AHJ, Vol. 7 No. 4, Winter 1980

o.l
INTERNATIONAL HARP CORPORATION
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The American Harp Journal
Official Publication of the American Harp
Society, Inc.
Vol. 7, No. 4. Winter, 1980
Editor: JANE B. WEIDENSAUL
1374 Academy Lane
Teaneck, NJ 07666
Business Manager: CHARLES JENSEN
187 West Palisade Ave.
Englewood, NJ 07631
Editorial Advisors: PEARL CHERTOK,
GRACE FOLLET
theA . "~
LAmer1can '-..Yvarp
cJournal
AMERICAN HARP SOCIETY, INC.
Marcel Grandjany, Chairman of the
Founding Committee
BOARD OF DIRECTORS
Officers: Pearl Chertok, President; Patricia
Wooster, Vice-President; Margaret Ling,
Vice-President; Frank Olin, Secretary;
Marcella DeCray, Treasurer.
Chairman of the Board: Sylvia Meyer.
Regional Directors: Kathleen Bride*
(Midatlantic), Lucile Jennings (Midcentral),
Margaret Ling (Midwestern), Louise Pappoutsakis
* (New England), Ruth Papalia
(New York), Lynne Aspnes (Northcentral),
Patricia Wooster (Northwestern), JoAnn
Turovsky (Pacific), Alice Pardee (Southeastern),
Elaine Humphreys (Southern),
Gail Barber (Southwestern), Faith Carman
(Nevada, Northern California).
Directors-at-Large: Anne Adams, John Escosa,
Lillian Macedo, Eileen Malone,
Marilyn Marzuki, Sally Maxwell, Roslyn
Rensch-Erbes*, Ann Stockton.
All officers and those directors marked with
an asterisk are members of the Executive
Committee.
PAST PRESIDENTS
Lucile Lawrence, 1962-66; Lucien Thomson,
1966-68; Catherine Gotthoffer, 1968-
70; Suzanne Balderston, 1970-72; Catherine
Gotthoffer, 1972-76; Ann Stockton,
1976-80.
TABLE OF CONTENTS
2 General Information and Membership Form
3 N icanor Zabaleta - Jane B. Weidensaul
8 C.P.E. Bach's Harp Sonata-Darrell M. Berg
20 Harp Strings: Selection and Care-JohnEscosa
24 Britten's A Ceremony of Carols-Julia S. Anderson
32 On the Lighter Side: The Amazing Dorothy Remsen-
Carrol McLaughlin
35 Achievements and Occasions
38 In Memoriam: Marietta Bitter-Pearl Chertok
40 Reports: Fredonia 1980-Pearl Chertok; The Salvi Summer
Festival-Carrol McLaughlin
42 Music Reviews -Carl Swanson, Harry Hewitt, Judy Loman
49 Recent Publications
5 5 Recordings - Nancy Rado
57 Communications-David Watkins, Robert Hadaway, Library of Congress,
Hester Krausey
59 Concert Calendar-Kathleen Bride
62 Competition Announcements
68 American Harp Society: Eighteenth National Conference; Annual
Report to the Membership-Sylvia Meyer; Treasurer's Report­
Marcella DeCray; Meet the New Officers; Chapter Reports-
Sylvia Meyer
The American Harp Journal is published
twice yearly in the Summer and the
Winter. Copyright, 1980, by The American
Harp Society, Inc. Entered as Third
Class Material at the United States Post
Office, Peekskill, NY. Printed by General
Graphic Services, Inc.
Notice
The officers and members of the Board of Directors of the American
Harp Society, Inc., and the editorial staff of the American Harp Journal
assume no responsibility for claims made by advertisers. Views expressed
by writers are their own, and do not necessarily represent the
stated policies of the American Harp Society, Inc.
ON THE COVER
Nicanor Zabaleta
Winter/1980
1

THE AMERICAN HARP JOURNAL
The Official Publication of the American Harp Society, Inc.
EDITOR
Jane B. Weidensaul
137 4 Academy Lane
Teaneck, NJ 07666
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Charles Jensen
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2
AMERICAN HARP JOURNAL

Nicanor Zabaleta
by Jane Weidensaul
Nicanor Zabaleta was born 7 January 1907 at San
Sebastian, a Spanish town in the Basque region near
the French border. His parents, natives of the area,
provided the boy with a childhood that was not only
economically comfortable but also, in Zabaleta's
words, "peaceful and happy." His father, Pedro, was
an accomplished artist, decorator, and gilder who so
admired ancient civilization that he named his two
sons after historically famous figures: Nicanor for the
Biblical commander of the Syrian army and governor
of Judea in the second century, and Diogenes for the
Greek philosopher of pre-Christian times. Diogenes,
the older of the brothers, died in an accident after his
return to Spain following the Civil War.
Zabaleta' s interest in the harp was stimulated by an
old instrument in a local antique shop which was
subsequently bought for him by his father. He began
formal study at the age of eight with no prior
keyboard background, and states today with some
pride, "I have never played any other instrument."
San Sebastian in those days was the site of a
famous gambling casino and the home of sailing and
horse races; the standard of living of the townspeople
was high, and a fine orchestra was assembled for the
casino in the summers. The teacher of the Madrid
Conservatory, Vicenta Tormo de Calvo, was the harpist
of this orchestra, and Zabaleta studied with her
in the summer and Pilar Michelena in the winter,
subsequently passing all exams at the Madrid Conservatory
from which he graduated with highest honors
at the age of thirteen. During this time he also
began his orchestral career by performing, at the age
of eleven, in the pit at a Basque opera in his home
town. Zabaleta's last two years of study on Spanish
soil were conducted under Luisa Menarguez, a
teacher of enviable background who had taken first
prizes with Hasselmans at Paris and with Posse at
Berlin. (Incidentally, Menarguez was, in time, to become
the aunt of Marisa Robles.)
Until 1923 Zabaleta took commercial courses at
local schools in order to prepare himself for a career
in business, an idea he put aside as orchestral opportunities
developed for him in San Sebastian and
Madrid. The decision to pursue a harp career taken,
Zabaleta moved to Paris to complete his musical
education. At eighteen he was one year beyond the
age limit for the Conservatoire, so he studied harp for
nearly four years as a private student of Marcel Tournier,
harmony with Marcel Samuel-Rousseau (whom
he found "too commercial"), and counterpoint and
fugue with the Belgian Eugene Cools. His debut
Winter/1980
Nicanor Zabaleta with his wife, the former, Graciela Torres Alcaide.
concert was given in 1926 at the Salle du Conservatoire,
and the following year Zabaleta was heard at
the Salle Erard.
Success did not come quickly, however, and obligatory
military service lay before the harpist in
Spain. For nine months he served as a telegrapher in
the army, stationed near the nation's capital. In the
late 1920s he lived on his own resources for the first
time, playing in the Madrid municipal band, and
working as a free-lance musician for orchestra, opera,
and ballet performances.
Two competitions were given to determine the holder
of the post in harp at the Madrid Conservatory,
with Zabaleta as the principal challenger of his
teacher, Menarguez. The results of the first trial were
voided, and Menarguez was declared the winner of
the second contest: this was a major factor in
Zabaleta's decision to pursue his career in the New
World. He arrived in a depression-bound United
States to make his American debut on 5 July 1934 at
Lewisohn Stadium with an orchestra led by his
countryman, Jose lturbi, whom he had met in Madrid.
The concert, which was well received by public
and press, was repeated later at Philadelphia's Robin
Hood Dell. That summer he took a job at the Green
Mansions camp in the Adirondaks which provided
lodging in return for a solo recital weekly. The arrangement
was accepted by a number of distinguished
but economically deprived musicians in the
1930s and 1940s before the post-war economic recovery.
3

Zabaleta at four.
Zabaleta at nine.
At a gathering of Spanish people, Zabaleta had met
a member of the Board of Directors of the Pro Arte
Musical Society ofHabana: through this introduction
he was engaged for two concerts at what was then a
substantial fee of $500.00. Following the Cuban
programs, he went to Mexico where he was fortunate
in making contact with the Conciertos Daniel, a
musical management organization with offices in
Spain and Latin America. The services of a professional
company behind him at last, Zabaleta began
a twenty-year Odyssey throughout Central and South
American countries as a solo recitalist; it was during
this time that his engagements and growing fees
finally provided him with the living that had eluded
him in the United States. "It was wonderful in those
days," he recalls. "The audiences were enthusiastic
and there were very high fees. Now, because of the
economic and political situation, things are not the
same." Zabaleta used some of his earnings to give a
New York recital nearly every year, always returning,
however, to his career south of the border. In addition
to his performing work, he served from 1938 to
1942 on the faculty of the conservatory at Caracas,
Venezuela.
In 1951 he met Graciela Torres Alcaide, a Wellesley
graduate, in Puerto Rico: she became his wife a
year later. "She was the daughter of people who loved
music, and her mother had been for some years the
president of the Pro Arte Musical Organization in
Puerto Rico," Zabaleta explained. "I played at the
university there and she had not planned to come
because she thought a harp concert would be boring.
Finally friends insisted she come along and we were
introduced at the intermission." The Zabaletas are
today the proud parents of two children, Pedro, an
architect, and Estella, a graduate in business administration.
"Very few people realized that I was a legal
resident of Puerto Rico," the harpist continued. "I
remained a Spanish national only because I was
never able to stay home long enough to satisfy United
States residence requirements for citizenship."
Zabaleta was not invited to join the founding committee
of the American Harp Society only because
Marcel Grandjany was unaware of this situation: in
an embarrassed apology composed in 1962, Grandjany
wrote, "I never dreamed that your permanent
address was San Juan! And that you are on the roll of
Local 802!" He continued by inviting Zabaleta to be
a member of honor, a mark of distinction that
Zabaleta declined as "too pretentious," a reaction
altogether consistent with his great natural modesty.
The harpist continued to tour in Latin America,
this time with the assistance of a fine Chilean manager.
"It was very hard to break through the snobbishness
and prejudice of those musical societies,"
he recalls, "and it was especially difficult to get
engagements with orchestra. In this way Latin
America was no different than the rest of the world in
not being especially receptive to the harp as a serious
solo instrument." Finally, however, success came,
4
AMERICAN HARP JOURNAL

and a long and lucrative Brazilian tour about the time
of the marriage enabled Zabaleta to think of attempting
to establish himself at last in Europe.
Doors did not open easily or quickly and
everywhere it seemed that his Latin American success
was not good enough. In England he was told
that Latin Americans had an affinity for the harp (the
street harp), but that he could expect nothing similar
there. In Germany the struggle started the same way
but finally ended in success. "It was the same fight,
but it went fantastically." Zabaleta feels that there is
a meeting of the minds between Basque and German
people. "We are more reserved, more introverted, not
so given to emotional expression, we talk less."
(Zabaleta, by the way, speaks four languages fluently:
his native Basque and Castillian in addition to
French and English.) His most successful recordings
have been produced by the German firm DGG
(Deutsche Grammophon Gesellschaft). These albums,
the sales of which are rapidly climbing toward
one and one-half million copies, have won a number
of international prizes for artistic and recording excellence,
and are heard on radio stations around the
world. (A complete discography of Zabaleta recordings
is appended at the end of this article.)
Zabaleta has exerted perhaps a greater influence on
current harp repertory than any other single artist: he
was the first major recitalist to program primarily
works composed originally for the instrument rather
than the standard transcriptions and music by
harpist-composers so favored in earlier times. He has
conducted endless research to discover and recover
valid works of the past, including especially the
music of the masters of the Spanish Renaissance, and
he has been honored with dedications by a number of
contemporary composers. This latter category includes
sonatas by Glanville-Hicks, Tailleferre, Hovhaness,
and Krenek, and concertos by Milhaud, Rodrigo,
Villa-Lobos, Piston, and Tal, to name just a few
of the best known. In addition to the works written
expressly for him, Zabaleta has introduced works of
Virgil Thomson, Alberto Ginastera, and Carlos
Surinach, among many others. Schott has issued his
editions of works by Beethoven, Dussek, and Spanish
masters of the 16th and 17th centuries, and more
recently sonatas by M. Albeniz and J. Galles have
been edited by Zabaleta for Lyra Music.
More than three hundred of the world's largest
orchestras have engaged him as soloist: the list includes
the Israel Philharmonic, the Berlin Philharmonic,
the Vienna Philharmonic, the Warsaw
Philharmonic, the Royal Philharmonic of London,
the Orchestre de Paris, the New York Philharmonic,
and the Philadelphia Orchestra with which he gave
the first performance of the Ginastera Concerto in-
1965. Since his debut in New York in 1934, Zabaleta
has given more than 2,500 recitals in the United
States, Europe, Latin America, the Middle East and
Japan, and has appeared at festivals at Berlin,
Bucharest, Dubrovnik, Edinburgh, Lucerne, Osaka,
Winter/1980
Original drawing of Nicanor Zabaleta by Linda Shennan.
Rehearsing with Onnandy and the Philadelphia Orchestra for the
first perfonnance of the Ginastera Concerto.
5

Prague, and Venice. This year he will take his first
real rest from the grueling pace of his professional
life and work just three months.
His busy career has left little time for teaching. "I
don't have the teacher's temperament," he once said,
but, nevertheless, he gave master classes for four
summers at the Accademia Musicale Chigiana in
Siena, Italy, and now teaches at the Granada Festival.
Zabaleta was asked for his views on the proliferating
competitions and their value to young harpists.
"Well, on the one side they are a stimulus to learn
new repertoire, to improve the standard-but on the
other side there can be only one prize. The mistake is
to believe that a prize will lead to a concert career:
that takes much more than just playing talent-one
must have the personality, the sense of organization,
the ability to conduct business. My friend Iturbi used
to say that to have a career you have to have '100
cents of the dollar.' If you are missing even one cent,
one personal characteristic necessary to a career, you
won't have one. My advice to the young is to play as
well as humanly possible, to work hard, to be a
magnificent harpist, but not to make the concert
career the end of all of one's goals in life."
The Spanish harpist is indignant at the constant
references by reviewers to the "limitations of the
instrument." "Of course the harp is a limited instrument,"
Zabaleta remarked with uncharacteristic vehemence,
"but why then do they not make such remarks
at vocal recitals? The voice cannot produce
double notes, for example, but reviewers do not protest
about that limitation! When we play the Mozart
Concerto, reviewers love to quote or refer to Dr.
Joseph Frank's memoirs of 1852: 'Once when we
were speaking about instruments Mozart said that he
loathed the flute and the harp. That is practically all I
can remember having heard from this great composer.'
1 By my calculations, the remarks, if true at all,
must have been made 65- 70 years before they were
published: this is undocumented hearsay, and ought
to be dismissed by us-and reviewers-as this kind of
evidence is by real scholars. Perhaps if we bring this
information to the attention of newsmen every time,
it will stop them from printing information which
cannot be proved. Unfortunately, Alfred Einstein
must have been aware of Dr. Frank's memoirs, and
repeated these supposed views of Mozart in his wellknown
biography,2 this time with no documentation
at all, so that the reader is led to believe that the
information is demonstrated fact rather than the unreliable
recollections of an old man."
"To leave the Mozart question and the reviewers
for a moment, I think there is something that we
should insist upon when we perform the Ravel Introduction
et Allegro: it should be specified that work is for
harp with accompaniment of other instruments. The
work is a concertina most certainly, not in a real
chamber music style. As a matter of fact in San
Sebastian in 1929, at the Cultural Society, there was
a concert in honor of Ravel, and he came to the
6
program at which I played the work with all of the
strings of the orchestra. He came backstage to congratulate
me, and I asked him how he liked it with
full strings. He said, 'perfect, wonderful, marvelous!'
I am sorry I failed to have him write his reaction in
the score because always we have to fight the purists
on this point and they are wrong.''
Zabaleta performs on a harp especially constructed
for him by Obermayer in Germany: in addition to the
regular seven pedals, the harp is fitted with an eighth
pedal which operates a damper bar against the wire
strings. Throughout his long career he has owned, in
addition to his treasure from the antique shop, four
Erards, two Obermayers, and one Homgacher.
The Spanish master is a man of medium build with
graying hair, rather small hands, and arresting green
eyes. His manner is marked by courtliness, grace, and
correctness - the reserve of the Basque. His responses
are colored by a strong sense of modesty despite his
many achievements, and his English is softened by
the accent of his native Castillian. His concerts, his
concerto appearances, and, above all, his brilliant
collaboration with DGG have contributed mightily to
the emergence of the harp as an instrument of international
solo stature. All who come after him stand
forever in his debt.
Notes
'Otto Erich Deutsch, Mozart: A Documentary Biography, trans. Eric
Blom, Peter Branscombe, and Jeremy Noble (Stanford, 1965), p.
561.
2
Alfred Einstein, Mozart: His Character, His Work, trans. Arthur
Mendel and Nathan Broder (New York, 1945), p. 276.
A Zabaleta Discography
Nicanor Zabaleta has recorded more classical albums
than any other harpist. It is to be regretted that
many of the discs listed below are no longer available:
their contents are therefore summarized. Records
listed in mid-1980 Schwann catalogs are
marked with asterisks, and readers may be able to
find out-of-print copies at harp specialty stores or
through record search services. We are most grateful
to Graciela Zabaleta for her help in compiling this
section.
Odeon (Argentina) 56021 (Beethoven, J.S. Bach);
46087 (Albeniz, Granados). Odeon (Chile) 195022
(Moleiro, J.S. Bach); 195023 (Tournier, Albeniz);
195021 (Albeniz, Zabel).
Esoteric 509: 16th Century Harp Music (Mudarra, Narvaez,
Cabez6n, de Milan, Palero); Modem French and
Spanish Harp Music (Caplet, Pittaluga, Tournier, R.
Halffter).
Esoteric 523: Contemporary Music for Harp (Prokofieff,
Tailleferre, Tournier, Roussel, Hindemith, Glanville-Hicks).
AMERICAN HARP JOURNAL

Esoteric 524: 18th Century Harp Music (C.P.E. Bach,
Beethoven, Mayer, Rosetti, Krumpholz).
Esoteric 542: Harp Music of the 17th and 19th Centuries
(Spohr, Parish-Alvars, Dizi, Glinka, Ribayaz, de
Huete, Coelho, Naderman, Labarre).
Esoteric 1501: Zabaleta Harp Sampler (Palero, Ribayaz,
Anonymous, C.P.E. Bach, Spohr, Caplet, Hindemith).
Esoteric 509, 523, 524, 542 reissued by Counterpoint
with same numbers.
Period 745: Spanish Classics for the Harp (Turina,
Granados, I. Albeniz, Palau, Galles, Falla, M. Albeniz,
Glinka, Faure, Parish-Alvars, Tournier).
Reissues. Movieplay (Spain) 14230 (Esoteric 509);
14126 (Esoteric 524). Classic (France) 920116
(Esoteric 509); 920111 (Esoteric 523); 920157
(Esoteric 524); 920112 (Esoteric 542); 920277 (Period
745). Concert Hall (France and Germany) 2526
(Esoteric 524). Club del Disco (Venezuela) 1083
(Esoteric 524). Saga (England) 5298 (Period 745).
*Everest 3144/5: Five Centuries of the Harp (from
Esoteric 509, 523, 524, 542, and Period 745).
Everest 3340: Harp Music of the Renaissance (Ribayaz,
de Huete, Coelho, Naderman, Labarre); 3440: Five
Hundred Years of the Harp (Cabez6n, Palero, Ribayaz,
Labarre, Naderman, Glinka, Prokoieff), all from
Esoteric masters.
Reissues. Dial (Spain) 501460 (Everest 3440). DGG
17128 (Esoteric 509); 19114 (Esoteric 524); 19131
(Esoteric 523); 19132 (Esoteric 542).
DGG 618838: Prestige de la Harpe (Debussy, Ravel,
Dussek, Salzedo, with Berlin Radio Orchestra).
DGG 17115 Debussy/Danses and Handel/Concerto (Berlin
Radio Orchestra, partial reissue of DGG 618838).
DGG 17231: Florilege de la Harpe (Mudarra, N arvaez,
Cabez6n, Prokofieff, Tournier, Ravel (from
DGG 17128, 19131 618838).
Reissues. DGG (Japan) 1059 (Ravel and Handel from
DGG 618838 and 17115. Decca 9929 (DGG
618838).
DGG 138118: Boieldieu/Concerto and Rodrigo/Concert­
Serenade (Berlin Radio Orchestra).
DGG 138890: Recital (J.S. Bach, Handel, Corelli,
Spohr, Faure, I. Albeniz, M. Albeniz).
DGG 138853: Mozart/Concerto and Reinecke/Concerto
(Berlin Philharmonic, K. Zoller, flute).
*DGG 139304: Handel/Concerto, Albrechtsberger/
Concerto, Ravel/Introduction et Allegro, Debussy/Danses
(Paul Kuentz Chamber Orchestra).
DGG 2530008: Saint-Saens/Marceau de Concert,
T ailleferre/ C oncertino, Ginastera/ Concerto ( Orches tre
ORTF, Jean Martinon).
*DGG 139112: Concertos/Eichner, Wagenseil, Dittersdorf;
Adagio and Randol Mozart (Paul Kuentz Chamber
Orchestra).
Winter/1980
Reissues. Heliodor 2548068: Handel, Corelli, Bach
(from DGG 17115, 138890); Heliodor 2548281:
Mozart, Handel, Ravel (from DGG 138853 and
139304. Heliodor (Mexico) 14082 (from Heliodor
2548281). Heliodor 478418 (from Esoteric 524).
*DGG 2535170: Rodrigo/Concert-Serenade (from DGG
138118); Rodrigo/Concierto de Aranjuez.
DGG 135093: Die Virtuoso Harfe (Handel, Wagenseil,
Mozart/Concertos, reissued from DGG 139304,
139112, 138853). This disc reissued as DGG
2535113.
DGG 2539099: Harfenkonzerte des 18. Jahrhunderts
(Boieldieu, Dittersdorf, Albrechtsberger/Concertos,
from DGG 138118, 139304, 139112).
DGG 139419: The Harp (Solos/C.P.E. Bach, Krumpholz,
Viotti, Salzedo, Caplet, Prokofieff, Hindemith).
DGG 2530333: J.S. Bach/Partita No. 2, Suite No. 3,
Partita in A major.
*DGG 2530230: Spanish Harp Music (I. Albeniz,
Falla, Turina, Granados, Halffter, Lopez-Chavarri,
Gombau).
*DGG 2531051: French Harp Music (Samuel­
Rousseau, Tailleferre, Roussel, Salzedo, Ravel,
Tournier, Debussy, Damase).
DGG-Archiv 198458: Spanish Harp Music of the 16th
and 17th Centuries (Cabez6n, Mudarra, Palero, Alberto,
Anonymous, Ribayaz, de Huete, Rodriguez).
*DGG 2531114: Harp Concertos (transcriptions). J.S.
Bach (after Vivaldi)/BWV 978, 976, 973; Handel/Op.
7 /4 and Op. 4/5.
DGG 2535228: Harp Music of the Baroque (J.S. Bach,
C.P.E. Bach, Viotti, Krumpholtz, Handel, from
DGG 2530333, 139419, 138890).
*DGG 2530715: Mozart/Concerto (with Vienna
Philharmonic and W. Schulz, flute).
DGG 2535185: French Works for Harp and Orchestra
(Tailleferre, Debussy, Ravel, Saint-Saens, from
DGG 139304 and 2530008).
DGG 2726019: Star Profile (2 record set; Handel
Faure, Debussy, Ravel, J.S. Bach, Mozart, Salzedo,
Caplet, Spohr, Prokofieff, from DGG 139304,
138853, 138890, 139419).
DGG 2721203: Star Gala (2 record set; Mozart,
Handel, J.S. Bach, Krumpholtz, Spohr, Ravel, Prokofieff,
from DGG 2530333, 139304, 138853,
139419).
*Angel (EMI) S-37042: Rodrigo/Concierto de Aranjuez;
Parish-A/vars/Concerto (Spanish National Orchestra).
Melodya (Russia) A 24193-4; Concertos/Eichner and
Wagenseil (from DGG 139112).
Editor's Note
Some of the recordings toward the end of the
discography are not yet available in local stores as we
go to press.
7

.
. m·, ·
. -.
, I
• . • .. ( • :\ .. __
, pµ;
·,
•
Fig. 1. C.P.E. Bach, Sonata for Harp, Wq 139 (Brussels Conservatory, Liuera S ., No . 13287).
8 AMERICAN HARP JOURNAL

C.P .E. Bach's
Harp Sonata
by Darrell M. Berg
Darrell Berg is the author of a number of studies on the
keyboard works of C.P.E. Bach including her doctoral dissertation
and an article recently published in the Journal of
the American Musicological Society. She is presently completing
a study of Bach's methods of revising his sonatas and is
preparing a facsimile edition of all of his solo keyboard
works for Garland Publishing, Inc. and a three-volume
urtext edition of the sonatas for G. Henle Verlag in Munich.
Dr. Berg was graduated from the Juilliard School of Music
as a violinist and has been a member of several major
orchestras including the Cincinnati Symphony Orchestra.
She also holds an M.A. from Smith College and a Ph.D. in
musicology from the State University of New York at Buffalo.
She is Professor of Music History at the St. Louis
Conservatory of Music where she teaches music history and
literature and is co-director of the collegium. During the
past summer she was a member of the Aston Magna
Academy where she delivered lectures on musical developments
in north Germany in the eighteenth century.
Carl Philipp Emanuel Bach's Sonata in G Major for the
Harp, Wq 139, 1 is his only composition for this instrument
and one of a handful of works for the harp
by respected and famous composers of the eighteenth
century. 2 Five editions of Wq 139 have appeared
since 1940 all of which are based on the single extant
eighteenth-century source, a manuscript (S. 13287) in
the library of the Brussels Conservatory. 3 The title
page of the manuscript (fig. 1) attributes the work to
C.P.E. Bach. In the upper left-hand comer are numberings
which suggest that the manuscript has belonged
to more than one collection. There is no date
anywhere on the manuscript and no clue as to why or
for whom the sonata was composed. The manuscript,
moreover, is not in C.P.E. Bach's hand, and questions
have been raised about the authenticity of the
sonata. Lack of knowledge about eighteenth-century
compos1t1ons is not unusual, but we need not be
content, in the case of the harp sonata, with such
doubts and scanty information. We can prove
Emanuel Bach's authorship and the year of composition
beyond any doubt. We shall also look at the
ambience in which the harp sonata originated and
entertain some conjectures about the circumstances
of its origin. And since most of Bach's music has
survived, we shall consider the Sonata for Harp in
relation to his other works. 4
Winter/1980
C.P.E. Bach (1714-1788) was not only a distinguished
composer, but a keen businessman who kept
meticulous records. On manuscripts of some compositions
he entered the year of origin (and, occasionally,
the year of revision); to most of his instrumental
works he assigned numbers which indicate a sequence
of composition. He was tireless in his efforts
to control the distribution of his works and to prevent
circulation of unauthorized materials bearing his
name. Letters from Bach in Hamburg to out-of-town
buyers reflect his passion for keeping accounts and
his relish for shrewd business deals. Bach's mercenary
ways, in fact, have frequently been deplored by
historians. But his writings also reveal another facet
of his personality. He was a collector. He took pleasure
in amassing information for its own sake and for
the sake of posterity; he kept an archive of music by
many generations of Bachs, and he acquired a portrait
collection of famous musicians from Pythagoras to
Haydn.
Towards the end of C.P.E. Bach's life, probably in
the mid-1780's, Johann Joachim Heinrich Westphal,
an organist in Schwerin who was an admirer of Bach,
began to collect his works and to correspond with
him. The two musicians recognized kindred spirits in
each other, and an enthusiastic exchange of musical
materials and portraits ensued. From the activities of
these collectors came two extremely valuable thematic
catalogues of C.P.E. Bach's works. In 1790, little
more than a year after Bach's death (December 14,
1788), his widow, Johanna Maria, published a
NachlajJ Verzeichnis-a catalogue of his musical estate.
5 We know that some parts of the NachlajJ
Verzeichnis had been completed by Emanuel Bach in
the last years of his life, and it is very likely that the
entire catalogue was prearranged by him. The
NachlajJ Verzeichnis purports to list all works which
Bach acknowledged as his own and copies of which
(according to a note on its title page) could be purchased
from his widow in Hamburg. Dates and places
of composition are given for most of the instrumental
works; for each work not published in Bach's
lifetime, this information is followed by an incipit
(the beginning notes of the initial melody) of the first
movement. The Sonata for Harp is listed under Soli as
"no. 18. B. lBerlin] 1762, fur die Harfe" (fig. 2), and
following this entry is an incipit of the true first
movement.
Westphal carried on his correspondence with the
Bach family after Emanuel's death, obtaining scores
and information from Bach's widow and his daughter,
Anna Carolina Philippina. 6 Between 1809 and
1825 (the year of Westphal's death), the Schwerin
organist completed a catalogue of his own collection
9

m,. 2.
Fig. 2. C.P.E. Bach, Nachlaj3 Verzeichnis, p. 51 (courtesy of
Anthony van Hoboken) .
of Bach' s works. 7 By this time Westphal had acquired
copies of most of the compositions listed in the
NachlafJ Verzeichnis, and, since he had worked in close
conjunction with various members of Emanuel
Bach's family, much of the information in the
Westphal catalogue understandably agrees with the
material in the NachlafJ Verzeichnis. But Westphal was
able to give, for many items, citations of reviews or
other pertinent information not found in the NachlafJ
Verzeichnis; to the NachlafJ entry for the harp sonata
he adds the heading Adagio un poco and a second
measure of the incipit (fig. 3). Evidence of C.P.E.
Bach's authorship of the harp sonata is therefore
compelling-the more so because the Westphal entry
for the work contains some information which indicates
that Westphal was not merely copying the
Nachlafi listing.
Doubts which are occasionally expressed about the
genuineness of Bach's Sonata for Harp (see the Preface
to Lucile Lawrence's edition of the sonata) have
arisen mainly from the fact that the manuscript of the
work is not in Bach's hand (see Figs. 4 and 5).
Although the evidence presented by the two early
catalogues overrides all such doubts, it may nevertheless
be useful to resolve certain questions which
surround this only surviving source of Wq 139. The
copyist of the harp sonata is easily identified as
Michel, who, of all of Bach's copyists, produced the
10
most attractive and accurate manuscripts of his
works. Michel (we do not know whether his is a first
or last name) began to work for Emanuel Bach at
some time after Bach was installed as Music Director
in Hamburg (1768) and continued to copy music for
Johanna Maria and Anna Carolina Philippina Bach
during the l 790's. 8 It might be argued that the date of
Michel's employment by Bach (only after the move to
Hamburg) does not square with the date of the harp
sonata given in the two early catalogues (Berlin,
1762). But there is no need to look for an error in any
of this information; Michel made copies of many of
Bach's other works to which dates prior to the appointment
in Hamburg have been assigned. Emanuel
Bach appears to have kept master copies of his works
on hand from which fair copies were made throughout
his career as they were needed (some of these
master copies have survived-ragged, untidy, inkspattered,
clearly unsuitable for distribution to customers).
Bach often reviewed manuscripts prepared
by copyists, and on these copies, he added dates,
signatures, numberings, headings, and corrections. 9
Manuscripts by his copyists, with or without his
additions, are as numerous, in fact, as manuscripts
entirely in his hand, for Bach, whose handwriting
was often unattractive and illegible, entrusted the
preparation of many of his materials to copyists. The
existence of manuscripts of his works in the handwriting
of well-known copyists from Bach's circle
may be considered almost as valuable proof of authenticity
as his own autographs. We can thus be
doubly certain of Bach's authorship of the harp
sonata; first, because of its inclusion in the NachlafJ
and Westphal catalogues; secondly, because the attribution
to Bach in Michel's handwriting on Ms.
13287 is evidence of a very high order. 10
It is curious that only one source of Emanuel
Bach's Sonata for Harp has survived; for most of his
instrumental works, at least two sources can be
found. Presumably the Bach family in Hamburg
owned a copy of the sonata when the NachlafJ Verzeichnis
was published (since the catalogue advertised
that everything listed in it could be purchased from
his widow), and presumably Westphal also owned a
copy at the time his catalogue was completed (since
his catalogue is a record of materials in his collection).
Most of Bach's collection remained intact until
after the death of Anna Carolina Philippina Bach in
1804. The estate was then sold at auction; many of its
materials were eventually acquired by the Prussian
State Library in Berlin. The bulk of Westphal's collection,
also put up for auction after his death, was
purchased in 1829 by Fran,cois-Joseph Fetis, Director
of the Brussels Conservatory. 11 But Ms. 13287 was
not among the materials which Fetis bought and
which finally passed to the Brussels libraries. We
have no knowledge of the provenance of this manuscript
before it found its way into the library of the
Brussels Conservatory. Yet it seems likely that it
once belonged to Westphal's collection. The fact that
AMERICAN HARP JOURNAL

