The American Harp Journal - Winter 2020

The American Harp Journal

Official Publication of The American Harp Society, Inc.

Vol. 27 No. 2 Winter 2020

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Vol. 27 No. 2

Winter 2020

7 A Third Interview with Henriette Renié (1875-1956) edited by Jaymee Haefner; translated by

Claire Renaud

11 Harp Makers' Collections: From Erard to Camac by Robert Adelson

22 Paul-André Bempéchat Interviews Catherine Michel translated from the French by the author

26 Applying the Alexander Technique to Modern Pedal

Harp Performance and Pedagogy: A Discussion with

Imogen Barford and Marie Leenhardt

by Claire Happel Ashe

52 Recent Publications and Recordings by Suzanne L. Moulton-Gertig

4 From the AHS President

5 From the AHS Executive Director

6 From the Associate Editor

36 In Memoriam: Sam Milligan

38 In Memoriam: Ruth Wickersham Papalia

40 In Memoriam: Louise Trotter

41 In Memoriam: Linda Wellbaum

44 Preview of the 2020 National Conference, Orlando

48 AHS 2019 Annual Membership Meeting

50 AHS Statement of Operations

57 Directory of Teachers

64 Index of Advertisers

Emmanuel Barcet (1870-1940): Little Prodigy,

engraved by the artist from 'L'Assiette Au Beurre,'

pub. July 1907 (litho). Central Saint Martins College

of Art and Design, London/Bridgeman Images.

THE AMERICAN HARP JOURNAL

The Official Publication of the American Harp Society, Inc.

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2 THE AMERICAN HARP JOURNAL

Vol. 27, No. 2 Winter 2020

AHS MISSION STATEMENT

The mission of the American Harp Society, Inc. is to celebrate our legacy, inspire excellence, and empower the next generation of harpists.

ABOUT THE AMERICAN HARP JOURNAL

The American Harp Journal is a magazine for the membership containing articles and columns designed to inform members and to leave an

accurate record of the activities of the AHS and current issues in the harp world. This material may include (but is not limited to) biographies

of major figures of the past and present, bibliographies, historical studies, listings of publications and recordings, articles of educational

content for students and teachers, and articles concerning construction and maintenance of the harp.

ASSOCIATE EDITOR

Emily Laurance

Email: emily.laurance@gmail.com

ADVERTISING MANAGER

Stacie Johnston

2 Charlton Street Suite 9K

New York, NY 10014

Email: AdManager@harpsociety.org

CIRCULATION MANAGER


Email: AHJCirc@gmail.com

EDITORIAL BOARD

Sarah Crocker

Sara Cutler

Jennifer Ellis

Jaymee Haefner

Diane Michaels

Kathleen Moon

Angela Schwarzkopf

Jaclyn Wappel

ART DIRECTION/LAYOUT

Some Pig Information Design

PRINTER

Fort Orange Press

The American Harp Journal is published twice yearly in the Summer and

Winter. Copyright ©2020 by The American Harp Society, Inc.

All rights reserved; no part of this publication may be reproduced in any

form or by any means, electronic, mechanical, photocopying, recording,

or otherwise, without the prior written permission of the editor. Nonprofit

Standard postage paid at the United States Post Office, Albany,

NY 12288. ISSN: 0002-869X.

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.

AMERICAN HARP SOCIETY, INC. WEBSITE

harpsociety.org

Member Portal

https://harpsociety.member365.com

AMERICAN HARP SOCIETY, INC.

Marcel Grandjany, Chairman of the Founding Committee

Kathryn McManus, Executive Director

Barbara Sooklal, Membership Secretary/Bookkeeper

Allison Volk, Marketing & Communications Manager

Connie Hunt, National Event Manager

BOARD OF DIRECTORS

Officers:

Lynne Aspnes, President*

Lillian Lau, 1 st Vice-President*

Megan Sesma, 2 nd Vice-President*

Laura Logan Brandenburg, Secretary*

Karen Lindquist, Treasurer*

Chairman of the Board: Elaine Litster*

Regional Directors:

Sarah Crocker, Coordinator*

Nancy Lendrim (Mid Central)

Megan Sesma (Northeastern)*

Mary Ann Flinn (Southeastern)*

Sarah Crocker (Southern)*

Directors-at-Large:

Lynne Aspnes*

Chen-Yu Huang*

Lillian Lau*

Elaine Litster*

Ray Mooers

Jessica Siegel

Anne Sullivan (Mid Atlantic)

Elinor Niemisto (North Central)

Jennifer Ellis (Pacific)

Laura Logan Brandenburg (South Central)*

Chilali Hugo (Western)

Paul Baker

Cindy Horstman

Karen Lindquist*

Charles W. Lynch

Angela Schwarzkopf

Brandee Younger

*All officers and those directors marked with an asterisk are members

of the 2019-2020 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; Pearl Chertok, 1980–81; Patricia Wooster, 1981–86; Sally

Maxwell, 1986–88; John B. Escosa, Sr., 1988–91; Molly E. Hahn, 1991–94; Sally

Maxwell, 1994–98; Lucy Clark Scandrett, 1998–2002; William Lovelace, 2002–06;

Lucy Clark Scandrett, 2006–10; Delaine Leonard Fedson, 2010–14;

Ann Yeung, 2014–16; Cheryl Dungan Cunningham, 2016–18.

PAST BOARD CHAIRS

John Blyth, 1964–68; Ann Stockton, 1968–74; Charles Kleinstuber, 1974–75; Mario

Falcao, 1975–79; Sylvia Meyer, 1979–82; Margaret Ling, 1982–83; Faith Carman,

1983–86; Ruth Papalia, 1986–88; Lynne Wainwright Palmer, 1988–89; Faith Carman,

1989–94; David Kolacny, 1994–95; Barbara Weiger Lepke-Sims, 1995–98; Jan

Bishop, 1998–2002; Linda Wood Rollo, 2002–06; Karen Lindquist, 2006–10; Felice

Pomeranz, 2010–14; Cheryl Dungan Cunningham, 2014–16.

