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HARP NEWS Volume l No. 3 Editor, Priscilla Leuer Associate Editor, Yvonne LaMothe Contributing Editors: Lilian Phillips Margaret B. White EDITORIAL BOARD Virginia Morgan Mary May Nancy Ballard Published by Northern California Harpists' Association, Inc., a non-profit organization. 6610 STOCKDALE ROAD BAKERSFIELD, CALIFORNIA Subscription rate $1 per year (two issues) COVER CONTENTS The Harp in Our Music Schools and Conservatories ____ 2 Marcel Grandjany_________________ __ ____ __ ------------·--·-··-------------- 3 Remarks on the Irish Harp, by Charles O'Connor ______ __ ··--·--·---·------ --·--------·····---·-··----·-···· 4 George Barres Award Winner.·-----···------•·-------··----·-------------- 5 Henriette Renie - ·······················------------··-················--·--··· 6 News Notes ....... ·--··----···-----------······------·······-------·······----··-·--··-- 7 Letters to the Editor ________ ···········--------------------------······------·--- 9 Poem: "I Hear a Harp," by Dolores Chilsen .... ·-----·······---··13 Concerts oI Recent PasL·--··--------·- --·-------·--·-···-······---···········14 Concert Calendar ...... --····-------·········--·---··--··-····-·········-·-·-----·-15 Recently Published Additions to Harp Literature._. _____ .. 15 New Recordings ... ·--·---·········-········ ·-···------··--·-··-······· --------------·-16 Teachers' DirectorY---···-------··--·--·-- ----------------·---······---··-----•-··-16 Editor's Note: While ,ve may have started this publication, we do and have at all times considered that it belongs to our instrument and consequently all those who love it. We are not in any sense dedicated to any school or method, nor to any policy other than the furtherance of the interests of the harp. Your comments, constructive criticisms and support are encouraged. We want Harp News to be your voice. Background of Irish harps courtesy of The Clark Music Company, Syracuse, New York.
THE HARP IN OUR MUSIC SCHOOLS AND CONSERVATORIES In our last issue we brought you a report on the harp in our public schools. This Spring we are presenting a similar article on the harp in our music schools and conservatories. CURTIS INSTITUTE OF MUSIC. Carlos Salzedo has headed the harp department of the Curtis Institute of Music in Philadelphia ever since the inception of this fine school in 1924. The harp department is open only to advance players. It is a finishing school, there being no elementary course offered. Students are accepted by means of competitive examinations which take place in the Spring. The Examining Board is selected among the progressive harpists of the country. The judges are more interested in the musical sense, tone quality and emotional approach of the applicants tow,ard the harp rather than in a display of fast playing. Applicants should have a knowledge of con- tempol'ary harpism, that is, a genuine understanding of the evolution of the harp and its literature for the last four decades. These prerequisites have become increasingly easier to fill due to the fact so many music schools, conservatories, colleges, universities and private and public schools have selected fine harpists to head their harp departments. Each student is given private and collective instruction. In collective instruction, emphasis is given to pedagogy. Students are trained to criticise intelligently, and kindly, one another, thereby making their apprenticeship for their forthcoming teaching career. Problems, musical and otherwise, are discussed at length and special emphasis is p1aced upon the importance of stage deportment. Curtis Institute has eight Lyon and Healy harps for the Ensemble Classes. During these classes, opportunity is given the students to lead the Ensemble from their location in concert formation. The Philadelphia Harp Quintet (also known as the Angelaires) is much in demand in and outside of PhHadelphia; it is composed of five "artist students' of the Curtis Institute. Besides the harp, each student receives private piano lessons and class instruction in solfege, dictation, contrapoint, element of music and foreign languages. The more advanced students are members of the Curtis Symphony Orchestra, which is led by Alexander Hilsberg, associate-conductor of the Philadelphia Orchestra. Age limit for admission in the harp department is twenty-one. Four years are necessary to graduate with or without degree. The majority of the harp students prefer to devote whatever available time they have to their major subject rather than to work for a degree. There is no maximum amount of years and it is not unusu•al for a harp student to study at the Institute for six years. JORDAN SCHOOL OF MUSIC. Mary Spalding heads the harp department of the Jordan School of Music which is affiliated with Butler University in Indi-anapolis. The college level students have opportunities to play in the Jordan Orchestra and Band and the Jordan Harp Ensemble. Miss Spalding directs and plays with the harp ensemble and transcribes much of the music used. In addition to these opportunities there are of course numerous chamber music combinations which the students organize. Five practice harps are provided by the college. Instead of pro-rating performance fees among the six members of the Harp Ensemble the proceeds are put into the Harp Ensemble Fund which provides for such luxuries as new harp covers, an electric metronome, etc. JUILLIARD SCHOOL OF MUSIC. Here the harp department is headed by Marcel Grandjany. In addition to hour-long private lessons each week, Mr. Grandjany con- ducts a two hour ensemble class which all harp students attend. Here the students learn modulation, transposition, and sight-reading. Mr. Grandjany arranges pieces for four harps which are performed, and the class also goes over orchestra studies with and without recordings. Ensemble work with other instruments, such as the Ibert and Debussy Trios, etc., are coached in this class, as are works of the student composers. Twice a year the harp ensemble has a repertoire class, where each of the students performs one or two numbers for the others. There are three orchestras in the school: The Performing Orchestra, the Training Orchestra and the Opera •and Concerto Orchestra. Harpists are selected to fill vacancies in the performing orchestra through competitive auditions with the conductor, Jean Morel. Recently, such works as La Mer, the Bartok Concerto for Orchestra, the Suite from Petroushka and Britten's "Beggar's Opera" were performed. MANNES MUSIC SCHOOL. Lucile Lawrence heads the harp department at the Mannes Music School in New York City. This school was established in 1916 by David Mannes and Clara Damrosch Mannes. The school orchestra conducted by Carl Bamberger gives the harp students the advantage of solo appearances with orchestra as well as an opportunity to participate in performances of symphonic works and operas. Harp students who are sufficiently advanced have opportunities for professional appearances over various radio networks, (Continued on page eleven) -2-