Fig. 3. J.J.H. Westphal, "Catalogue thematique des oeuvres de Charles Philippe Emmanuel Bach"
(Brussels Royal Library, Ms. II 4140).
the manuscript bears no marks of Bach's supervision
(dates, numberings, etc. in his hand) suggests that
this only surviving copy of the harp sonata may have
been prepared by Michel after Bach's death-perhaps
in response to a request from Westphal to Bach's
widow and daughter.
If it is interesting to speculate about whether
C.P.E. Bach's harp sonata once existed in at least two
copies, it is even more worthwhile to ponder the
strong probability that at least one other source once
existed: a manuscript (or manuscripts) prepared for
the harpist (or harpists) for whom Bach wrote the
sonata in Berlin. For although not all eighteenthcentury
compositions were written for particular
performers or occasions, few were written with no
prospects of being performed. The study of keyboard
instruments was a popular pastime for amateurs
during Emanuel Bach's lifetime, and there was always
a demand for keyboard pieces. Bach could compose
and publish works for solo keyboard with the
assurance that they would be played. For some of the
chamber music which remained unpublished in his
lifetime and did not circulate widely, Bach probably
did have particular musicians in mind. But in any
event, he could count on finding flutists, oboists,
violinists, violists, cellists, and keyboard players in
generous supply in and around the Berlin of Frederick
the Great. 12
In the case of compositions for the harp, the situation
was altogether different. Little music was written
for the instrument by eighteenth-century composers
before the l 760's because, we can surmise, there
were few harpists who played instruments suited to
the chromatic changes normally required by
eighteenth-century styles. 13 Double and triple harps
had existed since the end of the sixteenth century,
but we do not know how commonly they were used.
The single action pedal harp invented by
Hochbrucker in 1720 does not seem to have attracted
much attention at first; no report has come to light of
the impression it made when Simon Hochbrucker (a
son or nephew of the inventor) brought it to the court
in Vienna in 1728. After its introduction to Paris in
1749 by George-Adam Goeppfert, the popularity of
the pedal harp increased rapidly in France. In 1762,
the year Emanuel Bach wrote his harp sonata, the
first volume of music in France was published in
Paris by Christian Hochbrucker (a younger brother of
Simon). Several other French publications for harp
followed during the l 760's. The vogue of the instrument
was assured when Marie-Antoinette, who
played the harp, came to France in 1770; playing an
elegantly decorated pedal harp became the ultimate
chic. 14 Far less is known of the history of Hochbrucker'
s invention or any other kind of harp in
German-speaking countries prior to the nineteenth
century. The time for the harp may have been approaching
in 1762, but there were not a great many
performers at that time who had mastered it, nor had
many composers written for it. On the rare occasions
when works were composed for harp, they were probably
written for or inspired by a specific performer.
Who were the harpists who might have come to the
attention of C.P.E. Bach in 1762? Among royal patrons
of music with whom Bach was well acquainted,
only two have been touted as accomplished performers.
The frst of these, Frederick the Great (1712-
1786), was primarily a skilled flutist who allegedly
had a slight command of the keyboard. Frederick,
moreover, had no contact with his musicians between
1756 and 1763, the waging of the Seven Years' War
being, at that time, his only concern. 15 Nor is there
Winter/1980
11

,.
I '1(~ -i~. I x;,c.;_, C.
L.
Fig. 4. Bach's autograph of his Trio for Flute, Violin and Bass, Wq 143 (West Berlin, Staatsbibliothek preuj3ischer Kulturbesitz,
Mus . ms. Bach P 357).
any reason to believe that Frederick's sister, Princess
Amalia (1723-1787), for whom Bach composed at
least two collections of keyboard sonatas between
1755 and 1770, played the harp. 16 Amalia was a
keyboard player and an amateur composer who is also
described as something of a violinist and flutist. Her
biographers do not refer to her as a harpist, and no
harp is mentioned in the inventory of her instruments
made after her death. 17 The only member of the
family of Frederick the Great who has been mentioned
by historians as a harpist is Elisabeth Christine
of Braunschweig-Bevern (1715-1797), his meek
and long-suffering queen. Offhand references to her
study of the harp cannot be completely substantiated
at present and must await further investigation.
These references pertain ostensibly to the early years
of her marriage-1733-1740. During most of that
time, Frederick, as Crown Prince, held court at
Rheinsberg, about SO miles northwest of Berlin, and
shared many of his musical and literary pastimes with
his new princess. Upon his accession to the throne in
1740, he ceased to live with her and settled her
permanently in a separate establishment. She spent
the rest of her long life in a kind of retirement,
seldom privileged to participate in any but the most
official occasions with her husband. 18 Even if the
report that the Queen played the harp is true, it seems
doubtful that C.P.E. Bach composed his harp sonata
for her. Eighteenth-century members of royal families
12
who had pretensions to musical skill were usually
praised generously in the writings of contemporaries.
If Elisabeth Christine (even in her isolation from
Frederick's court) had demonstrated enough skill to
play Bach's harp sonata, she would probably have
drawn enthusiastic comments from contemporary
writers. But almost nothing is known to posterity
about the musical accomplishments of the Queen of
Prussia.
Turning to the roster of musicians who were in the
employ of Frederick the Great during Bach's tenure
in Berlin (1740-1768), we find the names of two
harpists who have been designated as virtuosi: Petrini
(his first name is lost to us) and Franz Brennessel.
Petrini, who was in Frankfurt in 1731, joined Frederick's
instrumental ensemble in 1735 and was
given a proper appointment to the royal orchestra
after Frederick became King. 19 Friedrich Wilhelm
Marpurg, an eighteenth-century musician and journalist
in Berlin, describes Petrini as one of the
foremost virtuosi of the time who "could play in all
24 keys with equal facility." 20 The presence of a harp
virtuoso at Frederick's court in 1735 is something of
a mystery. The harp had not yet become high fashion,
and Frederick's means, while he was Crown Prince,
were limited (a possible explanation for Petrini's
presence at Rheinsberg is that he was engaged as a
harp teacher for Elisabeth Christine). Petrini died
around 1750, long before the date assigned to the
AMERICAN HARP JOURNAL

Fig. 5. Manuscript of Wq 139 in the hand of Bach's copyist, Michel (Brussels Conservatory, Littera S., No. 13287).
harp sonata. 21 His successor, Brennessel, of whom
little is known, was not appointed until 1766, four
years after this date. 22 Bach's sonata cannot, therefore,
have been composed for Petrini, and there is
little likelihood that it was written for Brennessel.
Although the position of harpist in the orchestra of
Frederick the Great appears to have been vacant
between the time of Petrini's death and 1766, Berlin
was not without professional harpists during this
time. 23 Petrini had two children who played the harp:
Marie Therese (1736-1824) and Franz (1744-
1819). 24 The name of Therese Petrini appears in
Marpurg's listing for 1754 of the instrumentalists in
the service of Carl, Margrave of Brandenburg­
Schwedt, a member of the royal family who maintained
a chamber ensemble in Berlin. 25 She was
known at the time as an excellent harpist and an
equally capable singer, and because of her dual accomplishment,
she was in great demand as a performer.
Therese's employment by the Margrave apparently
did not require all of her time, especially
after the beginning of the Seven Years' War. Early in
1760 she accepted an invitation to go to Stralsund
(north of Berlin on the Baltic Sea). The winter season
in which she participated there is described as
"brilliant." Officers from the armies of Sweden,
France, Austria, Russia, and Saxony were quartered
near Stralsund, and many musical events were organized
for the entertainment of these visitors. Sev-
Winter/1980
eral of these activities were directed by Johann
Wilhelm Hertel (1727-1789), a composer normally
in the service of the Duke of Mecklenburg-Schwerin.
Hertel had spent much of his youth in Neu-Strelitz
(also in the territory of Mecklenburg), and it may
have been through him that Therese Petrini formed
connections which would lead to a future appointment
to the service of the Duke of Mecklenburg­
Strelitz. 26
Therese Petrini's visit to Stralsund in 1760 was so
successful that she was persuaded to extend it, and
half the summer was over before she returned to
Berlin. Her patron, Margrave Carl, died in 1762, but
it is not clear whether his retinue of musicians was
disbanded immediately (in a music journal of 1766,
an oboist and a hornist are listed as remaining members
of the ensemble). 27 At some time vaguely designated
as "later," Therese was engaged as a chamber
singer and harpist at the ducal court at Neu-Strelitz
where she spent the remainder of her life. 28 She may
have left Berlin for Mecklenburg-Strelitz in 1762
before Emanuel Bach's harp sonata was composed.
But it is also possible that she stayed in Berlin for
some time after the Margrave's death, and that Bach
wrote the sonata for her, perhaps as a vehicle for the
display of her talents to a prospective employer.
Whether or not Therese Petrini left Berlin in 1762,
her younger brother Franz was probably still living
there in that year. He was to become the most famous
13

Mrs. G. W. Bethell
E lusive U.S. Agent
For the complete line o
Aoyama Irish & Pedal H rp
.. :;,~~;~ 2188 S.W. Main
Portland, Oregon 97205
503-222-7352
14
AMERICAN HARP JOURNAL

member of the family, regarded by contemporaries as
an even greater harpist than his father. We do not
know how Franz Petrini, eighteen years old in 1762,
was occupied during the final years of the Seven
Years' War. Although there were some opportunities
for employment in Berlin during the war, many of the
musical events normally sponsored by the King or by
other highborn members of his army had been suspended
or drastically curtailed. Conditions in Berlin
improved only slightly for musicians after the war.
Frederick the Great had succeeded, against staggering
opposition, in winning recognition for Prussia as
a major power, but he returned from the war weary,
morose, and with his ardor for music considerably
cooled. Musical life in Berlin did not regain the
brilliance it had achieved in the years immediately
preceding the war; some musicians, including C.P.E.
Bach, began to look elsewhere in the hope of finding
a more favorable situation. 29 During this troubled
period, Franz Petrini began his career. In 1765 he
entered the service of the Duke of Mecklenburg­
Schwerin; in 1769 he made a final move to Paris
where he achieved celebrity as a virtuoso, teacher,
and composer for the harp. 30 It seems likely, considering
eighteenth-century accounts of Franz Petrini's
virtuosity, that it might have been for him that
Emanuel Bach composed the Sonata for Harp.
There is no way of knowing what kind of harp
Bach had in mind for the sonata. From Marpurg's
report of the elder Petrini's facility in all 24 keys, it
might be inferred that he played a double or triple
harp, and it is possible that Petrini's children were
trained to continue playing such a harp as a family
tradition. But Bach's harp sonata can be performed
on a single action pedal harp and seems, in some
respects, to favor the design of a pedal harp. Fashions
in Frederick the Great's Berlin were often governed
by his taste for French culture - it is equally believable
that Therese and Franz Petrini learned to play the
kind of harp which was becoming modish in France
during the l 750's and l 760's. But there is nothing
about the harp sonata which clearly restricts it to a
particular instrument.
Harpists have frequently been puzzled by the great
difference in technical requirements and style between
Wq 139 and another composition for harp
attributed to C.P.E. Bach: La Bataille de Bergen, Sonate
pour le Piano-Forte ou Harpe, Wq 272, published by A.
Kreitner in Worms without a date. 31 Although this
"sonata" is listed in the appendix to the Wotquenne
catalogue as a posthumous publication, it was published
as early as 10 years before Bach's death. An
advertisement for it in the Hamburger Correspondent on
December 12, 1778 announces that this battle piece
is by "C. E. Bach," and adds "not the one from
Hamburg." The following statement by Emanuel
Bach in a letter of August 4, 1787 to Westphal is
undoubtedly another disclaimer: "The Bataille you
mention is not by me. That sort of thing is not my
style." 32 The Nachla/3 Verzeichnis does not list the
Battle of Bergen, and, what is even more significant,
neither does Westphal who does record a number of
questionable publications. 33 Clearly, the evidence
against Bach's authorship of the Battle of Bergen is as
strong as the evidence that he did compose the harp
sonata.
Our investigation of the origin of Emanuel Bach's
harp sonata has yielded information of various kinds,
and it is important to distinguish among the different
degrees of conclusiveness of evidence. Firm evidence
exists of Bach's authorship of the sonata, as well as
its year of composition and the order of its movements:
Adagio-Allegro (C)-Allegro (3/8). We can
submit with equal certainty that Bach did not write
the Battle of Bergen. From circumstantial evidence
having to do with musical affairs in Germany in
Bach's lifetime, we can propose a strong probability:
It is likely that the harp sonata was composed for
Marie Therese or Franz Petrini, or, perhaps, for both.
From rather inconclusive evidence, we can suggest
two possibilities each of which seems plausible: the
harp sonata could have been written for a chromatic
harp or for a single action pedal harp.
Having examined circumstances surrounding the
origin of Emanuel Bach's harp sonata, let us look at
the work itself. Some aspects of its style have given
rise to conjectures that this sonata may have originally
been written for another instrument. Passages
of broken chords and certain ornaments (particularly
the trilled turn) suggest keyboard technique. But the
same observation might be made about many of
Emanuel Bach's compositions - Bach, whose accomplishments
as a performer seem to have been
confined to the keyboard, obviously conceived much
of his music in terms of keyboard technique. The
harp sonata has one feature, however, which is decidedly
uncharacteristic of Bach's sonatas for keyboard:
the sequence of movements. The keyboard
sonatas, which number more than 150, have, with
one exception, the same sequence of movements -
fast-slow-fast. The harp sonata's sequence-slowfast-faster-can
be associated with another genre
among Bach's works: the sonata for melody instrument
with continuo (the sequence S-F-F, based upon
what is often called the "Tartini model" after the
most frequent sequence in Tartini' s violin sonatas,
originated in the 1720' s and disappeared as the Classical
style developed). The harp sonata has other
points of similarity with Bach's sonatas for melody
instrument and continuo: its texture and its figured
bass. The figures in the left-hand part of the harp
sonata are something of an enigma since they often
designate notes which are already in the right-hand
part. This feature has caused scholars to wonder
whether the harp sonata may once have been a sonata
for violin and continuo (the compass of the righthand
part fits the range of the violin nicely). But
Bach wrote no other solo violin sonatas with con-
Winter/1980
15

tinuo, only sonatas for violin with an equal or predominating
keyboard part, and it is difficult to believe
that Wq 139 ever existed as a violin solo sonata. Hans
Zingel has offered an explanation for the puzzling
figures in the bass of the harp sonata. 34 The work, he
suggests, may have been written so that it could be
played as a sonata for harp with continua accompaniment
as well as an unaccompanied harp sonata.
Zingel's theory is a plausible one; the combination of
harp with keyboard was not unusual in the
eighteenth century. 35 Thus the harpist would have
had two options for performance: the sonata could be
played without accompaniment and with the figured
bass realized by the performer (who would probably
have added chords very sparingly, not only because of
the technical difficulty of playing handfuls of notes
along with the ornate melody, but because sparse
textures were fashionable in the mid-eighteenth
century); or the right-hand part could be played on
the harp and the bass given to a keyboard instrument.
Despite the presence of figured basses in this and
other compositions by C.P.E. Bach, his works must
not be labelled "Baroque." Figured basses persisted
through much of the eighteenth century, long after
most elements of the Baroque style had been
supplanted by new fashions. The short-breathed
phrases in the harp sonata, its thin texture, the predominance
of a single melodic line and the rather
simple harmonic vocabulary do not belong to the
Baroque, but to the period between the Baroque and
Classical eras. A number of labels have been applied
to this period, but since it was not integrated stylistically,
no one label encompasses it successfully. The
most satisfactory term for the style of the harp sonata,
as well as for much music of the mid-eighteenth
century, is one which was used by C.P.E. Bach and
his contemporaries: style galant (English: gal' lant
style).36
Like many works in the gallant style, the movements
of the harp sonata have formal structures
which prefigure Classical sonata form. It is obvious
from the repeat signs in the two allegros that both of
these movements have binary forms; each has a first
section which moves to the key of the dominant, a
rather long excursion which might be considered a
development section, and, to round the binary design,
a return of the initial melody in the tonic. Bach ends
the first allegro with a "tag" consisting of part of the
initial melody, a device which Haydn was to adopt for
many of his works. The adagio is also in rounded
binary form. Although this movement has no repeat
sign to signal the end of the first main section, this
important structural point should not be ignored in
performance. Measures 18 and 19 should be played
with an articulation between them, as if they were
separated by a double bar.
The style of C.P.E. Bach's harp sonata is, of
course, very different from the highly coloristic harp
idiom of the nineteenth century. But it also does not
belong to either the Baroque or the Classical style; its
16
movements should not be invested with the motoric
drive of the late Baroque or the dramatic breadth of
the Classical style. The details of Bach's music are
generally more interesting than its overall design.
Careful attenti(;m should be given to expressive performance
of delicate melodic features and interesting
harmonic changes. Yet rubatos should be slight and
conceived more subtly than for nineteenth-century
music. To a great extent, this emphasis on detail is
dictated by the music itself; its short phrases with
feminine endings and its frequent dynamic changes
demand a neatly articulated, but expressive manner of
performance.
Notes
'Wq is the abbreviation for the standard thematic catalogue of
Bach's works: Alfred Wotquenne, Thematisches Verzeichnis der Werke
von C. P. E. Bach (1905), repr. Wiesbaden, 1964. A new catalogue
of Bach's works, more detailed and more comprehensive, has been
completed by Prof. Eugene Helm of the University of Maryland
and is awaiting publication. I am grateful to Prof. Helm for sharing
with me the •information in his entries for the harp sonata and the
Battle of Bergen, Wq 272.
2Among surviving compositions by eighteenth-century composers
of the first rank, only works by Handel and Mozart can be cited (see
William D. Gudger, "Handel's Harp Concerto," This Journal, VI
(Summer 1978), 14-22, and France Vernillat, "Harp Literature in
France in the 18th Century,'' This Journal, IV [Spring 1974],13).
3
Harfensonate in G dur fur Harfe, Klavier oder Cembalo, ed. Hans
Neeman (Leipzig: Breitkopf und Hartel, 1940); Sonata for the Harp,
ed. Lucile Lawrence (New York: Chas. Colin, 1963); Sonate pour
harp, ed. Marcel Grandjany (Paris: Durand et Cie, 1963); Sonate
G-dur fur Harfe (Cembalo oder Klavier), ed. Hans J. Zingel (Wiesbaden:
Breitkopf und Hartel, 1968); Sonata in G Major, ed. Jane
Weidensaul (Teaneck, New Jersey: Willow Hall Press, 1979). The
first three of these editions have the following sequence of movements:
Allegro (C)-Adagio-Allegro (3/8); in the last two, the sequence
is Adagio-Allegro (C)-Allegro (3/8). All three movements
of Grandjany's edition are in F major. In the Lawrence, Grandjany,
and Weidensaul editions, ornaments are written out, but only
in the last of these is the interpretation of ornaments faithful to the
description of embellishments given in C.P.E. Bach's Essay on the
True Arc of Playing Keyboard Instruments (1753) ed. and tr. William J.
Mitchell (New York: W.W. Norton, 1949).
4
1 wish to thank Mr. Paul Raspe, Director of the Library of the
Royal Conservatory of Music in Brussels, and Dr. Jane Weidensaul,
editor of this journal, for furnishing materials for the preparation
of this study. I am also grateful to several harpists in St.
Louis for giving generously of their time and sharing their expertise
with me: Frances Tietov, Sue Taylor, Maria Pinckney, Gail
Bass Israelievitch, and Ayako Watanabe.
5
Verzeichnij3 des musikalischen Nachlasses des verstorbenen Capellmeisters
Carl Philipp Emanuel Bach (Hamburg: Schniebes, 1790). The contents
of the NachlajJ Verzeichnis are reproduced in Heinrich
Miesner's article, "Ph. E. Bachs musikalischer Nachl:yl," Bach
Jahrbuch, 1938, 103-136; 1939, 81-112; 1940, 161-181.
6
A collection of 37 letters from Bach's widow and daughter to
Westphal are presently in a private collection. I am grateful to Frau
Lotte Schmid of Augsburg, West Germany for having permitted
me to examine portions of this correspondence.
7
J. J. H. Westphal, "Catalogue thematique des oeuvres de
Charles Philippe Emmanuel Bach," Royal Library of Brussels, Ms.
II 4140. For a more detailed account of the correspondence between
Bach and Westphal and the genesis of the two early
catalogues, see Miriam Terry, "C. P. E. Bach and J. J. H.
Westphal-A Clarification,'' Journal of the American Musicological
Society XX (1969), 101- 115; Erwin Jacobi, "Five Hitherto Un-
AMERICAN HARP JOURNAL

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C.P.E. Bach: Sonata
G Major
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which no compromise of scholarly quality has been made. If and when I ever live long enough to see a complete
edition of Bach's works produced by somebody somewhere, I only hope it approaches the standard of
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Scientific Tuning
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A Manual for Harpists
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Songs And Carols For Two
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Six easy duets for harps or harp and any melody instrument. Suitable for pedal or non-pedal harps.
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Teaneck, N. J. 07666
Winter/1980
17

known Letters from C. P. E. Bach to J. J. H. Westphal," JAMS,
XXIII (1970), 119-127, and "Three Additional Letters from C. P.
E. Bach to J. J. H. Westphal, JAMS, XXVII (1974), 119-125;
Darrell M. Berg, "Towards a Catalogue of the Keyboard Sonatas
ofC. P. E. Bach," JAMS, XXXII (1979), 276-303.
8
Little is known about Michel. As early as 1776, he was a tenor in
the choir of Bach's church in Hamburg; his name continues to
appear on choir payrolls for 1789, a year after Bach's death (see
Georg von Dadelsen, Bemerkungen zur Handschrift Johann Sebastian
Bachs, seiner Familie und seines Kreises, Tubinger Bach-Studien, I
[Trossingen, 1957], 24).
9
Berg, 282- 284.
'"The correct key and sequence of movements are also clear from
the incipits in the two early catalogues (see Figs. 1 and 2) and from
the sequence of movements in Michel's manuscript. Only the
Zingel and Weidensaul editions have retained the proper sequence.
"See Terry, 107 and 115.
12
Lists of musicians in Frederick's employ are found in the following:
for his ensembles at Ruppin (1732- 1735) and Rheinsberg
(1735-1740), Eugene Helm, Music at the Court of Frederick the Great
(Norman, Oklahoma, 1960), 87; for Frederick's orchestra in the
years 1740-1744, C.H. Bitter, Carl Philipp Emanuel und Wilhelm
Friedemann Bach und deren Bruder, 2 vols. (Berlin, 1868), I, 20- 22; for
the year 17 54, Friedrich Wilhelm Marpurg, Historisch-Kritische Beytrage
zur Aufnahme der Musik, I (Berlin, 1754), 75 ff.; for 1766, Johann
Adam Hiller, Wochentliche Nachrichten und Anmerkungen die Musik
betreffend, I (Leipzig, 1766), 73 ff.
'"Our knowledge of the harp and harp playing throughout much of
the eighteenth century is still very sketchy. For surveys of the
history of the harp in this period, see Hans J. Zingel's articles in Die
Musik in Geschichte und Gegenwart, V (1956), cols. 1548- 1563 and
1573-1575, and his monograph, Harfenspiel im Barockzeitalter, Koiner
Beitriige zur Musikforschung, LXXVII, 21- 29, 56- 62.
"For a survey of the history of the harp in France from 1749 to the
end of the century, see France Vernillat, "Harp Literature in France
in the 18th Century," This Journal, IV (Spring 1974), 6-21.
15
See Karl Friedrich Zelter's biography, Karl Friedrich Christian Pasch
(Berlin, 1801), 14-20. Fasch (1736-1800) was engaged in 1756 as
the King's second accompanist, and Frederick found the young
harpsichordist more pliable and to his liking than the recalcitrant
Emanuel Bach. For Fasch, the war interrupted what had promised
to be a highly successful career.
1
6The first volume of Sonatas with Varied Reprises, Wq SO (Berlin:
Winter 1760) and the Six sonates pour le clavecin a /'usage des dames, Wq
54 (Amsterdam: Hummel, 1770) were dedicated to Amalia, and,
according to Westphal's catalogue, his prelude and six sonatas for
organ, Wq 70/1- 7, were composed for her (Westphal seems to have
based his information on a remark in the preface of a quite
unreliable posthumous edition of these works: Preludio e sei sonate pel
organo, ed. Johann Carl Friedrich Rellstab [Berlin, 1790]). Although
the King, whom Emanuel Bach accompanied on the harpsichord
regularly, seems to have had little liking for Bach or his compositions,
Princess Amalia treated him with great respect. When Bach
left for Hamburg, she named him her honorary Capellmeister.
"See the article "Anna Amalia" in the Allgemeine deutsche Biographie,
I (Leipzig, 1875), 470 and also Eva Renate Blechschmidt's
catalogue, Die Amalien-Bibliothek, Musikbibliothek der Prinzessin Anna
Amalie von Preuj]en (1723-1787), Berliner Studien zur Musikwissenschaft,
VIII (1965), 21-26.
'"References to Elisabeth Christine which mention the harp (but
only in passing) are Pierre Gaxotte, Frederick the Great, tr. RA. Bell
(New Haven, 1942), 238, and George Peabody Gooch, Frederick the
Great, the Ruler, the Writer, the Man (New York, 1947), 116. Both of
these authors refer vaguely to older biographies of the Queen, rare
and inaccessible for the present study.
'"Bitter, I, 20.
'"Marpurg, I, 158.
''Ibid.
'"Carl Freiherr von Ledebur, Tonkunstler Lexikon Berlin's von der
iiltesten Zeiten bis auf die Gegenwart (Berlin, 1861 ), 7 S.
18
23
In Marpurg's list of musicians for 1754 (see n. 12), no harpist is
listed, and it seems highly unlikely that Frederick the Great added a
harpist between 1756 and 1763 (the period of the Seven Years' War).
24Information about Therese Petrini's career can be found in
Marpurg, I, 158, and in Johann Wilhelm Hertel's Autobiographie,
Wiener Musikwissenschaftliche Beitriige, III, ed. Erich Schenk (Graz,
1957), 48-49, 99, n. 156.
"Marpurg, I, 158.
2
6Hertel, 4-43 passim, 48.
2
71-Iiller, I, 81.
21
'Hertel, 99, n. 156.
29
Zelter, 19-20.
""Vernillat, 17-18.
"'See, for example, Hans J. Zingel, Harfe und Harfenspiel von Beginn
des 16. bis ins zweite Drittel des 18. Jahrhunderts (Halle, 1932), 204.
32
The work also appeared in publications attributed to Graun and
J.C. Bach. I am indebted to Prof. Helm for information about this
work. See also Jacobi, "Five Hitherto Unknown Letters ... ,"
120.
""Although some of these editions, e.g., collections of keyboard
sonatas listed as Wq 265, Wq 266, and Wq 268, are frightfully
corrupt, they are nevertheless based on works which Bach did
compose.
'"Zingel, Harfe und Harfenspiel, 203.
'"William S. Newman, The Sonata in the Classic Era, 2nd ed. (New
York, 1972), 450 and 585, mentions works by Adolph Carl Kunzen
(1720-1781) and Friedrich Wilhelm Rust (1739-1796) respectively.
France Vernillat, 6, mentions sonatas by Jean Baur (c.
1719- ?).
" 6 See Bach's Essay, 165, for one reference to the gallant style. An
excellent study of the concept of galant in the eighteenth century is
David Sheldon's article, "The Galant Style Revisited and Reevaluated,"
Acta Musicologica, XLVII (1975), 240-270.
Important Corrections of Accidentals in
Published Editions of C.P.E. Bach's
Harp Sonata
Professor Berg has pointed out three incorrect
accidentals which appear in available editions.
In view of her unique expertise in matters of
C.P.E. Bach style, it is my opinion that her
authority should be accepted without question.
-Ed.
1. In m. 15 (and the corresponding m. 48) of
the Adagio, the second 32nd note of the last beat
should be G-natural (and C-natural respectively).
It was a notational convention to repeat
accidentals for subsequent notes, even those m
the same measure.
2. In m. 17 of the Adagio, Michel seems to
have omitted a sharp sign from the appoggiatura.
But C-natural is correct. Bach liked the
lowered seventh degree as an upper neighbor to
the sixth, especially in this kind of cadential
formula, and he liked the cross-relationship
between C-natural and the C-sharp which follows
hard upon it.
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she has taught at the University of Alabama,
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Winter/1980 19

Harp Strings:
Selection and Care
by John Escosa
John Escosa began his harp training at the Wainwright
Band Camp in Northern Indiana at the age of 10 with
Lynne Wainwright (Palmer) and in later years went on to
Arthur Jordan Conservatory in Indianapolis. He continued
in harp under the guidance of Carlos Salzedo in New York
City while attending the Juilliard School in composition
and choral conducting. His musical experience includes
having been principal harpist with the Fort Wayne Philharmonic
Orchestra, Musical Director for the Fort Wayne Ballet,
and Minister of Music for the United Church of Christ.
In recent years Mr. Escosa has been touring with Joseph
Longstreth under Columbia Artists Management, having
performed over one thousand concerts since· 1968.
The rising cost of just about everything connected
with a harp has suggested to me that I share with you
some of the economy measures concerning strings,
their care, and a few tuning helps which I have found
to be effective. Most of what is proposed is simply a
matter of adding a few extra motions to operations we
perform rather frequently. I hope that the information
will be of some use to you: I will make every effort to
be as clear and concise as possible.
Revitalizing Dead-Sounding Bass Wires
Some years ago I assisted a piano technician as he
replaced the pin block and restrung my old grand
piano. As we were in the process of installing the
wound wires, he told me of a way to restore a good
sound to these strings which he had devised during
World War II when such strings were almost impossible
to obtain.
The accumulation of dust in the windings causes
the deadness of tone. Since we are constantly touching
our strings, perspiration and body oils are added
to the dust which serves to compound the problem.
By adapting his procedure to bass wire harp strings,
we can almost double their longevity. A Coca-Cola
bottle (the small kind with a "waist") was his tool!
(Any similarly shaped object will do.) Be sure that
you have a spare set of strings on hand against the
unlikely possibility that one should break as you
perform the operations given below.
1. With the harp in C-flat, untune the string slowly,
being certain it continues to pass over the stationary
nut as you pull downward on the string with
20
John Escosa
your left hand. (This action serves to help
straighten that portion of the string which was
wrapped around the tuning pin.) Carefully remove
the string from the pin. Do not pull it out from the
soundboard. Check the stationary nut to be sure it
is tight.
2. With pliers, straighten the end of the string and
cut off only that portion which went through the
tuning pin hole.
3. Wrap the string once around the "waist" of the
Coca-Cola bottle.
4. Keep a firm grasp on the free end of the string and
vigorously move the bottle up and down three or
four times. (This action opens the tiny interstices
between the coiling of the outer wrap of the string,
causing dirt to come loose.) CAUTION: too vigorously
and too long at this operation can make
the string hot and cause metal fatigue.
5. Return the string to the tuning pin and slowly
bring it to pitch.
If the string should "sizzle", you may be able to
correct it thusly: (Did you check the stationary nut?)
1. Untune the string no more than three-quarters of a
turn with the tuning key.
2. Insert a 2-inch nail or similar object which will go
through the grommet or loop at the low end of the
string at the underside of the soundboard. Using
the nail as a handle, slowly turn it no more than
one and one-half full turns in a clockwise direction.
(This action serves to re-establish tightness
to the outer wire wrap.) Bring the string back to
pitch slowly.
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A Manual for the Medieval Harp
by Ann Griffiths
This superb instruction manual represents a new approach to harp
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Ann Griffiths, explains clearly how to tune and play a small harp.
Photographs are used to illustrate hand positions. The music, which
ranges from traditional tunes to Monteverdi, and includes some
modem pieces, can be played on a harp with as small a range as 3'/2
octaves.
CAUTION: When performing any operation concerning
bass wires, be absolutely certain that the
string passes over the stationary nut when it is
being tuned or untuned.
New Bass Wires
Inspect the low end of the new string to make
certain it has both a metal and a felt washer. (If not,
use one from the old string.) When pulling the string
through the soundboard eyelet, follow the angle of
the hole in the center strip. Do not attempt to pull the 4-
string straight up. Check to be certain that the low
end of the string is tight against the back of the
center strip.
Since wire strings come to pitch rather quickly we
need to be sure there is sufficient wrap around the
tuning pin. (There are two reasons for this: it prevents
slippage, and keeps the downward stress on the
tuning pin closer to the neck, giving it the best
possible support.)
1. Check the angle of the hole in the tuning pin to be
certain the lower opening is aimed at the left side
of the corresponding stationary nut. (This makes
certain that the string has an easy flow through
the tuning pin.)
2. Pull the string through the tuning pin hole until it
Winter/1980
is taut, making certain it passes over the stationary
nut.
3. Without letting go of the free end of the string
with the right hand, pull it at its center with the
left hand until it reaches a string a twelfth away.
(In the case of G 5th octave, it will reach D 4th.)
This distance of a twelfth applies through G 6th.
For F 6th the string goes to B 5th, E 7th to G 5th,
D 7th to E 6th, and C 7th to C 6th. (For those
unfamiliar with intervals, Mr. Escosa's method
results in about two inches of slack. - Ed.)
With the string in this position, bend it sharply
over the top of the tuning pin so that it cannot
slip.
5. While the right hand brings the string to pitch,
maintain a firm downward pull with the left hand,
making certain the string remains on the stationary
nut and that it passes between the disc pins.
Keep a close eye on the tuning pin to be positive
that the coils are as close together as possible.
6. Cut the excess string as close as possible to the
tuning pin. It looks better, and your harp cover
will not be damaged by the sharp string-ends. Save
your old bass wires! They can be used to replace a
broken one, will not have the "wire-y" sound of
new strings, and visually won't stand out like a
sore thumb!
21