WINTER 2020

3

From the AHS President

by Lynne Aspnes

I was performing one of the war horses of harp and

choral repertoire this past year when an audience

member came to me at the concert intermission to

thank me for performing. In the same breath she

asked, “Why is it that I only hear live harp music in

December?” My academic bent came out in force as

I launched into what was a decidedly one-sided reply

about repertoire, the use of the harp in the orchestra

beginning only in the nineteenth century, and the

nature of the harp as a collaborative instrument, etc.,

etc., etc. Once I realized this lovely woman’s eyes

were well and completely glazed over I stopped talking,

apologized for going off on a rant, thanked her

again for her kind compliment, and went back

to work.

But in the following days I couldn’t stop thinking

about her question. Why is it that there often seems

to be an audience member who is experiencing their

first exposure to live harp music? Or their oncea-year

exposure to live harp music? Because there

does always seem to be—one person. One person for

whom the experience of hearing the harp performed

live is either brand new or exceedingly rare. I think

we can forget when we’re doing the performing just

how special it is for others to hear music performed

live. We prepare in one way to perform, but our audience

has to make a parallel commitment to hearing

us play live: the scheduling, purchasing a ticket,

transportation and definitely, prioritizing the time to

hear live music. In the case of my enthusiastic audience

member that included doing all of this in below

freezing temperatures, just to hear live music! This

lovely woman reminded me that for many audience

members hearing us perform live is a unique and special

experience.

In a world of one click access to a virtual galaxy

of services and entertainment it is too easy to disconnect

from the shared experience, too easy to choose

to listen to what is known, what is familiar, too easy

to dismiss the new, the unexplored, the alternative

experience. Every time we advocate for live perfor-

mances, we create

an opportunity

for someone

else to experience

something

new. We have

a responsibility,

a duty really, to

advocate through

live performances

for what we know

to be true about

music: its power

to engage the

imagination, to spark curiosity, and yes, to transform

both performer and the listener with the visceral

connection to an emotional response. Advocacy can

seem ephemeral, even daunting: the idea of advocating

for something can make us feel vulnerable, require

us to define our beliefs and share those beliefs

with people who may not agree with us. Advocacy

requires that we be prepared for rejection. But advocacy

can also transform: transform both the listener

and the performer.

Maybe playing live music means opening the windows

while we practice. For all we know this could

make all the difference to someone out walking their

dog. For others, playing live means a major hall with

a discerning audience. Whatever the environment,

whatever the experience, I know I am going to make

the effort to get out there more, to perform live

more, and to interact with more audience members

in the coming year. I hope we all think about

advocating for the harp, for hearing music live,

and for supporting each other in the process. Our

advocacy can make a difference in ways we might

not even imagine. The harp deserves all we can do

to make it shine!


From the AHS Executive Director

by Kathryn McManus

“THAT’S ENTERTAINMENT!”

Dictionary.com defines entertainment as “an agreeable

occupation for the mind; diversion; amusement…”

Wikipedia reports that “entertainment is a

form of activity that holds the attention and interest

of an audience, or gives pleasure and delight.” However,

it continues, “what appears as entertainment

may also be a means of achieving insight or intellectual

growth.”

Those who attend the 2020 National Conference

June 21-24 in Orlando, will delight in “entertainment”

in all its forms. Performances will bring

pleasure, and workshops and panel discussions may

also bring insights and opportunities for growth. We

have had questions about whether this conference

will focus only on popular genres of music, given

our “That’s Entertainment” theme. There will be a

thread reflecting the legacy of popular and jazz harp

music, paying tribute to the trailblazers that opened

up new opportunities for harpists.

But that’s not all. Latin and world music influences,

contemporary and electronic music, improvisation

and arranging are all represented. We will

celebrate our legacy with traditional classical works

and Celtic music. Attendees will be able to grow and

find insights through participatory opportunities in

coached ensemble experiences and interactive Q&A

sessions. Other sessions will address important facets

of our musical lives such as risk management, marketing,

technology, and health. And our mission to

empower the next generation of harpists is reflected

by performances of the American Harp Society

concert artist, national competition finalists, and upand-coming

new talent.

Whether you are a student of any age, harp

aficionado, teacher or professional, and whether a

lever or pedal harpist, there will be something just

for you at this conference. The focus of the host, the

American Harp Society’s Central Florida Chapter, is

to assure that everyone attending enjoys themselves.

Beyond the core conference programming there will

be nightly receptions, a lovely casual networking

hub to meet up with friends new and old, and other

purely fun activities (follow #HarpistsInAPool to

learn more)—all set in a beautiful resort hotel at an

amazing discount price. Located in the heart of the

Orlando entertainment district, the Renaissance at

SeaWorld also offers extended discounted stays for

members to enjoy local first-class dining opportunities

and attractions before and after the Conference.

Please visit www.AHSConference.org to plan now

for an “entertaining” Conference and a Florida vacation

as well.

See you in Orlando!

WINTER 2020

5

From the Associate Editor

by Emily Laurance

One of the pleasures of

serving on the editorial

board and as associate

editor is to meet, work

with, and write about

some of the hardworking

and intellectually gifted

members of our harp community.

Every issue of the

Journal is a result of tightknit

and supportive collaborative

work, involving

the society’s executive

leadership, editorial board members, and crack production

team. Our current issue of the Journal offers

a broad retrospective on our instrument’s tradition as

well as a discussion of innovative approaches to harp

instruction. The issue includes interviews with two

legendary French harpists. One of these is the last

installment of transcripts taken from a series of historical

radio interviews with the twentieth-century

harpist and pedagogue Henriette Renié. The other

focuses on the esteemed career and current work of

Catherine Michel, in particular her foray into film

and musical theater repertoires. We are also presenting

recent work by the musicologist Robert Adelson,

focusing on the musical instrument collections of

harp makers from the eighteenth to the twenty-first

centuries. We’re happy to include as well a thoughtful

overview of the application of Alexander and

related techniques to harp instruction by Claire

Happel Ashe. Finally, this issue includes an exciting

preview of the upcoming American Harp Society

conference in Orlando, to be held June 21-24. We’re

hoping to see all of you there, and to set the record

for number of harpists in a pool!

