AHJ, Vol. 7 No. 4, Winter 1980

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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
Page 2 and 3: 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.
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Page 16 and 17: Mrs. G. W. Bethell E lusive U.S. Ag
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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.
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O'HARA, MARY. Tranquility Mary O'Ha
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the Sfiepherd SchOol ofMusic A Dist
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Tour: Longstreth* & Escosa. 10: Nap
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AMERICAN HARP SOCIETY, INC. 1981 CO
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INEZ STAFFORD A WARD The Bay Area C
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66 RESEARCH COMMITTEE WINS GRANT Th
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AMERICAN HARP SOCIETY, INC. EIGHTEE
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and a book, Writing for the Pedal H
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Meet the New Officers. • • Sinc
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Secretary Born in Rochester, Minnes
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1 September 1979 through 31 August
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Mile-High (Denver, Colorado) Presid
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Portland President, Marion Fouse, 2
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~ ~B·~. ~- i ... a ' "TEACH YOURSE
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New England JOAN HARRISON CEO,B.M.,
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PETER E. EAGLE, Professor Chairman
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MARJORIE CHAUVEL 4100 Old Adobe Rd.
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AHJ, Vol. 7 No. 4, Winter 1980

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