Gut Strings
Gut strings are manufactured from sheep intestines
which have been kept in a preserving solution until
they are washed and carefully cut along their length
into narrow strips. These strips, after being cleaned
of fatty tissue, are then assembled into a sufficient
number to make the string desired. While still wet,
they are stretched between a stationary peg and a
device which twists them slowly as they dry. A more
detailed article about gut string making and its history
will appear in a future issue of the American Harp
Journal.
Ideally the gut string should come to us in a long
tube rather than being coiled. Obviously this is not
practical. A gut string must be handled with great
care from the moment it is removed from the package.
Without knowing it we can untwist the fibers
slightly, which results in falseness and weakness.
When making the holding knot, it is virtually impossible
not to untwist the fibers. To regain the twist
I have found the following procedure to be effective:
1. Push the string downward through its eyelet in the
soundboard only far enough to make the knot.
Excellent directions are found in most method
books and perhaps it wouldn't hurt to re-read
them. (Particularly fine visual directions are found
in Method for the Harp by Salzedo and Lawrence,
G. Schirmer, Inc., pp. 32 through 41.)
2. Make sure the hole in the tuning pin is at the
perpendicular to permit free motion of the string.
3. Check the direction of the twist in the string. It
will probably be twisted in a clockwise direction.
4. Pull the string up firmly through the tuning pin
hole without passing it over the stationary or adjustable
nut. Then back it off slightly.
5. Rotate the string in the direction of its manufacture
(generally clockwise) until a slight wave appears
in the string from bottom to top. Then pull
the string again upward firmly, place it over the
nut, lock it on the tuning pin and bring to pitch.
(This procedure is somewhat awkward, but with
practice becomes almost second nature.)
6. CUT OFF THE EXCESS STRING. There is
probably nothing more unsightly or unprofessional-looking
than a harp with string-ends
sticking up, and worse yet, when there are
little coils left dangling or when the excess is
woven around the tuning pins. It always suggests
to me that the music about to be performed is
going to be equally undisciplined. That portion of
the string which has been wound around the tuning
pin is out of round and would never produce a
true tone. It is much better to save a gut string by
patching.
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22 AMERICAN HARP JOURNAL

Nylon Strings
A nylon string requires no special attention except
that since it is rather slick, the holding knot will
sometimes undo itself when you bring it to pitch.
Doubling or tripling the safety loop seems to help.
Also, since nylon stretches more than gut, pull the
string quite taut (making sure it passes over the nut)
before making any turns with the tuning key. This
will prevent over-coiling on the pin.
Although this article is aimed toward economy, I
strongly advise maintaining good strings on your
instrument. Don't allow your ear to become accustomed
to false or dead strings.
In the case of nylon strings you must watch for
"pitting'' of the string which is created by the disc
pins. This not only creates weakness but also puts
the string out of round and makes it false. There is
no remedy other than to change the string, since it
can never be in tune in natural or sharp.
2. Always tune your harp in the key of C-flat. If your
pitch source is A- or C-natural, tune the string to
the proper vibration, release the pedal to flat position,
return it to natural and check it against the
source. You will probably have to retune it, perhaps
even a second or third time. The greatest
amount of stretch occurs between the tuning pin,
stationary or adjustable nut and the disc pins,
thereby causing unevenness of stretch along the
entire length of the string. (It goes without saying
that your harp must be kept in good regulation at
all times.)
3. Intertwining a narrow felt strip among the strings
below the middle octave in which you set the
temperament will prevent these strings from vibrating
sympathetically (they will be heard even
when off pitch). As you tune downward, remove
the felt, string by string: your tuning of these
strings will be easier and more accurate.
Some Thoughts on Tuning
1. I suggest that you read Jane Weidensaul's book,
Scientific Tuning. It contains invaluable information
which is explained clearly and concisely.
4. The lowest three or four notes of the harp are
often rather hard to hear. Try plucking the string
with the fingernail just a few inches below the
stationary nut. (This will more intensely activate
the upper harmonic partials, making the vibrations
easier to hear.
We offer a fine range of handmade Harps based on
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Winter/1980 23

Britten's
A Ceremony of Carols
by Julia S. Anderson
Julia S. Anderson was born in Womelsdorf, Pennsylvania
and completed undergraduate work in music at West Chester
State College. She holds three graduate degrees in addition:
Master of Arts (New York University), Master of Sacred
Music (Union Theological Seminary), and Doctor of
Education (Teachers College, Columbia University). The
present study is drawn from her 1977 doctoral document,
"Music for Women's Chorus and Harp: a Study of the
Repertory and an Analysis and Performance of Selected
Compositions." Another excerpt was printed in this Journal
(summer, 1975) under the title "Music for Treble Voices
with Harp Accompaniment." Dr. Anderson is Professor of
Organ and Choral Conducting at William Paterson College,
Wayne, NJ, and is an active recitalist in the greater New
York area. Owing to limitations of space, some of the text of
the original work has been abridged and a number of musical
examples omitted. The complete dissertation is available
from University Microfilms.
Britten was in America when World War II broke out
in 1939, having followed Auden here in the hope of
finding a welcome for his compositions and a refuge
from the political climate in Europe. The three years
that Britten spent in America constituted a time of
great creative activity. It is interesting to note that all
the works written during this period were either concert
settings or settings of foreign poetry. On the
journey back to England, he turned to English verse
for two choral works written during the long sea
voyage, the Hymn to St. Cecilia and A Ceremony of
Carols.
A Ceremony of Carols was the first of the new compositions
to be heard on his return to England. The
charming and evocative piece was first performed by
the Fleet Street Choir, conducted by T. B. Lawrence,
in Norwich Castle on 5 December 1942. A Ceremony
of Carols quickly became popular: very much in evidence
were Britten's consummate ease of expression,
musical invention of immediate attractiveness, and a
way with words that seemed, indeed, to be a true
extension of their power, rather than a mere musical
addition to them.
Britten's choice of texts is of great significance. He
was a devout and practicing Christian who had been
greatly influenced by the Church of England's heritage
of liturgy and music. The words are drawn
mainly from anonymous medieval carols of the fifteenth
and sixteenth centuries, but there are also
settings of poems by James, John, and Robert Wed-
24
Painting of Benjamin Britten by Henry Lamb. (Courtesy of Boosey
& Hawkes.)
derburn, Robert Southwell, and William Cornish as
well as a liturgical chant. Although these words reflect
a choice of religious texts, interestingly enough,
they are mainly non-Biblical. The derivation of his
use of the mixture of Latin and the vernacular can be
traced to the liturgical drama of the twelfth and
thirteenth centuries; his predilection for using multiple
texts is apparently derived from the thirteenthand
fourteenth-century French motets.
A Ceremony of Carols demonstrates the unusually
beautiful combination of treble voices and harp.
Britten gives the option of piano instead of harp and
has also authorized a version for mixed chorus although
the resultant colors and sonorities are not the
same. [The SA TB version was not made by the
composer. -Ed.]
Generally, there is a simplicity of harmonic structure:
a favorite technique is the mingling of tonality
and modality, and the alternation of major and minor
by the chromatic change of the third. Contrast in
texture is achieved by the alternation of chordal,
imitative, and unison singing. There is no elaborate
counterpoint in this work, but rather the repetition of
significant figures, either rhythmic or melodic, and
an abundant use of canons and ostinatos. All the
sections are monothematic and many are in ternary
form. Rhythmic vitality characterizes the cycle.
Rhythmic flexibility is achieved by the use of melodic
patterns and metrical arrangements that are dictated
by the text.
AMERICAN HARP JOURNAL

Overall Design
Erwin Stein has observed:
In his song cycles, choral works and operas, he [Britten] did
not so much aim at integrating the pieces, movements or
acts thematically as at achieving unity of the whole by
skillfully coordinating the parts.'
University of Rochester
EASTMAN SCHOOL OF MUSIC
A Ceremony of Carols is no exception to the rule.
Although the cycle begins and ends with a liturgical
framework, the plainchant, there is no obvious connection
by theme or rhythm between the movements
except the recall of the chant in the harp interlude.
The key connections have been considered in the
individual analyses, but it should be pointed out that
the impression of framework is strengthened by the
fact that the first and second pieces and the penultimate
and final pieces are all on a species of A, either
major or modal. The collection of poems is varied,
but the texts are unified by reference to some aspect
of the Nativity. Only the "Spring Carol" does not
allude to the events of Christmas; the reason for its
inclusion remains hidden.
The placement of the harp "Interlude" about halfway
through the cycle suggests that Britten felt a
certain climax had been reached in "This Little
Babe," as indeed it had, and that the moment of
restful denouement was at hand. None of the concluding
movements involve the aggressive intensity
of "This Little Babe."
Some directors have tried to solve balance problems
for performance with large groups by the use of
two harps. Since a perfect unison between two
plucked-string instruments is nearly impossible to
achieve, discreet amplification would be a more artistic
alternative, although most harpists deplore, and
rightfully so, any electronic modification of the tone
of the instrument.
"Procession" and "Recession"
The only sections of A Ceremony of Carols based on
pre-existing material are the identical "Procession"
and "Recession" which are derived almost literally
from an Antiphon to the Magnificat for Second Vespers
on Christmas Day. 2 Britten apparently put aside
considerations of English nationalism in choosing a
chant from the Gregorian rather than from the Sarum
rite.
The original plainchant is cast in Mode I; it begins
on step three of the mode and rises to consistently
flatted Bs, thus creating the illusion of a modern
major scale. Britten has chosen to dwell upon the
major sonority of the chant; the tonal center, however,
is placed on A. The chant is quoted almost
verbatim, except for insignificant deviations connected
primarily with text-setting.
Winter/1980
Eileen Malone
professor of harp
Eastman School Degree Programs:
BACHELOR OF MUSIC
• applied music, vocal and instrumental • music
education • theory • composition • music history
MASTER OF ARTS
• music education • musicology • theory
MASTER OF MUSIC
• performance • music education • composition
• jazz studies and contemporary media
DOCTOR OF PHILOSOPHY
• music education • musicology • theory
• composition
DOCTOR OF MUSICAL ARTS
• performance and literature • music education
• composition • conducting
For more information, or for a copy of the Eastman
Bulletin, wri•e: Charles Krusenstjerna, Director of
Admissions, Eastman School of Music, 26 Gibbs St.,
Rochester, N.Y. 14604. The University of Rochester
offers equal opportunity to all applicants.
25

26
Faculty:
Kathleen Bride
THE MANHATTAN
SCHOOL OF MUSIC
120 Claremont Avenue
New York, N.Y. 10027
home address:
13 Schuyler A venue
Pequannock, New Jersey 07440
(20 I) 696-8185
MUSIC for TWO HARPS
Arranged by Sharon Watson
1. Patapan, Coventry Carol, Carol of the Bells
2. Joy to the World, 1 Heard the Bells on Christmas Day ;tmas
3. Rudolph the Red- oserl Reindeer
4. Sleighride - L. Anderson
5. Gesu Barnbino-P. Yon
6. Let it Snow, Let it Snow, Let it Snow
7. Carol of the Drum-K. Davis
8. Amazing Grace & Just a Closer Walle with Thee
9. Be Thou But Near-J. S. Bach
10. My Heart Ever Faithful-J.S. Bach
11. Where'er You Walk-G. F. Handel
12. Firework Music (4 pieces)-G. F. Handel
13. Juba-N. Dett
14. Romance-A. Rubinstein
15. Liebesfreud-F. Kreisler
16. Pavanne-M. Gould
17. Dizzy Fingers-Z. Confrey
18. Laughter in the Rain- Sedaka, Cody
19. Rhapsody in Blue Thernes-G. Gershwin
20. I Got Rhythm-G. Gershwin
21. Sweet Georgia Brown - Bernie, Pinkard & Casey
22. All the Things You Are - Rogers, Hammerstein
23. Smoke Gets in Your Eyes- Kern, Harbach
24. If I Loved You-Kern, Harnerstein
Each piece (both parts included) $3.00.
Sold at Lyon-Healy, 64 E. Jackson Blvd., Chicago, IL
60604 & International Harp Corp., 1830 14th
St., Santa Monica, CA 90404
For further information,
write to Mrs. Sharon Watson
2230 Oakdale
Highland, Indiana 46322
• • '
fi Odi- e • Chri-stus na-tus est : hodi- e Salvator
apparu- it : h6di- e
. = •• I •
in tcrra canunt Ange-Ii, laetan-
• ;!• I § rii'
tur Archange-li : h6di- e exsul-tant justi, di-centes :
• =
... r. .r- ..
Glo-ri- a in excclsis De- o, alle- lu- ia. E u o u a e.
Fig. 3. "Rodie Christus natus est" from the Gregorian rite.
At measure 10 of the score, however, Britten transposes
the chant a third higher, apparently so that it
may retain a major feeling by reaching a cadence on
the tonal center A. The transposition provides an
opportunity to show the upper register of the treble
voice to advantage. The final "Alleluia" in measure
17 has not been located in any liturgical source, and
is thus presumed to be original. This material serves
to set the tonal stage for the piece to follow and
brings the "Procession" and "Recession" to a satisfying
conclusion in the major mode. The final "Alleluias"
may be repeated ad libitum in order to allow
sufficient time for a procession or recession of any
length.
"Wolcum Yole"
The second piece of A Ceremony ojCarols, "Wolcum
Yole," bears the familiar ABA design. What is unusual,
however, is that the B section is divided into
two contrasting parts; this B section, furthermore,
exhibits greater proportionate length than might be
expected in a typical tripartite design. To be specific,
the first section is cast in a homophonic style over a
chordal harp ostinato figure consisting of the tonic
and supertonic seventh chords of A major. Following
the twenty measures of the initial A section, the B
section is introduced by a change of style, with the
harp eliding over the final chord of the voices in
Section A. The voices enter from the lowest to highest
in rhythmic (although not intervallic) imitation at
measure 22. The entrances rise from A below the
treble staff to a climax on E at the top of the treble
staff, each successive voice entering in unison with
the second note of the preceding voice.
Polytextuality is introduced at the imitative entrances
of Section B, a device reminiscent of the
thirteenth- and fourteenth-century French motet.
Unity is maintained by the harp accompaniment figure
which is derived from measure 20 of the Treble I.
At measure 32, however, the three parts again resume
homophonic texture to set the stage for an
enharmonic modulation through F minor (C-sharp
enharmonic D-flat) to C major which is ac-
AMERICAN HARP JOURNAL

complished at measure 38. The B section then continues
in block chord style to a pianissimo unison
cadence on E above middle C, a dominant preparation
for the return of Section A and its A major
tonality.
A drive to the climax is created, beginning at
measure 70, by a return to block chord style, accompanied
by the directions sempre crescendo and poco
animato. A pungent dissonance strikes the ear on the
second beat of the first, third, and fifth measures of
this homophonic section when the second treble rises
to E against the first treble F-sharp and the third
treble D, forming a "tone cluster."
A colorful use of the Phrygian cadence appears
between measure 77 and the conclusion of the piece.
The normal progression in such cases is vii 6 - I.
:
Fig. 1. Phrygian cadence.
The D of the vii 6 chord is heard only in the preparatory
IV~ chord, however, and is chromatically embellished
with E-flat and C-sharp leading to the chord of
resolution, A major, in the following manner:
Fig. 2. Britten's adaptation.
The harmonic rationale for the progression is made
clear in the following quotation from Grove's Dictionary,
which defines Phrygian cadence:
A survival from the system of modes: a cadence in the
Phrygian mode, but harmonized in later music, where the
closing chord of a major key is a triad, not on the tonic, but
on the dominant of the relative minor, with the third sharpened
... .3
The concluding A major chord, considered in the
light of the above quotation, thus serves as the dominant
of D minor, the relative minor of F major,
which is the opening tonality of the succeeding piece.
"There Is No Rose"
"There Is No Rose" begins on the prepared tonality,
F major. The basic structure consists of verses of
various lengths in Middle English followed by musical
refrains to Latin texts. The harp accompaniment
Winter/1980
1980 CATALOGUE
HARP PUBLICATIONS
3437 Tice Creek Drive, No. 2
Walnut Creek, California 94595
Telephone: (415) 935-3338
EIGHTEENTH CENTURY -HARP SOLOS
J. -B. Cardon Sonata No. 1, Op. VII
J. -B. Cardon Sonata No. 2, Op. VII
]. -B . Cardon Sonata No. 3, Op. VII
J. -B. Cardon Sonata No. 4, Op. VII
J. B. Krumpholtz Sonata No. 1, Op , XII
J. B. Krumpholtz Sonata No. 2, Op , XII
J. B. Krumpholtz Sonata No. 3, Op XII
J. B. Krumpholtz Sonata No. 4, Op, XII
J. B. Krumpholtz Sonata No. 1, Op. XIII
J, B. Krumpholtz Sonata No. 2, Op. XIII
J. B. Krumpholtz Sonata No. 3, Op. XIII
J. B. Krumpholtz Sonata No , 4, Op. XIII
J. B. Krumpholtz Sonata No. !, Op. XVIII
J. B. Krumpholtz Variations on an Air of Marlborough, Op. X
J. B. Krurnpholtz Van·a1ions on an Air by Mozart, Op. X
J, B. Krumpholtz Variations on "Jay du bon 1abac", Op. X
W A. Mozart
Concerlo for Flute and Harp, K. 299, harp
part
A. Vivaldi/Lawson Concerto No. 5, Op. III from "L'Estero
Harmonica" arranged for Harp
EIGHTEENTH CENTURY-VOICE AND HARP
J. B. Krumpholtz Five Songs for Voice and Harp, Op. X
NINETEENTH CENTURY -STUDIES AND SOLOS FOR HARP
R. N. C. Bochsa Grande Sona1e in E Flat
N. B. Challoner Sonata No. 1, Op. II
N. B. Challoner Sonata No. 2, Op. II
N. B. Challoner Sonata No. 3, Op. II
Cramer/Chatterton Air wilh Variations on "Rousseau's
Dream"
F. J. Dizi Tazah b'Tazah, a Hindustani Air with
Varialions
Gallenburg/Bochsa A Favorite WalLZ
F. Godefroid Harpe Eolienne
F. Godefroid Melancolie
A. Hasselmans Ballade
A. Hasselmans Gitana
F. -J. Naderman Sonatinas, Book 2, Op. 92
C. Oberthtir Orpheus, ConcertsrUCk, Op. 253, Harp
and Piano parts
Reisiger/Bochsa Weber's Lase Waltz
Schubert/Godefroid Waltz No. 2 in A Flat
A.H. Zabel Concert Erude No. 1
A.H. Zabel Concert Erude No. Z
A.H. Zabel Concert Etude No. 3
TWENTIETH CENTURY -HARP SOLOS
K. Attl Longing
M. Delmas Priere
J. Dubez Deux Chansons Sans Paroles
H. Reni~ Esquisse
B. Taxman Three Pieces for Solo Harp
M. Tournier
G.B. Vamos
G.B. Vamos
L. Vick
1. .. Meditation" 2. "Chordal Piece"
3. "Fligh('
T rois Preludes
Gypsy
Legend of rhe Redwoods
Fragment or "The Gemle Harp"
$4.00
4.00
4.00
4.00
4 00
4.00
4.00
4.00
4.00
4.00
4.00
4.00
4.00
3.50
3.50
3.50
4.50
4.00
5.00
4 50
4.00
4.00
4.00
4.00
4.00
3.00
3.50
3.50
3.50
3.50
6.00
7.00
3.00
3.50
3.50
3.50
3.50
3.00
3.00
3.00
3.00
3.50
3.50
3.50
3.50
3.50
TWENTIETH CENTURY -HARP WITH VOICE OR INSTRUMENTS
W. Ellis Christmas Camara or "The Na1iviry of
Chrisc'' for SATB, Harp, Flute and
Organ (Piano or Harpsichord may be
substituted for Harp) 5,00
W. Ellis Lierle Lamb, Who Made Thee? for
Women's or Children's Voices-
Soprano I, Soprano II and Alto (Organ
or Piano may be substituted for Harp)
I.SO
D. Morton
Tears Idle Tears, a Trio for Soprano, Oboe
and Harp on a poem by Alfred Lord
Tennyson, 3 pts
6.00
TWENTIETH CENTURY-CELLO AND PIANO
G. B. Vamos Circus, a Suite for Piano
G. B. Vamos Cello Concerto ind minor for the Student
Cellist (includes cello and piano parts)
4.00
7.00
REVIEWS:
H. C. Robbins l ,don. Notes (Music Library Assoc.), Vol. 33/3 (March 1977).
O
John Ma,son. Musical Times Vols. 114/1567 and 117/1599 (London,
Sep 1973 and May 1976).
Walter Manin. NATS Bulletin (Oct 1976).
Etc.
27

follows a dominant-tonic ostinato during the verses
but adds an independent treble line based on parallel
seventh chords suggestive of the opening choral
motif when the chorus chants its unison Latin refrains.
A spirit of free chant is suggested by the
two-against-three rhythm of the refrains.
The tonality of "There Is No Rose" is purposefully
vague. Although the melody outlines the basic
pitches of the key of F in the opening choral motif,
the key center is not clearly defined. The ostinato
harp figure begins on C (the dominant of the key of
F), the Latin phrases are intoned on the dominant
throughout the composition, and the final chord is a
tonic chord with its fifth in the bass. The emphasis
on the dominant results in a hypo-modal sound.
A trend toward an increasingly dissonant relationship
between ostinato and chorus is achieved by the
addition of an ever-increasing number of flats in the
key signature, culminating at the end of the third
verse in D-flat major. The fourth verse continues in
the same key, but a sudden tonal shift is made in
mid-verse to A major (measure 28) to reflect the
brightness of the exclamation "Gloria in excelsis
Deo." The climax of the piece occurs when the first
trebles reach their fortissimo high A at measure 31 on
the word "Deo." Following another chant-like Latin
refrain, the music of the first verse is recalled. The
subsequent Latin refrain text "Transeamus" is set
not in the parlando style of the previous refrains but to
a soaring line duplicated at the upper octave by the
first trebles. A secondary climax is marked by the first
break in the ostinato pattern: a clear agreement of
chorus and accompaniment on the chord of E-flat
major is heard briefly in measure 47. The tonal shift
back to F major is accomplished via F minor, a
technique seen also in "Wolcum Yole" (mm. 36 to
38). The denouement consists of the Latin refrains
murmured in sequence pianissimo. A ritard is written
in by the use of note values of greater length.
"That Yonge Child"
"That Yonge Child" begins in F minor, the parallel
minor of the preceding piece. Although cast in a
loose bipartite form, the piece is unified by the harp
ostinato figure. The sixth step of F minor-D-flathere
functions as an appoggiatura to the dominant. In
Section A (mm. 1-8), the bass of the harp accompaniment
follows a descending minor tetrachord, although
the final C is not sounded by the harp but,
rather, by the voice. The text is set in recitative style,
each phrase rising to a climactic note, then falling.
With each successive phrase, the note of climax rises
higher from the first note than it did in the preceding
phrase.
The first five measures of Section B (mm. 9 to the
end) are set in A minor, followed by A major. The
voice part follows the pattern of parlando phrases
previously described. At measure 13, the dominant
harp ostinato figure is repeated with increasing
rapidity to a dynamic crescendo, thus setting the stage
28
for the climax, sung to a rising A major chord. The
intensity subsides through a diminuendo in measures
15 and 16. Voice _and harp cadence in C-sharp major
in measure 17, but the ostinato to C-natural lingers
on: the ear begins to accept the D-flat (originally a
dissonance) of the ostinato figure as C-sharp in the
last two measures, which then becomes a dominant
preparation (now a consonance) for the succeeding
piece. This close relationship is evidenced in Britten's
numbering of the two pieces as 4a and 4b.
"Balulalow"
"Balulalow" exhibits ambivalence between F-sharp
major and F-sharp minor, the subdominant key of the
C-sharp of the preceding piece. It is in a modified
strophic form. Hemiola is responsible for much of the
rhythmic interest: the accompaniment falls consistently
into three groups of two, while the voice parts
are usually cast in two groups of three and, occasionally,
in three groups of two. The usual~ rhythm of the
voice parts undoubtedly is intended to suggest the
rocking of a cradle, for "Balulalow" is a lullaby.
For the first time in A Ceremony of Carols, considerable
contrast of texture is exhibited. The first strophe
is taken by a solo voice, the second by the chorus in
homophonic style (entering by elision over the first
strophe), the third by the chorus in polyphonic style,
and the conclusion is set for solo voice and chorus.
The final chords return again to the alternating F­
sharp major and F-sharp minor of the beginning.
The harmony of the accompaniment serves to illustrate
the text between measures 18 and 21. As the
chorus sings "The knees of my hert sall I bow
... ," the harp descends from D major through C
major to B-flat major.
Britten's designated close relationship of 4a and 4b
via text and numbering has previously been noted.
They also share an ambivalence of key and pliant
rhythmical patterns.
"As Dew in Aprille"
"As Dew in Aprille" opens with a unison entrance
of chorus and harp on B-flat, enharmonically translated
from the A-sharp of the final F-sharp major
chord of "Balulalow." When this initial B-flat rises to
E-flat, accompanied by a broken E-flat major chord
played by the harp, the new tonality of E-flat major is
firmly established. The piece is divided into three
sections, of which the middle section exhibits
canonic style. The first section (mm. 1-11) is cast in
homophonic style, as is the third section (mm. 41 to
the end). The three-part chords of the voices are
supported by the broken-chord accompaniment of the
harp.
The middle section (mm. 12-41) is composed of a
two-part canon at the unison, split between three
voice parts. The canon is introduced first by the
Treble III, which functions as the dux. The part of
comes, however, is divided between Trebles I and II.
At the second entrance (m. 22), Treble II assumes
AMERICAN HARP JOURNAL

the role of dux, while the role of comes is divided
between Trebles I and III. At the third entrance (m.
30), as one might expect, Treble I functions as dux
and the role of comes is divided between Trebles II
and III. Britten directs that the final unison note held
by the chorus should be made increasingly louder, as
a preparation for the succeeding piece.
"This Little Babe"
"This Little Babe" begins in E-flat minor (Aeolian
mode), the parallel minor key of the preceding work
in E-flat major. The initial theme, sung in unison
(mm. 4- 17), functions perfectly as a melody on its
own. It is destined, however, for canonic treatment at
the unison at the close time interval of a quarter note
in two parts (mm. 20- 33), and in three parts (mm.
36- 50). Because of the close time interval, the effect
of stretto is achieved.
The chorus joins forces for a fortissimo homophonic
section to the text "My soul, with Christ join thou in
fight." The harmony (mm. 51-61) alternates between
E-flat minor and its dominant, B-flat major;
thus, the strength of the words is supported by the
strongest possible harmonic progression.
The climax of the piece brings back the opening
theme in augmentation, continued ever upward to a
cadence in E-flat major. The rhythmic interest in this
final section is created by the use of hemiola over
each two-measure unit. A real excitement is generated
when choral parts and harp accompaniment
enter into a non-simultaneous duple feeling against
the ~ time signature.
"Interlude"
In the "Interlude," the placement and character of
which remind one of the "Pastoral Symphony" of
Handel's Messiah, Britten offers evidence of consummate
craftsmanship. The entire plainchant of the
"Procession" (minus part of the Alleluias) is paraphrased
in the treble of the harp solo over an ostinato
pattern marked by a descending fifth. The notation of
the entire plainchant defies the usual laws of notation
for 1 ; meter.
It is obviously the composer's intention that quadruple
pulsation is to be avoided and that the plainchant
paraphrase should float freely above the ostinato,
thus retaining the character of plainsong. A
further contribution to the floating sensation of this
piece is made by the scoring of the ostinato figure in
harmonics, a special ethereal effect of which only the
harp is truly capable.
Modality and tonality are judiciously mixed. The
opening four measures are in the Aeolian mode on
A-flat. The ostinato then descends on a full step so
that the Mixolydian mode on G-flat is heard in the
following three measures. The bass figure descends
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instruction
m
harp
Bachelor of Music/Bachelor of Arts
Major in Harp
Electives in Harp
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A distinguished school of music for 100 years
Winter/1980 29

twice more (mm. 8 and 9), coming to rest on D-flat,
the dominant of the Mixolydian mode on G-flat previously
mentioned. At measure 12, the opening note
of the ostinato functions as a pivot from the previous
mode to the new major (Ionian) mode on C-flat.
Additional excitement is generated by a bass octave
duplication of the ostinato figure and by the doubling
of the treble parts in the range of the middle and
higher octaves simultaneously. At measure 15, the
ostinato is transposed to an Aeolian mode on E-flat.
The climax is reached at the bass E-flat of measure
17: the mode shifts to Phrygian with the addition of
F-flat.
At measure 19, the Lydian mode on F-flat is
suggested by an ostinato figure now disrupted while
the treble part continues its paraphrase of the chant
"dicentes gloria in excelsis Deo." A return to the
opening floating chant paraphrase, this time over an
ostinato figure on F-flat, begins at measure 22 and
concludes at measure 24. The ostinato figure continues
to the end, echoed at the octave in various
figurations of increasing rhythmic activity from one
note per beat to eight notes per beat, finally dissolving
into the glissandos of the end.
"In Freezing Winter Night"
"In Freezing Winter Night" is constructed as a
modified strophic form in the Phrygian mode on G in
~ meter. The first two strophes consist of an exact
canon between Trebles I and II, over an ostinato
figure in Treble III, supported by a bisbigliando harp
30
UCLA Extension
Announces
Mildred Dilling's
Eighteenth Annual
Master Class and
Workshop in Harp
Summer 1981 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, and the literature and materials of
popular music for students readying themselves
for engagements in the popular field.
June 29-July 10, 1981 at UCLA/ Fee: $150
For enrollment and credit information write:
Harp Workshop, Department of The Arts
UCLA Extension, Los Angeles, CA 90024
Tel"i =64
accompaniment. At the third strophe (m. 26) the
mode brightens to major and the Treble III part
begins to function in the harmony independently.
Trebles I and II continue in strict canon as before. At
the fourth strophe, the three choral parts enter into an
ostinato pattern under solos by the Treble I and
Treble II. In the final two measures the ostinato
pattern is broken off to produce the effect of a Phrygian
cadence in homophonic style. It hardly needs to
be mentioned that the "shivering" harp accompaniment
is intended to suggest the response of man to
exµ-eme and pitiless cold.
"Spring Carol"
"Spring Carol" is set for two solo voices, a sharp
contrast to the four-voice texture of the conclusion of
"In Freezing Winter Night." The formal structure of
the movement may be described as A, A', B, A. The
tonality is obscure.
A comparison with the previously discussed vague
tonality of "There Is No Rose" reveals a striking
similarity of compositional procedure. Britten again
employs an ostinato harp accompaniment in one
tonal area as a foil against the vocal writing which is
of a different construction, resulting in a bimodal
setting. The harp accompaniment seems to be in D
major (as indicated by the composer for the glissando
set-up), but like the harp accompaniment of "There
Is No Rose" the ostinato pedal begins on the dominant
of the key. The resultant hypo-modal influence
is maintained throughout the A and A' sections.
To further cloud the issue, the vocal writing seems
to alternate between the centers of E and D. The
Treble II part begins at the hold of Treble I (m. 5)
and is composed of the first theme freely inverted.
The process is directly repeated to the same text,
except that Treble I rises a step higher at the conclusion
of the phrase, and the inverted answer is sung a
third higher, still to the same harp ostinato.
The two voices sing homophonically in thirds
during the B section on the phrase "God's purvayance
for sustenance, It is for man, It is for man.
. . ." Britten here departs from the natural word
accents of the text and, instead, stresses the weak beat
of the measure. The first clear cadence does not
occur until the end of the B section (m. 19): V 7 - I in
D major.
With the transition back to the A section, the
strong dominant feeling is reinforced by the harp
ostinato figure and permeates even the last two measures,
at which point an E minor seventh chord is
juxtapositioned above the dominant pedal. The
tonality-modality is never really clarified and remains
purposefully obscure.
[Peter Evans, in his more recent work on Britten's
music, considers the treble lines to be in the Dorian
mode on E, which confirms Dr. Anderson's rightly
cautious description of the piece as a "bimodal setting."
AMERICAN HARP JOURNAL