Concordia University Irvine

Harp Scholarships

The principal harp position for the Concordia Sinfonietta and

Concordia Wind Orchestra is open for Fall 2020. A generous music/

academic scholarship is available for a qualified applicant. Study with

Mindy Ball (Principal Harp – Pacific Symphony and Hollywood Bowl

Orchestra) in the Borland-Manske Center (opened Fall 2019), one of

Southern California’s premium music learning centers. The university

owns two Lyon and Healy harps and has a dedicated harp room in

the new building. Performance venues include Segerstrom Concert

Hall, one of the nation’s greatest concert halls.

If you are interested in learning more about our principal harpist

position, please contact auditions@cui.edu.

To learn more, visit cui.edu/music.


facebook.com/concordiairvinearts

CUI.EDU

A Third Interview with Henriette Renié (1875-1956)

edited by Jaymee Haefner; translated by Claire Renaud

T

HE following interview is the third of three

that were aired by Radio-Sottens in August

1965 [possibly recorded in September

1955]. The original transcripts in French reside in the

International Harp Archives at Brigham Young University

(Henriette Renié and Françoise des Varennes

papers, MSS 7778). These transcripts were translated

word-for-word by Claire Renaud and edited by Jaymee

Haefner; they are included in Dr. Haefner’s new monograph

on Renié, One Stone to the Building: Henriette

Renié’s Life Through Her Works for Harp. A primary

source for des Varennes’s biography (translated and published

by Susann McDonald as Henriette Renié Living

Harp), these interviews center on Renié’s work, as des

Varennes worked tirelessly to preserve Renié’s legacy in

her own words.

Third Interview:

Introduction: After having spread the love for the

harp worldwide with her prestigious talent as a virtuoso,

with her compositions, and with her teaching,

Henriette Renié now only plays for her friends and

for the students she chooses. She still improves her

teaching, the shape of her works, as well as her transcriptions.

She has agreed to speak with us about this

time, full of experiences.

INTERVIEWER: Henriette Renié, not only have you

enriched the repertoire of the harp with your compositions,

but I believe that you have also published

many transcriptions; is that correct?

RENIÉ: Many, indeed. Already in my first recital, in

1892, I had three in my program. One of these, a

piece by Rameau entitled L’Egyptienne, is still played.

INTERVIEWER: The little classics, created for the

harpsichord, must be charming on the harp.

RENIÉ: They are very good; in these pieces, one finds

the grace and the charm of that period.

INTERVIEWER: Does the purely classical music lend

itself as well to transcription?

RENIÉ: Less than the early music. It’s more difficult.

For these, I can only adapt them to the harp; however,

with the Romantic works, and even some modern

works, I feel less guilty about modifying them.

INTERVIEWER: Could we hear an example of an early

music transcription?

RENIÉ: Something typical…the beginning of the La

mélodieuse by Daquin, for example; it’s from the seventeenth

or eighteenth century. [We hear some measures

of La mélodieuse.]

INTERVIEWER: Indeed, we find the quality of the

grace in it which you mentioned. What is the genre

of music which you sometimes had to modify?

RENIÉ: In particular, virtuosic works by Liszt such

as Rêve[s] d’amour and Le rossignol, where I sought

these sonorous effects by modifying the writing in

two passages. In Un sospiro, I just modified the cadenzas.

It is true that this transcription had been

strongly advised by the pianist Philippe 1 (still very

famous in the United States), who said, “but why

1 This pianist was likely Isidor Philippe (1863-1958), a close

friend of Claude Debussy. Philippe studied with one of Franz

Liszt’s students and later taught in New York City. He was

well-respected in Paris and the United States, and associated

with many of Mlle. Renié’s colleagues.

WINTER 2020

7

don’t you transcribe Un sospiro; it is made for the

harp—there are only arpeggios.”

INTERVIEWER: Would it be possible to hear at least

the first measures of this transcription, owed to the

advice of a pianist, which is quite rare!

RENIÉ: It’s a work that I love! The first phrase alone

is magnificent [She played the phrase].

INTERVIEWER: It’s above the earth! After that, words

can’t express anything more! Do your students play

many transcriptions?

RENIÉ: …yes…on the condition that they already

know how to play the harp well. To perform sonorous

effects, legato tones, detached tones, etc., one must

often go against the technical rules written in the

method of the instrument.

INTERVIEWER: Yes, it’s the exception that makes the

rule.

RENIÉ: That’s it, if you’d like. In summary, we are

forced to…“disguise.”

INTERVIEWER: Does the public like transcriptions?

RENIÉ: Yes;…I often have just as much success with

transcriptions as with works written for the harp.

Not only I, but all harpists play the Arabesques by

Debussy, Clair de lune, and other transcribed work…

INTERVIEWER: By you?

RENIÉ: By me.

INTERVIEWER: In a sense, you were the “pioneer” of

the harp!

RENIÉ: Some say so.

INTERVIEWER: But, speaking of Debussy, the [Danse

sacrée et danse profane] 2 were originally written for

the harp, correct?

RENIÉ: For the chromatic harp! But I adapted them,

and I gave their first performance [on pedal harp] in

1910, under the direction of Camille Chevillard.

INTERVIEWER: What was your connection to the

chromatic harp?

RENIÉ: My family had a friendly relationship with the

inventor of the chromatic harp; in a way, I’m even a

bit the cause of his invention.

INTERVIEWER: No?

RENIÉ: But yes. I was asked to play one evening for

some friends, and M. Lyon was there. I was fourteen;

it was the first year in which I played without the

pedal extensions which complicated my task a bit.