MARCEL GRANDJANY Marcel Grandjany, born in Paris, was the son of musical parents. After he lost his mother in early childhood, his cousin taught him Solfeggio, Piano and Harmony, and, when he was nine years old, introduced him to Mlle. Henriette Renie. Mlle. Renie, discerning rare musical aptitude in the little boy, offered him a scholarship which lasted ten years. At this time, Grandjany entered the Conservatoire and continued his studies of Solfeggio, Harp (Hasselmans), Harmony, Counterpoint, and Composition. Topping the honors which he received at the Conservatoire was the First Prize for Harp which he was awarded unanimously at the age of 13, playing the Concerto in C minor by Renie. When he was seventeen, Marcel Grandjany made his debut in Paris as soloist with the Concerts-Lamoureux Orchestra and during the same season he gave his first harp recital in the Salle Erard. MARCEL GRANDJ ANY Grandjany asked his friend, Jacques '.De La Presle, to compose a piece of music for him. In less than a week "Le Jardin Mouille" was written and dedicated to Grandjany who made the adaptation for harp and played the first performance. Among other cherished memories is the compliment paid him when 'Ravel agreed to conduct his own "Introduction et Allegro" which Grandjany was to play at a concert. In 1921 Grandjany became the Head of the Harp Department at Fontainebleau. In January, 1923, after a successful debut in London, he arrived in New York. From that time until 1935 he toured annually in Europe, the United States and Canada. In April, 1936, he and his family moved to New York permanently. Mr. Grandjany obtained his American citizenship in 1945. Innumerable successful concerts and composing crowded the years, and in 1938, Grandjany became the Head of the Harp Department of the Juilliard School of Music. In 1943 he was chosen to organize the harp department of the Conservatoire de Musique newly created by the Canadian Government at Quebec. As an example of his graciousness in sharing his art the story is told that while enroute to a recital in Canada Grandjany's train became snowbound by a blizzard for twenty hours. No provisions had been made for the scheduled short trip so there was neither a place to sleep nor anything to eat. Bored passengers dlscovered the harp trunk in the baggage room and learning who was U1e harpist, begged him to play. Hour after hour Mr. Grandjany entertained his entranced audience, making them forget their fatigue and hunger until finally a snow plow cleared the track. His attitude toward himself and his instrument is in no small measure responsible for 'IVIr. Grandjany's outstanding position as a harp soloist. He feels that he is first a musician and second a harpist-for, he says, "One develops a talent as an instrumentalist only in order to express more effectively the music one loves." To the new generation of harpists he recommends a thorough grounding of solfege and ear-training. Among his excellent compositions is the revised version of his "Poeme" for harp, horn and orchestra which was played in Paris in 1950. This composition was first performed in Paris in 1913 with Pierne conducting and Mlle. Renie as soloist. His early training impressed upon him the necessity of work and one might say that this ability to apply himself, plus his unusual musical tendencies are the reasons for his great success. * • -3-- •
THE IRISH HARP Sometime back the Northern California Harpists' Association had t he great pleasure of hearlng Charles O'Connor pla a n umber of tradi tional Irish ball a ds. Im pressed with his knowl edge of the vanJsh ln g a rt, his gen uine love of the Instrum ent and h is s u-perb delivery we knew you would be Int erested in t he st.ory h e has writt e n for us. As short as his treatise may seem it is physi- cally impossl.ble to In clude it in one issue o! our p ubli cation a nd since it seemed nothing Jes~ than mayhem to condense it, we are taking the liberty of presenting his "Re- marks on the Irish Harp" in two installments. * * * Thumbnail Sketch: Charles O'Connor's first choice of a profession was not music but soldiering. His military activities were brought to a speedy end when he was severely wounded in CHARLES O'CONNOR World War I. He then turned to his music and studied singing in London under several teachers, chiefly Plunket Greene, the great master o.f Int erpretation in Song. He studied harp under Gwendolen Mason, wellknown Welsh harpist. His first concert of Irish Songs with the Irish Harp was given for the B.B.C. in London in 1924. Since that time he has broadcast many recitals over B.13.C. and Radio Eirinn. In 1929 he toured Canada and after that New Zealand and Australia . From Australia he set off for California but in some strange fashion got delayed in Hawaii for five years or so. But in the end he reached San Francisco and lived h ere .from 1~)35 to 1939, managing to sing Irish songs, at various times, up and down the Pacific Coast from Juneau to San Diego. The war years were spent in England. The year 1948 waJ;ted him to Nova Scotia where he gave concerts in the Maritime Provinces and a series of radio recitals for the C.B.C. He returned to San Francisco about eighteen months ago. * * REMARKS ON THE IRISH HARP By Charles O'Connor Of the structure and shape of the very ancient Harp in use among the Gaels practically nothing is known. But, whatever its form, there can be small doubt that the Harp has been the chief and most venerated instrument among the Irish from ex- tremely remote times. That it has been more closely connected with the Gaelic people than with any other race is obvious from the frequency of its appearance in the very early traditional tales and Annals, and numerous representations in later sculpturings and engravings in stone and metal. To most people, even to those of us who have spent ma ny long a;nd often arduous years in its intimate company, the Harp holds a feeling of slight unreality that places it somewhat apart from all other instruments. And in the ancient tales in which, through so many centuries, the plain cloth of fact has been interwoven with the em- broidery of fable, it is not strange to find that miraculous powers are nearly always attributed to the Harp. Anyone who has read the traditional Gaelic stories, which have their roots far back in pagan times, will remember th is sort of thing always cropping up. I quote :from a translation by Lady Gregory ; the incident is in the story of the "Battle of Moytura, " in which the Fomorians, after being defeated by the Tuatha de Danaans, manage to carry off the Harp of Dagda , one of the chiefs of the Tuatha de Danaan. The Dagda and his companions follow after the Formorians "who had brought away the Dag<la's Harp with them, that was called Uaitne (Harmony). And they came to a Feasting House, and in it they fo und Bres and his fa th er Ela than, and there was the Hal'p hanging on t he wall. And it wa s in Lhat Harp the Dagda had bound the music, so t.hat it would nol sound till he would call t o It. And sometimes it was called the Oak of the Two Blossoms, and sometimes Coir Cethar Chuin, the Four Angled Music." "And when he saw it hanging on the wall it is what he said, 'Come summer, come winter, from the mouth of the Harps and the Bags and the Pipes.' Then the Harp (Continued on page twelve) -4-