The harp's figuration is clearly D major despite the conspicuous
absence of the leading note (a fairly constant uait
of this cycle, together with the avoidance of the direct V -1).
But the vocal line is heard rather as Dorian on E, so that the
piece points both as IV and V towards the returning A of
"Deo Gracias."•
-Ed.] 4
"Deo Gracias"
The form of "Deo Gracias" is A A' B Coda. The
material of all the A sections is in the Dorian mode
on A, although at the beginning the modality is not
clear. The example of Stravinsky is not lost on Britten
in the work: the chorus declaims its text as a
staccato percussive chant, while the harp accompanies
with a scale figure sotto voce under the chant.
Syncopations almost suggestive of jazz punctuate the
choral material just before the cadence. Following a
direct repeat with change of text for the second
stanza, the harp shifts its scale accompaniment to the
upper register. The chorus resumes its staccato chant
as before (pianissimo), but at the conclusion of the
stanza rises in brilliant cadence to an E major chord
which functions as a dominant pivot chord to A
major, the apparent key of section B; shortly, however,
the Mixolydian mode is revealed by the G­
naturals.
Throughout Section B the harp accompanies with
octaves filled in by fifths and fourths, a fanfare-like
figure. Over this figure the chorus continues to declaim
its text, this time in the highest register
reached in the piece. A climactic syncopated section
which features the interval of a minor third (derived
from the Mixolydian influence on A major) brings
the piece to a final cadence on an A major chord.
A Coda follows of mixed modality. The chorus
enters into a lively stretto on the opening pentatonic
theme in the Aeolian or Dorian mode (without the
sixth scale degree one cannot be sure), while the harp
accompanies with an ostinato glissando terminating
on an A major chord. Bisbigliando glissandos at the
end, which suggest a tone cluster, immediately precede
the final A major glissando as the chorus sustains
the terminal A major chord.
"Deo gracias," the penultimate number in the
cycle, seems to bear the same relationship to the
framing "Recession" as "Wolcum Yole" did to the
opening "Processional". They are both spirited and
of metrical design to contrast with the plainchant.
With the repetition of "Hodie Christus natus est,"
Britten brings to a conclusion his seemingly timeless
Christmas gift to harpist and chorister alike.
Notes
'Erwin Stein, "The Symphonies," in Benjamin Britten, ed. Donald
Mitchell and Hans Keller (London: Rockcliff Pub., 1952; reprint
ed., Westport: Greenwood Press, 1972).
'Liber Usualis: With Introduction and Rubrics in English, ed. the Benedictines
of Solesmes (New York and Tournai, 1963), p. 413.
3
Eric Blom, ed., Grove's Dictionary of Music and Musicians, 5th ed.
(London, 1954), 6:723.
4
Peter Evans, The Music of Benjamin Britten (Minneapolis, 1979), p.
87.
Winter/1980
University
of Oregon
School of Music
Ruth Lorraine Close
Harp Fellowships
$55,000 available
in awards of $3,000,
$2,000, or $1,000
ELIGIBILITY :
Applications are encouraged from all areas of
performance on an orchestral instrument, keyboard,
voice, or harp, and from the fields of composition,
history, or music education.
Application deadline: February 5, 1981
Audition dates : March 13, 14, 1981
COMPETITION PROCEDURES
Close applicants will perform for a panel of nonresident
adjudicators :
Gwendolyn Koldovsky, pianist and vocal coach,
U. of S.C.
Susann McDonald, concert harpist, Los Angeles
Morton Feldman, composer State U. of N.Y. at
Buffalo
William Kuyper, hornist, New York Philharmonic
ADMISSION PROCEDURES:
Entering students at all levels will be selected for
admission as music majors in the School of Music by a
representative faculty committee on the basis of the
students' qualifications and the space limitations of the
school. Early application is recommended.
GRADUATE PROGRAMS AVAILABLE:
D.M .A. in Music Education (teaching) composition,
performance, history, and musicianship.
D. Ed. in M usi•c Ed uca tion (admi nistration)
Ph.D. in M usic Education (resea rch)
M . Mus. and M.A. ava ilable in all fields listed above
plus choral conducting and theory
FOR FURTHER INFORMATION WRITE TO:
Monette Rider, Dean
School of Music
University of Oregon
Eugene, Oregon 97403
Th e Un1versi1y o f OrC"1

The Amazing Dorothy Remsen
by Carrol McLaughlin
This article is the first of a series about personalities in the
studio, jazz, and popular fields. In beginning with Dorothy
Remsen, we recognize not only an outstanding professional,
but also a fine person whose selfless contributions to the
American Harp Society are without number. -Ed.
Dorothy Remsen's first view of a harp was, prophetically,
in a studio of WTIC, Hartford, where she was
playing xylophone in a children's concert. Her accompanist
for that performance was her grandmother,
a Vaudeville theater organist who had always wanted
to play harp.
Mildred Godfrey Hall, the studio harpist in
Hartford, became Dorothy's first teacher. The lessons
continued for four years, until graduation from high
school at the age of 16.
Dorothy attended The Eastman School of Music,
and was the first harp major to graduate under Eileen
Malone. Her early professional experience included
playing with the Buffalo Philharmonic and the Minneapolis
Symphony. At this time Dorothy's husband,
also a graduate of Eastman, held a chair in trumpet
with the Los Angeles Philharmonic which required a
move to Los Angeles. Dorothy performed extensively
Dorothy Remsen
there in chamber music and orchestral concerts as
well as in solo recitals. She played for many years
with the Monday Evening Concert Series of contemporary
music, working with such artists as
Stravinsky and Boulez. Her first studio job was Water
Birds, a Walt Disney wildlife adventure. Dorothy has
32
AMERICAN HARP JOURNAL

Dorothy Remsen performing on two harps with different tunings.
been working at Disney ever since, and is now one of
the top studio and free-lance harpists in the United
States.
The Disney studio was one of the first "independent'',
or non-contract companies; traditionally,
studios contracted a full orchestra for a year's work
and each studio had a harpist. Eventually contract
orchestras were eliminated, and now musicians are
hired for each service.
The major studios in Los Angeles include
Paramount, Fox, MGM, Universal, Warner Brothers,
Columbia, and Disney. Musicians are hired through
a contractor: they may be called anytime from three
weeks to one day before a job. Often the same musicians
will work together as first choices on the contractor's
lists. •
Music is the last thing to be added to a motion
picture, so there is always a deadline. The composers
may have as little as two days to write the music
before it has to be recorded. Copyists work day and
night to supply the parts, and are incredibly accurate
in their work. The composer is usually the leader or
conductor, and parts are often predictable because of
the composer's style. Besides movies, there are also
television programs, records, and commercials produced
in Los Angeles.
Dorothy says she can count on the fingers of one
hand the number of times she has felt pressured in
the studios. She finds the working atmosphere pleasant
and relaxed. Fellow players are very supportive,
and all are superlative musicians. After an important
solo part, studio players often applaud their fellow
performers.
Dorothy recalls one experience in a Los Angeles
studio: there had been an all-day call, with an "end-
Winter/1980
less thick book" of parts. After the first hour, no time
was left to rehearse the parts before the actual recording.
On the last cue of the day there was a
tremendous harp solo. Dorothy recalls getting into
the solo with everything "going great'', only to discover
that the copyist had not aligned the treble and
bass parts, so the right hand part appeared at a different
place than the left hand part! Other favorite
moments of studio experience include walking into a
recording session of the second movement of the
Mozart Flute and Harp Concerto without any prior
warning or rehearsal time, and a part written for two
harps, tuned in two keys, which Dorothy played simultaneously.
In addition to her demanding professional career
Dorothy has for the past five years been Office Manager
for the American Harp Society. The position
originated with Dorothy's appointment, and the
majority of all correspondence to the American Harp
Society goes through Dorothy's home office.
She loves all her work-AHS business or playing
harp-and manages everything with the competence,
sincerity and charm which radiates to all who meet
her. To be successful in the studio world one must be
an excellent musician and a "marvelous sight
reader." When asked about mistakes, Dorothy replied
with typical candor, "Well you just don't make
many."
WISCONSIN
Harp instructor:
Danis Kelly- Solo harpist
Milwaukee Symphony
3chool of Music
The University of Wisconsin-Madison
Humanities Bldg., 455 N. Park St.
Madison, Wisconsin 53706
Telephone: (608) 263-1900
33

now available
I ... des Fleurs
( Solo pour la Harpe)
Trois Memoires
Robert M. Freedman (ASCAP)
I~:;::: :-1
Con moto ~ = 112
,,,1,,,, ~: :fr:grru
:::,:1 I :
poco rail.
~~ :£ 1,:::::: I
r~: C!CT:
F~ G1 cresr. Eb Ab
DI Bb D ,
II ... de la Joie
J_ = 112
Ill • • • de la Solitude Rubato parlando .J = 70
mp-mf
JI-
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(N. Y. residents add sales tax)
Send check or
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money order to:
Total performance time ca. 11 min.
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220 E. 65th Street
New York, N. Y. 10021
34
AMERICAN HARP JOURNAL

Elie Siegmeister, Sioned Williams, Lucien Thomson, Pearl Chertok, and Bernard Grandjany at a reception following the concert.
Two debut programs were well-received by New
York City public and critics this past season. Sioned
Williams, Welsh harpist and winner of the Concert
Artists Guild competition, performed at Carnegie
Recital Hall on the evening of 8 April 1980 in the
middle of the transit strike. Raymond Ericson of the
New York Times wrote:
There were no doubts about her ability as a performer. Her
playing was technically smooth, accurate, rhythmically
steady and alive with color . . . . The Sonatine (Op. 30) of
Marcel Tournier, the noted French harpist, in a way comes
to terms with the harp and lets it do what it does best. It
provides the player with virtuoso effects to be exploited, and
they work beautifully. Miss Williams played it excellently,
as she had everything on the program, with lovely washes of
color and great delicacy.
In May Mary Emily Mitchell offered her program at
the Abraham Goodman House. Joseph Horowitz, also
of the New York Times, observed:
The harp is such an intractable solo instrument that merely
to play difficult music cleanly and accurately can seem a feat
worth noticing. But the first thing one noticed about Emily
Mitchell's playing Saturday night ... was her mature,
incisive musicianship, her sure grasp of style, her ability to
mold long phrases, the bold intensity of her climaxes. It
seemed mainly incidental that she also proved a superb
executant, demonstrating a broad range of color and
dynamics, and unusual facility in running passages.
In short, Miss Mitchell, who won first prize in the 1979
International Harp Contest in Jerusalem, is a marvelous
harpist whose technical skills seem always at the service of
the music.
Ms. Mitchell represented the AHS as exchange
recitalist at the 20th International Harpcourse in
Holland this past summer, and was featured as one of
the "Young Artists of 1980" in the July 1980 issue of
Musical America.
Winter/1980
Emily Mitchell
Dean Morrette Rider of the University of Oregon
has announced the winners of the Ruth Lorraine
Close Musical Fellowship Awards in Music. The
three grants of $2,000.00 each were won by Sarah
Bullen, Ann Pemberton-Roush, and Catherine White.
Sally Maxwell administers the competition for the
American Harp Society. (Photograph of Ann
Pemberton-Roush not received at press time.)
On the b., ,is of an audition by invitation, Barbara
Allen has been chosen principal harpist with the San
Francisco Symphony for the 1980- 81 season. Anne
Adams, who joined the Symphony in 1941, is retiring
from the job in order to have more time for solo
playing, chamber music, and the San Francisco
Opera which now runs concurrently with the Sym-
35

Sarah Bullen Catherine White Barbara Allen
phony. Over the years, Ms. Adams was featured by
the orchestra in a number of concerto performances;
she was also heard on concerts with Arthur Fiedler
and the Carmel Bach Festivals. In private life she is
married and the mother of four daughters, two of
whom are harpists.
Hye Yun Chung has been appointed Instructor of
Harp at the School of Music of Louisiana State
University at Baton Rouge effective fall, 1980.
Lou Anne Neill has been appointed instructor of
harp at California Institute of the Arts beginning in
the fall of 1980. She succeeds Catherine Gotthoffer
who retired this past June.
In its program booklet for the week of 24 April, the
Boston Symphony Orchestra offered its "farewell and
thanks" to Bernard Zighera, who will retire at the
conclusion of the 1980 season. The following summary
of the artist's career was printed beneath his
photograph.
Bernard Zighera leaves the Boston Symphony Orchestra at
the conclusion of the 1980 Tanglewood season. He has been
principal harp with the BSO since 1926, and he also served
as the orchestra's pianist for 18 years. Born in Paris and a
member of the French Legion of Honor, Mr. Zighera is a
former member of the Societe des Concerts and the Paris
Opera Orchestra; from 1936 to 1942 he organized and conducted
a successful series of chamber orchestra concerts in
Boston. A devoted teacher, Mr. Zighera has been on the
faculty of the Berkshire Music Center since its founding in
1940 and of the New England Conservatory since 1927.
A scholarship fund honoring Susann McDonald has
been established at California State University, Los
Angeles. The fund, earmarked for music students,
was announced by Frank R. Blair, President of
Friends of Music, the public support group for the
Department of Music at the University. Funds for the
scholarship came from proceeds of a 5 March benefit
program at the Music Center in Los Angeles sponsored
by Friends of Music. Ms. McDonald was honored
at the event.
Linda Wood was sponsored by the National Endowment
for the Arts to make five recital tours of
Alaska. Each tour included concerts for communities
and schools in Anchorage, Fairbanks, the Arctic Circle
and Southeast Alaska. Over twenty thousand
children heard and played the harp for the first time.
36
Anne Adams
Lisa Petrilli receiving her prize.
AMERICAN HARP JOURNAL

THE HARP STUDIO
If you're thinking about having your harp repaired,
think about this:
• Repairs can be scheduled within two or
three months, so you won't have to wait
a year or more to have your harp back
playing again.
• All repairs are done with the finest hand
selected materials available, and carry a
one year guarantee.
• A free follow-up regulation is included
with all major repairs.
• Our prices are the lowest to be found
anywhere.
Quality repairs at competitive prices
new necks & soundboards
Re-riveting, re-finishing & gilding
Regulations (in your home if desired)
Carl Swanson, Proprietor
137 Webster Street East Boston MA 02128
(617) 569 6642
Winter/1980
37

The Kathleen Alister scholarship has been established
at the University of the Witwatersrand by the
Harp Society of South Africa with a donation of
R5,000. In June and July of 1980 the Society allocated
further funds for the establishment of two more
scholarships at the University of Pretoria and the
University of Natal.
SABC-TV is at present making a film about the
life and career of Kathleen Alister to be called A
Musical Portrait. Ms. Alister is the founder of the Harp
Society of South Africa.
Roslyn Rensch-Erbes, Professor of Humanities and
teacher of harp at Indiana State University, was initiated
as an honorary member of Sigma Alpha Iota,
international music sorority, by the Terre Haute
Alumnae chapter in April 1980. She was already an
SAi member, having joined the sorority while an
undergraduate at Northwestern University. Honorary
membership is bestowed for exceptional musical
achievement. This spring Dr. Rensch-Erbes was the
recipient of a grant of $400.00 from the Indiana State
University Research Committee: the grant will help
her to implement the cross-indexing project of
magazines devoted to the harp. She was asked to
undertake this project as a member of the research
committee of the AHS. Ultimately the cross-index
material will be fed into a computer; print-outs will
then be available to AHS members and others.
The Quartet for Harp and String Quartet (1977) by
Leon Stein was given its first performance on 27
IN MEMORIAM
Marietta Bitter
14 October 1904
6 November 1979
Marietta Bitter was born in Weehauken, New Jersey,
in the castle studio her father had built for his
sculpting. On her eighth birthday she was presented
with a beautiful Irish harp for Christmas, beginning a
long and illustrious career. Her first lessons were
with Mildred Dilling who later took her to work with
Henriette Renie in France. In the decade of the
twenties she began her studies with Carlos Salzedo.
She often told the tale of hearing him play the Corelli
Giga and immediately knew that she must study with
him. She played many concerts in Europe and the
United States and then became a member of the
Salzedo Harp Ensemble. She often appeared as
guest soloist with the Miami Symphony Orchestra
conducted by her brother, John Bitter.
38
January 1980 by Stephen Hartman, harpist, and the
Governors State University String Quartet at Park
Forest South, IL.
For the first time in the history of the U.S. Presidential
Scholars program, twenty-one of the country's
promising high school artists have been selected to
be 1980 Presidential Scholars. They join a group of
120 seniors who have been chosen on the basis of
their outstanding academic achievements. Five musicians
were among the Presidential Scholars in the
Arts, all selected on the basis of rigorous screening
and live auditions: among the five was harpist Lisa
Petrilli of Louisville, KY. Medals were presented to
all the winners by Secretary of Education Shirley M.
Hufstedler at a formal ceremony on the South Lawn
of the White House. Ms. Petrilli will attend Yale
University this fall.
Eighteen students, from ten to fourteen years of
age, competed in a statewide contest sponsored by the
Salvi Company in Arizona last May. Winners of the
first level were Park Stickney ($100), Wendy Smith
and Celeste Graham ($75 each); second level winners
were Heidi Peng ($200), Keadron Marshall ($150), and
Louise Greer ($125). Dorothy Remsen of Los Angeles
and William Majers of the Arizona State Music Faculty
judged the competition. A similar competition
will be offered to the state of Texas this spring; other
states or regions interested in this project should
contact Suzanne Balderston.
Marietta Bitter became the wife of Walter Abel,
actor and film star and they made their home in
Westwood, California, close to the scene of the arts
and film studios. During this period she was very
active as a teacher, guiding and inspiring many of the
prominent harpists of today. When their children
were grown they returned to New York City and
Bedford, NY, where she continued her dedication to
the harp and became active as an executive in the
American Harp Society. She worked tirelessly at encouraging
young harpists, helping to launch their
careers and at the same time urging composers to
write for the harp. Marietta was never heard to condemn
a new work on one hearing. She was loyal to
all harpists, regardless of method, schooling, nationality
or background, attending all harp recitals in the
worst weather, always giving encouragement and inspiration.
What an example she left for us to follow!
The Marietta Bitter Memorial Award has been set
up as a tribute to her, and will be presented at the
1981 AHS competition in Portland, Oregon. Contributions
should be sent to Marcella DeCray, Treasurer,
30 Commonwealth Ave., San Francisco, CA
94118. Checks should be made out to the American
Harp Society for tax exemption, and please enclose a
note directing that the donation be used specifically
for the Marietta Bitter Memorial Award.
Pearl Chertok
AMERICAN HARP JOURNAL

EASTERN
M U S I C
FEST l VAL
June 20-August 1, 1981
Harp Study with
Kathy Kienzle
International & American
Prize Winner;
St. Paul Chamber Orchestra
Private Study
Master Classes
Chamber Music
Orchestral Performance
At The Eastern Music Festival
Greensboro, North Carolina
Age Limit 20 Years
For further information:
Joe Thayer, Director of Admissions
Eastern Music Festival
200 N. Davie Street
Greensboro, North Carolina 27401
(919) 373-4712
HARP STUDIOS
of
'P",tu, seJt..--a
NEW RELEASE!
The increasingly popular duo, Magical Strings,
announce their first recording, Glass Horse, now
available on cassette, featuring ancient Celtic music
and original compositions on the Celtic harp and
hammered dulcimer.
Philip Boulding, a talented harpist of many years
experience, is also a builder of fine Celtic harps.
Inquiries are welcome.
For a copy of Glass Horse, please send $7.00 (postage
included) to:
Magical Strings
P.O. Box 4086
Seattle, WA. 98104
Author of some of the most popular
harp teaching publications
WE TRAIN THE STUDENT FOR THE
CAREER OF HIS CHOICE: concert,
harpist (solo); orchestral harpist: commercial
harpist; how to improvise; sightreading;
repertoire planning.
Miss Schlomovitz has had 40 years of
professional experience in all of the above
fields.
Bachelors and Masters degrees
In affiliation with Music and Arts Institute,
San Francisco, California
951 Blair Court
Palo Alto, California, 94303
( 415) 856-1818
Winter/1980
39

Fredonia 1980
by Pearl Chertok
Fredonia was a wonderful reunion for many of us but
unfortunately the majority could not attend and I
would like to tell you about some of the highlights
you missed. The 17th annual American Harp Society
conference took place at SUNY in Fredonia, NY. It
turned out to be a beautiful campus with wonderfully
imaginative architecture designed by I.M. Pei. Roses
• were in bloom as were the trees, the weather was
ideal except for one short squall, and the food was so
delicious many of us hated to go home.
Mario Falcao, head of the harp department at Fredonia,
and Susanne Thomas, harpist with the Buffalo
Philharmonic, shared the planning and offered an
unusually high level of performances and workshops.
We are indebted to them for their fine taste and
imagination.
Emily Mitchell, winner of the seventh International
Harp Competition in Israel played the opening
concert and left her audience with no question of why
she had been chosen winner.
The following evening John Landis conducted the
Greater Buffalo Youth Orchestra in a concerto concert
featuring three of our outstanding soloists.
Gretchen van Hoesen opened the program with the
Concerto in A major of Karl Ditters von Dittersdorf,
followed by the rarely heard Concertino by Germaine
Tailleferre featuring Susan Allen as soloist. After
intermission Gail Barber played her beautiful version
of the Gliere Concerto. The Greater Buffalo Youth
Symphony proved to be a wonderful surprise to us all
and very much to the credit of maestro John Landis.
Phia Berghout, distinguished harpist from The
Netherlands, was a guest of honor and spoke of the
rise of the harp in the world of music and told of
attending a competition held in the Soviet Union in
1980. One amusing tale that delighted me was that
the harp travelled on the lower berth and the harpist
on the upper. She said that she feels harpists are less
and less isolated over all the world. Her words
brought us all closer to the International Harp Society
of which the American Harp Society is a member.
The chamber music program offered very much
variety and the artistry of Marcella DeCray, Eileen
Malone, Suzanne Thomas and Erica Goodman. Our
exchange recitalist this year was Kumiko Inoue from
Japan who offered a program which included many of
the favorite standards of the harp solo repertoire.
40
Grace Wong premiered a new Sonata for harp
written in 1980 by Ami Ma'ayani and dedicated to
Ms. Wong. Caccia for 5 harps by Robert Moran was
played by Lynne Aspnes, Barbara Dechario, Dorothy
Remsen, JoAnn Turovsky and Linda Warren. Ruth
Inglefield conducted an ensemble in the performance
of the Far Field written by Riva Kuhl in 1979 and
Ann Pemberton presented a Sonatina for Harp by
Dean Roush.
Eleanor Fell delighted her audience in a program
devoted to popular music. Rosalyn Rensch's lecture,
"the Harp in Art," was one of the highlights of the
conference and w'e hope she will repeat it for us in
the near future.
Barbara Allen, 2nd place winner, and Georgeanne
Casset, 6th place winner, at the Israeli International
Competition in 1979 presented a very appealing afternoon
recital as did Susana Remeny and Jude
Mollenhauer in combination with other instruments.
Our editor, Jane Weidensaul, asked me to tell you
what you had missed in Fredonia, but if I were to
include everything and go into the detail the performances
deserved, my report would go on for pages.
Therefore, I'd like to express my deep appreciation to
all who took part and suggest that we all start planning
to attend the conference in Portland, Oregon, 23
June 1981, where a very exciting conference is being
planned, plus the finals of our triennial competition.
A wonderful season to you all!
Harp Lessons
Come quickly to your lesson while the grass is wet
and the weeds are sighing their moonsong of regret.
Come skipping to your lesson in slippers of lace,
leaping over snowdrifts, gliding out of space.
Come leaping to your lesson like a young gazelle,
count your bars discreetly, elbows up, ma belle.
Come swiftly to your lesson like a bird in "Flight,"
play the theme ofHaendel with majesty and might.
Come flying to your lesson, set your kite down with care,
feathers in your turban, but why your feet so bare?
Come dancing to your lesson on grass wet with tears,
hold on to your etudes, the wind so strong it sears.
Steal softly to your lesson. You shouldn't be out at nightstars
sparkling like harmonics make it delicate and light.
Come laughing to your lesson, happy day of the week,
magic from your fingers; and don't forget your feet.
AMERICAN HARP JOURNAL

The Salvi Summer Festival
by Carrol McLaughlin
From 5- 18 July the third annual Salvi Summer
Festival was held on the campus of the University of
California, Santa Barbara. Two events took place
during the two weeks: one, the Festival of Jazz and
Pop Harp; the other, a Chamber Music Festival. Both
festivals ran concurrently and many harpists participated
in workshops of both classical and popular
techniques.
Artists participating in the Jazz/Pop Festival included
Stella Castellucci, John Escosa, DeWayne
Fulton, Carrol McLaughlin, Verlye Mills, Jack
Nebergall, and Onita Sanders. All members of the
panel performed in outstanding evening concerts,
with participation by Danny Yale and the Regency
Strings, Lance Phillips, baritone, Paul Hurst, harpsichord,
and Carmen Balcom, bass. Excellent workshops
in such areas as improvisation, rhythm, voice and harp,
arranging for two harps, electronic enhancement, and
studio work were given by panel members and special
guests, as well as Pop consultations by individual
artists.
Performing artists participating in the Chamber
Music Festival included Nancy Allen, Lynne Aspnes,
Karen Lindquist, Carrol McLaughlin, Lou
Anne Neill, James Pinkerton and Ann Stigall.
Chamber music coaches, who also performed, included
Anne Adams, Suzanne Balderston, Mitchell
Lurie (clarinet), Eileen Malone, Dorothy Remsen,
and Walter Trampler (viola). Twenty-one chamber
works were discussed in depth with regard to fingerings
and interpretation, and master classes and open
coaching sessions were held for each piece. Special
workshops were given concerning avant-garde notation
and harp maintenance. All works were performed
in evening concerts of the highest professional
calibre. The guest artists were assisted by
twelve outstanding string, wind and percussion
players from the nation's top conservatories and the
California Wind Quintet.
It has been decided not to hold a Festival in 1981.
The 1982 Salvi Festival will be concerned only
with Pop and Jazz music for the harp. Again an
outstanding panel of artists will be available, and the
festival will include a competition to be held during
the one-week course.
The 1980 Salvi Festival was a highly successful
learning experience for everyone involved. Artists of
both the classical and popular areas are to be congratulated
on their participation in this unique event.
Restaurant &
Club
Directory
Connecticut
MARY ZSIGA BENEDETTO
Darien Dinner Theatre, Darien, Connecticut
"A Little Night Music" Sept. 23-Nov. 30
Nightly at 8:30 p.m.
Matinees-Alternate Wednesdays and Thursdays
Box Office: (203) 655-7667
Missouri
PHYLLIS J. HOFFMAN
Granada Royale Hometel
220 West 43rd Street
Kansas City, Missouri
Monday through Thursday
5:00 p.m. to 9:00 p.m.
New York
BARBARA ANN GOLDSTEIN
Berkshire Place Hotel, 52nd and Madison Ave., NYC
Weekdays: 6:00 p.m. to 10:00 p.m.
Saturday and Sunday brunch: 12:00 p.m. to 3:00 p.m.
EMILY MITCHELL
Irish Harper and Singer
Sunday Afternoons
The Irish Pavilion
130 East 57th Street
New York, New York
Phone: (212) 759-9041
Texas
VIRGINIA ROBBINS
Hyatt/Regency Houston-Hugo's Window Box
Monday 11-rough Saturday 7:30 p.m. to 11:00 p.m.
CYNTHIA COOPER
Hyatt/Regency Houston-Hugo's Window Box
Sunday evenings, 7:30 p.m. to 11:00 p.m.
Winter/1980
41

DANIEL PINKHAM. Company at the creche for treble
voices and handbells or glockenspiel and piano, organ,
or harp. E.C. Schirmer, 1978. Score, 19 p.
42
For the Harp by
PATRICIA JOHN
SEA CHANGES, Price $3.00
1. Fog Off Pelican Spit
2. Summer Squall
3. Surf
AMERICANA Suite
1. Preamble, Price $2.00
2. A Time of Snow, Price $2.00
3. Imago lgnato, Price $2.00
MNEMOSYNE, Price $2.00
APRILLE, Price $2.00
TACHYSTOS (Swift), Price $2.00
HENRIETTE, Price $2.00
Patricia John - }' nota concertiJta e compositrice
per lo strument da lei prediletto: I' Arpa da
cui Ja trarre effetti inrnliti e rnggeJlivi.
Associazione Lirica Concertistica Arribrosiana
"La Donna Nella Creazione Musicale"
Biblioteca Germanica di Milano
Milano, Italy March 11, 1979
Available: LYON & HEALY
London, Chicago
THE PANTILE PRESS
1414 Milford Avenue
Houston, Texas 77006
SALVI NewYork,
Paris, Santa Monica
In 1976 as the Boston Chapter was preparing to
host the national conference, I was asked to contact
Daniel Pinkham to see what he had composed for
harp that we might be able to use on a program of
music by New England composers. Several things
were considered but, with the forces available, were
deemed unfeasable. Dan mentioned that he was
working on a piece for chorus with handbell and
organ accompaniment, but that it could be rewritten
to include harp. The result was Company at the Creche,
a Christmas piece in seven movements for three-part
treble voices, harp, and handbell choir on poems by
Norma Farber.
Each of the movements is short, the total duration
of the piece being about seven minutes. The poems
are the "songs" of various beasts whose names title
each movement: Stork, Dove, Caterpillar, Rooster,
Porcupine, Spider and Lion.
The setting of the choral parts reflects this
simplicity with clear, straightforward rhythms and
tonal melodies. From a purely technical standpoint,
the choral parts are not difficult and should present
no problems for an amateur choir. By contrast, the
harp and handbell parts (glockenspiel or celesta can be
substituted) are quite chromatic and, incidentally, are
always in unison when they are playing together. The
resulting sonority is an almost glittering or twinkling
backdrop to the chorus.
Technically, the harp part is more pianistic than
harpistic in style, and, as I have said before, rather
chromatic. Most of the writing occurs in the third,
fourth, and fifth octaves of the instrument, rarely
venturing beyond this range. Both hands work very
closely together, only occasionally crossing. Pedal
changes are abundant throughout the work and can
be tricky at times, presenting more challenge, I believe,
than any of the passage work in the piece,
although in the last movement (Lion) each element
gives the other a run for its money.
All things considered, I would judge this piece
to be of intermediate to advanced intermediate
difficulty. Let me say here that any difficulty presented
in learning the piece is far outweighed by the
truly excellent sonority that results, and this, of
course, is all that matters. Company at the Creche is a
perfect companion piece to the Britten Ceremony of
Carols.
In editing the harp part, I have included all pedal
markings and pedal diagrams where needed, and fin-
AMERICAN HARP JOURNAL

gerings where I felt they would save the performing
harpist time.
Carl Swanson
The Harp Studio
Boston, MA
Artiss deVolt
CLAIRE POLIN. Vigniatures: variations for violin
and harp. Seesaw, 1979. 7 p.
Over the past twenty years, Claire Polin has become
one of the most accomplished composers on the
American scene. It was a joy for Delaware Valley
Composers to hear the first performance of her Vigniatures
for violin and harp on 26 January 1980 in
Philadelphia.
This adroitly fashioned work was written as a
birthday gift to her son Gabriel Schaff. To quote the
composer: "It is a set of continuous variations on a
series created from the name of his pet cat,
Angelique, and reflects the various moods of a miniature
person in a miniature row." The result is a
miniature masterpiece, encompassing in five minutes
a playfully diverse gambol of colors, accents, and
structures.
After solo pizzicati and soft harp accents in fourths
and fifths, a brief melodic phrase is subjected to
quick imagery-double-stops, solos for both instruments,
increasing animation, a reprise of the
opening pizzicati, and a final scurrying scramble.
Masterly writing and the wisdom of the heart have
resulted in a lovely and accessible work of wide
audience appeal.
Harry Hewitt
President, Delaware Valley
Composers
Philadelphia, PA
R. MURRAY SHAFER. The Crown of Ariadne.Arcana,
1980. 15 p.
The Crown of Ariadne was commissioned by the
Ontario Arts Council for me and forms the musical
portion of the stage work, Patria IV, which tells the
story of Theseus and Ariadne. It is a suite of six
dances which, in the stage work, accompany dancers,
but can also be played by itself as a concert work.
The score calls for harp and various percussion instruments,
all of which are to be played by the harpist.
There is a meticulous diagram indicating how
each percussion instrument should be placed around
the harp for easy accessibility.
Although no previous experience as a percussionist
is needed to play this piece, consultation with a
percussionist is advisable. Following is a brief description
of each dance.
1. Ariadne Awakens. This dance requires that D, E, A,
and B of the middle register of the harp be tuned
in quarter tones. It is a piece of contrasting moods
Winter/1980
Formerly Harp Instructor:
Mozarteum Academy, Salzburg, Austria
New England Conservatory,
Boston, Massachusetts
Boston University, Boston, Massachusetts
Jacksonville University, Jacksonville, Florida
Private Studio, Sea Island, Georgia
THE
COLLEGE
Patricia Vaeth Croke
Harpist • Classical and Popular
- B.A. In MUSIC -
Theory • Composition • History
Music Education • Applied
Summer and Winter Sessions
Non-music Majors Accepted
For Information Write:
ALBERT SEAY, Chairman Music Dept.
THE COLORADO COLLEGE
COLORADO SPRINGS, COLORADO 80903
43