I told him: “The difficulty of the harp is mainly the

pedals, without which it would be a lot easier than

the piano, but due to the pedals…” Then he answered,

“I’ll try to invent a harp without pedals for

you,” and I replied: “If you do this, you’ll do something!”

INTERVIEWER: Here is an imprudent wish!

RENIÉ: Ah! And how!

INTERVIEWER: A few years later, you saw the beginning

of this chromatic harp?

RENIÉ: Yes, and worse yet, I even fought against it,

and very seriously and very efficiently. For example,

this happened at the Exhibit of Brussels in 1897,

where Érard had sent me to demonstrate their harp.

I was there in the booth, playing every day, which

bored me. But oh well…I pretended that I looked

like a trained monkey…it didn’t do anything! I

played every day, and of course, when I was there,

the chromatic harp would never dare be heard at the

same time.

INTERVIEWER: Because the chromatic harp had its

booth in front of yours?

RENIÉ: Across, exactly! You see, they weren’t playing

[the chromatic harp] when I started to play! Then,

I played a trick on them: I conspicuously left the

booth which represented Érard; then I secretly came

back from behind without any noise. I had instructed

one of my students, “When you see me come back,

you’ll wait until the chromatic harp has finished a

piece heard and then you’ll ask me to play.”

INTERVIEWER: An elaborate ploy!

RENIÉ: It’s elaborate, isn’t it? Then, I remember

that he played the Le noyer, a small transcription by

Schumann. As soon as it was over, my student asked


me, “Couldn’t you play something for us?” I went to

my harp and I boomed with all that I had. Everyone

turned around and of course, the poor chromatic

harp was left alone on the spot!

INTERVIEWER: The pedal harp found its champion in

you in many ways since you have codified your experiences

in a method?

RENIÉ: Yes, in 1940 the publisher Alphonse Leduc

asked me to “codify” my method; he used the same

term as you.

INTERVIEWER: This method: is it an important work?

RENIÉ: Yes, as much for the teaching as for the musical

examples that are part of it. The first part teaches

one to play the harp, naturally. The second part

teaches one to know how to adjust the technique to

the new needs of this beautiful instrument.

INTERVIEWER: It’s very interesting, this design in

two volumes which seem to oppose one another, and

which complete each other. If you had written this

method at the beginning of your career, would you

have conceived it in the same way?

RENIÉ: Oh! Not at all! The basis would have been

more or less the same, but I am always improving

and changing. I took my examples from everywhere,

from all existing methods and even sometimes from

the imperfections of my students!

INTERVIEWER: This is intelligent! Did you start your

serious teaching at a young age?

RENIÉ: Yes, I first gave rehearsals to Hasselmans’s

harp class at the age of eleven. At twelve-and-a-half,

I had my first student, a charming young woman who

told me, “I have heard a lot about you and I’d like to

take lessons from you.”

INTERVIEWER: How did you answer?

RENIÉ: I’m going to get my mom.

INTERVIEWER: This was charming and natural.

RENIÉ: This didn’t prevent me from being a very

strict professor right away, probably because I was

afraid to be treated like a child.

INTERVIEWER: Yes, by instinct. Did teaching have a

big presence in your life?

RENIÉ: For me, teaching wasn’t only a career, but it

was also a type of mission as an art. Moreover, I owe

it my greatest affections.

INTERVIEWER: Did you stay in touch with your students

who had become known artists themselves?

RENIÉ: I always have a great affection for them, even

when they live far away, such as Marcel Grandjany,

who remains a very dear friend.

INTERVIEWER: Do they often come back to you?

RENIÉ: A few years ago, a concert reunited three of

my most brilliant students: Odette Le Dentu, Mildred

Dilling and Solange Jean Renié, who have been

around the world, spreading my method and spreading

the love of the harp through their talent. There

are so many more that I’d like to be able to name!

INTERVIEWER: Can harpists assist composers in writing

for the harp?

RENIÉ: I did it many times. Composers came to me

with their manuscripts, some of which even stayed

with me. My old friend Philippe Gaubert, with whom

I had so often worked with as a flutist, had long

worked with me on his Légende. It is dedicated to me,

and it was just performed at the competition of the

Conservatoire.

INTERVIEWER: This year?

RENIÉ: This year. Thanks to the manuscript that I

found again, that I even looked for, I could correct

with certainty a few printing errors after twenty-five

or thirty years!

INTERVIEWER: That’s interesting. Since you’re talking

about the competition, what do you think about

it (if it’s not too indiscreet)?

RENIÉ: There is a star; the Premier Prix revealed her

“hors concours” (out of competition), with a unanimous

decision.

INTERVIEWER: What’s her name?

RENIÉ: A young American, Susann McDonald. She

has exceptional artistic qualities, warmth, and a con-

WINTER 2020

9

tained sensitivity which has already conquered the

Parisian public several times. She is of the virtuosic

class, I dare say, of the great virtuosos.

INTERVIEWER: What class did this brilliant lauréate

come from?

RENIÉ: She came from my friend Lily Laskine. We

are getting along very well, both seeking to serve the

ideal of the harp—and our students!

INTERVIEWER: It’s very beautiful, this union in art.

On an artistic level in particular, do you think that

the artist should take the taste of the usual audience

into consideration in the choice of his or her repertoire?

RENIÉ: It’s not at all my opinion! We are to form and

raise the taste of the public, rather than bending toward

it. Otherwise, it would be the end of art!

[Musical end with the third episode of Pièce

symphonique.]

ABOUT THE AUTHOR

Jaymee Haefner (BM, MM, DM) is Professor of Harp

at the University of North Texas College of Music, has

premiered new works for harp by multiple composers and

performs internationally, on a regular basis. She has published

two books about Henriette Renié and has released

two CDs with Crimson Duo. Jaymee serves as Treasurer

for the World Harp Congress, and is on the Board of Directors

for the American Harp Society Foundation. V

INTERVIEWER: This seems indeed applicable to all

arts. Is there, in your opinion, a relation other than

the one of Beauty between the arts?

