AHJ, Vol. 7 No. 4, Winter 1980

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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
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o.l INTERNATIONAL HARP CORPORATION
Page 4 and 5:
THE AMERICAN HARP JOURNAL The Offic
Page 6 and 7:
Zabaleta at four. Zabaleta at nine.
Page 8 and 9: Prague, and Venice. This year he wi
Page 10 and 11: . . m·, · . -. , I • . • .. (
Page 12 and 13: m,. 2. Fig. 2. C.P.E. Bach, Nachlaj
Page 14 and 15: ,. I '1(~ -i~. I x;,c.;_, C. L. Fig
Page 16 and 17: Mrs. G. W. Bethell E lusive U.S. Ag
Page 18 and 19: tinuo, only sonatas for violin with
Page 20 and 21: known Letters from C. P. E. Bach to
Page 22 and 23: Harp Strings: Selection and Care by
Page 24 and 25: Gut Strings Gut strings are manufac
Page 26 and 27: Britten's A Ceremony of Carols by J
Page 28 and 29: 26 Faculty: Kathleen Bride THE MANH
Page 30 and 31: follows a dominant-tonic ostinato d
Page 32 and 33: twice more (mm. 8 and 9), coming to
Page 34 and 35: The Amazing Dorothy Remsen by Carro
Page 36 and 37: now available I ... des Fleurs ( So
Page 38 and 39: Sarah Bullen Catherine White Barbar
Page 40 and 41: The Kathleen Alister scholarship ha
Page 42 and 43: Fredonia 1980 by Pearl Chertok Fred
Page 44 and 45: DANIEL PINKHAM. Company at the crec
Page 46 and 47: PLAN NOW TO ATTI CAUFORNIA HARP WC
Page 48 and 49: 46 TOBE RELEASED SOON MILDRED DILLI
Page 50 and 51: RE QU IRED READIN G FO R HA RPISTS:
Page 52 and 53: VIOTTI, J.B. Sonate pour la harpe.
Page 54 and 55: GERSHWIN, George. But not for me. A
Page 56 and 57: The ideal instrument for all ages.
Page 60 and 61: the Sfiepherd SchOol ofMusic A Dist
Page 62 and 63: Tour: Longstreth* & Escosa. 10: Nap
Page 64 and 65: AMERICAN HARP SOCIETY, INC. 1981 CO
Page 66 and 67: INEZ STAFFORD A WARD The Bay Area C
Page 68 and 69: 66 RESEARCH COMMITTEE WINS GRANT Th
Page 70 and 71: AMERICAN HARP SOCIETY, INC. EIGHTEE
Page 72 and 73: and a book, Writing for the Pedal H
Page 74 and 75: Meet the New Officers. • • Sinc
Page 76 and 77: Secretary Born in Rochester, Minnes
Page 78 and 79: 1 September 1979 through 31 August
Page 80 and 81: Mile-High (Denver, Colorado) Presid
Page 82 and 83: Portland President, Marion Fouse, 2
Page 84 and 85: ~ ~B·~. ~- i ... a ' "TEACH YOURSE
Page 86 and 87: New England JOAN HARRISON CEO,B.M.,
Page 88 and 89: PETER E. EAGLE, Professor Chairman
Page 90: MARJORIE CHAUVEL 4100 Old Adobe Rd.
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AHJ, Vol. 7 No. 4, Winter 1980

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