PLAN NOW TO ATTI
CAUFORNIA
HARP WC
at Dana Poin1
directed
SUSANN
July 20 -
.
Classes for beginning, intermediate
and advanced harpists of all ages

D THE 4th ANNUAL
SUMMER
KSHOP
by-the-Sea
by
McDONALD
Aug. 14, 1981
ADDED FEATURES
• Performance opportunities
• Stunt night
• Disneyland excursion
• Beach recreation
ENROLLMENT LIMITED
Send your request for brochure to:
Secretary, California Summer Harp Workshop
171 W. Naomi, Arcadia, CA. 91006
Name ___ _______ _____________ _ ___ _
Address _
_________________________ _
City __________ State _________ Zip _ _ _ _ _

46
TOBE
RELEASED
SOON
MILDRED DILLING
HARP RECORD
by
V ARESE-SARABANDE RECORDS
Included will be a re-issue of her popular record
CLAIR DE LUNE and other pieces, plus
"Danse Suite" written by David Watkins, English
composer-harpist for Miss Dilling in 1978
Special autographed copies may be ordered at the
Varese-Sarabande list price of $8.98 (post paid)
from:
Geraldine Ruegg
60 Cedar Lane
Bronxville, NY 10708
(914)DE7-5966
HARP SCHOLARSHIPS
for Fall, 1981
at CALIFORNIA INSTITUTE OF THE ARTS
LOU ANNE NEILL
Instructor in Harp
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: Alan Chaplin, Associate
Dean, School of Music, California Institute of the Arts,
24700 McBean Parkway, Valencia, CA 91355
Music by Daniel Pinkham
Poems by Norma Farber
Company
at the Creche
Choral score 1.25
Harp .50
Handbells .50
1 E. C. Schirmer Music Co.
112 South Street
Boston, MA 02111
and dynamics, employing bells, crotales, cymbal,
triangle, and vibrating sounds, ending with a
series of expressive phrases accompanied by a
swish of sound from the cymbal. Between this
dance and the second, the harp must be ceremoniously
retuned to normal pitch in an improvisatorial
manner.
2. Ariadne's Dance. Here the harpist dons ankle bells
and gives a rhythmic accompaniment to an intricate
piece which starts in the upper register, descends
to the middle register, employs a tuning
key or folded piece of felt wedged in the A pedal
slot for a very secure way of buzzing the A as a
part of the rhythm, continues with the right hand
playing the harp and the left hand beating bongos,
and ends with the ankle bell accompaniment as
the two hands climb to the upper register to finish
the piece.
3. Dance of the Bull. This dance requires a large
amount of strength and endurance to play triple
forte octaves and many pedal glissandi. The only
percussion instrument used is a finger cymbal to
slide on a wire string. Here the composer is more
interested that the harp portrays the anger of a bull
than in absolute accuracy of performance.
4. Dance of the Night Insects. Whimsical and lyrical,
with a slightly eerie quality, this piece employs a
metal tuning key for rocket sounds on the strings,
triangle beater for trills between the strings,
triangles, crotales, cymbals, and a cardboard tube
through which the harpist sings into the opening
at the rear of the harp.
5. Sun Dance. This dance explores the different
sounds made by glissandi and provides the most
dynamic contrast of the whole suite. Cymbals and
bells are crashed vigorously and a block of wood,
rubber guitar picks, and drum sticks are used in
various ways. It ends with 12 pre-recorded bells to
which the harpist must again retune the middle
register into quarter tones in the before mentioned
improvisatorial manner in order to play.
6. Labyrinth Dance. A dialogue between normally
tuned pre-recorded harp, and the solo harp. The
rhythm of this dance and the interplay between
normally tuned sounds and their quarter tone
counterparts produces an hypnotic effect and ends
with the series of expressive phrases first heard in
Ariadne Awakens, now accompanied by the
rhythmic pattern of the pre-recorded harp.
In my opinion, this imaginative, inovative, and
beautiful piece is a very important addition to the
harp repertoire. Each public performance has drawn
immediate and enthusiastic audience response, and it
is well worth the effort required in preparation.
Judy Loman
Toronto, Ontario
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
Winter/1980
47

RE QU IRED READIN G FO R HA RPISTS:
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.
48
AMERICAN HARP JOURNAL

Recent publications are compiled by the Editor. As a general
principle, all music issued within the past three years is eligible;
foreign editions, only recently imported to this country, may also
be included although their copyrights bear earlier dates. Review
copies should be sent to the Editor at 1374 Academy Lane,
Teaneck, NJ 07666; a photocopy of the inside title page, together
with a page count, may be submitted in lieu of a review copy.
Corrections from readers will be welcomed, since it has not been
possible in every case to see a copy of the publication.
Change of Distribution Rights
The Salvi Music Publishing Division (International
Harp Corp.) is now distributing the following
publications: editions and original works
of Pearl Chertok; Annie Louise David's Album
of solo pieces for the harp (2 vols.); items from the
Barger & Barclay catalog including Grandjany's
Kerry Dance, Purcell's Ground in F with variations
(Thomson), and Bach's Sleepers, wake (Barclay);
and instructional pieces composed or edited by
Ruth Inglefield.
SOLO
ALLEN, Mimi.
Concert variations on four Christmas carols.
Salvi, 1979. 14 p.
AMOROSI, Michael.
Berceuse and rondo.
Salvi, 1977. 6 p.
AMOROSI, Michael.
Galliard.
Salvi, 1977. 4 p.
AMOROSI, Michael.
Minuet.
Salvi, 1978. 4 p.
AMOROSI, Michael.
Pavane.
Salvi, 1978. 4 p.
AMOROSI, Michael.
Scherzo.
Salvi, 1977. 6 p.
AMOROSI, Michael.
Three jazz vignettes.
Salvi, 1977. 9 p.
DEBUSSY, Claude.
Des pas sur la neige; Danseuses de Delphes.
Trans. Ruth K. Inglefield.
Salvi, 1977. 6 p.
ELLIS, Merrill.
Pastorale.
Salvi, 1978. 3 p.
Winter/1980
FARKAS, Ferenc.
-~egi magyar tancok a XVII. szazadb61
(Hungarian dances of the 17th century).
Ed. Liana Pasquali.
Editio Musica Budapest, 1979. 12 p.
FOSTER, Stephen.
I dream of Jeannie: paraphrase for solo harp.
Arr. Michael Amorosi.
Salvi, 1977. 2 p.
HARRISON, Lou.
Music for harp.
Salvi, 1978. 12 p.
HOUDY, Pierick.
Jeux de mains, jeux d'esprit pour petite ou
grande harpe.
Salvi, 1979. 20 p.
INGLEFIELD, Ruth K. and Dean K. Roush,
eds.
Plaisir d'amour: a wedding album for harp.
Salvi, 1978. 29 p.
KLEBE, Gieselher.
Alborada per arpa sola, op. 77.
Barenreiter, 1977. 20 p.
KRUMPHOL TZ, J.B.
Variations on a theme of Haydn.
Salvi, 1977. 8 p.
LE DENTU, Odette, ed.
Pieces classiques pour la harpe celtique.
Vol. 2: 12 p; vol. 3: 11 p.
Gerard Billaudot, 1978.
PALMER, Lynne.
Classical suite for harp alone.
Salvi, 1977. 24 p.
PIERNE,G.
March of the little tin soldiers.
Trans. Mimi Allen.
Salvi, 1978. 4 p.
SALZEDO, Carlos, arr.
Christmas harp collection.
Boosey & Hawkes, repr. collection of
arrangements copyrighted in the 1950s. 36 p.
SHAFER, R. Murray.
The crown of Ariadne.
Arcana Editions, 1980. 15 p.
(Harp and small percussion instruments played
by the harpist.)
TON-THAT Tiet.
Chu ky III.
Jobert, 1978. 12 p.
49

VIOTTI, J.B.
Sonate pour la harpe.
Salvi, 1978. 29 p.
WATKINS, David.
Dance suite.
Salvi, 1979. 10 p.
WEBER, Alain.
Harpalpha pour harpe celtique.
Editions Musicales Transatlantiques, 1978. 4 p.
CHAMBER
AMOROSI, Michael.
Adagio for oboe and harp.
Salvi, 1977. Score 10 p.; part included.
AMOROSI, Michael.
Pastorale for clarinet and harp.
Salvi, 1977. Score, 8 p.; part included.
AMOROSI, Michael.
Two medieval danses for flute and harp.
Salvi, 1977. Score, 9 p.
BALDERSTON, Mahlon.
Trio: Five cools for a hot summer for violin,
'cello, and harp.
Salvi, 1979. Score, 34 p.; parts included.
CHIT!, Gian Paolo.
Flutar for flute and harp.
Lyra Music, 1980. Score, 7 p.
CHIT!, Gian Paolo.
Pastorale for flute and harp.
Lyra Music, 1980. Score, 4 p.
DODGSON, Stephen.
Duo for flute and harp in 4 movements.
Oxford, 1978. Score, 16 p.; part included.
DONIZETTI, G.
Larghetto and allegro for violin (or flute) and
harp.
Ed. Dewey Owens.
Lyra Music, 1980. Score, 7 p. (Previously issued
as Sonate by Peters.)
FLEISCHER, Robert.
Serenade No. 1 for violin and harp.
Lyra Music, 1980. Score, 4 p.
FRANCAIX, Jean.
Cinque piccoli duetti per arpa e flauto.
Schott, 1975. Score, 15 p.
FRANCK, Cesar.
Priere (violin, violoncello ad lib., harp, organ or
piano).
Arr. Henri Busser
Reprint ed.: Lyra Music, 1980. Score, 5 p.
so
MARTELLI, Henri.
Trio pour flute, violoncelle & harpe.
Max Eschig, 1977. Score, 39 p.
RYTERBAND, Roman.
Trois ballades hebraiques pour violon et harpe.
Lyra Music, 1980. Score, 11 p.
THOMAS, Carter D.
The auric light for harp and percussion.
Music for Percussion, 1980. 12 p.
WATKINS, David.
Concertina pastorale for harp with flute,
clarinet, and string quartet or string orchestra.
Salvi, 1979. Harp part 28 p.
HARP ENSEMBLE
BUTTERFIELD, David.
Fantasy for three harps.
Salvi, 1978. 3 parts included: 8, 9 p. each.
ESCOSA, John.
Three dances for two harps.
Salvi, 1977. Score, 14 p.
KRUMPHOL TZ, J.B.
Premiere duo pour deux harpes, op 5.
Ed. Suzanne Balderston.
Salvi, 1977. 2 parts included: 15 p. each.
MARSON, John.
Waltzes and promenades for two harps.
Salvi, 1978. Score, 35 p.
SA TIE, Erik.
Two gymnopedies for two harps.
Trans. Mimi Allen.
Salvi, 1978. Score, 8 p.
HARP AND BAND
McKINLEY, William.
Rhapsody for harp and concert band.
Salvi, 1977. Solo part, 12 p.
HARP AND ORCHESTRA
DITTERSDORF, K.D. von.
Concerto for harp: piano accompaniment (only).
Reduction by Michael Amorosi.
Salvi, 1977. 23 p.
DUSSEK, J.L.
Concerto in E-flat for harp and orchestra, op. 15.
Ed. Catherine Michel.
Salvi, 1977. Harp part, 39 p.
GLIERE,R.
Concerto for harp and orchestra.
Piano reduction.
Lyra Music, 1980. 73 p.
AMERICAN HARP JOURNAL

VOICE & HARP
BRITTEN, Benjamin.
8 folk song arrangements (1976) for high voice
and harp.
Ed. Osian Ellis.
Faber Music, 1980. 28 p.
FUS SL, Karl Heinz.
Dialogue in praise of the owl and the cuckoo,
fur Tenor und 7 Instrumente (fl., c., tromb.,
harp, guitar, vn., bass.)
Universal, 1976. Study score, 36 p.
GOLDSTEIN, David.
Psalm 121 for solo voice or chorus (Hebrew
text).
Lyra Music, 1980. Score, 8 p.
KENDRICK, Virginia.
Before the world was; Jade summer; Two songs:
Wealth of mine, Tribute; Green is the willow;
From my window.
Reissued with harp accompaniments by Anne
Ransom.
Schmitt Music, n.d.
SCHUMAN, William.
In sweet music: serenade on a setting of
Shakespeare for flute, viola, voice, and harp.
Merion Music, 1978. Score, 47 p.
SETER, Mordecai.
Autumn: songs without words for
mezzo-soprano, clarinet and harp or piano.
IMI, 1979. 16 p.
HARP & CHORUS
JANACEK, Leos.
Otcenas (Our Father), for mixed voices, tenor or
soprano solo, organ and harp.
Ed. Antonin Tucapsky.
Roberton, 1979. Score, 28 p., 75 p.
MUELLER, Carl, and Martin Luther.
Away in a manger for mixed chorus and bells,
harp, or piano.
Arr. Sheldon Disrud.
Plymouth Music, 1978. 6 p.
PINKHAM, Daniel.
Company at the creche for treble voices and
handbells or glockenspiel and piano, organ or
harp.
E.C. Schirmer Music Co., 1978. 19 p.
(When ordering, specify version with harp.)
ROUSH, Dean K.
Whence cometh wisdom (Job: 28) for mixed
chorus and harp.
Salvi, 1978. Score, 19 p; harp part, 8 p.
Winter/1980
METHODS & STUDIES
Correction: Harp album: repertoire primer by
Marzuki and Kaplan is published by Studio P /R
Publications, not Studio Publications. Listed in
winter, 1979.
WEIDENSAUL, Jane.
Lessons for the renaissance harp: a beginner's
book.
Salvi, 1979. 24 p.
BOOKS
ZING EL, H.J.
Harfe und Harfenspiel: vom Beginn des 16. bis
ins 2. Drittel des 18. Jahrhunderts.
Repr. ed. of Zingel's 1932 dissertation.
Laaber, 1979. 270 p. plus appendices.
ZINGEL, H.J.
Lexikon der Harfe.
Laaber, 1977. 207 p.
POPULAR SOLO
ALBERT, Morris.
Feelings.
Arr. Eleanor Fell.
Salvi, 1978. 3 p.
BACHARACH, Burt.
The look of love.
Arr. Stella Castellucci.
Salvi, 1978. 2 p.
BENNETT, Richard Rodney.
Theme from Nicholas and Alexandra.
Arr. DeWayne Fulton.
Salvi, 1978. 3 p.
FOLK.
Scarborough fair.
Arr. DeWayne Fulton.
Salvi, 1980. 11 p.
GARNER, Erroll.
Misty.
Arr. Michael Amorosi.
Salvi, 1978. 3 p.
GA TES, David.
If.
Arr. Stella Castellucci.
Salvi, 1978. 3 p.
GERSHWIN, George.
An American in Paris; Rhapsody in blue.
Arr. Eleanor Fell.
Salvi, 1978. 4 p.
GERSHWIN, George.
Bidin' my time.
Arr. Mimi Allen.
Salvi, 1980. 3 p.
51

GERSHWIN, George.
But not for me.
Arr. Stella Castellucci.
Salvi, 1978. 3 p.
GERSHWIN, George.
Embraceable you.
Arr. Verlye Mills.
Salvi, 1978. 3 p.
GERSHWIN, George.
Prelude no. 2.
Arr. Mimi Allen.
Salvi, 1978. 3 p.
GERSHWIN, George.
Someone to watch over me.
Arr. Stella Castellucci.
Salvi, 1978. 2 p.
GERSHWIN, George.
The man I love.
Arr. John Escosa.
Salvi, 1978. 3 p.
HUPFELD, Herman.
As time goes by.
Arr. Stella Castellucci.
Salvi, 1978. 3 p.
KERN, Jerome.
Can't help lovin' dat man.
Arr. John Escosa.
Salvi, 1978. 3 p.
KERN, Jerome.
Long ago and far away.
Arr. Michael Amorosi.
Salvi, 1978. 3 p.
KERN, Jerome.
Smoke gets in your eyes.
Arr. Alberto Salvi.
Salvi, 1978. 5 p.
KERN, Jerome.
The way you look tonight.
Arr. John Escosa.
Salvi, 1978. 3 p.
LANJEAN, Marc.
Forbidden games.
Arr. Eleanor Fell.
Salvi, 1978. 3 p.
LE GRAND, Michel.
The summer of'42.
Arr. Michael Amorosi.
Salvi, 1978. 3 p.
LE GRAND, Michel.
Watch what happens.
Arr. Stella Castellucci.
Salvi, 1978. 4 p.
LENNON, John and Paul McCartney.
Eleanor Rigby.
Arr. Eleanor Fell.
Salvi, 1978. 3 p.
LENNON, John and Paul McCartney.
Yesterday.
Arr. Verlye Mills.
Salvi, 1978. 3 p.
STREISAND, Barbra.
Evergreen.
Arr. Stella Castellucci.
Salvi, 1978. 5 p.
SUESSDORF, Karl.
Moonlight in Vermont.
Arr. Michael Amorosi.
Salvi, 1978. 4 p.
VAN HEUSEN, Jimmy.
Here's that rainy day.
Arr. Verlye Mills.
Salvi, 1978. 4 p.
WALLER, Thomas "Fats".
Ain't misbehavin'
Arr. John Escosa.
Salvi, 1980. 4 p.
52
The
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four feet tall . . . . $425.00
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Denver, CO 80204
PLACE MATS AND NAPKINS
Harp design in black
appliqued on bronze
or burnt orange oxford
cloth 13" x 15" place
mats. Black polyester
/cotton 13" x 13" napkins.
Place mats and
napkins washable.
Fringed edges.
4 Place Mats and Napkins $20.95 plus $2.40 postage and handling
Master Charge, Visa (Include card name, digits, expiration date,
signature). Check or charge to: SPECIALTIES OF NOTE, P.O.
Box 278, Springfield, IL 62705. IL residents add 5% Sales Tax.
Continental U.S. only.
AMERICAN HARP JOURNAL

HARPRESS OF CALIFORNIA
We specialize in making you sound like a "Virtuoso" with a
minimum of effort. Our policy is to publish music that lays easily
in the hand, and is not beyond easy reach of the student or amateur.
LIST OF PUBLICATIONS
"BEGINNER'S HARP BOOK" - Schlomovitz . . ... . ... . ... . .... . .. . ......... . ...... ... $12.50
Absolutely unique. Elementary theory for reference. Deals with keys.
Excellent recital pieces. 116 pages. All-time best seller.
(Third Edition, revised)
ARRANGEMENTS AND COLLECTIONS BY PHYLLIS SCHLOMOVITZ
"Clair de Lune" - Debussy-Schlomovitz ............... . . .. . .... ........... . ... .. $4.50
Simplified arrangement. Intermediate level.
Songs for Special Occasions - Schlomovitz (Weddings, etc.) ............. . ...... . ... $5.00
"My Heart at Thy Sweet Voice" - Schlomovitz - St. Saens ........... . ........ . ... . $3 .50
"Fascination" - Arr. by Schlomovitz ................... . ..... . . .. . . . . ........... $3 .00
"Try to Remember" - Arr. by Schlomovitz ...... .. .. . . . .. .. ........ .. .. . ... . .... . $3.00
Four Christmas Carols (very easy) - Arr. by Schlomovitz ..... . ... . .. . .. . ... . ...... $2.50
Four Medieval Carols (intermediate) - Arr. by Schlomovitz ...................... . . $3.50
Six Christmas Carols (advanced) - Arr. by Schlomovitz ....... . .. . . . ... . ......... . $6.00
(Newly revised edition, as played on Miss Schlomovitz 's recording)
LEARNING TO IMPROVISE ON THE HARP - by Schlomovitz
Book l Write-ins and playing exercises in the keys, majors, minors,
and modes. Many songs to harmonize. Handy for reference. Non-pedal ... . .... . .... $3.75
Book II. Transposing keys. Includes a wonderful 5-in-l exercise
through the keys up the scale. More songs to harmonize. Non-pedal ................ $3.75
Book Ill. Chord charts for reference. Suggestions and examples for
adapting and arranging popular sheet music to the harp. Pedal harp ....... . . . ...... $3. 75
BY KARL CARLSON
"Four California Delta Songs" - Pedal harp only. Lots of glissandi . ..... .. ......... $4.00
"Songs of King Arthur" - Non-pedal harp. Nice for beginners ............... . ...... $4.00
"When David Sang" - Song for Voice and Harp ( easy-intermediate pedal
or non-pedal). Very melodic, charming words about the
"Sweet Psalmist of Israel." . . . . ............... .. ............. . .... . ...... $4.00
"Neferitti" (New) - Lovely melody. Glissandi . Easy solo. Pedal harp .. . .. . .......... $4.00
BY FRANK VAN WEST (from South Africa)
"Sonatina" - Harp, cello, violin, or flute. Charming, Eric Coates
style. Intermediate level ..... .. ...... . .... . ......... . ... . ... . ..... .. . . .. . $5 .00
"On the Banks of the Nile" (New) - Voice and Harp. Easy, lovely
melody and accompaniment .... . ......... . ................... . .......... $3.00
BY LLOYD VICK ( of Australia)
"Wedding Piece" - Non-pedal or pedal. Fine "big number" for troubadors . . . ..... . .. $4.00
NEW "MORE SONGS FOR SPECIAL OCCASIONS". Marches for
Weddings by Purcell and Campra. Easy arrangements for either pedal or
non-pedal harp. By Schlomovitz ............... . ......... . ....... . ............ $4.00
FROM YOUR DEALER, OR:
HARPRESS of CALIFORNIA
Jupiter Musical Enterprises
951 Blair Court
PALO ALTO, CALIFORNIA 94303
Please include $1.50 for postage and handling.
Winter/1980
53

The ideal instrument for all ages.
$395.00
F.O.B. Tacoma, WA.
• 28 STRINGS
• 4-OCTAVE RANGE
• MOLDED WOOD BACK
• BEAUTIFUL FINISH
• PORTABLE ... A CHILD CAN CARRY IT
Delivery can be made within 30 days from receipt of order.
Instruction book and teaching cassette available.
Dealerships available.
Euphony, Inc
P.O. Box 11124 • Tacoma, WA 98411
, • Tel: 206-565-4115 • Telex: 15-2425
54
AMERICAN HARP JOURNAL

Edited by Nancy Rado
Recent recordings will be listed in each issue through the
kind cooperation of the International Harp Corporation
(Salvi). Review copies should be sent to Ms. Rado at the
Salvi office at 1830 Fourteenth St., Santa Monica, CA
90404.
CLASSICAL
BONDESEN, HIDEKO. Recital.
With Peter Bondesen, flute.
Toshiba Records LRS 657
BONDESEN, HIDEKO. Recital Vol. 2.
With Peter Bondesen, flute.
Toshiba Records LRS 664
COLIGNON, YVETTE. Florilege de la Harpe.
With Yvette Allard, pianoforte, and Andre
Martin, violin
DE MAJO, CECILIA. Duo Romantico.
With Glenn Michael Egner, flute.
Litografia Calderon
ELLIS, OSIAN. Alwyn; "Lyra Angelica"
Concerto for Harp and String Orchestra.
With The London Philharmonic Orchestra,
William Alwyn, conductor.
Lyrita SRCS. 108
GELi OT, MARTINE. Contemporary Music.
Rorem, Book Of Hours.
With Ingrid Dingfelder, flute.
CRI Composers Recordings, Inc. CRI SD 362
(Reissue)
GRAND JANY, MARCEL. Concerto in B-flat
(Handel) and Concerto for flute and harp (Mozart).
With Samuel Baron, flute.
Musica Aeterna Orchestra.
Westminster MCA 1403
HOLLIGER, URSULA. Mozart; Concerto in C
major for flute, harp, and orchestra.
With Peter-Lukas Graf, flute, and the
Orchestre de Chambre de Lausanne.
Claves P 208
JOHNSON, LUCILE AND MARCELA
KOZIKOVA. Music for Two Harps.
Desmar DSM 1018 G
KELLY, GEORGIA. Tarashanti.
With Richard Hardy, flute.
Heru Records HERU-102
LOMAN, JUDY. Sentient.
Aquitaine Records MS 90505
Winter/1980
LOMAN, JUDY. The Crown Of Ariadne.
Aquitaine Records MS 90570
MOLNAR, JOSEF. Elegie.
Fontec RFO-1016
PASQUAL!, LIANA. Sonata Pentru Flaut Si
Harpa.
With Voicu Vasinca, flute, and the Cvartetul
Philharmonia, Romania.
Electrecord ST-ECE 01545
ZABALET A, NICANOR. Concertos.
Transcriptions of J.S. Bach: BWV 978, 976,
973; Handel: op. 7, no. 4, and op. 4, no. 5.
With English Chamber Orchestra.
DGG 2531114; cassette 3301114
ZABALET A, NI CAN OR. Recital of French
Music.
DGG 2531051; cassette 3301051
POPULAR
FULTON, DEWAYNE. The Best Of Broadway.
With Lance Phillips, baritone.
Safari 2002
HA YA~HI, T ADAO. Lyra.
Zen. ZEN-1012
HAYASHI, T ADAO. Finger Trip.
Zen. ZEN-1002
HAYASHI, T ADAO. Finger Trip II.
Zen. ZEN-1007
(Reissue)
MILLS, VERLYE. Verlye Mills Plays Harp with
the Big Band Beat!
Golden Crest CRS 4181
FOLK
BELL, DEREK. Carolan's Favourite.
With the Chieftains and the New Irish Chamber
Orchestra.
Cladagh Records Limited CC28
GRIFFITI-IS, ANN. Welsh Folk Songs.
With Delme Bryn Jones, tenor.
Sain 1133D
GUARD, CHARLES. Avenging & Bright.
Claddagh CC26
KINNAIRD,ALLISON. The Harp Key.
Temple Records SH 001
KINNAIRD, ALLISON. The Harper's Gallery.
Temple Records TP 003
O'HARA, MARY. In Harmony.
Chrysalis CHR 1217
O'HARA, MARY. Music Speaks Louder Than
Words.
Chrysalis CHR 1194
55

O'HARA, MARY. Tranquility Mary O'Hara 20
Songs of Life.
Warwick Records WW 5072
O'HARA, MARY. "Monday Tuesday" and other
Children's Songs.
Emerald Gem GES 1167
University of Cincinnati
College-Conservatory of Music
STIVELL, ALAN. Reimpression.
Philips 9101 115
STIVELL, ALAN. Renaissance Of The Celtic
Harp.
Philips 6414 406
STIVELL, ALAN. Ian Morrisson Reel.
Fontana 6436 661
STIVELL, ALAN. Reflections.
Fontana 6399 008
STIVELL, ALAN. A L'Olympia.
Fontana 6399 005
STIVELL, ALAN. E Langonned.
Fontana 6325 332
WILSON, KATE. King's Galliard Morning Dew.
Dolphin Records DOLM 5014
Harp Studies
with Linda Wellbaum
Scholarships Available
Cincinnati Auditions
January 17
February 14
March 14
Degree Programs
Bachelor of Music
Master of Music
For more information:
W. Harold Laster, Assistant Dean
College-Conservatory of Music
University of Cincinnati
Cincinnati, Ohio 45221
56
r~r~Y
,/~~~
HARP SOLOS
*CAROL OF THE SHEPHERDS
(Bohemian) ____ ____ _________ H49 1.50
"'O COME, 0 COME, EMMANUEL
(13th Century Plainsong) ______ _ H48 1.75
ESTRELLITA (Ponce) ____ _ ____ _ H53 1.00
*ELEGANCIA (Op. 60, No. 3) (Sor) H59
__ *GOD REST YOU MERRY GENTLEMEN
1.25
(with) LO, HOW A ROSE
E'ER BLOOMING __ _____ ___ ___ H50 1.50
_ _ *GREENSLEEVES (Old English) ___ H47 1.25
JESU, JOY OF MAN'S DESIRING
(Bach) __ ________ ____ __ _____ H51 2.50
LET ALL MORTAL FLESH
KEEP SILENCE (Old French Carol
"Picardy") ___ ___ ___ ________ H60 1.25
*LONDONDERRY AIR
(Irish Fold Melody) __ __ ___ _____ H55 2.25
PANIS ANGELICUS (Franck) _____ H52 1.25
*SILENT NIGHT, HOLY NIGHT
(Gruber) ____ ___ ______ __ __ __ _ H61 1.25
SING NOEL
(15th Century French Carol) ____ _ H62 1.50
*UN FLAMBEAU, JEANETTE,
!SABELLA (from an old French
Carol) __________ ___ __ ______ _ H63 1.25
HARP DUETS
CORDOVA (Albeniz) ____ _______ H56 3.00
JOTA (Granados) __ ___ __ ___ ___ H57 5.00
POEME (Fibich) ___ ___ ___ __ ___ H58 3.00
TO A WATER-LILY (Mac0owell) __ _ H54 3.00
(*) also playable on Troubadour and Irish Harps
Available from Lyon-Healy International Harp Corporation
Local Dealer: CARL FISCHER, INC.-sole selling agent.
Deiro's
HARP
CENfER
Folk & Student Harps
in stock
IRISH FOLK HARP
Featured above, a beautiful
lap harp of Eastern Hardwood
with selected spruce
soundboard for a remarkable
resonance and quality.
Specifications
Natural Blond finish, 34" high, 22 nylon strings, G
to G 3 octaves. Under 9 lbs.
Other larger sizes available
CATALOG ON REQUEST
Exclusive Dealers for the New York
Metropolitan Area For
Aoyama Harps
Deh,,•s Harp Center
133 7th Avenue South
(at 10th Street in Greenwich Village)
New York. N.Y. 10014
(212) 675-5460
AMERICAN HARP JOURNAL

MORE CORRECTIONS
FROM DAVID WATKINS
To the Editor:
I am very touched at your enthusiasm
and precision regarding
the Petite Suite. Yes, you are absolutely
right about the first note of
the left hand at m. 2, last line of
page 6: it should be F, not A as
printed. As far as the fermata is
concerned on the first page, a piacere
would be more what I want
now. The arpeggio is to be played
like a tiny cadenza rather than with
stops or starts.
David Watkins
Fordcombe Manor, Kent
Other misprints were corrected in
this Journal, vol. 6, no. 2 (winter,
1977), p. 15.
-Ed.
A PLEA FOR
AUTHENTIC INSTRUMENTS
To the Editor:
I read with interest Dr. Music's
article on the use of the harp as a
continuo instrument, and I am
sure we are all grateful to him for
drawing the attention of the harp
world to a much neglected role
available to the instrument.
However, I believe that the use
of the harp in baroque ensembles
was more widespread than he
suggests. The lack of parts written
out specifically for the harp was
neither a function of the instrument's
cost nor its "chromatic
limitations." It can be explained by
the fact that the harp, unlike many
other instruments of the time, had
been in use for centuries, and the
techniques and conventions of
playing were thoroughly familiar to
professional musicians who could
easily improvise on a bass line or
even adapt at sight written-out
keyboard parts. This lack of "harp
music" also explains the neglect in
the early music world of early harp
Winter/1980
playing, since that movement (Mr. Hadaway is a builder of modsprings
almost entirely from sur- em replicas of historic instruviving
music.
ments.)
May I draw your readers' attention
to two articles which appeared
recently in Early Music (an Oxford
REQUEST FROM THE
University Press quarterly). One by LIBRARY OF CONGRESS
Michael Morrow discusses the role
of the renaissance harp in performance
practice of the time and in
particular to its role in the Florentine
Intermedii of 1589 which were
performed in London last September
as one of the European
Broadcasting Union's concerts.
The other, by myself, discusses the
task of making a renaissance (or
baroque) arpa doppia, or double
harp in the context of early-harp
construction.
I cannot agree that baroque
harps were either particularly
costly or lacked whatever musical
versatility was required of them at
the time. The instrument that I
copied was part of Count Vincenzo
Correr' s 17th century "school orchestra"
and was a completely
plain and simple instrument. Indeed,
the presence of it in a school
orchestra is itself evidence of the
instrument's universal use at that
time.
As for its limitations, the music
of a particular era was, per se, written
expressly for the instruments in
use at that time. To play baroque
music on a pedal harp is like playing
Bach on a grand piano. Not
only does it make a completely
different sound, but in the case of
the harp it is incapable of some of
the techniques available to a double
harpist, such as fast chromatic
runs and most of the expressive
qualities that slack strings and
braypins can produce.
I would very much like to add to
Dr. Music's appeal to play baroque
continua parts on the harp: my
own appeal, to play them on the
right harp.
Robert Hadaway
To the Editor, American Harp Journal
The Library of Congress requests
permission to transcribe articles
from the above periodical into embossed
and/or recorded form in
order to make them available free
of charge to blind and physically
handicapped persons who are unable
to read ordinary print in a
conventional manner. The transcriptions
will be produced in response
to individual requests in
accordance with regular procedures.
National Library Service
for The Blind and
Physically Handicapped
Write to the above agency at the
Library of Congress, 1291 Taylor
St. NW, Washington, DC 20542
for further information.
-Ed.
PRAISE FOR JUDITH BEATTIE
To the Editor:
Starting on page 20 of the
Winter 1979 American Harp Journal
there is a most useful article by
Judith Beattie entitled "How to
Load Your Harp Alone." As Editor
of the Newsletter of the South African
Harp Society, I would very
much like to reprint this article as
it would be so helpful to our harpists
here. I would be very grateful
if you could give me permission to
use this article for one of our
Newsletters.
Hester Krausey
Johannesburg, SA
Tregaron, Dyfed, Wales Permission extended gladly. -Ed.
57

the
Sfiepherd
SchOol
ofMusic
A Distinguished School for Specially Gifted Young Artists and
Scholars Who Wish to Pursue Professional Careers in Music.
Harp Study
Beatrice
Schroeder Rose, Artist Teacher of Harp,
The Shepherd School of Music/Principal Harpist,
Houston Symphony/Founder, Houston Harp
Ensemble/Co-author, Lyon and Healy teachers
guides
The Shepherd School's unique five-year curriculum emphasizes
professional training and thorough preparation as an ensemblist as
well as a soloist, leading directly to a Master of Music degree.
Auditions are now in progress for the harp students who will join
the Shepherd School of Music in 1981-82. for information regarding
admission and iinancial aid, contact the Shepherd School of Music.
Rice
The Shepherd School of Music
Rice University
Houston, Texas 77001
WHY ARE MORE AND MORE LEADING SOLOISTS,
TEACHERS, AND UNIVERSITIES SWITCHING
TO VANDERBILT HARP STRINGS?
Here are some of the reasons:
e GOLDEN GUT -
our low priced quality English gut is supplied with
a thin varnish coating unlike other strings ...
•prevents fraying
•extends life of string
•resists humidity
•beautiful tonal quality
e BASS WIRE & NYLON STRINGSfrom
the leading U.S. manufacturer . . . but offered
to you at lower prices
♦