RENIÉ: I am convinced of it: in all the arts, there is

expression of the soul; even artists who do not believe

receive this supernatural release without knowing

it.

INTERVIEWER: Yes, the artist is a messenger, who

sometimes ignores himself. By the way, Henriette Renié,

when you think back on your beautiful and rich

career, what feelings do you have?

RENIÉ: A feeling of amazed gratitude toward Providence,

and prodigious memories, but it is as if they

are detached from my present personality; when I

speak of the past, it seems like it is about another

person. That’s how I can do it in all simplicity.

INTERVIEWER: However, you still bring the same ardor

to your teaching!

RENIÉ: Yes, maybe even more! I not only work for

myself, now. I work for those who are going to continue

after me. For an artist, I believe that the hope

of passing the torch onto other hands, far from saddening

him or her, on the contrary gives peace and

joy to his or her life!


Harp Makers' Collections: From Erard to Camac

by Robert Adelson

I

NSTRUMENT makers often collect instruments,

but for different reasons. 1 Some actively

seek out rare or valuable objects in order to

exhibit them to the public; if not by themselves, then

by others. Similarly, makers who build reproductions

of historical instruments sometimes acquire instruments

to study or to copy. For other maker-collectors,

acquiring instruments is an unintended and often

unacknowledged consequence of their work, and

the idea of exhibiting these instruments to the public

rarely arises, perhaps only as an afterthought. The

most striking example of this kind of “accidental”

collector is Adolphe Sax (1814–1894), who acquired

instruments throughout most of his adult life, even if

he never seemed to have considered himself to be a

collector per se. His private collection of 467 instruments

remained virtually unknown until 1877, when

he was obliged to sell it at auction to recover from

his third bankruptcy. 2

What motivated an instrument maker such as

Sax to collect? In their study of Sax’s collection, Malou

Haine and Ignace de Keyser have identified four

possible reasons:

1. to preserve organological documentation for

study

1 In this article, I have chosen not to discuss the case of bowed

string instrument makers who often seek out older instruments

that are in great demand by today’s musicians. It is

often difficult to distinguish many luthiers’ “collections” from

simply their stock of instruments for sale. Ignace de Keyser

has documented several examples of Belgian luthiers who

possessed small collections of instruments. See Ignace de

Keyser, “Les collectionneurs belges à la fin du XIXe siècle,”

Musique – Images – Instruments 9 (2007), 74–101 at 80.

2 Malou Haine and Ignace de Keyser, “Le musée instrumental

d’un artiste inventeur: la collection privée d’Adolphe Sax,”

Revue belge de musicologie LXX (2016), 149–64, at 149.

2. to preserve prototype models of his own instruments

3. to preserve instruments with original or curious

features

4. to preserve material that could eventually be

useful in trials for patent infringement. 3

In searching for other examples of this kind of

maker-collector, for whom preserving certain instruments

was an intuitive and integral part of their

work, I was struck by the case of harp makers, who

seem to have collected instruments for reasons similar

to those that motivated Sax. The phenomenon

of harp maker-collectors can in part be explained by

the specific trajectory of mechanical and decorative

innovations in the harp’s history, which inspires a

quasi-museographical attitude to understanding and

appreciating the instrument.

The harp’s long history has often been understood

as having been marked by great transformative inventions

that set it apart from the histories of almost

all other instrument types, whose evolution often

appeared more gradual (with the possible exception

of brasswind instruments, where the invention of

valves is often seen as a visible and significant turning

point). One can summarize this widely-held but

admittedly simplified view of the harp’s history as

follows: what had existed for several thousand years

as a predominantly diatonic folk instrument was

dramatically transformed in 1697 when the luthier

Jacob Hochbrucker (1673–1763) of Donauwörth in

Bavaria added a pedal-operated chromatic mechanism.

A second revolution occurred in 1810, when

Sébastien Erard (1752–1831) invented the double

action, allowing the harpist to use the pedals to play

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in all keys. 4 Because of this clear demarcation of the

phases of the harp’s history, harp makers since Erard

have been singularly aware of their place in the evolution

of this highly mechanized instrument.

Similarly, harp makers have often demonstrated

a keen interest in the decorative history of their

instrument, because the harp is one of the few instruments

that today is still highly decorated. Many

other instrument types that once were frequently

ornate underwent a neutralizing process in the late

nineteenth and twentieth centuries that remains

the norm today. For example, in the eighteenth and

nineteenth centuries pianos were often just as luxuriously

decorated as were harpsichords, but they are

today invariably plain and black. Concert harps,

however, are still made in quite dramatic decorative

styles featuring gilt columns and elaborately painted

soundboards. As a result, today’s harp makers naturally

find older harps to be much more than simply

pretty objects, and often use them, consciously or

unconsciously, as a source of decorative inspiration.

Many harp makers, including the Pleyel, Lyon &

Healy and Salvi firms, have collected instruments.

In this article, I will explore this historical awareness

on the part of harp maker-collectors of the past and

present by comparing the practices and collections

of the Erard firm in the early nineteenth century and

the Camac firm today.

The Erard collection began with the private collection

of the firm’s founder, Sébastien Erard, and

4 These inventions have usually been held to be more than

mere improvements to the instrument. The harpist and writer

Stéphanie-Félicité de Genlis (1746–1830), for example,

wrote that the invention of the pedal harp transformed a folk

instrument into a concert instrument, or as she put it—it

pulled the harp “out of the German taverns [and] immediately

thrust it into the palaces of kings.” Similarly, the musical

possibilities opened up by the double action gave the harp

the harmonic potential of the piano, inciting the Institut de

France to proclaim that “Mr Erard has placed his new harp

in the first rank of musical instruments.” Stéphanie-Félicité

de Genlis, Nouvelle méthode pour apprendre à jouer de la harpe

en moins de 6 mois de leçons (Paris, 1802), p. 2. Rapport fait le

17 avril 1815. Académie royale des sciences et des beaux-arts,

Gaveau-Erard-Pleyel archives, property of the AXA insurance

group, D.2009.1.1718.

was continued by his nephew Pierre (1794–1855). 5

The Erards always maintained a clear sense of their

place in the history of the harp; in 1821, Pierre Erard

even wrote a book on the subject, rather pompously

entitled The Harp in its Present Improved State Compared

with the Original Pedal Harp (see Fig. 1).