GEORGE BERRES AWARD WINNER The Northern California Harpists' Association 1951 Composition Award for harp in combination with other instruments has been won by Mr. George Berres of Los Angeles who entered "Harp Quintet' for harp and string quartet. Honorable Mention was accorded: Donn Cambern of Los Angeles for his "Fantasy" for harp and oboe; Conrad B. Center of New York for his "Song Cycle" for soprano, flute and harp; Chou Wen-Chung of New York for "Three Folksongs" for harp and flute. No successful harp solos were entered and it is hoped that this lack will be filled in 1952. The $50 which was not awarded has been set aside for a publication fund. GEORGE B·ERRES The 1952 Award will again be $50 for a harp solo and $50 for harp in a solo capacity in combination with other instruments. Two changes in policy have been formulated : the first and most important is that competition is no longer restricted to the United States. Since it has frequently been said that "Music is International Language" we hope to receive eloquent music from the entire world; the s econd chang e is that a committee will pass upon acceptabilit y of entries. A composlLlon which is rejected will be returned 'with sugg estions ·and upon correction may be re-entered. Manuscripts are to be sent by registered mail not later than December 31st, 1951, to Yvonne LaMothe, 687 Grizzly Peak Blvd., Berkeley 8, California. * * * Only KAPLAN gives you ... NYLON HARP STRINGS in ALL FIVE (5) OCTAVES! * For Concert and Standard Harps in two world famous Brands. For performance and value there's no better strings for your Harp than the Patented Kaplan Nylon "Miracle Wound" string ... the string with a nylon core and wrapped with a nylon filiment. * COMPARE THESE ADVANTAGES 1. Available in all five octaves 2. Richer, fuller tone . 3. Will stay in pitch, regardless of weather conditions. 4. Entirely unaffected by perspiration. 5. Will not fray. 6. Gentle on the fingers. 7. Economical, will outlast gut many times. IF YOUR DEALER IS NOT SUPPLIED WRITE DIRECT. KAPLAN MUSICAL STRINGS COMPANY DEPT. H SOUTH NORWALK, CONN. -5-- ' NYLON HARP STRING
HENRIETTE RENIE 1951 is the 75th anniversary of the birth of Henriette Renie, one of the greatest harpists of our time. She was born in Paxis September 18th, 1875. Her father, Jean- Emil Renie was a singer, a protoge of Rossini. He abandoned a most promising career at the opera because his fiance's family, who were of the aristocracy, would not pe rmJl thei.r daughLer to ma rry anyone on the stage. Denouncing that, he took up art and became one of the leading French artists. He was also a sculptor of note. At the age of five Mlle. Renie heard Alphonse Hasselmans play and seriously turned to her father and said "This man ·will be my ha rp teacher." At the a ge of eight, after three years of piano study, she began the study of the harp. Today Mlle. Renie is only 5 ft. 1 in. in height. When she began to study harp she was a tiny girl, really too small to handle the Erard pedal HENRIETTE RENIE harp. Hoisted on a high stool with feet hanging a foot or more above the floor she worked. Since it was impossible for her to rea ch the pedals Hasselmans had her work on little besides exercises for the first year. Fifteen days after her ninth birthday she entered Hasselmans class at the Paris Conservatoire. In her tenth year her harp was specially equip-ped so that she did not have to h OJ? down from her stool to shift a pedal. To eacl1 pedal was rivited a metal shaft of in- equal length, the highest for the pedals at a distance. Each one was topped wJth a thick disc of leather and with a stroke she shifted as many pedals as needed. At nine she taught harp to her older brother's friend and had her first pupil from the social world at tweh- and a half. In 1887, at the age of 12, she received the coveted "premier prix" for h arp at the Paris Conservatory. Fritz Kreisler received hls fi rst prize at the same time. He also was twelve. At thls age she was reh earsing assistant to the harp class of her master Mr. Hassel.mans. Th.ls period mal'ked the beginn.lng of her many European con cert appearances. When she was still twelve, at the invitation o.r Queen Hemiette of Belgium, Renie played a palace concert. The jewels which were girnn to her by the Queen on this occasion were recently burglarized. Mlle. Renie studied composition and fugue at the Conservatoire under Theodore Dubois. The first two pieces of her Concerto in C minor date back to the composition class as well as several other pieces which she still plays. In 1900 she premiered her Concerto al Lile Salle Erard a n d _played it again a few days later when she appeared as g uest artist for the Lamoure ux concerts. During her school years she received several prizes for composition fugue an d harmony. After World War I, when Fr ance wished to send artistic propaganda into Germany, they sent Chevillard, their leading conductor, into Germany to conduct all t he symphony orchestras in the Rhine cities. They chose Eenriette Renie as their leading woman m usician to appear in those conce1·ts as soloist with the orchestra, playing her concerto. In World War II during the German occupation (1940-45) Mlle. Renie wrote her "Method for Harp" in two volumes which is published by Leduc of Paris. Virginia Morgan has prepared an English translation of t:rus work. Through the years she has contributed much to the harp through her composing, teaching and successful virtuoso a ppearances. On December 19th, 1935, in th e famous Hall of the Conservatory she was presented the gold medal of the "Salon of French Musicians" for outstanding musical achievement. Today M11e, Renie gives numero us lessons a nd composes. She ha-s written this year three easy pieces for the harp, a nd a song based on a poem by Francoise des Ver- ennes. She retired from the concert stage several years ago but each spring she gives a musical in her stucllo. For the musical she prepares forty pieces from her repetoire and the guests choose what they want to hear. She gives this yearly concert for the benefit of her "Little E'und for Artists'' which she established during World War I for needy musicians. Each year she directs her ensemble of seven harps at a recital given at the Salle Gaveau. During most of the year Mlle. Renie works in Paris in her studio situated on the ground floor of her private home. In the large studio are a dozen harps and a grand piano. There is a stage at one end of the studio with huge windows behind looking out (Continued on page thirteen) - 6-
NEWS NOTES Harpo )Yfarx, who has recently returned from a n ation wide tot'r headlining his own musical review "Harpo's Bazaar," is now preparing an album of recordings for RCA Victor, to be released soon. Included in the set will be his own composition "Guardian Angel," "Bouree" by Bach, and "Swanee River" which he played in his latest film, "Love Ha_ppy." Besides his many other talents, Harpo has now turned writer with stories appearing in recent issues of Esquire and Coronet. * * * Dr. Margaret B. White of Indiana University has prepared three books for harp ensemble. This se1·ies includes an album .for frish Ha1·p trio, harp trio and harp quill'.tet. It is hoped that these wlll soon be published. Dr. White is also compiling orchestra harp scores into a booJ<. As t he old Breitkopf and Harlel books are no longer obtainable a book of tllis !