Edited by Kathleen Bride
Contributions to the Concert Calendar may be submitted to
the Editor-in-chief or to Kathleen Bride at 13 Schuyler Ave.,
Pequannock, NJ 07440
NOVEMBER
SEPTEMBER
7 - JoAnn Turovsky with Irvine Little Symphony,
Irvine, CA.
21 - JoAnn Turovsky with Irvine Little Symphony,
Irvine, CA.
Tour: New York Harp Ensemble. 27: St. John, New
Brunswick; 29: Yarmouth, Nova Scotia; 30:
Bridgewater, Nova Scotia.
OCTOBER
2 - Jacquelyn Bartlett with Durham Symphony,
Durham,NC.
9 - Kathleen Bride with Jon Gillock, organ,
Pompton Lakes, NJ.
Patricia John, solo recital, Houston, TX.
12 - Jennifer Sayre, solo recital, Walla Walla, WA.
21 - James Pinkerton with Englewood Symphony,
Englewood, CO.
22 - Sarah Bullen with Greenwich Philharmonia,
Greenwich, CT.
23 - Sarah Bullen with Greenwich Philharmonia,
Greenwich, CT.
Tour: Nancy Allen with Ransom Wilson, flute. 1:
Artesia, NM; 2: Las Cruces, NM; 3: Socorro,
NM; 11: Chattanooga, TN; 13: Chattanooga,
8 - Susan Allen with Robert Stallman, flute, TN; 30: Philadelphia, PA with Carol Win-
Groton,MA.
cenc, flute.
11 - Hye Yun Chung with Hyung-Man Woo, violin,
New York, N.Y.
Tour: Longstreth* & Escosa. 17: Alliance, OH; 18:
Punxsutawney, PA; 22: Burlington, NC; 24:
12 - Catherine White, solo recital, Kansas City,
MO.
Jackson, TN. (*James Pinkerton may be substituting
for Joseph Longstreth.)
13 - Kathleen Bride with Jon Gillock, organ, Dalton,
GA.
Tour: New York Harp Ensemble. 12: Guatemala
Festival, Central America; 14: Guatemala
Tour: Nancy Allen with Ransom Wilson, flute. 9: Festival, Central America; 17 through 30:
Burbank, CA; 10: Fullerton, CA; 11: West Germany.
Thousand Oaks, CA; 12: Rancho Sante Fe,
CA; 15: Longview, WA; 16: Wenatchee, WA;
17: Bremerton, WA; 18: Sunnyside, WA; 19:
DECEMBER
Hermiston, OR; 20: La Grande, OR; 21:
Coeur d'Alene, MT; 24: Great Falls, MT; 27:
Livingston, MT; 28: Billings, MT.
Tour: Longstreth* & Escosa. 18: Sault Ste. Marie,
ONT; 20: Petosky, MI; 21: Battlecreek, MI.
(*James Pinkerton may be substituting for
Joseph Longstreth).
Tour: New York Harp Ensemble. 1: Moncton, New
Brunswick; 3: Watertown, NY; 4: Trenton,
Ontario; 6: Lebanon, PA; 7: Vineland, NJ; 9:
Statesville, NC; 12: Decator, AL; 13: Selma,
AL; 14: Biloxi, MS; 16: Clarksdale, MS; 18:
Bartlesville, OK; 20: Dodge City, KS; 22:
Rolla, MO; 24: Clinton, IA; 25: Paris, IL; 26:
Findlay, OH; 28: Willsboro, PA; 29: Harrisburg,
PA; 30: Johnstown, PA.
Tour: James Pinkerton. 11: Presque Isle, ME; 13:
Laconia, NH; 14: Manasquan, NJ.
Tour: Catherine White with The Aurora Trio (flute,
bassoon, harp). 5: Concord, NH; 9: Durant,
OK.
3 -
4 -
7 -
8 -
11 -
12 -
21 -
Nancy Allen with Texas Chamber Orchestra,
Houston, TX.
Hye Yun Chung, solo recital, Louisiana State
University at Baton Rouge, LA.
Susan Allen, solo recital, Springfield, MA.
Jeanne Henderson with Diana Bartley, flute
with Green Bay Symphony Orchestra, Green
Bay, WI.
Jennifer Sayre with Colleen Darkow, flute,
Eugene, OR.
Catherine White with Measure for Measure
(violin, cello, harp) State University at Purchase,
NY.
Emily Mitchell with Renee Siebert, flute, New
York, NY.
Nancy Allen with Michael Parloff, flute, New
York, NY.
Patricia John, solo recital, Houston, TX.
Emily Mitchell with For the Love of Music,
New York, NY.
Winter/1980
59

Tour: Longstreth* & Escosa. 10: Naples, FL; 11:
Naples, FL; 12: Sebring, FL. (*James Pinkerton
may be substituting for Joseph
Longstreth.)
Tour: New York Harp Ensemble. 1 through 14: West
Germany; 19,20: Izmir, Turkey; 25,27: Istanbul,
Turkey; 28,30,31: Bombay, India.
JANUARY
18 - JoAnn Turovsky with Irvine Little Symphony,
Irvine, CA.
25 - JoAnn Turovsky with Irvine Little Symphony,
Irvine, CA.
Tour: Nancy Allen with Ransom Wilson, flute. 10:
Great Neck, NY; 12: Mt. Kisco, NY; 14:
Worcester, MA; 15: Lewiston, ME; 16: Bangor,
ME; 23: East Lansing, MI.
Tour: Susann McDonald. 28: Prescott, AZ; 29:
Indio, CA.
Tour: New York Harp Ensemble. 2: Kuala Lumpur,
Malaya; 3,4: Singapore; 6,7,8,9: Manila, Philippines;
10,11,12: Hong Kong; 13 through 24:
China; 24,25,26: Korea; 27,28,29: Japan.
Tour: James Pinkerton. 8: Dalhart, TX; 11: Bullhead
City, AZ; 13: Escondido, CA; 14: Poway, CA;
15: Porterville, CA; 18: Roseburg, OR; 19:
Grants Pass, OR; 21: Astoria, OR; 23: Port
Angeles, WA; 24: N. Vancouver, BC; 26:
Lewiston, ID; 27: Orofino, ID; 28: Grangeville,
ID; 31: Glen Rock, WY.
Tour: Catherine White with Measure for Measure
(violin, cello, harp). 15: Rosedale, MD; 18:
Skowhegan, ME; 19: Lachute, Quebec; 21:
Sandusky, OH; 24: Sauk Centre, MN; 26: St.
Joseph, MO; 28: Kremmling, CO; 29: Canon
City, CO; 30: Tucumcari, NM; 31: Show
Low,AZ.
Tour: Nicanor Zabaleta. 21,22: with Tulsa Symphony,
Tulsa, OK; 24,25: with Misula Symphony,
Misula, NV; 28,29,31: with Detroit
Symphony, Detroit, Ml.
FEBRUARY
8 - Kathleen Bride with Andrew Bolotowsky, flute
and Bradley Hull, organ, New York, NY.
10 - Nancy Allen, solo recital, San Francisco, CA.
15 - Susan Allen, chamber concert, Northampton,
MA.
Nancy Allen with The Music Project, New
York, NY.
Tour: Nancy Allen with Ransom Wilson, flute. 6,7:
Stanford, CA; 19: New York, NY.
Tour: Jacquelyn Bartlett with North Carolina Symphony.
4: Lincolnton, NC; 5: Greensboro,
NC; 6: New Bern, NC.
Tour: Longstreth* & Escosa. 2: Kankakee, IL; 14:
Harvey, IL; 16: Canton, IL; 19: Esterville, IA;
21: Spearfish, SD; 23: Beloit, KS; 24: Liberal,
KS; 26: Chickasha, OK; 27: Kilgore,
Suzann Davids and the University Harp Ensemble
For information write: SCHOLARSHIPS AVAILABLE
Lamont School of Music
University of Denver
Univ. Park,
2 I 00 So. Josephine St.
Metropolitan State College
Music Dept.
1006 11th St.
Denver, CO 80204
Colo. State Univ.
Music Dept.
Ft. Collins, CO
80523
Denver, CO 80210
or
Suzann Davids, 2732 So. Fillmore St., Denver CO 80210
B.M. Oberlin, M.A., M.F .A.
60
AMERICAN HARP JOURNAL

TX. (*James Pinkerton may be substituting
for Joseph Longstreth.)
Tour: Susann McDonald. 1: Jackson, CA; 2:
Petaluma, CA· 3: Sebastopol, CA; 4: Ukiah,
CA; 5: Crescent City, CA; 7: Fort Bragg, CA.
Tour: New York Harp Ensemble. 1: Glendale, CA; 3:
Carson City, NV; 5: San Mateo, CA; 9:
Kalispell, MT; 11: Bozman, MT· 12: Rexburg,
ID; 13: Logan, UT.
Tour: James Pinkerton. 1: Yuma, CO; 3: Atchison,
KS; 5: Yankton, SD; 7: Cedar Rapids, IA; 9:
Warsaw, IN; 10: Van Wert, OH.
Tour: Catherine White with Measure for Measure
(violin, cello, harp). 2: Big Bear, CA; 5:
Bellflower, CA.
Tour: Nicanor Zabaleta. 1: with Detroit Symphony,
Detroit, MI; 3,4: with Dayton Symphony,
Dayton, OH; 7 ,9: with San Antonio Symphony
San Antonio, TX; 14 15: Oregon
House, CA; 23,24: San Francisco, CA.
MARCH
Workshops: DeWayne Fulton, Marion Redd,
other events.
26 - Catherine White with Measure for Measure,
Bayonne, NJ.
30 - James Pinkerton, solo recital, Phoenixville,
PA.
Tour: Nancy Allen with Ransom Wilson, flute. 1:
Pekin, IL; 2: Sterling, IL; 3: Crystal Lake,
IL; 4: Hinsdale, IL; 5: Glen Ellyn, IL; 7:
Watertown, WI; 8: Marquette, Ml; 9: Sault St.
Marie, MI; 11: Owosso, MI; 15: Piqua, OH;
24: Gettysburg, PA; 28: Murfreesboro, NC.
Tour: New York Harp Ensemble. Baltimore, MD.
MAY
2 - James Pinkerton, solo recital, Lexington Park,
MD.
Tour: Nancy Allen with Ransom Wilson, flute. 6:
Norwick, NY; 10: Brooklyn, NY.
Tour: New York Harp Ensemble. Monaco; Italy;
Denmark; Malta.
2 - James Pinkerton, solo recital, Uniontown, PA.
6 - Jacquelyn Bartlett with Greensboro Chamber
Orchestra, Greensboro, NC.
8 - Susan Allen with Robert Stallman, flute,
Springfield, VT.
11 - Jacquelyn Bartlett with North Carolina Symphony,
Asheville, NC.
13 - Susan Allen, chamber concert, New York, NY.
28 - Susan Allen with Robert Stallman, flute,
Westerly, RI.
29 - Nancy Allen with Eugenia Zukerman, flute,
College Park, MD.
31 - Nancy Allen with Ransom Wilson, flute, Ft.
Madison, IA.
Tour: Longstreth* & Escosa. 1: Crocket, TX; 2:
Derr.ider, LA; 4: Alexandria LA. (*James
Pinkerton may be substituting for Joseph
Longstreth.)
Tour: Susann McDonald. 27: Ely, NV; 29: Laguna
Beach, CA.
Tour: New York Harp Ensemble. 14: New York, NY;
17: Reading, PA; 21: Boston, MA.
Tour: Jennifer Sayre with Walla Walla Chamber Orchestra.
22: Pomeroy, WA; 24: Walla Walla,
WA.
Tour: Catherine White with Aurora Trio. 25: Latrobe,
PA; with Measure for Measure. 29:
Cantonsville, MD; 30: Severna Park, MD.
APRIL
5 - Susan Allen, chamber concert, Wellesley, MA.
25 - Harp Happening, Charlotte Chapter with
cooperation of the Arts and Science Council
and the National Endowment for the Arts.
Winter/1980
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
UJ
z
z
0
u
L..
o
Music Department, Box U-12
University of Connecticut ,
Storrs, Conn. 06268 ,,,,.,.,
Telephone: (203) 486-3728 ~
c..., ~
UNIYE~Jo~~
A1
61

AMERICAN HARP SOCIETY, INC.
1981 COMPETITION
The American Harp Society is pleased to announce
that there will be a competition to be held the week of
21 June, 1981 in Portland, Oregon, open to all harpists
who are United States citizens and citizens of
the Americas up to the age of 30. There will be
monetary awards for winners in all divisions of the
competition as follows:
Young Professional Division .............................. $1500
and up to $1500 towards expenses of a debut recital
in the city of the winner's choice. Also, the
winner will receive the Joseph E. Longstreth
Award, a solo appearance with the Richmond, Indiana,
Symphony and a fee of $500 plus expenses.
Advanced Division ............................................... $1000
Intermediate Division .......................................... $ 500
In addition, certificate awards will be given to all
entrants.
Entrants may bring their own instruments or play on instruments
provided by the Society.
Entry fees will be charged as follows:
Young Professional Division $25
Advanced Division $15
Intermediate Division $10
For further information contact the office of the
American Harp Society, Inc., Dorothy Remsen, Office
Manager, 6331 Quebec Dr., Hollywood, California
90068.
62
Repertoire Requirements
ALL COMPOSITIONS IN ALL DIVISIONS
MUST BE PERFORMED BY MEMORY
INTERMEDIATE DIVISION (Maximum age 15
years on ].,January, 1981)
Naderman Sonatina #6
Hasselmans
Gitana
Rorem Sky Music (1, 5, 9)
ADVANCED DIVISION (Maximum age 18 years
on 1 January, 1981)
Rosetti (McDonald) Sonate #2
Grandjany
Children's Hour Suite
Andres
Absidioles
YOUNG PROFESSIONAL DIVISION (Maximum
age 30 years on 1 January, 1981)
A recital program of professional caliber must be
submitted with the Entry Blank and may not be
changed. It must consist entirely of solos. The
judges may select a portion of the program they
wish to hear in addition to the following required
works:
Tournier
Salzedo
Arnold
1st Stage
Sonatine #2
Flight
Inquietude or Idyllic Poem
Fantasy
2nd Stage
Free choice from recital program
Tailleferre
Debussy
RUTH LORRAINE CLOSE
FELLOWSHIP A WARDS IN MUSIC
Sonate
Danses
The American Harp Society will annually recommend
three harpists to receive awards of $2000 each
for advanced study anywhere in America or Europe.
This grant becomes possible through the generosity
of a bequest to the University of Oregon, School of
Music, by the late Ms. Ruth Lorraine Close Gracely.
Terms of the award to harpists are as follows:
1. For full-time study of the harp, in a manner subject
to approval both by appropriate officials of the
American Harp Society and by the dean of the School
of Music, University of Oregon, who will make the
awards based on the Society's recommendations.
2. Although applications are encouraged from any
advanced student of the harp with exceptional talent
and achievement, preference will be given to applicants
who are:
A. students in colleges, universities, and other
post-high school institutions, who are 26
years of age or younger and who have not yet
obtained a Master's degree at the time of the
auditions.
B. residents of either Oregon or Washington.
3. Applicants will be asked to:
AMERICAN HARP JOURNAL

ENTRY BLANK
SEVENTH NATIONAL COMPETITION (1981)
OF THE AMERICAN HARP SOCIETY, INC.
This entry blank is to be mailed to Dorothy Remsen, 6331 Quebec Drive, Hollywood, California 90068 and
must be postmarked no later than 1 April, 1981.
Please include with this entry blank a copy of your birth certificate and the entry fee as indicated below. In
addition, naturalized citizens mast submit proof of citizenship in the United States or the Americas. Entrants
in the Young Professional Division must submit a recital program of professional caliber which may not be
changed. It must consist entirely of solos.
NAME _____ _ _ _ _ ___ _ _ _ _ _ TELEPHONE _ _ _ _ _ _ ___ _ _
ADDRESS _ _ _ _ _ _ ___ _ _ _ _ _ _ _ COUNTY _ ____ _ _ ___ _ _
CITY _ _ _ _____ _ _ _ _ ___ STATE _ _ _ _ _ _ ZIP CODE _ _ _ __ _
BIR THDATE (enclose a copy of birth certificate) _________________________ _
I am entering the ___ ___ _ _ ___ _____ ___ _ _ ___ ___ __.,_,ivisfon of the competition.
Enclosed is the following entry fee:
___ $10 Intermediate Division
---$15 Advanced Division
___ $25 Young Professional Division
PLEASE MAKE ALL CHECKS PAY ABLE TO THE AMERICAN HARP SOCIETY, INC.
Contestant's signature _ ___ ___ _ _ _ _ ___ _ ___ _
Date ____ ___ ___ __ _
A. submit a typewritten application with an application
fee of $10, postmarked no later
than 1 April, 1981, to: Sally Maxwell, 1620
Sylvan Street, Eugene, Oregon 97403. Checks
should be made payable to the American
Harp Society, Inc.
Include the following material:
1) full name, birthdate, legal residence, present
residence, telephone number, and social
security number;
2) a history of formal and informal educational
background both in music and m
other fields of general culture;
3) a statement of long-range career goals;
4) a detailed description of plans for study
during the year of the award, including proof
of availability of the persons and facilities
involved in the study program;
S) three letters of reference, two of which
must be from music teachers, evaluating
the applicant's candidacy;
6) a list of all previous harp teachers, of
repertory studied, and of public performances
both as soloist and as a member of
an ensemble.
B. Repertoire requirements:
Tournier-Sonatine #2
Salzedo - Flight, Inquietude OR Idyllic
Winter/1980
Poem
Arnold-Fantasy
All compositions are to be performed by
memory.
4. The auditions will be held the week of 21 June
1981 at the University of Portland Portland, Oregon,
just prior to the annual conference of the American
Harp Society. All applicants play on instruments provided
by the Society or their own instruments.
S. Awards will be for one academic year. During the
first year of an award, an appointee may apply for
continuation in a second year. A similar application
may be made by a second-year appointee seeking
continuation for a terminal third year. In each case of
an application for renewal, the candidate must reaudition
alongside the new applicants.
6. Grantees will be announced normally within two
weeks of the time oftj].e auditions by the dean of the
School of Music, University of Oregon. Grantees
wishing to have the award publicized may send relevant
materials to the dean at the University of Oregon,
Eugene, Oregon 97403. Payments wv).l normally
be as follows: one half on September 1, one quarter
on January 1, and one quarter on March 1 of the
academic year of the award.
63

INEZ STAFFORD A WARD
The Bay Area Chapter proudly announces the establishment
of the Inez Stafford Award. The Award,
which is to be given bi-annually, will honor the late
Inez Stafford, a long-time member and officer of the
Chapter.
The first competition will be held 25 and 26 April,
1981 at California State University-Hayward. The
prizes will be $400.00, $75.00 and $25.00 for the first,
second and third place winners, respectively.
This competition is open to harpists between the
ages of eighteen and twenty-eight who are residents
of specified counties in Northern California.
For complete information about performance, residency
and Chapter requirements, please write to:
Clint Venable
Registrar, Inez Stafford Award
1869 La Cassie Avenue, Apt. #8
Walnut Creek, California 94596
8TH INTERNATIONAL HARP CONTEST IN
ISRAEL
FOUNDED BY A. Z. PROPES
5-16 September 1982
Program
Stage 1
Toccata and Suite .................................. Froberger, arr.
Ze' ev Steinberg
Concerto in B-flat ......................... Handel (any edition)
Poetical Studies: Flight,
Inquietude, Idyllic Poem .............................. Salzedo
(Of the Salzedo Poetical Studies, Flight is required;
performers may choose one of the remaining
"two.)
Stage 2
Sonatine No. 2 ................................................ Tournier
Electronic Concerto ................................................. Tal
Free Choice
Stage 3
Concerto for Flute and Harp .............................. Mozart
Concerto for Harp and
Chamber Orchestra ......................................... Jolivet
For additional information regarding the Contest,
apply to:
THE SECRETARIAT
EIGHTII INTERNATIONAL
HARP CONTEST IN ISRAEL,
P.O.B. 29334
Tel Aviv, ISRAEL
ACCADEMIA NAZIONALE DI SANTA CECILIA
First International Harp Competition
28 September- 8 October 1981
Required Repertory
First Stage
Gian Luca Tocci: Study No. 3 from Dodici studi per
arpa
Wilhelm Posse: Study No. 1 from Acht grosse Etuden
fuer Harfe
Carlos Salzedo: Inquietude from Modern Study of the
Harp
Two cadenzas taken from harp and orchestral compositions,
chosen by the candidate, of which at least one
cadenza must be from contemporary repertory.
Second Stage
Louis Spohr: Fantasie in C minor, op. 35
Roger-Ducasse: Barcarolle
Benjamin Britten: Suite, op. 83
One composition for harp solo, published after 1965,
with a duration of not more than five minutes.
Third Stage
Gabriel Faure: Impromptu, op. 86
Alfredo Casella: Sonata, op. 68
Sergei Prokofiev: Prelude (no. 7) from Zehn kleine
Klavierstucke, op. 12, original version
One or more compositions for harp solo, chosen by the
candidate, with a total duration of not more than
fifteen minutes.
Prizes
First Prize: A Salvi harp, concert grand model
Second Prize: 2.000.000 Italian Lire
Third Prize: 1.000.000 Italian Lire
For more complete information write to:
Mario Zafred, President
ACCADEMIA NAZIONALE
DI SANTA CECILIA
Via Vittoria, 6
Rome, Italy
The world of the harp was saddened by the
deaths of two composers for the instrument
during this past year. Astrid Ryterband informed
us of the death of her father, Roman Ryterband,
on 17 November 1979 in Palm Springs, California.
Robert Barclay, composer and partner in the
firm of Barger & Barclay, passed away 11 March
1980 in Ft. Lauderdale, Florida, following a
brief illness.
64
AMERICAN HARP JOURNAL

MARILYN COSTELLO
Solo Harpist -
Philadelphia Orchestra
INSTRUCTOR OF HARP-
THE CURTIS INSTITUTE OF :i\fUSIC
Scholarship Pupils Only
For lnfornwtion, Write:
SECRETARY OF ADI'vIISSIONS
1726 Locust Street
Rittenhouse Square, Phila., Pa. 19103
71te S«mmez 1tazp eoto11v o/ o"lmezica
CAMDEN, MAINE
THE SALZEDO SCHOOL
A Non-Profit Institution
ALICE CHALIFOUX, Director
JEANNE CHALIFOUX, Assistant
For Inf ornwtion Address:
ALICE CHALIFOUX, 115 South Lane, Chagrin Falls, Ohio 44022
Winter/1980
65

66
RESEARCH COMMITTEE WINS
GRANT
The Research Committee of the American Harp
Society, Lucile Jennings, Chairman, announces
receipt of a grant from the National Endowment
for the Humanities for the establishment of a
Repository for important and rare harp scores
and harp-related documents, to be housed in the
Music Division of the Library of Congress.
Items for this collection will be accepted by
donation and will be screened for their value as
research materials, then catalogued, and placed
in the permanent American Harp Society collection.
These items will not circulate but may
be consulted in Washington. In some cases they
will be available on microfilm. Each donated
item will be marked with the donor's name
unless otherwise requested. Items sought are
autograph scores or rare out-of-print music, letters,
programs from premiere performances or
other important performances, recordings from
premiere performances, photographs, scrapbooks
and other important memorabilia, etc. If
you think you have suitable materials for this
collection and would like to donate them or
designate them for later donation to this Repository,
please write to:
Lucile Jennings, Chairman
Research Committee, American Harp
Society
School of Music, Ohio University
Athens, OH 45701
STOLEN HARP
Lyon & Healy 23 No. 5856
Reward for information leading to location. Name of
owner inside harp.
Contact:
Carman Carroll
3159 Voltair, Topanga, CA 90290
Phone: (213) 887-9623
Marcel Grandjany in Concert
The long-playing record album of Marcel
Grandjany is again available: selections are
drawn from his later recordings and include the
Hindemith Sonata, Falla's Spanish Dance No. 1,
Grandjany's realization of the C.P.E. Bach
Sonata, and his own Fantaisie on a Theme of
Haydn. The record may be purchased from Lyon
& Healy or Salvi, or by sending $7.00 (including
$1.00 for mailing and handling) to:
Lucien Thomson
105 West 11th St.
New York, NY 10011
All proceeds are for the benefit of the Marcel
Grandjany Memorial Fund of the American
Harp Society, Inc.
Marcel Grandjany Memorial Fund
On 21 June 1973 the Marcel Grandjany Fund
was established for the purpose of improving the
quality of performance by harpists through supporting
educational programs for students and
through subsidizing concerts by young artists.
Contributions to this fund were used as stipulated.
Now, a new fund has been established in Mr.
Grandjany's name for the same purpose but as a
memorial fund. The following action was taken
by the Board of Directors on 23 June 1979:
1. That interested individuals make a concerted
effort to raise money for a Marcel Grandjany
Memorial Fund having the same purpose as
the Marcel Grandjany Fund;
2. That if $10,000 is not raised within three
years, the money be used in accordance with
the Board's action of 21 June 1973;
3. That the fund and interest therefrom be
placed in the Society's savings account under
separate and distinct entries in the Treasurer's
records.
The Society welcomes your contributions to
this new fund. Checks should be made payable
to the American Harp Society, Inc., designated
Grandjany Memorial Fund, and sent to 6331
Quebec Dr., Hollywood, CA 90068. Contributions
are tax deductible.
Grandjany Biography
Marcel Grandjany: Concert Harpist, Composer, and
Teacher by Ruth K. Inglefield is available
through the offices of the International Harp
Corporation (Salvi). All proceeds from this publication
are donated to the Marcel Grandjany
Fund of the American Harp Society.
AMERICAN HARP JOURNAL

THE YOUNG ARTISTS FUND
Young harpists are invited to give recitals under
the auspices of the American Harp Society. A
tour of cities in which there are Chapters can be
arranged and this offers a fine opportunity for
the young artist. The purpose of the program is
to bring the harp to audiences in every area, and
to give the Young Artists badly needed experience.
For information, write Emily Oppenheimer,
Chairman, 12 Outer Road, S. Norwalk, Connecticut
06854, Telephone: (203) 838-5972.
The following guidelines for these concerts
have been adopted by the Board of Directors:
1. The Society will pay a stipend of $150.00 per
concert to the performing harpist.
2. The Society will pay transportation expenses
of the harpist.
3. The Chapter will assume all other expenses.
4. The Chapter will retain the profits from the
concert, but it is suggested that a portion of
the profit over $100.00 be returned to the
Young Artists Fund.
5. The Board of Directors or the Executive
Committee will act on each request individually,
taking into account the practicality of
the proposal and the funds available.
6. All applications must include the following:
a list of qualifications with supportive material
including a sample program, recommendations,
and a tape of not less than 40
minutes' duration.
7. All harpists participating in the program
must be members of the American Harp Society.
8. The Chairman is authorized to extend up to
$50.00 to assist any Chapter to sponsor a
Young Artist concert.
This fund is supported by contributions from
chapters and individuals. Donations may be made
in the name of the chapter or individual, or may
be designated to honor someone else; in either
case the gift will help to assure the future of
harp performance. Checks should be made
payable to the American Harp Society, Inc.,
designated Young Artists Fund, and sent to 6331
Quebec Dr., Hollywood, CA 90068. Contributions
are tax deductible.
Peabqdy
Conservatory
The nation's oldest conservatmy of music:
A history of performance
with a commitment to excellance.
Elliott W. Galkin, Director
I Iarp faculty: Jeanne Chalifoux
Audition dates for harp:
December 4, 5, 6 (early auditions), 1980
March 19, 20, 21, 1981
Peabody Consenratory of Music
1 East Mount Vernon Place
Baltimore, Maryland
21202
For information contact:
Office of Admissions
301/837-0600
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 $1.50
Jade Summer
melodic, impressionistic,
strong coloration $1.75
Two Songs:
Wealth of Mine
lyrical, pastoral, rippling
Tribute
rich in modern, colorful
harmony
Green Is the Willow
fresh, melodic, with
flowing line
From My Window
song of a summer night,
expressive, romantic
available from:
Schmitt Music Co.
88 South 10th Street
Minneapolis, Minn. 55402
NATL. WATS LINE - 800-328-8480
MINN. WATS LINE - 800-292-7959
$2.50
$1.50
$1.50
Winter/1980
67