The first characteristic of Erard’s collection is that

it contained prototypes of inventions of which he

was particularly proud. 6 Erard’s biographer Grangier

wrote: “[Erard] was not content with drawings

alone, but made models which were put into actual

practice. Many of these were never adopted, not

from reasons of failure, but from their costliness of

construction; they were placed in his Museum at his

Factory along with the rest of his inventions.” 7 This

collection of Erard’s prototypes was carefully preserved

by subsequent directors of the Erard firm,

and is today part of the Gaveau-Erard-Pleyel collection,

owned by the AXA insurance group and on

long-term loan to the Association Ad Libitum in

Etobon (France).

5 Throughout the nineteenth and twentieth centuries, the

collection continued to grow, and by the time Erard eventually

merged with the Pleyel and Gaveau firms, the combined

collections consisted of instruments, books, correspondence,

ledgers and account books, patents, royal privileges, engravings,

paintings, photographs, drawings, tools and films.

Sébastien Erard was no stranger to the world of collecting,

and in addition to his musical activities, he was also a passionate

art collector, acquiring precious paintings that are

today considered treasures of the world’s leading museums;

they include Poussin’s Apollo and Daphne (Louvre, Paris)

and Rembrandt’s Portrait of an 83-year old Woman (National

Gallery, London). See Anik Devriès-Lesure, “Sébastien

Erard, un amateur d’art du début du XIXe siècle” in Sébastien

Erard ou la rencontre avec le pianoforte (Luxeuil-les-Bains,

1993), pp. 76–88 and Catalogue des tableaux qui composent la

magnifique galerie de M. le Chevalier Erard. Chez Me. Lacoste,

commissaire-priseur, rue Thérèse, no 2, et chez M. Henry,

commissaire-expert du Musée Royal, rue de Bondy, no 23 (Paris:

Chez Dezauche, Faubourg Montmartre, 1831).

6 Holding on to one’s own instruments is not typical behavior

for an instrument maker, whose livelihood depends on the

principle that “the best instrument is a sold instrument.”

Nevertheless, we can find other examples of this practice of

a maker retaining his own instruments that they considered

so unusual or prefect that they could not bear parting with

them; Manfredo Settala (1600–1680) who kept his polyphonic

flute (c. 1650) in his Milanese cabinet of curiosities,

or even Antonio Stradivari (c. 1644–1737), who according

to legend never sold his pristine “Messiah” violin (1716).

7 A. Grangier, A Genius of France: A short sketch of the famous

inventor Sébastien Erard, and the firm he founded in Paris, 1780.

Translated by Jean Fouqueville, 3d ed. (Paris: Maison Erard,

1924), 4n4.


Fig. 1: Frontispiece to Pierre Erard, The Harp in its Present Improved

State Compared with the Original Pedal Harp (London, 1821).

Fig. 3: Erard harp n° 4962 (Paris, 1977). Camac collection.

Photo © Camac Harps.

Fig. 2 : View of one of the pedal harp galleries of the exhibition of the Camac collection, Château d’Ancenis, France.

Photo © Vincent Jacques.

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Among these prototypes is a harp identified by

internal company documents as Sébastien Erard’s

first, made c. 1786–87. 8 This harp was innovative

for both mechanical and decorative reasons: it was

the first harp with the system of forked discs, and the

first to break with the scroll-topped column of the

ancien régime, replacing it with a neoclassical capital.

A second prototype in the collection is Erard’s

first attempt at a double-action harp, which used a

system of rotating tuning pins invented in 1800 and

subsequently abandoned as impractical. 9 Twenty

years later, Pierre Erard remarked that his uncle was

nevertheless proud of this invention and kept the

prototype in his personal collection of instruments:

“There are those, perhaps, who would have produced

this harp to the public, and promoted its sale;

but Mr Sébastien Erard was aware of the defects of

an instrument built upon such a plan, and knew that

it could never be of general use; he therefore, regardless

of the great expense and labour he had incurred,

reserved it as a mere curiosity. Its mechanism is well

worth the attention of the curious, as it contains several

problems in mechanics, difficult to solve.’ 10

The identification of this prototype, bearing no

makers’ marks or inscriptions, is made possible by a

list of the collections of the Erard firm around 1959,

where the instrument is described as “Harp in mahogany,

Grecian decors, with rotating tuning pins, by

Sébastien Erard—Very strange instrument—unique

object.” 11 Curiously, the pedal box of this harp today

resembles that of a single-action harp, not a doubleaction

harp as described by Pierre Erard. The harp

was at some point in its history transformed, perhaps

by Sébastien Erard himself, into a single-action

harp, but still with rotating tuning pins. The upper

8 “Actif immobilier appartenant à la maison Erard,” Gaveau-

Erard-Pleyel archives, D.2009.1.1762. For photos of this

harp, see The History of the Erard Piano and Harp in Letters

and Documents, 1785–1959, eds. Robert Adelson, Alain

Roudier, Jenny Nex, Laure Barthel and Michel Foussard, 2

vols (Cambridge: Cambridge University Press, 2015), vol. 1,

25 and vol. 2, 732.

9 For a photo of this harp, see The History of the Erard Piano

and Harp in Letters and Documents, vol. 2, 733.

10 Pierre Erard, The Harp in its Present Improved State Compared

with the Original Pedal Harp (London: Erard, 1821), 9.

11 The identification of the extant instrument was made by

Beat Wolf in 2010.

notch for each pedal has been filled in by a strip of

wood, and the lower notches have been modified.