<i nd wo uld be most welcome. P.ublishers have been contacted and will publish the book if they can be assured of minimum sales. * * * Don and Ivy Wilson of The Laguna Beach Puppet players now have a puppet harpist in production. Mrs. Lily Wildig Chambers has demonstrated to them harp technique and has made re- cordings for them on her Clark Irish harp. * * * Anita Louise, famous Hollywood ac- tress, is resuming her harp activities after a nine year pause with a series of television shows stemming from New York. * * * Catherine Jackson, Los Angeles harpist and associated with the Music Department of the University of Southern California, is also one of her clt.y's foremost artists. She presented a one- man show of forty paintings at the Beverly Hills Women's Club this March. * * * •Ruth Negri graduated from the Juilliard School of Music in May, 1950, with the highest scholastic standing of the Diploma graduates, and therefore was a warded the Frank Damrosch Scholarship for one year of ·Post-Graduate Study. * * * Edith Lundgren of Seattle reports that she is doing some teaching via mail. A student makes a recording and sends it to her and she writes back her correc- tions. Mrs. Lundgren says that this system is working out very well and that it is a helpful solution for the student who cannot take personal lessons. ( Continued on page eight) -7- Muuclfv,, ollfvlf" CLAUDE DEBUSSY\ Nocturne in Db - - - - - - 2.00 PAUL HINDEMITH Sonata (1939) - - - - - - 2.00 MARCEL TOURNIER Air a dancer - - - - - - - .65 Berceuse - - - - - - - - - .45 Easy Pieces, compl. - - - .80 1. Soupir 2. Offrade _______________ ,. JOHN BULL The King's Hunt - - 1.00 ANTOINE FRANCISQUE Pavane et Bransles - 1.25 G.F.HANDEL Prelude & Toccata - 1.25 Saraband - - - - - - .75 GOTTFRIED KIRCHOFF Aria & Rigaudon - - .75 MANUEL de FALLA Spanish Dance No. 1, from "La Vie Breve" 1.50 .._ ______________ .; fn flute and cJ!a1p JOHANN KRUMPHOLTZ (1745) Sonata - - - - - - - - - - 2.00 ASSOCIATED MUSIC PUBLISHERS, Inc. 25 W. 45th Street New York 19, N.Y. ( or your local dealer)
NEWS NOTES ( Continued from page seven) Several of our teachers are using tape recorders for lessons. The winning 1951 competition composition was submitted on tape. * * * On June 16th members of Artiss deVolt's music tour of Europe will sail from New York. On this approximately ten weeks tour eight European countries will be visited with five weeks in Salzburg where tour rnembers will attend the Salzburg Festivals and study at ihe 1Mozal'teum. Artiss de Volt is ha rp Instructor -for the Summer Academy at Salzbw·g a nd she will appea r as one of the soloists at the Salzburg Festival. Miss deVol t repo l'ts that harp music and strings a.re almost impossible for the harpists of Austria to procure. If anyone has any spa1·e music or strings which they care to donate, send them to· Artiss de Volt, 458 Huntington Ave., Boston, Mass. ·* * * Sergeant Dewayne Fulton, who enlisted in the army a few months ago, is now a member of the United States Army Band at Fort Meyer, Virginia. * * * Christine Jardine, 17 year old Los Angeles student harpist, has recently won five straight times for her school in the Los Angeles High Talent Battle over KLAC-TV. She appeared for seven weeks on Al Burton's Tele-Teen Reporter and also on N.T.G.'s Hollywood Road to Fame. * * * In mid February Lucile Lawrence and Seymour Barab recorded Lou Harrison's "Suite for Harp and Cello." This is not yet in the record shops. It was recorded as a part of the American Chamber Music Project for Columbia Records. * * * The end of January Charles Roberts Schultz completed thirteen weeks of T.V. broadcasts of his program "Music in the Night" over Station WBKB in Chicago. The program featured harp with organ background and harp as accompaniment for vocal. Mr. Schulz entertained his audience with classic, pop-swing and Be-Bop music. He is now appearing nightly at the cafe "Le Boeuf sur le Tait" in Chicago. He has with him here Concert, Irish and Chromatic harps using each instrument according to the selections chosen. In June Mr. Schulz will tour U. S. 0. Army and Navy hospitals with a string ensemble playing the Debussy "Dances" on the Chromatic harp. * * * Lois Craft, harpist at 20th-Century Fox Studios is now working with Gregory Peck, who will play an ancient harp in the forthcoming "David and Bathsheba," a biblical film. Miss Craft is also working with a new young starlet, Renee Riano, who plays a harp and flute duet with 'Monty Wooley, in a new production. * * * 1951 marks the tenth anniversary year of the Northern California Harpists' Association. In September, 1941, Mrs. Bess Lake of Berkeley invited the members of the old "Northern California Chapter of the National Association of Harpists" to her home. Her reason was to revive the ol.d friendships, and, if there was sufficient interest, give them the opportunity to reorganize. The reorganization took place and Virginia Morgan was elected first president. * * * Mildred Dilling is at present on her annual concert tour of the United States under the auspices of the Community Concert Association. (Continued on page ten) 0 B E R L I N A DEPARTMENT OF OBERLIN COLLEGE CONSERVATORY OF MUSIC HARP INSTRUCTION BY BACHELOR OF MUSIC MASTER OF MUSIC BACHELOR OF ARTS WITH MUSIC MAJOR (HARP) SUMMER SESSION, 1951 LUCY LEWIS HARP ENSEMBLE-CHAMBER MUSIC ORCHESTRA - CONCERT BAND - RADIO ADDRESS: OBERLIN, OHIO ---8--
LETTERS TO THE EDITOR Am glad to see such a magazine com- Ing into existence. I am a student who gets about fout' lessons a year, a nd so have very little con tact with other h a rpists. Harp News will help to fill that gap. Dear:i Owens, Jr. Rome, Georgia * * * ... It (Harp News) fills a great need long felt by harpists not located in the Metropolitan areas. Eleanor S. Guthrie, Winston-Salem, North Carolina * * * ... I studied with Helena Stone Torgerson, who died ten years ago. She willed me most of her music-solos, en- semble and manuscripts. I have manu- script copies of two beautiful ensemble numbers for harp, organ, violin and cello . . . I do wish they could be published and thus passed on to other harpists as ensemble music is so needed. Helena Torgerson was one of the organizers of the Chicago Chapter of the National Association of Harpists. Mrs. C. Harley Bertsch, Sr., Grand Rapids, Michigan * * * Thank you for Harp News ... Although unfortunately I am not a harpist myself it has always been my favorite instrument and I am so glad to see that after so many years it is at last coming back into its own. I am passing your interesting little magazine on to our Fleet Library, where I am sure it will be wel- come. George Chambers, Lieutenant Commander, Royal Navy A.P.O. London, England * * * . .. I want to assure you that in keeping with what appears in your publication concerning express charges for the transportation of harps, we are making a sincere effort to see whether or not a re- vision in at least the minimum charge can consistently be made in an endeavor to insure the fairer movement of such traffic in our service ... In keeping with all industry, we are being faced with increased charges inevitable if we desire to remain in business. Whatever is finally done with regard to this matter will be reported to you as information of interest not alone to shippers, but to your publication. C. F. Messenkopf, ·Railway Express Agency, New York City Editor's Note: Subsequent correspondence indicates increases rather than decreases in Railway Express Transportation charges. * * * (Continued on page ten) -9- r .. ~:~~;;:~~:::~ ...... I ~ AND ms SWI G HARP ~ § Presented at Its Brilliant Best On ~ ~ TEMPO Custom-Made Records ~ '= Wide Range - High Fidelity ;= Low Surface - Long Wear ~Each Side of These Non-Breakable~ ~ Recordings is Guaranteed for ~ § 1000 Plays. § I,. RPM CAT~~ ::';;:,SER 45 BPMI : '112 LIEBESTOD 4578: 1418 HON:~:~.