AMERICAN HARP SOCIETY, INC.
EIGHTEENTH
NATIONAL CONFERENCE
University of Portland
Portland,Oregon
24-27 June 1981
The 18th National Conference will be held at University
of Portland located in a natural setting overlooking the
Willamette River and the city of Portland.
A wide range of interesting programs will be presented
by well-known artists from around the world. The
opening concert will be played by Catherine Michel from
France and a second, special recital will be presented by
Judy Loman of Toronto (featuring the exciting new
Crown of Ariadne); other programs will include chamber
music performed by former winners of the Ruth
Lorraine Close Award, and a concert featuring the
winners of the 1981 National Harp Competition.
Workshops on folk harp, opera, tuning, history, and stage
dress are in the planning, along with panel discussions.
Of special interest is the National Competition which
will be held immediately preceeding the conference,
22-23 June. Harpists wishing to come early may attend
the finals of the intermediate, advanced and young
professional divisions.
The University of Portland
Instruments, music, recordings, and harp accessories
will be on display throughout the conference.
Since Portland has both cultural and economic ties
with Japan, we are hoping that many of our Japanese
colleagues will join us. Harpists and their families will
enjoy an outing to the characteristic Japanese gardens,
the International Rose Test Gardens, and the music of
the Portland Koto Ensemble.
Participants of the conference may visit such points of
interest as the Portland Art Museum with one of the best
collections of Northwest Indian and Oriental art, the
rugged Oregon coast, the spectacular Columbia Gorge,
and the famous Timberline Lodge and facilities of Mt.
Hood National Park. All are within a two-hour drive
from Portland.
Annual Report to the Membership
Membership: An increase of 216 within the past year
has brought the membership total to 2,676 as of 21
May 1980. Much of the growth is the result of Membership
Chairman Patricia Wooster's campaign
which yielded a dramatic increase in certain special
categories.
Chapters: Two new chapters were chartered: Hetuck
(Columbus, OH) and Greater Detroit (Ml). The Society's
70 chapters range in size from 6 members in
Phoenix to 132 in Los Angeles. Forty chapters reported
their activities in the Winter 1979 Journal,
using the new uniform format.
Regional Changes: The Western Region contained almost
twice as many members (502) as any other. In
68
order to more nearly balance the representation, the
following changes were made by the Board: A
PACIFIC REGION was created which includes
Southern California and Hawaii. JoAnn Turovsky,
Director of the Western Region from 1979 to 1980,
has been named Pacific Regional Director until the
expiration of her term in 1982. The WESTERN
REGION now consists of Northern California and
Nevada and will elect a new Regional Director for a
three-year term. The SOUTHWESTERN REGION
now includes Arizona in addition to Texas and New
Mexico.
Harp Insurance: Lillian Macedo, Secretary, reviewed
various harp insurance opportunities. After investi-
AMERICAN HARP JOURNAL

gation, it was determined to continue the plan offered
by Edward A. Goodman & Co., subject to changes
recommended by the Executive Committee. These
changes have been incorporated in new material
printed by Mr. Goodman.
1981 Playing Competition: A Competition Proposal
Committee, headed by JoAnn Turovsky, made recommendations
to the Board during the winter
months. Repertoire requirements in the three
categories-Intermediate, Advanced and Young
Professional -were mailed to the entire membership
in March. Other competition matters were settled by
the Board during the 1980 conference.
Office Manager: Dorothy Remsen has long been
known for her miraculously accurate control over the
Society's mountains of paperwork. The purchase of
an addressing machine has enabled her to handle the
many mailings with even greater efficiency.
Harp Festivals: Two AHS-related festivals, each in-
• valving over 50 .harpists, were held during the year.
The Midcenttal Region Harp Ensemble Festival,
held in Columbus, OH, was organized by Jean Eason
Harriman and the Hetuck Chapter. Emily Oppenheimer
and Rebecca Flannery were the guiding
spirits for a festival in Hartford, sponsored by the
Connecticut Chapter and the Hartt School of Music.
Reciprocal Recitals: The Society was represented by
Kathleen Bride and James Pinkerton in solo recitals
at the International Harpcenttum in the Netherlands
in the summer of 1979. This cooperative plan in 1980
presented Kumiko Inoue of the Harpcenttum at the
AHS national conference in Fredonia, while the Society
was represented by Emily Mitchell at the
Harpcentrum. The international exchange of young
professionals was arranged by Ann Stockton for the
Society and Phia Berghout for the Harpcentrum.
Voting Procedure: In response to requests made at the
1979 Annual Meeting, ballots mailed to members for
the election of Directors included-for the first
time-brief background information on each candidate.
There was a 10% increase in total votes cast.
Young Artists Fund: Three young artists were presented
in recital during the year: John Senior
(Louisiana and San Jacinto Chapters), Linda Warren
(Pittsburgh) and Hye Yun Chung (Connecticut).
Cash donations to the fund were made by the Connecticut,
Los Angeles, Louisiana, Phoenix,
Pittsburgh and San Jacinto Chapters.
Music Education Auditions and Evaluations: Auditions
were held by five chapters: Metropolitan New York,
Minnesota, Oklahoma City, Portland and Seattle. A
total of more than 50 students of all ages completed
both phases of the auditions.
Research Committee Projects: Among developments reported
by Lucile Jennings, Chairman: (1) The harp
notation project has been completed after three years
Winter/1980
UNIV OF DENVER, JULY 1981
Suzuki-Orff Teacher Training
Institute (Levels I,II & III)
Harp Building Institute:
Optional follow-up day to Suzuki-Orff Institute.
INTERNATIONAL HARP CORP.
Suzuki-Orff Institute Summer '81
COLO STATE UNIV. AUGUST
1981
Suzuki-Orff Institute
Fundamentals - Level I
Pop Workshop Institute
Grad. and Undergrad credit
VIDEOS available in 1981 of Suzuki-Orff program
at Univ. of Denver. VIDEO available of L.
Lawrence Master Class at Univ. of Denver,
1980
Further information:
MRS. SUZANN DAVIDS
2732 South Fillmore St.
Denver, CO. 80210
69

and a book, Writing for the Pedal Harp, by Ruth Inglefield
and Lou Anne Neill-with an introductory
chapter by Stanley Chaloupka-has been submitted
for publication. Lucile Jennings has received a Baker
Fund Award of $4900.00 from Ohio University to
produce a videotape supplement to the book. (2)
Roslyn Rensch Erbes' grant proposal at Indiana State
University has been funded for $400.00. This will
provide for entering cross-indexed information from
harp journals here and abroad into the computer
system. (3) A newly revised grant proposal has been
submitted to the National Endowment for the
Humanities to seek funds for the establishment of a
repository for harp related documents and other items
in the Library of Congress.
Ruth Lorraine Close Musical Fellowship Awards: The
Society continued to administer this project for the
University of Oregon. As in 1979, eighteen young
harpists appeared for auditions and three were recommended
by AHS. This year, the auditions were
open to an audience for the first time. The panel of
judges: Harpcentrum Director Phia Berghout, Marcella
DeCray, composer Pierick Houdy from Quebec
whose Sonata was a required work, Ruth Inglefield
and former Philadelphia Orchestra harpist Edna
Phillips.
New Committees: Three new committees were established
by the Board: BUSINESS ADVISORY
(Chairman to be announced), made up of business-oriented
members of the Society (formation of
such a committee had been strongly recommended
by a professional business consultant); FUND­
RAISING, John Escosa, Chairman, with its first
order of business the procurement of prize money for
the 1981 Playing Competition; CONFERENCE
ADVISORY, Frances Miller, Chairman, made up of
past chairmen of AHS national conferences to assist
future chairmen in their advance planning.
Especially for our newer members, I wish to recall
retiring President Ann Stockton's remarkable record
of service to the Society. She was Chairman of the
Board from 1968 to 1974; after the one-year interval
required by our constitution, she was again elected
Director-At-Large, then as President for two terms
(1976- 80). In 1981, Ann will have completed 12
years of almost continuous work in our behalf, years
in which her executive ability, tact, grace and good
humor have enhanced the Society's image in whatever
role she has represented us.
In Pearl Chertok, the Board of Directors has chosen a
new President who brings her own combination of
qualities to the task, a task which becomes more
complex each year with the continued growth of the
Society. We have every confidence in her leadership
and look forward to working with her.
The Board wishes to thank Mario Falcao, Suzanne
Thomas, other members of the Western New York
Chapter, and the many friends from the Fredonia
State University College community who helped to
make the 1980 National Conference a rewarding experience
for us all.
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 ol Science - Sound Recording
Technology
(Tonmeister)
Bach'elor ol Science
Music Therapy
Master of Music - Music Education
Performance
Theory/
Composition
FREDONlf\
S"ATE UNMRSllY COLLEGE
Fredonia, New York 14063
Department Of Music

Each year's conference affords an ideal opportunity to
observe the Society's condition and to determine its
progress. Without further regard to detail, it should
be said that the growing feeling of friendship and
cooperation within the Society, the willingness to
work together to complete the task at hand, should
enable us to attain whatever goals we may establish.
Respectfully submitted,
SYLVIA MEYER
Chairman of the Board
August 1980
• &oo{le 'Hal1p ~eMi~
"Serving Harpists Needs Every where"
BUY or SELL YOUR HARP
through our monthly Bulletin All makes and sizes
BULLETIN SUBSCRIPTION
$7 .00 for 3 months - $24.00 per year
LISTING PRICE - $8.00 for 3 months per item
Send 15 cent stamp for information flyer
Encore Harp Service
4100 Old Adobe Road, Palo Alto, CA 94306
RECEIPTS
AMERICAN HARP SOCIETY, INC.
Statement of Cash Receipts and Disbursements
l January 1979 to 31 December 1979
Dues
Interest income
Young Artists Fund
Sam Milligan Royalties
Close award entries and stipend
Marcel Grandjany Memorial Fund
Harp Literature Commission-Los Angeles Chapter
Miscellaneous
1978 Conference-Excess ofreceipts over
expenditures
American Harp Journal
TOTAL RECEIPTS
DISBURSEMENTS
Journal expenses
Office management
Office management refund
Transportation-Executive Committee and
Conferences
Directory printing
Young Artist fees and expenses
Telephone
Pins and plaques
American Harp Society printing
Legal fees and accounting
Regional expense
Postage and bulk mail
Office supplies and expenses
Miscellaneous
Competition and Close Awards expenses
Committee expenses
Conference expenses
Equipment-addressing system
National Music Council membership
New membership drive
DISBURSEMENTS
EXCESS OF CASH RECEIPTS OVER CASH
DISBURSEMENTS
See accountant's compilation report.
UNAUDITED
TILLES and GEST, Certified Public Accountants
Los Angeles, California
33,741.19
1,008.82
544.88
157.77
990.00
55.00
214.87
322.00
1,860.78
13,246.48
52,141.79
14,283.06
4,000.00
285.25)
2,043.60
1,576.01
1,960.50
1,227.94
84.28
879.90
955.00
726.46
5,920.41
833.77
178.16
960.70
1,575.20
1,500.00
2,551.95
66.24
562.33
41,600.26
10,541.53
The College of Notre Dame, Belmont, California
offers
RELAXATION SKILLS & TECHNIQUES
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Given by MARJORIE CHAUVEL
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ways to relieve tension and promote relaxation. Ms. Chauvel
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INSTRUCTOR IN HARP
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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 School of Music
University of Hartford/200 Bloomfield Avenue
West Hartford, CT 06117
Telephone: (203) 243-4465
Winter/1980
71

Meet the New Officers. • •
Since most of our members have no contact with the national
officers of the American Harp Society, I have asked
each one to provide a brief autobiography and photograph;
these are reproduced below.
-Ed.
President
PEARL CHERTOK is a native of Laconia, NH. She
studied flute with James Pappoutsakis of the Boston
Symphony, piano with William Harms, and harp with
Marjorie Tyre, Carlos Salzedo at the Curtis Institute
of Music, and Marcel Grandjany.
Ms. Chertok was staff harpist for the Columbia
Broadcasting System in New York City for many
years and was a regular guest artist on musical programs
featuring her own compositions. As a champion
of new music for the harp, she devotes much
time and energy to the study and presentation of both
solo and chamber works. She has recorded nine record
albums.
Ms. Chertok directs a summer seminar at Sarah
Lawrence College and teaches at several of the colleges
in the New York area as affiliate artist faculty.
She has served on the juries of the Concert Artists'
Guild in New York City for many years, judging all
instrumentalists, and on the Jury of the International
Harp Competition in Jerusalem and national competitions
in Italy and Great Britain.
Sylvia Meyer
72
Chairman of the Board
Pearl Chertok
A native of Wisconsin and Phi Beta Kappa graduate
of the geology department, University of Wisconsin,
SYLVIA MEYER moved to Washington, DC at an
early age, and began harp study at age seven.
Graduate, Peabody Conservatory of Music; professional
coaching with the late Carlos Salzedo in
Maine and in New York. Principal harpist and frequent
soloist with National Symphony Orchestra
1933- 66. Washington Opera Orchestra. Harpist in
Holiday Magazine's first-chair roster for the "All­
American Dream Orchestra." Local and network TV
and radio appearances; solo and chamber music recitals;
teaching. Introduced many new compositions
in her varied performances. Retired 1972. Active in
AHS locally since 1963 (organized Washington DC
Chapter). Active in AHS nationally since 1969:
Mid-Atlantic Regional Director; Chairman, Chapter
Committee; Director-At-Large; First Vice President;
Chairman of the Board. Has also served on Harp
Literature Committee, judged national playing competitions,
judged International Composition Contest,
performed and presented workshops at AHS national
conferences, written articles for Harp News and
American Harp Journal. Married to Oliver Gasch,
Judge, United States District Court for the District of
Columbia. Their son is an attorney in private practice.
AMERICAN HARP JOURNAL

First Vice-President
PATRICIA McNULTY WOOSTER, an honor
graduate of Seattle University, earned degrees in
music and education there and pursued graduate
work at the University of Washington. In addition to
directing the Bellevue All-City Harp Ensemble, Ms.
Wooster has served as principal harpist with the
Bellevue Philharmonic and Cascade Symphony Orchestras
for many years, and has appeared as soloist
with the Bellevue Philharmonic.
She has been active in the AHS since 1970, serving
as treasurer, then president of the Seattle Chapter.
Her activities at the national level have included
participation in several National Conferences as
performer or lecturer, and serving as a judge in the
national competitions. She continues as Northwest
Regional Director, Membership Committee Chairman,
and has just completed a term as second Vice­
President.
Patricia Wooster
Second Vice-President
MARGARET LING has a B.Mus. and M.Mus in harp
from the University of Michigan where she studied
with Lynne Palmer. She is currently Professor of
harp at the University of Kansas and also teaches at
the Midwestern Music and Art Camp. In 1974 she
performed at the AHS conference in Seattle, Washington,
and in 1978 served as a judge at the competitions
in Sioux Falls. This past year Ms. Ling has
been chairman of the Regional Directors. In 1975
she organized the Lyra Chapter of the AHS.
Margaret Ling
It's not easy to be good . . . but then
we 've been working at it for over 100 y ears
The UNI School of Music
Mary Beckman, Professor of harp and theory
- Scholarships available
- 11 undergraduate and graduate
degree programs and major options
Please Contact: Mary Beckman . School of Music
Unive rsity of Northern Iowa, Cedar Falls, IA 506 I 3
(319) 273-2024
"
Announcing
"BARBARA
WEIGER"
A new album of Orchestra and Harp
arrangements for Barbara Weiger
distributed by
SALT PRODUCTIONS
4950 Nome, Unit C
Denver, CO 80239
(303) 371-3076
Winter/1980
73

Secretary
Born in Rochester, Minnesota, FRANK B. OLIN
spent most of his youth in Lansing, Michigan. During
student days as a liberal arts major at Michigan
State University, Mr. Olin was a member of the
concert and marching band in which he played the
trumpet.
Michigan State University was followed by 3½
years in the U.S. Navy during World War II. It was
after the Naval service that Mr. Olin located in the
East where he was Executive Secretary at the National
Fund for Medical Education in New York
City, prior to his present position as Administrative
Assistant to the Trustee of the Music Performance
Trust Funds, which he has held for 1 S years.
Mr. Olin's interest in the harp predates all of this
and it has led him to being a serious adult student of
the instrument as well as an ardent supporter of the
work of harpists. Having no personal professional
ambition, he is dedicated to increasing opportunities
for harpists everywhere and seeing the harp become
the familiar and appreciated instrument he feels
deeply it deserves to be. As a member of the New
York Chapter, he has been making interesting and
unusual programs possible.
Frank B. Olin
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
Emily Oppenheimer, Instructor
LINCOLN CENTER
NEW YORK, N.Y. 10023
(212) 799-5000
74
AMERICAN HARP JOURNAL

Treasurer
MARCELLA DeCRA Y plays with the San Francisco
Opera Orchestra and the San Francisco Contemporary
Music Players ensemble. She teaches at San
Francisco Conservatory of Music. She formerly
played with the Metropolitan Opera Orchestra and for
eleven years was a member of the Philadelphia Orchestra.
Ms. DeCray has given recitals throughout
the United States in Europe, and Asia, and has
commissioned, performed and recorded works by
major American composers. Several major composers
have dedicated works to her.
Marcella DeCray has been national treasurer of the
American Harp Society since 1978. Prior to that time
she was Western Regional Director. She has been a
member of the Board of Directors for four years and
is a past president of the Bay Area Chapter.
Marcella DeCray
A Musician's Harp Insurance Plan
thru
EDWARD A. GOODMAN CO., INC.
Insurance Specialists
SINCE 1895
One North Broadway
White Plains, N.Y. 10601
Telephone: (914) 949-8202 (212) 884-4202
Winter/1980 75

1 September 1979 through 31 August 1980
Chapter reports are now being edited in a uniform
format by Sylvia Meyer, Chairman of the Chapter
Committee. They will appear in the Journal once
each year. Report forms were mailed to all chapter
presidents in May. It is hoped that this simplified
format will bring a response from each of the Society's
chapters.
NEW CHAPTERS
Please direct inquiries about the organization of new
chapters to Sylvia Meyer, 3673 Upton Street, N.W.,
Washington, DC 20008.
MIDATLANTIC REGION
(Delaware, District of Columbia, Maryland,
New Jersey, Pennsylvania, Virginia, West
Virginia)
Philadelphia
President, Beverly Fitts, 634 Revere Road, Marion Station,
PA 19066
Vice President, Marilyn Costello (honorary)
Secretary, Cally Proios
Treasurer, Beth Fisch
12 October - Student recital, five part1c1pants. St.
Francis of Assisi Church, Germantown.
10 February - Student recital, seven participants.
Same location.
20 April - Business meeting and election of officers
followed by student recital with five participants.
Wynnewood.
Pittsburgh
President, Lucy Clark Scandrett, 6 Sedalia Avenue,
Pittsburgh, PA 15202
Vice President, Gretchen van Hoesen
Secretary, Suzanne Bress
Treasurer, Paula Page
23 September - Business meeting, election of officers.
Film on Carlos Salzedo.
10 December - Christmas recital by chapter members:
solos, chamber music, troubadour harp
ensemble.
16,17 February - Harp Maintenance Clinic with
Henning Christiansen. Thirteen harps.
Chatham College.
15 May - Young Artists Fund Recital, Linda Warren,
harpist. Eddy Theater, Chatham College.
Chapter reception followed.
Richmond
President, Elizabeth Graham, 6B Vintage Drive, Richmond,
VA 23229
76
Vice President, Brenda Street
Secretary-Treasurer, Marion Morton
3 November - Chapter Social, Tuckahoe Library.
4 November - Recital: Mary Walter. University of
Richmond.
23 February - Student Recital, Beth DeChent,
Chairman. Tuckahoe Library.
Washington, DC
Acting President, Sandra Melton, 6042 N. 21st Street,
Arlington, VA 22205
Secretary, Stella Gleichmann
Treasurer, Phyllis Adams
October - Election of officers.
17 November - Officers' meeting: planning for year.
27 January - Brief recital by Nancy Allen, following
business meeting. Chapter reception. Trinity
College, Washington, DC.
4 May - Annual student recital, nine participants.
Prince of Peace Presbyterian Church, Crofton,
MD.
10 June - Officers' meeting: planning for 1980- 81.
MIDCENTRAL REGION
(Illinois, Indiana, Michigan, Ohio)
Chicago
President, Michael N. Shallow, River Plaza Apt. 2302,
405 North Wabash Avenue, Chicago, IL 60611
Vice President, Honor Conway
Secretary, Helen Padberg
Treasurer, Nona B. Conway
Chapter Activities, Orlena Rush
Music Education, Ellis Schuman
10 February - Membership meeting. Program of harp
music by Honor Conway, Lake Meadows.
6 March - Joint meeting with National Federation of
Music Clubs. Harp program: John Manno; Nelson
Hall, Fine Arts Building.
19 March - Member participation in Mildred Dilling
Harp Workshop, Lyon & Healy Harp Salon.
19 April - Solo harp concert by John Manno sponsored
by the Chicago Chapter, Lyon & Healy Recital
Hall.
26 April - Student Harp Recital, Lyon & Healy Recital
Hall.
Dayton
President, Loretta Dolly Grubbs, 4724 Rushwood Circle,
Englewood, OH 45322
Vice President/Secretary/Treasurer, Margaret Hutsell
15 June - Business meeting and election of officers
followed by recital by Julie Koenig; home of
Joan Seymour.
AMERICAN HARP JOURNAL

Greater Detroit
President, Valerie Agresta, 416 Steeple Chase Court,
Bloomfield Hills, MI 48013
Vice President, Mary Bartlett
Secretary, Cathy West
Treasurer, Jan Poirier
14 October - First organizational meeting.
20 April - Student performers of Mary Bartlett and
Elyze Ilku presented program.
MIDWESTERN REGION
Secretary, Gaylord Stauffer
Treasurer, Becky Boles
30 November - Recital by Mary Girsh. Russell Hall.
1 December - University of Northern Iowa Tallcorn
Orchestra Conference. Chapter meeting, election
of officers, student recital (thirteen participants).
Masterclass with Mary Beckman.
15 March - Masterclass with Mildred Dilling.
16 March - Attendance at Mildred Dilling's recital.
Valley High school.
Lyra (Lawrence, Kansas)
(Colorado, Iowa, Kansas, Missouri [except President, Elaine Peters-Brewer, 547 Alabama, Lawrence,
St. Louis], Nebraska, Oklahoma) KS 66044
Cecilian (Fort Collins, Colorado)
President, Shelly Sutton, 6740 S. Downing Circle West,
Littleton, CO 80122
Vice President, Darla Choquette
Secretary, Suzann Davids
Treasurer, Elaine Dobler
The Cecilian Chapter has assisted the Mile-High
Chapter in giving receptions this year and in planning
a get-together for teachers attending the Colorado
State University Suzuki Harp Workshop conducted
by Suzann Davids. They also welcomed
James Pinkerton after his appearance as guest soloist
with the Fort Collins Symphony.
Greater Iowa
President, Kristin Maahs, 1906 College, Cedar Falls, IA
50613
Vice President, Howard Hawkins
FLORIDA
SC
Vice President, Carolyn Hassig
Secretary, Phyllis]. Hoffman
Treasurer, David Laughlin
23 September - "Pop music" program by Phyllis
Hoffman at her home.
4 November - "Music for flute and harp," Mary
Bickford, harp. (An exchange program with the
Wichita, Kansas Chapter.) Home of Margaret
Ling.
20 January - "Paraguayan folk harp music" by Judy
Romero at home of Jennifer Liebnitz.
30 March - Solos performed by Michelle Pinet at her
home.
4 May - "Two-harp works" played by Marilyn and
Carolyn Hassig at their home.
13 July - "Highlights of the 1980 National Conference"
shared by Margaret Ling. Home of Elaine
Peters-Bewer.
NIVERSITY
SIC
GLIDDEN . Deon

Mile-High (Denver, Colorado)
President, Donald C. Hilsberg, 1211 Vine, No. 901,
Denver, CO 80206
Vice President, Aryce Sporer
Secretary, Suzann Davids
Treasurer, Mona Barsotti
- Business meeting, election of officers at home of
Don Hilsberg.
- Reception for James Pinkerton after his recital at
Arvada Performing Arts Center.
- Meeting featuring Tammy Hiatt, Paraguayan
harpist newly arrived in the area.
- Reception for Lucile Lawrence after masterclass
and ensemble recital conducted by her at the
University of Denver.
Oklahoma City
President, Carol E. Ford, 8305 S. Indiana, Oklahoma
City, OK 73159
Vice President, Pat Grennan
Secretary, June Ives
Treasurer-Historian, Shirley Givens
17 November - A successful fund-raising steak dinner
put the chapter on a self-supporting basis. Previous
financial assistance had been obtained
through a grant from the Oklahoma Arts and
Humanities Council (1978- 79).
15 December - General Business Meeting and
Christmas Recital.
29 March - Music Education Auditions. Evaluations
by James Anthony Carson of Tulsa, Oklahoma.
Participation by 17 students.
26 April - Second phase of Music Education Auditions
and Evaluations completed by 15 students.
St. Vrain (Longmont, Colorado)
President, Melanie Iszler, 9199 Aljan Avenue, Longmont,
co 80501
President-Elect, Everyn Shields
Secretary, Suzann Davids
Treasurer, Merl Yaeger
14 May - Business meeting, election of officers, recital
by local harp students. Performers used new
Salvi harp purchased by the public schools.
NEW ENGLAND REGION
(Connecticut, Maine, Massachusetts, New
Hampshire, Rhode Island, Vermont)
Boston
President, Susan Allen, 185 Chapel Street, Newton, MA
02158
Vice President, Carl Swanson
Secretary, Adele Trytko
Treasurer, W.O. Risinger, Jr.
29 November - Recital, Faye Seeman. Grace Church,
Newton.
18 May - Student recital (six performers). Grace
Church, Newton.
Connecticut
President, Diane MacGregor, 30 Spoonwood Lane, Wilton,
78
CT06897
Vice President, Desmond McCarthy
Secretary-Treasurer, Edith Floyd
Corresponding Secretary, Dolores Crego
Public Relations, Margaret Barnett, Ruth Lampland Ross
4 November - Chapter student recital (eight harpists),
Trina Berkowitz, chairman. Trumbull Public
Library.
2 December - Christmas Open House with music
provided by five Chapter-member harpists.
Lockwood House Museum.
23 March - Harp Festival sponsored by the Chapter
and the Community Division of Hartt School of
Music. Included: Student recital (16 harpists),
luncheon, lectures on Folk Harp (Susan Davis),
the Harp in Orchestra (Emily Oppenheimer),
Basic Harp Maintenance (Rebecca Flannery).
Concluded with harp ensemble-everyone invited
to join in-using Jane Weidensaul's
"Songs and Carols for Two."
27 April - Chapter meeting, election of officers,
music by Wendy Kerner. Home of Dolores
Crego.
17 May - Chapter Scholarship Competition. Award of
$50 to Lori Corarito. Hamden Plains Methodist
Church.
1 June - Fourteenth Annual Scholarship Concert:
Hye Yun Chung, soloist (Young Artists Fund
concert). Silvermine Guild Of Artists, New
Canaan - galleries open for New England
Exhibition.
NEW YORK REGION
(New York State and Ontario, Canada)
Central New York
President, Barbara M. Irish, 26 Dart Drive, Ithaca, NY
14850
Vice President, Meredith Bocek
Secretary, Clare Lilholt
Treasurer, Myra Kovary
Historian, Helen Ellis
27 October - Annual Membership Tea, Tenth Anniversary
Celebration with harp recital. Ithaca.
20 April - Gail Lyons Student Ensemble. Everson
Museum, Syracuse.
24 May - Conference planning. Owego Treadway,
with Meredith Bocek, dinner music.
20 July - Picnic, Theater. Papalia home, Cortland.
Metropolitan New York
President, Bernard Grandjany, 235 W. 71st St., New York,
NY 10023
Vice President, Nina Dunkel
Secretary, Lucien Thomson
Treasurer, Josephine Colville
Program Chairman, Pearl Chertok
18 November - Fall meeting and program. Salvi Harp
Salon. After a moment of silence in tribute
to Georgette Grandjany, President Bernard
Grandjany presented his mother's bequest to the
AMERICAN HARP JOURNAL

chapter, a check in the amount of $1,000. A
program was presented by young professionals
who had passed to the second stage in the International
Competition in Israel: Barbara Allen,
Coleen Cooney, Victoria Drake, Deborah
Hoffman and Isabel Perrin (Nice, France).
4 December - Program of chamber music, Harold
Glick, conductor. Bruno Walter Auditorium,
Lincoln Center. Participating harpists: Barbara
Allen, Sarah Bullen, Coleen Cooney, Victoria
Drake, Grace Paradise, Karen Porterfield, Sarah
Voynow, Catherine White.
24 February - Annual Marcel Grandjany Memorial
Program, Church of the Ascension. Sirika
Nakano, Stacey Shames and Sophia Raigo performed.
8 April - Reception for Sioned Williams, Welsh harpist,
following her debut in Carnegie Recital
Hall.
10 May, 7 June - Annual Auditions and Evaluations
of the Music Education Program. President
Grandjany awarded certificates to the 8 participants
of all ages who completed both stages of
the audition.
June - Planning of 1980 Grandjany Memorial Fund
Concert.
24-28 June - Chapter booth at national conference;
sale of handmade articles to benefit chapter
treasury; raffle of tapestry woven by Barbara
Cooney of Carmel, NY.
Toronto (Ontario, Canada)
President, E lizabeth Volpe, 501 Markham Street, No. I,
Toronto M6G 2Ll, Ontario, Canada
Vice President, Cheryl Vanderkaa
Secretary, Nora Bumanis
Treasurer, Jo-Ann Weisbarth
14 April - Chapter meeting (14 members present),
home of Madeleine Field; discussion of forthcoming
conference; exchange of information.
24-28 June - Chapter booth at AHS national conference
for sale of personal items with harp motifs.
Summer - Gigi Baril, Nora Bumanis and Julie Umbrico
performed with the National Youth Orchestra
of Canada.
Western New York
President, Suzanne Thomas, 7 Ashland Avenue, Buffalo,
NY 14222
Vice Presidents, Sue Wettlaufer, Florence Martin
Secretary, Patricia Ann Ruof
Treasurer, Margaret Semski
24-28 June - Chapter efforts during the year were
centered around planning and preparation for
the Seventeenth National Conference of AHS at
Fredonia State University College, F redonia,
NY. Many members and friends were involved
in the work required in the areas of: Programming
(Suzanne Thomas), Exhibits (Margaret
Semski), Hospitality (Doris Scharing,
Florence Martin), Transportation (Carol Wilson),
Receptions (Paul and Frandel Miehl),
Winter/1980
Ushers (Bethann Breneman, Cindy Dawdy),
Registration (Elizabeth Baker), Decorations
(Patricia Ruof, Susan Wettlaufer), Publicity
(Pauline Breneman, Carol Wilson, Dorothy
Goodell), Folders and Programs (Pauline Breneman),
Typesetting (Hal Leader).
NORTHCENTRAL REGION
(Minnesota, North Dakota, South Dakota,
Wisconsin)
Madison
President, Roseanne Gortenburg, 2712 Sommers Avenue,
Madison, WI 53704
Vice President, Genevieve Whitford
Secretary-Treasurer, Karen Atz
Winter - Members' harps regulated by Lyon & Healy
technicians.
Spring - Members performed at La Follette Showcase
House, benefit for Madison Symphony League.
June - Business meeting.
Milwaukee
President, Ann Marie Lobotzke, 2279 N. Summit Avenue,
M ilwaukee, WI 53202
Vice President, Linda Lak
Secretary, Lynn Jenness
Treasurer, Jeanne Henderson
November - General Business Meeting.
February - Chapter Recital, Alverno College.
July - General Business Meeting; election of officers;
demonstration of Troubadour contest music.
Minnesota
President, Kathy Kienzle, 394 N. Cleveland Ave., No. 1,
St. Paul, MN 55104
Vice Presidems, Betty Price, Pat Kreuziger
Secretary-Treasurer, Carol Harrison
Historian, Jeanette Nels on
15 September - Opening Meeting. Program presented
by Lynnette Nelson and Sunita Staneslow.
20,21 October - John Escosa presented in Recital and
Master Class (28 students participated). Sally
Ahlgren and Westminster Church, hosts ..
15 February, - Music Education Evaluations and Au-
16 March - ditions; David Price and Marsha
Hunter, evaluators; 18 students completed
both phases.
22 March - Meeting at home of Betty Price. Olive
Bernard presented program of traditional Irish
airs, sung and played, using her 1816 Walton
Irish Harp.
10,11 April - Kathleen Bride presented in Recital and
Master Class. Sister Mary Davida and St.
Catherine's College hosts.
31 May - Annual Business Meeting: election of officers
for 1980- 82.
NORTHWESTERN REGION
(Alaska, British Columbia, Idaho, Montana,
Oregon, Utah, Washington, Wyoming)
79

Portland
President, Marion Fouse, 2125 NW Everett St., Portland,
OR 97210
Vice President, Jennifer Craig
Secretary, Jaren Spor Nine
Treasurer, Sister M. Emerentia
14 October - Fall business meeting. Terese Weber,
hostess.
20 April - Harp auditions. Sister Emerentia, chairman.
30 July - Concert by Maria Casale. Marylhurst College.
Seattle
President, Judy Dow, 3100 NE 16th St., No. 3, Renton,
WA 98055
Vice President, Patricia Jaeger
Secretary, Joyce Birchman Fankhauser
Treasurer, Judith Taussig
13 October - Membership/business meeting. Performance
of various works for flute and harp.
1 December - Fund-raising holiday bake sale and
Christmas music performed by 27 harpists.
2 February - performance and talk by Carol Mukhalian,
solo harpist of the Seattle Symphony.
February and March - Music Education Auditions.
2 March - Joint meeting with the Seattle Flute Society.
Performance of various works for flute and
harp including Lynne Palmer's Sonata for Flute
and Harp.
19 April - Japanese program. Music for koto and harp
and a Japanese tea ceremony.
PACIFIC REGION
(Hawaii, Southern
90000- 93599)
California - zipcodes
Los Angeles
Presiden~, Wanda Crockett Jones, 935 Cresthaven Drive,
Los Angeles, CA 90042
First Vice President (Program Chairman), Kathryn Julye
Second Vice President (Scholarship Chairman), JoAnn
Turovsky
Corresponding Secretary, Amy Shulman
Recording Secretary, Betty Buckingham
Treasurer, Amy Wilkins
Hospitality Chairman, Lillian Macedo
7 October - Concert by Konrad Nelson. Los Feliz
Methodist Church.
26 November - Scholarship Concert by Francesca
Corsi (N.Y. City Opera Co.), followed by reception.
Los Feliz Methodist Church.
2 December - Stephanie Pelz-program at Los Feliz
Methodist Church.
7 January - Henning Christiansen, harp maintenance
clinic.
25 January - Reception for Nicanor Zabaleta at Lillian
Macedo' s home.
16 March - Pot luck social at Dorothy Victor's home,
Beverly Hills.
3 May - Scholarship Concert by Verlye Mills and
80
Stella Castellucci. Brand Library, Glendale. Reception
at JoAnn Turovsky's home.
10 May - Young People's Concert. Salvi Studio,
Santa Monica.
San Diego
President, Kimberly E. Smith, 4966 Rockford Drive, San
Diego, CA 92115
Vice President, Hulda Kreiss
Secretary, Charlotte Wells
Treasurer, Helen Brem
Historian, Ruth W. Smith
21 October - Fall Get-Together and business meeting
with soloists, report of AHS National Conference,
videotapes of San Diego Harp Ensemble.
Robinson's Harp Shop.
2 December - Holiday Party and informal performance
of holiday music.
4 May - Spring Harp Festival for benefit of chapter
scholarship fund and Young Artists Fund,
featuring local and guest professionals: Ed
Lange, Paraguayan harp; Mary Adams, Irish
harp and voice; Stephanie Pelz, pop harp; Anne
Stigall, classical harp; Lloyd Lindroth, classic
to contemporary electronic harp.
1 June - Annual potluck, business meeting and election
of officers. Informal performance by local
folk harpists and guest, Lloyd Lindroth. Robinson's
Harp Shop, Mt. Laguna.
Santa Barbara
President, Sister Virginia Joseph LaLanne, C.S.J., 529
West Fourth Street, Oxnard, CA 93030
Vice Presidents, Sylvia Lindquist, Maryjane Barton
Secretary-Treasurer, AnnaBelle Hodge
20 September - Potluck Social, Vonette Yanaginuma'
s home, Port Hueneme.
15 October - Meeting and student program, Maryjane
Barton, Chairman. Studio of Maryjane Barton.
7 December Meeting. Election of officers.
8 February - Supper Meeting, Santa Clara Convent,
Oxnard, followed by North Swedish Festival
Chorus Concert.
19 April - Program by Joel Andrews, Maryjane Barton's
Studio.
1 June - Recital at Santa Clara Elementary School
followed by potluck supper.
July - Members attended Mildred Dilling and
Dorothy Victor Workshops at UCLA, Jazz Festival
and Chamber Music at UCSB.
SOUTHEASTERN REGION
(Alabama, Florida, Georgia, North Carolina,
South Carolina, Brazil-South America)
Alabama
President, Marjorie Tyre, 712 Brenda Avenue, Auburn, AL
36830
Vice President, Wanda Haight Cunliff
It is hoped that the Alabama Chapter, currently inactive
in Auburn, will be able to resume activity with
Birmingham as the focal point.
AMERICAN HARP JOURNAL

