH, B.M., M.M.
529 West 4th St., Oxnard, CA 93030
Phone: (805) 483-7535
SUSANN McDONALD
504 South Catalina Ave.
Pasadena, CA 91106 (213) 681-1611
Faculty: The Juilliard School, USC, Univ. of Arizona
DEBORAH WILKEN RICKS
121 Belglen Way
Los Gatos, CA 95030 (408) 358-3213
MARY SPALDING PORTANOVA, B.M., M.M.
72-571 Jamie Way, Rancho Mirage, CA 92260
(714) 568-2186
Harp Instruction, College of the Desert, Palm Desert,
CA, Principal Harpist: Desert Symphony Orchestra
PHYLLIS SCHLOMOVITZ
951 Blair, Palo Alto, CA 94303 (415) 328-0468
JOANN TUROVSKY, B.M., M.M.
482 So. El Molino Ave. #4, Pasadena, CA 91101
(213) 796-1801
Faculty: Pomona College, Loyola University
USC Community Schools
LINDA WOOD
246 Cecilia Way, Tiburon, CA 94920
(415) 383-5697
Faculty: Dominican College, San Domenico School
for Girls, College of Marin
SYLVIA WOODS
P. 0. Box 29521, Los Angeles, CA 90029
(213) 247-4177 Specializing in Celtic Harps
Author: "Teach Yourself to Play the Folk Harp"
NELLIE ZIMMER
1475 Virginia Way, La Jolla, CA 92037
Phone: (714) 454-1742
Northwest
NORA JOAN CLARK, B.S., B.A., Washington
1099 N.W. 167th St., Seattle, WA 98177
Phone: (206) 542-2450
Classic Harp, Celtic Harp, Irish Harp Specialist
Foreign
TINA BONIFACIO
46 Flanders Road, Lopdon W 4 ING England
Phone: 944-5037
Mme. SOLANGE RENIE-SIGURET
(Niece of Henriette Renie School)
39 Rue Boissonade, 75014 Paris, France
Phone: 326-5895
AMERICAN HARP JOURNAL