~~~;a:~ sE• 45801 § SEPTElvIBER SONG" E 420 MEET ME TONI'GHT IN 4582 § DREAJMLAND* - BUSYBODY* §632 CUMANA - STkRDUST 1634 Sf:·!~~1E=~~!i~- § And a collector's series featuring the: §swing violin of Joe Venuti and the~==== § magic flute of Jimmy Briggs § WITH ORCHESTRA _:§·408 MELANCHOLY BABY* 4524 _·:_: CARAVAN* :_::410 ALEXANDER'S RAGTIME 4526":_~- BAND* - ZONE 28 •-~: 114 MY HEART STOOD STILL 4528~•=· - SCHON ROSMARIN* ~===._ ·U 6 DANSE MACABRE 4530 .:!::==· (With Brother Bones)* IT AIN'T NECESSARILY SO* §*Also Available-LP 33 1/3 RPM Ver-~ Esion. TT 2064. containing the 12 re-E E cordations above designated with § § asterisks. : ;: C E78 R'PM RECORDS - - - $1.0SE § 45 RPM RECORDS - - .99 E E331/3 RPM LP RECORDS - - - • $5.07E = Prices Include Federal ExcJse Tax = I TEMPO RECORD i iCO. OF AMERICAI ; 8540 Sunset Blvd.. Hollywood, Calif.~ ~ 1310 Callowhill St., Philadelphia, Pa. i 1!]1111111111111111111111111111111111111111111111111111111111111111111111111111 1,G]
NEWS NOTES- ( Continued from page eight) Carlos Salzedo began a Spring tour of the Middle West the 2nd of March. * * * Christine Carr will tour this Fall for three weeks in the vicinity of Chicago, Iowa and Indiana and then for three weeks in North and South Carolina. Most of her appearances are for high school and college assemblies. Miss Carr, who is also a lyric soprano, varies her program by presenting vocal numbers with -harp accompaniment. * * * On February 26th at the Mary Carr Moore Manuscript Club program in Los Angeles Beulah Peck's "Pastorale for Harp and Flute" won the MacDowell Award and also was voted the McNeil Trophy. Lois Craft, harp and Sterling Smith, flute. * * * On April 11th at the annual dinner held by The Friends of Harvey Gaul, the winner of their competition for the best solo work for harp or harp in combination with other instruments will be announced. * * * Julia Louise Hermann has a weekly T.V. show "Nocturne" every Thursday evening from 9 to 9:15 in Oklahoma City. * * * Blue note: Among the items included in the Government's proposed excise-tax boost plan are musical instruments. This "hidden" tax is imposed on the manufacturer who includes it in his wholesale price to the dealer, etc. The proposed increase amounts to over 21 /2 times the present tax. For example, the present excise tax is $18 for an instrument which wholesales at $200. Under the proposed excise-tax law the tax on this same instrument would be $46. * * * LETTERS TO THE EDITOR (Continued from page nine) . . . Perhaps it would interest your readers to learn of the Harp Concerto written by my father, Rudolph Seidl, with cadenzas composed by yours truly. I performed this work two years ago with the Omaha Symphony at the premier with much success. We hope to get it published soon and hope other harpists will enjoy playing it, too. Would like to tell about the harp in the Omaha high schools. We have a class (started last year) at North High, which owns a Lyon & Healy and rents another. The harp is featured in all musical and dance events, hence, our classes are full. Similar plans are now being made for all the other high schools. Louise Seidl, Omaha, Nebraska * * * Congratulations on so successfully launching a new publication. Harp News is certainly much more reliable and more permanent than the "grapevine" as a source of information! I am much interested in the potential influence upon composers of this latest banding-together of harpists. You have already done much to awaken them to the need for new literature. May the good work continue. Sylvia Meyer, Washington, D. C. * * * Herewith our $1 and thanks for getting out Harp News. Don't see how you can do it for $1 but I hope you can and will keep it going. John Thornberry, Kansas City, Missouri -10- Wo,,,/d It be uns'dcMd ""/tar-ping" if we reminduc;l. )'UU, if )'OU fume not a.lr-eady done so, to plea$1/ s ,,ul in your 195 I ubicriplinn. EDITH LUNDGREN 1130 18th North, Seattle, WN. TEACHER and ARRANGER OFFERS: Lyon & Healy, 22 $1200.00 Wurlitzer 22 Shrke Model - - - $1200.00 Lyon He':lly 14 • • - - • $700.00 ALL IN PERFECT CONDITION HARPS REP AIRED USED HARPS BOUGHT Will Arrange for Harp Any Composition-Classic or Popular AVAILABLE NOW: From the Land of the Skyblue Waters Bv tlie Waters of Cadman Minnetonka - - Lieurance Gitaneris - - - - Leucoma (See Teacher's Directory, Page 16)
THE HARP IN OUR MUSIC SCHOOLS AND CONSERVATORIES t Continued from page two 1 theatres, churches and symphony orchestras in a nd around New York. N·ORTHWESTERN UNIVERSITY. Under t he direction of Alberto Salvi the harp departmen L offers an a ctive and in teresting program. Cow·ses a re desig ned fo r the spec- ial needs of the Jndiviqual student with part icular emphasis on the perfection of playing technique and musical understanding of t he instrumen t. The h arp ls usea in t.he Symphony Or- chestra, the Chamb er Orc)lestra a nd t he Concert Band for regularly scheduled con- certs and for s uch specia l occa sion$ a s the Ce ntennial Opera, "Louise," presented January 24th. For the 1950 Annual Choral Cluislmas Concerts, M.r. George Howerton, Director of the Choral Department, presented among other selections Benjamin Brit- LUCY LEWIS t en's "The Ceremony of the Carols" sung by the Women 's Glee Club with h arp a ccompaniment. In cooperation with Mr. Rob ert M. Delaney, Instructor of Compo~ltion, an ef'fort is being made to encourage and broa den con temporary writing technique for the ha rp by means o:f harp lecti.wes, demonstra tions, and the perform.ance of original student compositions. OBERLIN COLLEGE. The Conservatory of Music at Oberlin College has had an active Harp Department for ma ny years, since 1905, in fact, when the well-known N.[r. William K. Breckenridge initia ted it. Since 1937 when Lucy Lewis came to Oberlin as harp instructor there has been an average of from twelve to fifteen harp students each year. The College owns four good Lyon & Healy harps and furnishes comfortable practice facilities both for students who own their own harps and for those who use college instruments. The degrees offered are Bachelor of Music, Bachelor of Arts with Music Major (Harp), Bachelor of .Music Ed ucation with Instrumental Major (Harp) and Master of Music. A full length solo recital is a requirement for the degrees of Ba chelor of Music and Master of Music. Harp instruction is also offered to students who elect it as a secondary instrument, and on this basis beginners on the instrument are accepted. Weekly Student Recitals and radio broadcasts offer generous opportunity for solo performances, chamber music, orchestral and concert band experience. Frequent class recitals are arranged for the purpose of giving students opportunity for many repeat performances of the same work before their colleagues and friends- the most critical of audiences. "Harp Seminar," meeting once a week, is devoted to such practical matters as appear. Problems of t ea chlng are discussed and demonstration lessons _presented at some of these meetings. Practice in modulation with special emphasis on style is given attention at others. Still others are devoted to the care of the harp with actual experi- ence wih