Perhaps Sébastien Erard, frustrated by the difficulties

inherent in a mechanized rotation of tuning pins,

preferred to keep a single-action harp that functioned

well rather than a double-action harp that

functioned poorly. 12 This harp reminds us of another

feature of makers’ collections: that modifications—

for reasons of preventive conservation or restoration

or other—are often undertaken by the maker himself

or his employees. In a workshop or factory environment,

instruments are rarely left to gather dust, but

neither are they conserved according to the same

deontological procedures as followed by museums.

Another identifiable practice of maker-collectors

is the acquisition of instruments made by others that

served as inspirations for their own innovations.

An example from the Erard collection is the rare

fourteen-pedal harp made by Georges Cousineau

(1733–1800) in 1782. 13 This was the first doubleaction

harp in history; that is, the first harp that

could sound three notes per string, thus allowing the

harpist to use the pedals to play in all keys. Erard

was directly inspired by Cousineau’s invention, and

it became a model for his own double-action harp

patents.

Sébastien Erard, like Adolphe Sax, was a brilliant

inventor who had to be vigilant about protecting his

inventions. On at least two occasions, the Erards

used instruments from their collection as evidence in

patent lawsuits. In 1819 Pierre Erard sued the harp

maker John Charles Schwieso (fl. 1800–1840) for

copying his uncle’s double-action system. As material

evidence he showed the Attorney General what

he referred to as his “ammunition,” a series of three

harps that illustrated his uncle’s achievements: first,

a French harp using the older crotchet mechanism;

second, the prototype of the double-action harp with

rotating tuning pins; and finally, his double-action

12 “Actif immobilier appartenant à la maison Erard,” Gaveau-

Erard-Pleyel collection, D.2009.1.1762.

13 Robert Adelson, Alain Roudier and Francis Duvernay,

“Rediscovering Cousineau’s Fourteen-Pedal Harp,” Galpin

Society Journal, 63 (2010), 159–80.


harp with forked discs. 14 Similarly, when the Erards

wanted to counter arguments made by their rivals

that the maker Charles Gröll’s (1770–1857) doubleaction

harp patent predated Erard’s own patent, they

proposed showing the judge the Cousineau fourteenpedal

harp in their possession, in order to prove that

this principle of construction dated back to 1782. 15

A more recent example of a harp maker-collector

is Jakez François, president of the Camac firm based

in Mouzeil, France. Like Sax and Erard, François

is more of an “accidental” rather than conscious

collector, preserving and acquiring instruments in

the course of his manufacturing work. As a result,

his collection, currently on display in the Château

d’Ancenis, is anything but systematic—another

characteristic of maker-collectors. 16 It nevertheless

contains fifty-eight harps dating from the 1780s to

the present, representing European, American, African

and Asian harp making traditions (see Fig. 2).

Camac is the first harp maker in France since the

demise of the Erard firm, and the Camac collection

clearly reflects a continuity between these two manufacturers,

in both technical and decorative respects.

Sixteen of the harps (28%) in the Camac collection

were made by Erard, and represent the major periods

of the production of double-action instruments, by

both the Paris and London branches. Two instruments

in particular demonstrate Jakez François’

interest in bridging the gap between the end of the

Erard era and today: harp n° 4962, sold in 1977, was

the fourth-to-last Erard harp made in Paris; and harp

n° 6817 was built in 1910, making it the eighth-tolast

harp by Erard in London (see Figs. 3 and 4). This

latter instrument in particular would be intriguing

for a modern maker like Camac, as its unusually wide

14 Letter of 23 February 1820 from Pierre Erard in London to

Sébastien Erard in Paris. The History of the Erard Piano and

Harp in Letters and Documents, vol. 2, 730.

15 Letter of 13 June 1823 from Pierre Erard in London to Sébastien

Erard in Paris. The History of the Erard Piano and Harp

in Letters and Documents, vol. 2 p. 807. Adelson, Roudier

and Duvernay, “Rediscovering Cousineau’s Fourteen-Pedal

Harp,” pp. 176–77. For more on Gröll’s contribution to the

invention of the double-action harp, see Robert Adelson,

“Originality and Influence: Charles Gröll’s Role in the

Invention of the Double-action Harp,” Muzyka 64/1 (2019),

pp.1–21.

16 Strauchen-Scherer and Myers, “A Manufacturer’s Museum,”

148.

proportions suggest that Erard was anticipating the

sonorous harps that would be built on the other side

of the Atlantic at the beginning of the twentieth

century by Wurlitzer and Lyon & Healy.

Like Erard, the Camac firm has been on the forefront

of technological innovations in harp making.

Camac’s most daring invention was the “memory

harp” invented in 1981 by the firm’s founder Joël

Garnier (1940–2000), who had hoped that the harp

would be adopted by harpist Catherine Michel in the

orchestra of the Paris Opera. This harp is controlled

by a microcomputer linked to a hydraulic mechanism,

allowing the pedal-changes in a piece to be

programmed in advance. Realizing that the cost of

its manufacture was prohibitive, Camac decided the

harp was commercially unfeasible. The prototype

remained in the Camac collection until 2007, when

Jakez François donated it to the Musée de la Musique

in Paris, where it is currently displayed in the

“Instruments of the Twentieth Century” section.

This passion for technological innovation is reflected

in several other instruments in the Camac

collection. One of the earliest is a single-action harp

(serial n° 301) made by Naderman frères 17 in Paris

in the early nineteenth century (see Fig. 5). This

green and gold 43-string harp is a singularly uncharacteristic

example of a Naderman harp, for instead

of Naderman’s typical crochet mechanism it uses the

fourchettes invented by Erard. This harp reminds

us that harp makers were not as ideologically rigid

as we imagine them to be, sometimes experimenting

with the innovations of their competitors. The

Camac collection also includes a number of unusual

mechanical systems, such as François-Joseph Dizi’s

(1780–1847) perpendicular harp, Jacob Erat’s (1768–

1821) harp with adjustable forks, Jacques-Georges

Cousineau’s (1760–1836) harp with rotating tuning

pins n° 506 (Paris, 1814–25) and Pleyel’s chromatic

harp, of which the collection holds three examples

(see Fig. 6). A Wurlitzer double-action harp n° 1465,

17 Following the death of their harp-making father Jean-Henri

Naderman (1734–1799), François-Joseph Naderman (harpist,

teacher and composer, 1781–1835) and Henri Naderman

(harp maker, 1783–1842) continued the family business,

producing many single-action harps over the course of four

decades.

