AHJ, Vol. 7 No. 1, Summer 1979

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
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