screw-driver and oil can in the art of regulating, oiling and the technique of pedal lining. Th ere •are two regular Harp Ensemble groups, one for the more advanced students, the other at the preparatory level. Both groups perform in public recital and the advanced group, "First String," goes on tour on a professional basis. The only real problem connected with the Ensemble is that of harp transportation. That has been solved by contracting for the services of a husky gentleman who owns a large truck and who takes pride in the valuable cargo he carries. STEPHENS COLLEGE. Here the harp department has as its head Mrs. Murette Meyer Henderson. The school owns two Lyon and Healy harps, a style 17 and a style 15. In addition, one is usually rented so that enough harps are available, with student owned harps, for a harp ensemble. The advanced students are given opportunities to play in the Burrall Symphony Orchestra which is a full size symphony composed of Stephens students and University of Missouri students with a season of five concerts plus an opera with nationally known stars. This year's performance will be "Faust." The orchestra also plays each Sunday morning for Burrall class, a unique class in the values of life. With these varied orchestra experiences on a nearly professional scale, the harp students can be- come acquainted with the orchestra literature and the techniques of orchestra playing. -11- (Concluded on page fifteen)
REMARKS ON THE IRISH HARP ( Continued from page !our) sprang from the wall and came to the Dagda, aud it killed nine men on its way. And then he played for them the three things harpers un derst nud, the Sleepy Tune, the Laughing Tune and the Crying Tune. And when he played the Crying Tune theil' t ea r- ful women cried, and then he played the Laughing Tune till their women and children laughed, and then he played the Sleepy Tune and all the hosts fell asleep. And through that sleep the three went away through the Fomor that would have been gla d to harm them." Or we read of the three daughtrs of kings who "used to be making music on a little silver Harp" for the fifty sewing-women who spent all their time making clothing for the Fianna na h-Eirinn. Or of the harper of Fionn mac Cumhal who came from the Faery of Sleive-na-man, whose name was Little Nut, and of whose playing it is said "there was never any music made on earth but his was better." So many are these allusions to the Harp in the old tales that it is clear it was considered an instrument of exceptional qualities even in those far off t imes. In the great Irish "Book of Genealogies" the names of the three foremost musicians of the Tuatha de Danaan are given as Ceol, Bind and Tetbind, meaning Music, Sweet and Sweet-string, and the chief Harper as Uathne, that is Harmony. The Tuatha de Dana-an were the people, well-versed in the arts and sciences who came to Ireland in the year A.M. 3266, which, if my arithmetic is right, was just over 1000 B.C. They were followed, and conquered, by the Milesians some 200 years or so later. The Milesians are the race from whom the Gaelic Irish are descended, and when they came to Ireland they brought with them a Harper named Onna Ceanfinn. Now there is an Irish tradition that the Harp came originally from Egypt. And in the ancient compilation known as the "Book of Invasions" (Leabhar Gabhaltus) which tells of the successive waves of people who inhabited Ireland (and, let me say, this book makes entertaining reading . It begins with the journey of Cesair, granddaughte r of Noah, to Ireland 40 days before the Flood, bringing with he1· 3 men and 50 women. (No harpers!) I t says that the Gaels t ake their name from Gael th e son of Ne] and Scota to whose country by the Red Sea came the Israelites when they escaped from Egypt. Th e descen dents of Gael, through many cent uries, !ound their way across South- ern Eur.ope to Spaln, and from t hence, as t he Mllesians, to Ireland. This being so they would certainly carry with them k nowledge of the Egyptian Harp. On a stone cross in the County Kilkenny is sculptured the representation of a Harp which Petrie, the great Irish antiquarian, writing a hundred years or so ago, says "is the first speciman of a harp without a forepillar hitherto found outside Egypt." The cross on which this Harp is shown dates from the 7th or 8th century, and the illustration given in Bunting (1840) shows an instrument that is practically a rectangle, with one side missing. In regard to its shape I refer you back to the story of the Dagda's Harp. You will remember it was called the Four-angled Music, and so, presumably, was rectangular. The Annals of Ireland record the names of many Harpers and Harp makers, but usually give little information about them except the dates of their deaths. But from these entries and other writings in which the Harp appears it is positive that the instrument continued to hold its place in the affections of the Irish people. So in the elegy on the death of St. Colum Cille at the end of the 6th century, Dallan Forgaill, chief poet of Eirinn, says: "The song of the Harp is without joy-a sound following the bier to the grave." It has been stated that during all these early centuries the Harp was used a great deal by the priests, both pagan -and Christian. And (Con tin ued on pngo thirteen) -12- (IJ.""4 Scliuuik,u HARP REPAIR SHOP 1119 WEST 92nd STREET LOS AN:GELES 44, CALIFORNIA Telephone PLymouth 5-8257 ----1t-- Specializin g in new soundboards new necks and com plete action overhaul. Remodeling straight soundboard harp into extended board. ----trRegulating with the Electric Stroboscope to the tempered scale (so rt is correct in all keys) far more accurate tha n t he ea r. ----trYou can ship a harp by boat or Car loading Co. for less than $20.00 from the east coast to Los Angeles. -trHARP ACCESSORIES Write for an estimate and have your harp put in tip top shape at a reasonable price. Establ'shed in Los Angeles Since 1928 LET A FACTORY EXPERIENCED MAN TAKE CARE OF YOUR HARP
I HEAR A HARP Faint and far away - - - - Softly, As the wind gently tries the strings to test the tune. Lightly, As one harper tosses the melody on to the next. Down through the ages - - - - Across the centuries - - - - Over countless years - - - - I hear a harp. I hear a harp sing. The melody is delicate. Fragile, As a cobweb laced with dew. Inter lucent With the story of all the harps and harpers the world has ever known. Intermingled with mystic faith, Enmeshed in diplomatic intrigue, Uplifted by harmonic ecstacy, I hear a harp. I hear a harp sing. -Dolores Chilsen. * * * Ruth Hill, one of the best liked harpis ts in radio, passed away last June. Ruth's parents, Mr. and Mrs. Dan Hill of Lincoln, Nebraska, presented her harp to the Israel Symphony Orchestra. * * * HENRIETTE RENIE ( Continued from page six) <JUH,(!; 'I/OWi, t::il~ TO ACCURACY OF 1/100 SEMITONE quickly- easily conveniently \ with the Many topflight harpists and harpsichord players use this scientific but simple electronic instrument to aid them in gaining exact intonation. Write for FREE additional information today. C. G. CONN, Ltd. ELECTRONICS DIVISION Dept.100 Elkhart, Indiana on a large garden where there ls a bronze statue by her father. .During lhe summer months her. studio is the attic studio which belonged t o her father In the French coastal town of Etl'etat. When