Cha ... Jotte
President, E lizabeth C. Clark, 6615 Rosemary Lane,
Charloue, NC 28210
Vice President, Joy Hofer
Secretary-Treasurer, Mary V. Evans
13 October - Student performance and election of
officers at home of Linda Booth.
19 January - Program: Nancy Allen, guest harpist.
Home of Elizabeth Clark.
17 May - Program: Ron Canipe. Home of Mary
Evans.
31 May - Workshop: Nancy Allen, Spirit Square
Affiliate Artist.
5 June - Concert: Nancy Allen with Linda Booth.
Spirit Square Performance Place.
24-28 June - Chapter members Ron Canipe,
Elizabeth Clark, Joy and Kevin Hofer attended
AHS National Conference.
Florida West Coast
President, Kathryn Holm, 3316 Lacewood Road, Tampa,
FL 33618
Vice President, Linda Stillwagon
Secretary, Barbara E . O'Brien
Treasurer, Dolly McClellan
Member-at-Large, Arabella Sparnon
30 September - Business meeting, election of officers.
Fund-raising project initiated (musical stationery).
4 November - Demonstration/Lecture: Improvising
"pop" tunes, by Becky Nissen.
13 December - Performance by Florida West Coast
Harp Ensemble (Kathy Holm, Becky Nissen,
Barbara O'Brien, Linda Stillwagon) with
Sarasota Community Orchestra, at Van Wezel
Performing Arts.
24 February - "Recollections of Henriette Renie"
presented by former students: Alice Singer
Brantley, Maria Rosa Vidal, James Kirk.
4 May - Business meeting: Summation of Goals and
Objectives.
- Public performance at Bay Village, Sarasota:
Robert Davison, recorder; Kathryn Holm, harp;
University of South Florida Student Harp Ensemble.
Georgia
President, Barbara Jackson, 4724 North Springs Court,
Dunwoody, GA 30338
Vice President, Nella Rigell
Secretary, Cheryl Slaughter
Treasurer, Jane Lindenborg
28 October - Recital meeting at a local retirement
home.
27 January - Lyon & Healy Harp Maintenance Clinic
conducted by Henning Christiansen. Meadows
School, College Park.
23 February - Luncheon in honor of Heidi Lehwalder,
soloist with Atlanta Symphony Orchestra.
Swan Coach House.
20 April - Recital meeting at a local retirement home.
Winter/1980
Rio de Janeiro (Brazil, South America)
President, Acacia Brazil de Mello, Av. Rui Barbosa
422-10( andar, Botafogo, Rio de Janeiro, Brazil
Vice President, Maria Celia Machado
Secretary, Wanda Cristina Motta Eichbauer
Treasurer, Elza M. Marins
Winter - Meeting with all members present at home
of President Acacia Brazil de Mello. Program of
harp solos. Distribution of Lea Bach's recordings.
June - Chapter sponsored three successful concerts
by young harpists (especially Silvia Passaroto
and Monica Cury, harp duo).
July - Representatives of chapter attended Harpcentrum,
The Netherlands.
SOUTHERN REGION
(Arkansas, Kentucky, Louisiana, Mississippi,
St. Louis, MO, Tennessee)
Lexington
P resident, Elaine Humphreys, 718 Hambrick Ave.,
Lexington, KY 40508
Vice President, Lee Ellen Marcum
Secretary-Treasurer, Marilyn Yoder
14 October - Business meeting and student performers.
2 December - Business meeting and Christmas music
program.
16 February - Mildred Dilling Workshop and Recital.
University of Kentucky Memorial Hall.
25 May - The Lexington Harp Ensemble in Recital.
University of Kentucky Center for the Arts.
Lousiana
President, Barbara Belew, 4022 Wooded Drive, Lake
Charles, LA 70605
Vice Presidents, Charles Coley, Steve Hebert
Secretary-Treasurer, Verna Barbour, John Singleton
(assistant)
Historian, Susan Coleman
September - Business meeting, reports of AHS National
Conference; preview of "Soliloquies,"
written for Barbara Belew by Dr. Robert Jordahl.
December - Christmas programs for educators professional
society, two churches. Members involved:
Barbara Belew, Susan Coleman, Charles
Coley, David Conrad, Lisa Monsour, Yvonne
Tilley.
17 January - Dinner honoring John Senior and his
wife, Tammy.
18 January - Young Artists Fund Concert by John
Senior, McNeese State University; reception assisted
by campus chapter of Sigma Alpha Iota.
13 June - Sixth Annual Concert of solo and ensemble
works featuring premiere performance of Jordahl's
"Soliloquies." Announcement of election
results for 1980- 82. Ralph Squires Hall,
McNeese State University.
81

~
~B·~.
~-
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a
'
"TEACH YOURSELF TO PLAY
THE FOLK HARP"
"SONGS OF THE HARP:
20 SONGS ABOUT
HARPS & HARPERS"
Also now available:
Harp Jewelry from
Irish coins
Ir
HARP
T-SHIRTS
For information, write:
Sylvia Woods
P.O. Box 29521 ~
Los Angeles, CA 90029 ~
n~~~
SOUTHWESTERN REGION
(Arizona, New Mexico, Texas)
Dallas
President, Edna McClintock, 5851 Meletio Lane, Dallas,
TX 75230
Vice Presidents, David Williams, Becky Scherschell
Secretary, Debbie Bolen
Treasurer, Virginia Klein
Historian, Vesta de Aumente
7 October - Emily Mitchell played and described her
experiences as winner of the International Harp
Competition in Israel. Becky Scherschell performed
a composition for harp and tape recorder.
Home of Laura Mitchell.
10 November - Potluck dinner and pop-harp music at
Dr. Frances Tompkins' home.
10 February - David Williams, Harp Recital; Dallas
Museum of Fine Arts. Co-sponsored by Mu Phi
Epsilon.
22 March - Chamber Music: Handbells and Harpist,
Edna McClintock, "American Folk Hymn
Suite." Slides of Harpweek, The Netherlands
and Gargilesse, France by Charles
Kleinsteuber. Preston Hollow Presbyterian
Church.
26 April-Annual Student Recital (11 performers) at
home of Laura Mitchell.
Memphis
Lubbock
President, Agnes Crisci, 3901 Birchleaf, Memphis, TN President, Gail Barber, 3513 92nd Street, Lubbock, TX
38116 79423
Vice President, Marian Shaffer
Secretary-Treasurer, Ruth Cobb
Yearbook Chairman, Bill Butner
Telephone Chairman, Frances Phillips
September - Chapter Soiree - Guest Harpist Genni
Tomasi from Florence (Italy) Symphony. Agnes
Two new harp scholarships have been added to the
Texas Tech University Harp Department: A $400.00
scholarship in memory of Lela Furr, donor of the
first harp to Texas Tech, by Shelly Furr Hall and
Billie Wolfe; and a $100.00 scholarship honoring
Mildred Dilling.
Crisci, Chairman. Grisanti's Restaurant.
- Audition Winners, Memphis Youth Symphony:
Olivia Bruce, Anna Green, Jeannie Isbell. Marian
Shaffer, Chairman.
October - Chapter Business Meeting and Reports on
AHS National Conference, Festivals, and
Workshops. Home of Agnes Crisci, President.
February - Winner, West Tennessee Solo-Ensemble
Competition: Michelle Miller. Frances Phillips,
Chairman.
March -
April -
Chapter Harp Ensemble: Olivia Bruce,
Leigh Cheatham, Anna Green, Jeannie Isbell,
Lisa Turner. Bill Butner, Chairman. Hotel
Hilton.
Artist-Member Lecture-Demonstration by
Mimi Allen. Ruth Cobb, Chairman. Spring
Meeting, Solo and Ensemble Program. Memphis
State University.
May - Harp and Violin Recital:
harp; John Wehlan, violin.
Memphis.
June - Scholarship Winner, Sewanee Summer Music
Camp: Olivia Bruce.
82
Phoenix
President, Adrienne Bridgewater, 2606 W. Berridge Lane
C-205, Phoenix, AZ 85017
Vice President, Ester McLaughlin
Secretary, Sara Carpenter
Treasurer, Marylou Barns
20 September - General Business Meeting and Program.
25 October - General Business Meeting and Program.
November - Meeting to paint Christmas ornaments to
sell as a fund-raiser (Angel playing a harp).
12 March - General Business Meeting and Program.
Contribution made to Young Artists Fund.
9 April - General Business Meeting and Program.
29 April - Annual Spring Recital. West High School.
Sahuaro (Tucson, Arizona)
Barbara Wehlan, President, Carrol McLaughlin, 5829 E. Waverly, Tucson,
Southwestern at AZ 85712
Vice President, Patricia Adams Harris
Secretary-Treasurer, Laura Porter
1 September - Meeting, election of officers. Program:
AMERICAN HARP JOURNAL

Performance by Carrol McLaughlin; discussion
of summer events participated in by chapter
members: Harpcentrum, The Netherlands; International
Competition, Israel; Susann
McDonald's and Mildred Dilling's harp workshops.
University of Arizona.
9 December - University of Arizona Harp Students'
Recital.
13 April - Joint Recital: Sahuaro Chapter harpists
and members of the Tucson Flute Club.
Arizona Museum of Art.
San Jacinto (Houston, Texas)
President, Linda Gilbreath, 522 Hunters Den, Houston, TX
77079
Vice President, Louise Trotter
Secretary-Treasurer, Cynthia Cooper
Program Chairman, Patricia John
16 September - Membership tea with program by
Patricia John's harp ensemble. Federation of
Women's Clubs Building.
11 November - "Harpers Bizarre," at home of Dr. and
Mrs. Lyal Williams. Sale of "harpifacts" donated
by members for benefit of Young Artists
Fund. Demonstration of "leprechaun" lap harp
by Louise Trotter followed by buffet dinner.
20 January - Young Artists Fund recital by John
Senior, harpist; Mabee Theater, Houston Baptist
University; followed by reception, Barbara
Harris, Chairman.
27 January - Program of harp ensemble music by
John and Tamara Senior and Guinndolyn Harris,
followed by "high tea" at home of Ted and
Barbara Harris.
23 March - Young Persons Concert in conjunction
with Houston Festival of the Arts. Central
Houston Public Library. Thirty young harpists
performed on pedal and non-pedal harps before
a capacity audience.
18 May - Annual business meeting at home of Linda
Gilbreath. "Artists Program" by Gloria Ambrose
and Cynthia Cooper, followed by buffet
dinner organized by Mrs. J.F. Slaughter.
WESTERN REGION
(Nevada, Northern
93600 and up)
California - zipcodes
Bay Area (San Francisco, California)
President, Faith Carman, 1248 Shafter Street, San Mateo,
CA 94402
Vice President, Clint Venable
Recording Secretary, Elvira Cassell
Corresponding Secretary, Patty Masri
Treasurer, Claudette Lambert
8 October - Chamber Music Recital: Faith Carman,
harp; Jo Ann Engle, flute, Andy Berdahl, viola.
Business meeting.
3 December - Christmas Potluck Supper with folk
harp music.
1,2 March - Lyon & Healy Harp Maintenance Clinic.
Winter/1980
19 April - Inez Stafford Award Benefit: Attendance at
San Francisco Ballet performance featuring
Randy Pratt, harp.
27 April - Inez Stafford Award Benefit: Pop-harp
Concert by Verlye Mills and Stella Castellucci.
11 May - Spring Recital. Linda Wood, Chairman.
8 June - Wine-Tasting Party and Business Meeting.
Central California (Fresno, California)
President, Penny Howk Beavers, 4945 E. Sooner Drive,
Fresno, CA 93727
Vice President, Dotty Warkentine
Secretary, Jane Sharp
Treasurer, Sue Durfee
5 October - Business meeting, election of officers.
14 January Business meeting, planning for
Zabaleta's stay in Fresno.
15 February - Chapter Reception honoring Nicanor
Zabaleta after his solo appearance with
Philharmonic.
2 June - Spring Harp Recital (10 students of Penny
Howk Beavers) followed by dinner.
Santa Clara Valley (Los Altos, California)
President, Christine Holvick, 34 Barry Lane, Atherton, CA
94205
Vice President, Tisha Sheeder Cheney
Secretary, Celeste Everson Johnson
Treasurer, Deborah Wilken Ricks
18 November - Concert by 11 harpists: Solos and
duets for Christmas.
I February - Reception honoring Nicanor Zabaleta
after solo concert at Stanford University. Celeste
Everson Johnson, Chairman.
25 May - Concert by 6 Bay Area harpists and their
guest singers featuring a variety of music for
voice and harp for one or two performers.
CLASSIFIED
FOR SALE
Angelica #40, Salvi Harp. Good condition
$2,800. Sylvia Lindquist, 583 El Sueno
Road, Santa Barbara, CA 93110. Phone:
(805) 967-9780
Lyon Healy harp, style 3, gold, #2929.
Built 1926. Wide space, no trunk, cracked
sounding board. Price $7,000.00 Lucien
Thomson, agent. Phone: (212) 675-1278
MERCHANDISE
If you missed the A.H.S. Conference,
CREATIVE COOKIE-a sleuth for Harp
collectors was there-sterling silver Claddah
Rings w /hand set marcasite harp,
Rubber Stamp, Cookie Cutters, Music
Boxes, many are one only. CREATIVE
COOKIE, 2003 W. Giddings, Chicago, IL
60625 (312) 935-0171.
WANTED
Anyone with compositions by Alfred Holy,
please contact Artiss deVolt, Sea Island,
Georgia 31561.
83

New England
JOAN HARRISON CEO,B.M., Catholic Univ.
of America
The Loft, Wood River Junction, RI 02894
Phone: (401) 364-6792
Faculty: The University of Rhode Island
STEPHANIE CURCIO, M.A.
Ffrost Drive, Durham, New Hampshire 03824
Phone (603) 868-7334
Harp Instructor: University of New Hampshire
ELIZABETH T. DAHL, B.M. Eastman
University of Vermont Music Department
Burlington, VT 05401 (802) 656-3040
SALLY ELLIOTT, B.M., M.ED.
109 Webster St.
Arlington, MA 02174 (617) 646-3471
REBECCA FLANNERY, B.M., M.M.
P.O. Box 318, New Haven, CT 06502
Phone: (203) 787-4746
Faculty: Hartt School of Music, Univ. of Conn.
CYNTHIA GORDON
Principal Harpist: Cape Cod Symphony
Faculty: Cape Cod Conservatory,
W. Barnstable, MA 02668
PHYLLIS WRIGHT, B.M., Eastman
Box 377 Charlestown, R.I. 02813
Phone: (401) 364-6524
Principal Harpist: Hartford Symphony
Formerly Principal Harpist:
New York City Opera 6 years
Buffalo Philharmonic 6 years
New York
NANCY BRENNAND, B.M.E., Northwestern Univ.
235 West 71st St., New York, NY 10023
Phone: (212) 787-9024
Woodstock, NY studio - (914) 679-9360
PEARL CHERTOK
56 North Greenwich Rd.
Armonk, New York 10504
Tel. (914) 273-3868
Manhattan Studio
MILDRED DILLING (private and classes)
400 East 52nd St., Apt. 9F
New York, NY 10022 Phone: (212) PL3-2492
Workshop NY Studio Oct. 11, Nov. 8, Dec. 6, 1980
Jan. 10, Apr. 4, May 2, May 16, Jun. 6, 1981
Recital June 14, 3:00 p.m., Community Church
18th Annual Master Class and Workshop UCLA
June 29 to July 11, 1981
TEACHERS'DIRECTORY
URSULA KWASNICKA, B.M., M.M.
Principal Harpist: Syracuse Symphony
302 Scottholm Blvd., Syracuse, NY 445-1987
Faculty: Hamilton College, Clinton, NY
KAREN LINDQUIST, B.M., M.M., Juilliard
330 East 39th St., Apt. 7L, New York, NY 10016
Phone: (212) 661-7317
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
MARY EMILY MITCHELL, B.M., A.R.C.M.
328 West 84th St., New York, NY 10024
Phone: (212) 799-0244
GERALDINE RUEGG
60 Cedar Lane, Bronxville, NY 10708
(914) DE7-5966
SUZANNE M. THOMAS, B.M., Eastman
7 Ashland Ave., Buffalo, NY 14222
Private Teaching Phone: (716) 886-6152
Principal Harpist: Buffalo Philharmonic Orchestra
Faculty: S.U.N.Y. at Buffalo
Daemon College, Buffalo
Niagara Community College
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., Cleveland Inst. of
Music
3343 Weeping Willow Ln., Virginia Beach, VA 23456
Phone: (804) 427-1732
MARIAN HARDING
Faculty: East Carolina Univ., Greenville, NC
Faculty: Old Dominion Univ., Norfolk, VA
DOROTHY R. KNAUSS
2953 Alton Ave., Allentown, PA 18103
Solo Harpist: Allentown Symphony, Allentown
Concert Band, Municipal Opera, Moravian College
MARJORIE HARTZELL, B.M., Eastman
10 Glenwood St., Albany, NY 12203
Phone: (518) 489-2071 •
84
MARIE MELLMAN NAUGLE
105 B'nai B'rith, 130 S. 3rd Street
Harrisburg, PA 17101 Phone: (717) 233-4709
AMERICAN HARP JOURNAL

PAULA PAGE, B.M., Cleveland Inst. of Music
943 N. Sheridan Ave., Pgh., PA 15206 (412) 661-0483
Faculty: Carnegie-Mellon University
Harpist: Pittsburgh Symphony Orchestra
LEONE PAULSON
74 Ralston Avenue, South Orange, NJ 07079
Phone: (201) 762-9095
CECILE CEO SIEBEN, B.M., M.M.
2203 Browns Lane, Oxon Hill, MD 20022
Phone: (301) 567-4017
Principal Harpist: Roanoke Symphony
Fulbright Scholar, Rome, Italy, 1961-62
Private Instruction, Pedal and Troubadour Harp­
Home Studio
Southeastern
JACQUELYN BARTLETT
Solo Harpist, North Carolina Symphony
Faculty: University of North Carolina
Chapel Hill, NC, Phone: (919) 967-4528
ROSALIND BECK, B.M., B.M.E.
2261 Howard Drive
Orlando. FL 32803 (305) 645-3192
Principal 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 Renie, Paris
4651 1st Street, N.E., Apt. 309
St. Petersburg, FL 33703
Private Teaching (813) 526-1804
Faculty: St. Petersburg Junior College
ARTISS deVOLT
Sea Island, Georgia 31561
Telephone: (912) 638-2229
KATHRYN CASE HOLM, M.M. Cleveland Institute
of Music
3316 Lacewood Rd., Tampa, FL 33618 (813) 932-6944
Faculty: University of South Florida, Tampa
MARILYN S. MARZUKI
1020 N. 18th Ct., # 101 Hollywood, FL 33020
(305) 923-9080
MARJORIE TYRE
Home Studio: 712 Brenda, Auburn, AL 36830
Phone: (205) 887-9001
CLEMENTINE WHITE, B.M., M.M.
Assoc. Prof. of Music, Univ. of Florida
Gainesville, FL 32611
Phones: (904) 372-7168 or 392-6677
Winter/1980
Southern
HYE YUN CHUNG, B.A., M.M.
School of Music, Louisiana State University
Faculty: Louisiana State University
Principal Harpist: Baton Rouge Symphony Orchestra
Phone: (504) 388-3261 or 3262
RUTH COBB, Curtis Institute
Dept. of Music, Southwestern, 669 University
Memphis, TN 38107 (901) 767-1895
MARIAN JACKSON SHAFFER, B.A., M.A.
51 S . Fenwick, Memphis, TN 38111
Phone: (901) 452-3831
Faculty: Memphis State University
Sewanee Summer Music Center
Principal Harpist: Memphis Symphony/Opera Memphis
North Central
LYNNE ASPNES, B.F .A., M.F .A.
2606 Robbins St., Minneapolis, MN 55410
(612) 926-3658
Faculty: MacPhail Center for the Arts
Augsburg College, Macalester College
GLADYS HUBNER
5725 Clinton Ave., Minneapolis, MN 55419
Phone: 869-8960
Macalester College, St. Paul, MN
FRANCES G. MILLER
4324 Drew Avenue So., Minneapolis, MN 55410
Phone: (612) 926-1749
Faculty: University of Minnesota
St. Olaf College, Northfield, MN
University of Wisconsin at Eau Claire
Augustana College, Sioux Falls, S. Dakota
Mid Central
DAR.ICE AUGUSTSON, B.M.
4601 Forest, Downers Grove, IL 60515
Phone: (312) 971-0370
JILL BAILIFF (REYES)
1880 Glenwood Rd., Ann Arbor, MI 48104
Phone: (313) 971-7586
Faculty: Eastern Michigan University
MARY BARTLETT, B.A.
30587 Bristol Lane Phone: (313) 646-1136
Birmingham, MI 48010
LOUISE BENTON, B.S.
4 Philip's Court, Henderson, KY 42420
Phone: (502) 827-1336 Faculty: U of Evansville (Ind.)
Brescia College, Owensboro, KY
Maple Mount Music Camp, Maple Mt., KY (June 1-14)
HONOR CONWAY, M.M.
155 N. Harbor Dr., #4911
Chicago, IL 60601 (312) 565-1039
85

PETER E. EAGLE, Professor
Chairman Harp Department, 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
BERNICE F. GRUBB
School of Music, De Pauw University
Greencastle, IN 46135 (317) 653-9721
JEAN EASON HARRIMAN
2492 Seneca Park Place, Columbus, OH 43209
Phone: (614) 235-9027
Ohio State Univ; Capital Univ; CSO Harp, Flute Duo
DOROTHY DREGALLA HENSCHEN
1001 Overlook Dr., Alliance, OH 44601
Faculty: Mt. Union College and Akron University
Principal Harp: Akron Symphony and Kenley Players
ELAINE HUMPHREYS, B.M., M.M.
440 Purcell Ave., Cincinnati, OH 45205 (513) 921-1343
Harpist: Cincinnati Chamber Orch. and Lexington Phil.
Harp Instructor: Univ. of KY and Morehead State Univ.
Private Studio: 718 Hambrick, Lexington, KY 40508
Phone: (606) 233-1327
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
NANCY N. MORSE, B.M., Univ. of Michigan
Assoc. Faculty: I.U.-P.U., Ft. Wayne, Private Instr.
4331 Indiana Ave., Ft. Wayne, IN 46807 (219) 456-7354
BEVERLY MYROW, B.A.
Phone: (312) 748-1785
Professor of Applied Harp, Governors State University
Park 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 (ERBES), M.M., M.A., Ph.D.
Professor of Humanities, Teacher of Harp,
Indiana State University, Terre Haute, IN 47809
Author of The Harp, its History, Technique and Repertoire,
Published by Gerald Duckworth, Ltd., London
LINDA I. WELLBAUM, B.M., B.S. In Mus.
2401 Van Lear St., Cincinnati, OH (513) 721-6981
Faculty: College Conservatory of Music, Univ. of
Cincinnati. Member of Cincinnati Symphony Orchestra
Midwest
KATHY BUNDOCK, B.M., M.A., Eastman
University of Northern Colorado School of Music
Greeley, Co 80639 (303) 351-2678
86
PATRICIA VAETH CROKE, B.S., Mus. Ed.
34 Lake Ave., Colorado Springs, CO 80906
Faculty: Colorado College, Colo. Spgs.
Principal Harpist C.S. Symphony 1958-71
Featured Harpist: Pat Vaeth Show-TV; Hotels
Phones: (303) 632-9531, 473-2233 Ext. 500
SUZANN YOUNG DAVIDS, B.M., Oberlin, M.A.,
M.F.A.
2732 So. Fillmore Street,_Denver, CO 80210 757-4402
Faculty: Colorado State University, Ft. Collins, CO
University of Denver, Denver, CO
Metropolitan State College, Denver, CO
Private Studio and Suzuki-Orff Studio
MARGARET LING
Professor of Harp, Kansas University
Lawrence, KS 66044
MELODY MALEC, B.M.
8305 Cass St., Omaha, Nebraska 68114
Principal Harpist, Des Moines Symphony
Phone: (402) 391-9753
FLORENCE SCHWAB
Harp Instructor: Kansas State University
Manhattan, Kansas 66502
SUZANNE SHIELDS, M.M.
1325 W. Third, ElDorado, Kansas 67042
Phone: (316) 321-0925
GERALDINE SHANKS WRIGHT
5008 E. Morris Phone: 686-1770
Harp Instructor, Bethany College, Lindsborg, KS 67218
Southwest
MARY K. ALEXANDER, B.M., Eastman
3221 Cumberland Ave., Waco, TX 76707
Telephone: (817) 753-1216
Faculty: Baylor University, Waco, TX 76703
GAIL G. BARBER, B.M., Eastman
Box 64189, Lubbock, Texas 79464
Phone: (806) 797-3612 or 742-2270
Faculty: Texas Tech University
SARA HARTZLER CARPENTER, B.M., B.M.,
M.M.
4275 North Fanning Drive, Flagstaff, AZ 86001
Phone: (602) 526-3488
Faculty: Northern Arizona University
Box 6040, Flagstaff, AZ 86011 (602) 523-2323
Faculty: N.A.U. Summer Music Camp, Junior Div.
July 5-July 18, Senior Div. July 19-Aug. 1, 1981
Harpist Flagstaff Symphony-Private Instruction
PATRICIA DUNCAN, B.S., Mus. Ed., M.A.
P.O. Box 42812, Bl38, Houston, Texas 77042
Phone: (713) 781-0444
Harp Instructor, Houston Independent School District
Dir. Shepherd Harp Ensemble Festival, Shepherd, TX
Private Instruction, Pedal and Troubadour Harp
Phone: (713) 784-5850
AMERICAN HARP JOURNAL

JULIA HERRMANN EDWARDS
6734 Mimosa Lane, Dallas, TX 75230
Phone: (214) 363-1186
Faculty: Southern Methodist University, Dallas, TX
ANNE EISFELLER, B.M., M.M., Indiana University
Box 26904, Albuquerque, NM 87125
Principal Harpist: New Mexico Symphony Orchestra,
Chamber Orchestra of Albuquerque
GAYEL PANKE GIBSON, B.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.B., M.A.
1815 Portsmouth Street
Houston, TX 77098 (713) 522-5248
PATRICIA JOHN, B.A., Wm. Marsh Rice University
Curtis Institute - Carlos Salzedo
1414 Milford Ave., Houston, TX 77006
Composer, THE PANTILE PRESS, Houston, TX
Faculty: Houston Baptist University, Houston, TX
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
Pacific
SUZANNE BALDERSTON
2030 Malcolm Ave., Los Angeles, CA 90025
Faculties: Cal State Northridge
Music Academy of the West
Private teaching: (213) 474-2103, 450-1890
MARYJANE BARTON, M.A.
Santa Barbara, CA Phone (805) 967-2261
Graduate of the Curtis Institute of Music under
Carlos Salzedo
MARILYN BERGER, B.M., R.M.T.
239 S. Barrington Ave. F8 (213) 476-8950
Los Angeles, CA 90049
MARJORIE CALL
Phone: (213) 877-7638
3895 Berry Dr., No. Hollywood, CA 91604
Faculty: University of Redlands, UCLA, California
State University at Long Beach, Chapman College
Limited home teaching
GRACE WEYMER FOLLET
405 Camino San Clemente
San Clemente, CA 92672 Phone: (714) 492-2047
Former Head of Harp Dept., Syracuse University
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
Winter/1980
GERTRUDE PETERSON HUSTANA
1065 Glenhill Rd., El Cajon, CA 92020
Harp Instruction, San Diego State Univ.
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
171 West Naomi
Arcadia, CA 91006 (213) 445-9692
Faculty: The Juilliard School, USC, Univ. of Arizona
CARROL McLAUGHLIN, B.M., M.M., Juilliard,
D.M.A.
2642 34th St., Santa Monica, CA 90405
Phone: (213) 450-4675
ALFRED R. ORTIZ
(Paraguayan Techniques)
1262 Sunkist Circle, Corona, CA 91720
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
JOANN TUROVSKY, B.M., M.M.
370 Tamarac Drive, Pasadena, CA 91105
(213) 255-6598
Faculty: Pomona College, Loyola University
USC Community Schools
SYLVIA WOODS
P.O. 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
West
EDWINA BAIN
Box 924, Carmel, CA 93921 (408) 624-6542
Former Harpist, Reno Philharmonic Symphony
Faculty: Monterey Peninsula Community School of
Music
PENNY HOWK BEAVERS, B.M., Michigan
4945 E. Sooner Dr., Fresno, CA 93727
(209) 255-2710 Faculty: CSU Fresno
Principal Harpist: Fresno Philharmonic Orchestra
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)
FAITH CARMAN, B.M.
1248 Shafter St., San Mateo, CA 94402 (415) 349-8579
Faculty: San Francisco Conservatory of Music,
Preparatory and Adult Extension Divisions
87

MARJORIE CHAUVEL
4100 Old Adobe Rd., Palo Alto, CA 94306
(415) 493-4519
Faculty: Stanford Univ., College of Notre Dame
Limited Home Teaching: Advanced or gifted.
MARCELLA DECRAY
30 Commonwealth 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
Northwest
JENNIFER. SAYRE, M.M., Eastman
111 N. Bellevue Ave., Walla Walla, WA 99362
Phone: (509) 529-3270
Assistant in Music (Harp), Whitman College
Harp Instructor, Walla Walla College
PAMELA VOKOLEK, B.A., M.M.
University of Washington School of Music
Seattle, Washington 98195
Foreign
DEBORAH WILKEN RICKS
17480 High Street
Los Gatos, CA 95030 Phone: (408) 354-5613
TINA BONIFACIO
46 Flanders Road, London W 4 ING England
Phone: 944-5037
PHYLLIS SCHLOMOVITZ
951 Blair, Palo Alto, CA 94303 (415) 856-1818 ANN GRIFFITHS, B.A., Premier Prix, Paris Cons.
Pantybeiliau, Gilwern, GWENT NP7 OEW, Wales,
ELIZABETH E. TURRELL
Great Britain
RR. #4, Sedona, Arizona 86336
Phone:0873-830264
Phone: (602) 282-3274
Faculty: Welsh College of Music and Drama,
Principal Harpist: Flagstaff Symphony
Cathays Park, Cardiff
Faculty: Northern Arizona University
Co-author "Harp" article in Grove's Dictionary of Music
Pedal-harp, Renaissance and Baroque Harps
LINDA WOOD
246 Cecilia Way, Tiburon, CA 94920
Phone: (415) 383-5697
San Francisco State College, Dominican College
San Domenico School for Girls, College of Marin,
Sonoma State University
(including Arpa Doppia and Triple Harp)
ELENA ZANIBONI
Via Liberta, 103 90143 Palermo, Italy
Phone: (091) 269569
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THE AMERICAN HARP SOCIETY INC.
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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. /f3 Back-O-Beyond * Sedona, Arizona 86336
"Postage & handling 25¢ per packet on orders of 10 or more lo the same address.
[Arizona residents add 4 % tax]
88
AMERICAN HARP JOURNAL