her father first came here it was a gathering place of the most celebrated artists of this period (1855-1910). One met there in those days the writers Guy de Maupassant, Alphonse Karr, Sardou; the painter Courbet; Massenet and Offenbach; and the actors Mounet Sully, Paul Mounet, Le Col~·. etc. Here many American students have the prlvllege of studying with Renie. She does not have an official interpreter. However, if necessary, several of her French students are happy to serve as in tepreters. Each year before joining her foreign students for the summer she spends a few weeks traveling through Italy or Spain in her automobile. Mlle. Renie's vigor and enthusi- asm remain as strong as in her younger days and her art has grown greater with the years. She interests herself in literature, art and the theater and says that she has never enjoyed life as much as she does now. Her activities and creative interests are those possessed by the young in heart. * REMARKS ON IRISH HARP (:Continued on page twelve) Gerald Barry, the Welsh bishop who travelled through Ireland in the 12th century said that it was customary for the clergy to carry small Harps for use in their duties and for their own amuse- ment. And it is probable that most representations of the instrument shown in works of art are ecclesiastical Harps. They iare small, and the Harper is usually shown holding the instrument * -13-- * on his knee. As practically all art work was executed in religious establishments it is most likely that ecclesiastical models would be chosen. Barry (better known as Giraldus Cambrensis) also tells that at the time of his visit the Harp of St. Kiaran, who lived in the 7th century, was still held in great reverence by the people. It is remarkable that through such a (Continued on page fourteen)
CONCERTS OF THE RECENT PAST November 26, 27-1\fary Spalding. Soloist with Indiana polis Symphony Orchestra. Hindemith's "Concerto for Harp, Woodwinds and Orchestra." December IS-Marjorie Chauvel. Soloist. Bel Canto Chorus Concert. Redwood City, Calif. December 16-North Texas State College Harp Ensemble. (Lillian Fhilllps, director, Anita Harvey, Betty Holsteen, Joy Moore, Martha Lloyd and Ola Lee Currie). Xmas music. School auditorium. December 16-Charles Roberts Schulz. Harp concert. Astor Street Salon. Chicago. December 17--Sylvia Meyer. Soloist with National Symphony Orchestra. Ra,·el "Introduction and Allegro." Washington, D. C. December 24-';ylvia Myer. Benjamin Rritl~n "Ceremony of the Carols" with boy choir at Washington Cathedral. Paul Callnw:t.Y condueung . January 7-Renee Sheranian. Station KNX. Solos and songs. January 10--CaO,crlne Jackson. Facuity Recital in conjunction with Peppcrdine College String Quartet. Los Angeles. January 17-Louise Clow. Mozart Concerto. Clotilde Miller, flute. Phoenix Symphony Orchestra. January 18-Julia Louise Herman. Harp Recital for The Philharmonic Club of Ardmore, Oklahoma. January 19-Recitai given by membct s of Harp class a t North Texas State College of Music. January 20-Jo Carol Bicket. Soloist for Children's Concert Indianapolis Symphony Orchestra. January 21-Jorda n llarp Ensembl e PrO{.'l'fl.m, (Annett<? Edwards, Peg Cm J>cnter, Gloria Ha rvey, Jean Ray, J\lla rgnrcL ll!Ocmmm, and Mary ,;pa.ltUng, <111 cutur J. J.rui11m apo1is, J.Jttl. January 24-Betty Jane Holsteen. Graduate Recital. North Texas "tate College of Music. Denton, Texas. Janu.ary 25-1\la.rccl <.;rnn,;! jany. Chn.rul1cr Musi~ Concert wlU1 Bostun Con~enntury ::,trlng Qu1utt! January-----t;nlhc ri nc JllcJcsun. Eleanur Wu1·1cm's suUing 0_1. "1 ho.: Hn, p wcavet." \.ilshl1 c l::bbel Club. Los Angeles. February 2- L.h 1·1~1mc Sta,·ruche. Ravel "lntrod ucUon and All ugro. " Chnm ber mu.,,fc conce1·L Juillln.r d School o! Music. February 4--l.<erruamc ·hrui ks Wright. Guest soloist wlU1 Garden City Orchestra. Kan~as. February 9-HUrJJ '!r,o t.onccrL. \Llllan i-l1ill!ps, An.u, harvcy, Uta Lee currieJ. '!cxas Music Educa- tors' t..on ~cnl1 n. l-:J rll\' •ston. 1 cxa:\. February 17-Cn.l'I0S ::,,uzcdu. h a i·p sulu 1·cc1tal. StrLtion WQXR. Now York City. February 18- hdna .t'huups. Ocou~sy " Uun ces." I huhu.rnivn ,c Orctu,.sl1'1L 01 .1:1il\ a na, Cuba. February 20- l>UY llfou, il. Htu·p Hcc1tnl. N. ·r. S. (;. l,sn(vn, J.C.,:L•. February 20-Jwln LOUl.!le tiCJ:mrurn. 'oluist nnd 1<ecu1up ,n .. l lit Faculty Conct!rt Series. University of Ok111homn. February ZZ-Mllnhu. Llu~·d. Ha rp Rcoltnl. N. T. S. C. Denton, Texas. February 23- l!Ju.nchc l!11tlbong. Lcuruird Sarasom " l,;uartet 10r iiurp, Clarinet, Trumpet and Trombone." Carl Fis: her Hnll. :New York C:lty . February 22-.,yl\' 1 1 Meyer. 1-Jnh h.,w· rucllo l nter\'Jl!w (Slntlon WG!llS) wiUJ harp, illustrating \'flrlous orche~tral p11s~atcs, &olos, etc. February 24-CUl'lll~ ;:,111211d.u , tUh'J' :,ulu r cc.11:u.J. Stnllon \VQXR New '!'.Ork City. February ZS-Mn.reel (.;rll!ldjany. Hu,·cl ";nuuduc.Li~n und '"·cgro.'' The ll~hum!a ns, New Yo rk Musicians Club. J!;\'crlJ.Dg 1n n ..,n-.,1• 0.1 .LJUUJt l'l :i\U L,vJkJ1v 1,."I. h1mc.hJ1~ A:tu, lh.. l-..iuw t ui·tt~ February 26--Carlus ::,nlzcdo. licinurd \\/1Lgenan,· " 'l tiplc Luncetto 1ur rlarp, Flute, Cello and Orchestra. " Ruth Free.ma n. itute, l\[nry tJJI I Uvom lle. 'Cctlu. Ca,neg1e rlall. Ma.rch 4-i\'lnry ::,paldlng. <.hamUc1• Muslc Lun~crl. J; ax "Eleg,ac Trio," Roussel "Serenade," Saint-Saens " Flllltnlslc." !ndlanapolls. March 4- Lyon nnd Ell!III)' \'.oung .t'coph:~• C1> ncc1•L Jlforine's Memorial Thea tre. San Fra ncisco. Ma.rc.h 7- 11un' Ma.., . . olos nnd harp accom panlmom tor sung. Richmond Youth Center. March 11- Johne Thorn berry. Grnduute 11 rp J{t-ctUtl. Auditorium of :,tephens College. Columbia, Mo. March ll-l\l1wjol'l(! Trnmmcl. l\lozn rt Concerto. Floyd ::.tancliff, flute. \vh1ttier Community and College Orchl!Stru, \VJ)j tti<'r, C11Jlf. March 11-J\'lnrJorlc Cull. Debussy " So.nnta No. 2." Leonard PoseUa. [lute. WUJblm Hymnnson, ,•iola. Va ll ey Jcwl.sb <.:ommurriL>· Center. Nonh Holl.1·wo1Jd. March 13-Vlr glnl:t Morg,\n . 1-ln.nclcl " C1Jncertu for Harp a nd Orchestm" a n d Ravel "Introduction and Aileen>." Oakland Symphony Orcheslr:t. March 17- Knthi,·1, Happ. Moza,·t Ct>n~c1'to. Tom Hagcmun. Uutc. Child ren.,· c oncert s un Frnnclsco Symphony Orchestra. March 19-Vl.rgln,a Morgnn. Solos. San F'r:mc-lscu C1.>n tcr for llw Blind. March 19- Mnryjane Bnrton . Arnold ~choen berg "l·1crzgcwocchsc" !or soprano, celeste, harmonium and harp, Al~o accompanimenL ror .- ngs. V llshirc !!:bell Club. Lo Angeles. March 21- Lou!se Sollll. Solos. Om:1ha Chamber ot Commcrcc, a., nquct. March 23-Janet Van Dyke. Solos. Teel Hayes Show. Emerson Junior High School Auditorium. Los Angeles. March 23- Julia Hermann. Dubois' "The Seven Last Words." First Lutheran Church. Oklahoma City. March 28-Marccl GrandJuny. Handel " Concerto," Debussy "Dances," Grandjany "Aria. " Concert with the Jos. Zimbler ::,lnionietta. Jordan Hall. Boston, Mass. * * * REMARKS ON IRISH HARP ( Continued from page thirteen) great length of time the Harp never fell from its first place of favour among the Irish. On the contrary the power of the Harpers seems to have grown. Cambrensis, who found little in Ireland that pleased him, was astonished at the skill of the Harpers there, and was removed to write that "they are incomparably more skilful than any nation I have ever seen. For their manner of playing on these instruments, unlike that of the Britons to which I am accustomed, is not slow and harsh, but lively and rapid -14- while the melody is both sweet and pleasing." The fact that the Irish Harps were strung with brass strings instead of with gut, as were the British instruments, would possibly account for the superiority of the Irish Harpers. For, added to the greater brilliance of metal over gut 5trings, would be the greater resistance to the fingers and the consequent great- er rapidity with which they could be played. (To be concluded in the Fall issue)
CONCERT CALENDAR April 2-Oberlin Harp Ensemble Recital. Music Forum Club. Celina, Ohio. 8:30 p.m. April 10-Phyllis Breidster. Debussy "Dances" Waukesha Symphony Orchestra. Waukesha High School Auditori um. 8:15 p.m. April IS-Maryjane Barton. Solos. La Canada Thursday Clubhouse. 8 p.m. La Canada, Calif. April 20-Priscilla Leuer. Brahms "I Hear a Harp," Gustav Holst "Hymn to the Waters" with Mothersl.ngers. Solos. East Bakersfi eld High School Auditorium. 8 p.m. April 20, 21, 23-Marilyn Costello. Mozart Concerto. William Kincaid Flute. l'hiladelphia Orchestra. Eugene Ormandy, Conductor. April 21-Margaret Alice Ward and Carol Schruchfield. Harp Duets. Inglewood Memorial Clubhouse. Inglewood, Calif. 7:30 p.m. April 25-Lilian Phillips. Faculty Harp Recital. N.T.S.C. Denton, Texas. April 26-Geraldine Shanks Wright. Garden City, Kansas. May-Jordan College of Music harp students participating in the Student Section of the Indianapolis '.Matinee Musicale. May 2-Phyllis Breidster. Solo Recital. :Racine Women's Club. 2:30 p.m. May 5-1.oulse Seldl. Women's Chamber o.f Commerce Brunch. Omaha, Nebraska. May 5-Julla Louise Hermann. Debussy "The Prodigal Son." Music Festival at the First P1,esbyterian Church. Oklahoma City. May 14- Marjorie Chauvel. Telemann "Sonate" for Harp and Flute. Solos. Fortnightly :Music Club of Palo Alto. Castellijo School Chapel. 8 p.m. Admission free. May 15-Lucy Lewis. Mozart Concerto. Hiram College, Hiram, Ohio. 8:30 p.m. May 17-Lucy Lewis. Mozart Concerto. Oberlin Conservatory O'rchestra. Finney Chapel, Oberlin, Ohio. 8 p.m. May 19-Cha:rles Klelnsteuber. Senior Harp Recital. Warner Hall. Oberlin, Ohio. 7':30 p.m. May 24-Molly Enru·ess. Seruor Harp Recital Warner Hall. Oberlin, Ohio. 7.30 p.m. May 25-1\.llliwaukee Publlc School's Harp Recital. Solos and ensemble. Girl's Trade and 'I'eclul.ical High School. 4 p.m. May (last week)-Recital of students of Louise Seidl. Solos and ensembles. Joslyn Memorl al Auditorium. Omaha, Nebraska. June I-Phyllis Breidster. Guest soloist with Pegasus Choral Society. Milwaukee, Wisc. 8 p.m. * * * RECENTLY PUBLISHED ADDITIONS TO HARP LITERATURE C.A!RLOS SALZEDO- -Prelude for a Drama (for one or several harps). $1.00 Published by Maurice Baron Co. * * * THE HARP IN OUR MUSIC SCHOOLS AND CONSERVATORIES ( Continued from page eleven) Each student has many opportunities for solo playing in studio recitals, student workshops, formal student recitals and the senlor graduation recitals requlred for each gradualing harp major. Opportunities are ever present for ensen1ble, ch.ambe_r music, and solo appearances in town a lso. Stephens is located in Columbia, Missour-4 whicil is the home too of the University of Missouri and Christian College. Because of the cluster of colleges, the town abounds in musical activities and students have an unexcelled opportunity to hear concerts nearly every week by artists on one of the three campuses. The foregoing material was based on reports received in response to our inquiries at the time of this issue's going to press. We list here other known music schools and their harp department heads: American Conservatory of Music, Margaret Sweeney. Carnegie Institute of Technology, Edward Druzinsky. Chicago Musical College, Marie Ludwig. Cincinnati Conservatory of Music, Anna Bukay. Cleveland Institute of Music, Alice Chalifoux. Columbia University, Carlos Salzedo. Detroit Institute of Musical Art, Ann Sacchi. Eastman School of Music, Eileen Malone. Los Angeles Conservatory of Music and Arts, Maryjane Barton. Mills College, Vit:gin l•a Morgan. Music and Arts In tl t ute of San Francisco, Annie Louise Davld. New England Cons ervatory of Music, Bernard Zlg hera. Peabody Conservatory of Music, Giuseppe Pizzo. Philadelphia Conservatory of Music, Edna Phillips. Philadelphia Musical Academy, Stephanie Ormandie. Roosevelt College, Grace Follet. San Francisco Conservatory of Music, Virginia Morgan. St. Louis Institute of Music, Graziella Pampari. Syracuse University, Shirley A. Miller. Ward Belmont School, Frances Jackson Parker. -15-
NEW RECORDINGS Debussy-"Danses Sacre et Profane"; Saint-Saens "Fantaisie"; Faure, "Impromptu;" Ravel, "Introduction and Allegro". Edward Vito, Harp. Stradivari SLP 1007. $5.95 St. Louis Blues and Spaghetti Rag. Bobby Maxwell. Tempo. TR 634 78 RPM. $1.05. • Cumana and Stardust. Bobby Maxwell. Tempo. TR632. 78 RPM. $1.05. Richard Strauss- "Duet-Concertino" for Clarinet, Bassoon, Strings and Harp. Barbara Shik, harp. Capitol. P-8115. Henriette Renie-"Legende." Virginia Morgan, harp. Music Library Recordings. $1.50. Hindemith-"Konzertmusic" for Piano, Brass and Harps. Concert Hall Society. CHS-1067. Benjamin Britten-"The Ceremony of Carols." Robert Shaw Chorale of Women's Voices, Robert Shaw, Conductor. Laura Newell, harp. Victor LM-1088. $5.72. * * MARYJANE BARTON, B.M. 4364 Tujunga Avenue, North Hollywood, Calif. TEACHERS' DIRECTORY EDITH LUNDGREN Phone SUnset 2-72'14 or HUdson 2-3311 Seven years with Universal-International Studios. Curtis Institute Graduate. Faculty of Los Angeles Conservatory of Music and Arts. NANNETTE BRYSON BLACK Harp and Harmony 511 Silverlake Blvd. Los Angeles 26, Calif. DUnkirk 3-4488. Pupil of Alfred Kastner HAZEL SCHERTZINGER BRUSTER 1600 Don Carlos Verdugo Woodlands, Calif. Cltrus 4319 'MARJORIE CHAUVEL 320 Iris Way Palo Alto, Calif. DAvenport 2-7758 KATHLEEN BUNKER De LONG 314 Reynolds Street Rockford, Illinois Dial 3-0564 YVONNE LaMOTHE 687 Grizzly Peak Blvd. Berkeley 8, Calif. LAndscape 4-6292. Juilliard, N. Y. Chigiana Conservatory, Siene, Italy; 1st Harpist, El Paso Symphony. * * 1130 18th North, Seattle, Wash. East 7370. Faculty: University of Washington; College of Puget Sound. Former member and soloist of Tacoma Philharmonic, Seattle Symphony and Vancouver, B. C., Symphony. VI·RGINIA MORGAN 1st Harpist San Francisco Symphony 87'.l Chestnut Street, San Franchco, Calif. November to May Phone TUxedo 5-2738 Faculty: San Francisco Conservatory of Music; Milb College; N.M.T.A.; M.T.A.C. May to November, 113 Orchard Drive, Greenwich, Conn. Phone 8-6730. LOUISE SEIDL Athletic Club, Omaha, Nebr. WEbster 4063 bt Harpist, Omaha Symphony Staff Harpist, Radio Station WOW Gold and Silver Trio GERALDINE SHANKS WRIGHT 5008 E. Morris Road Wichita 17, Kansas Phone 6-1770. * Rates for Teachers' Directory are $3 per year for a plain listing and $5 per year with qualifications. * \V'1~n you order from our arlt'<•rlisers pleas,• ml'nti on Harp Ncn is,
Imported Harp Strings Made in Pirazzi, Germany 1st octave .75 3rd octave 1.25 2nd octave 1.15 41/1 octave 2.25 St/, octave 3.60 Nylon Strings 1st octave .50 3rd octave .80 2nd octave .60 4th octave 1.00 5th octave 2.20 Clear and colored strings available in both gut and nylon We have a few bargains in used harps. San Francisco Gal.land SanJoae Freono = Ill Bv"rything Fine in Music since 1870