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Fig. 4: Erard harp n° 6817 (London, 1910). Camac collection.


Fig. 5: Naderman frères, single-action harp n° 301(Paris, early

nineteenth century). Camac collection. Photo © Camac Harps.

Fig. 6: View of the chromatic harps in the exhibition of the Camac collection, Château d’Ancenis, France. Photo © Vincent Jacques.


model GG (Chicago, 1928–32) is an early example of

a harp with an extended soundboard, a feature that

would allow it to produce more sound than the Erard

harps of the same period with straight soundboards.

Camac’s collection also includes recent instruments

by pioneering makers whose experiments influenced

Camac’s own ideas about harp construction. Two

harps made by Didier Budin (1944–) are among

the earliest attempts to use carbon fiber, Kevlar and

other composite materials to eliminate unwanted

noise, reduce the weight of the harp and improve the

resistance of its structure.

Through the Camac collection one can also follow

the evolution of decorative styles, and observe

how Camac’s quest for aesthetic innovation is rooted

in historical traditions. Scroll top single-action harps

by Renault & Chatelain and Naderman are examples

of the typical ancien régime style, a model which

would be replaced by Erard’s neoclassical pillar

culminating in a capital with rams’ heads. Just how

influential Erard’s decorative style was can be seen

by comparing the nearly identical ornaments in the

Erard frères' double-action harp n° 901 (Paris, 1824)

and the Antoine (c. 1750–c. 1800) or Pierre Challiot's

(c. 1775–1839) single-action harp n° 172 (Paris,

c. 1825–1830) (see Figs. 7 and 8). Sébastien Erard’s

neoclassical model reigned supreme until it was replaced

by Pierre Erard’s gothic model in the 1830s,

of which there are seven examples in the Camac collection.

But aesthetic innovation did not end with

Erard, and an Ernst Löffler (1909–76) double-action

harp n° 312 (Wiesbaden, 1958–59) in Bauhaus style

reminds us how harp making continued to evolve

alongside trends in architecture and the decorative

arts (see Fig. 9).

The Camac collection showcases an important

part of the harp’s decorative history in a trio of Erard

harps dating from the late nineteenth century. This

was a period when the then Director of the Erard

firm, Albert Louis Blondel (1849–1935), was committed

to preserving the glory of Erard’s past, a

necessity in the absence of inventive geniuses like

Sébastien and Pierre Erard. Blondel did so by manufacturing

historical and exotic harp models. These

were not intended to be reproductions of actual past

instruments, but rather contemporary harps in past

decorative styles that had come back into fashion for

architecture and interior decoration. For the 1873

Exposition universelle in Vienna, Erard presented

a neo Grecian harp, followed in 1875 by a harp

in Louis XVI style, similar to harp n° 2479 in the

Camac Collection (see Fig. 10). From the 1890s they

built others in Empire style, with rams’ heads and

neoclassical pillars harkening back to the Erard harps

from the beginning of the century. For the 1889

Exposition universelle in Paris, Erard introduced a

highly ornate Japanese-style harp with gilt engravings

and ornaments in ivory and mother-of-pearl, a

model that would become popular throughout the

1890s. The Erard firm was particularly proud of the

Japanese style harp n° 2398 in the Camac Collection,

presenting it at the Expositions universelles

in Antwerp (1894) and Bordeaux (1895) (see Fig.

11). For the Exposition universelle in Paris in 1900,

Erard outdid themselves, presenting a highly ornate

46-string mahogany Empire style harp in burnished

gold color, with chiselled and gilt bronze sculptures

and an added gilt piece on the summit of the pillar

representing cupid kneeling to gather his quiver. The

Erard firm recognized this design as extraordinary

and preserved a preliminary drawing for it in the collection.

Harp n° 3969 from the Camac Collection is

one of the only surviving examples of this Erard harp

and one that had a profound influence on Camac’s

own harps, as Jakez François made precise copies of

the ornaments for Camac’s Elysée model (see Figs.

12 and 13).

Nowhere is the complex interplay between collection

and construction so apparent as in the Camac

collection’s ten Celtic harps. Camac has been at the

forefront of the Celtic harp revival in France since

1972, when the brothers Joël and Gérard Garnier

(1948–) founded the Camac firm to respond to the

demands of musicians in the folk movement. At the

time when they began to build harps from a kit according

to plans from luthier Gildas Jaffrennou, most

“Celtic” harps played in France were built in Japan.

Several years later, Camac increased their production

and quickly became the world’s principal maker of all

models of Celtic harps. In 2013, Celtic harp pioneer

Mariannig Larc’hantec (1947–) wrote that “without

Camac, without Joël Garnier […] the Celtic harp

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Fig. 7: Erard frères double-action harp n°901 (Paris, 1824).

Camac collection. Photo © Camac Harps.

Fig. 8: Antoine or Pierre Challiot, single-action harp n° 172

(Paris, c. 1825-1830). Camac collection. Photo © Camac Harps.

Fig. 9: Ernst Löffler, double-action harp n° 312 (Wiesbaden,

1958-59). Camac collection. Photo © Camac Harps.

Fig. 10: Erard, double-action harp in Louis XVI style n° 2479

(Paris, 1875). Camac collection. Photo © Camac Harps.


Fig. 11: Erard, double-action harp in Japanese style n° 2398

(Paris, 1894). Camac collection. Photo © Camac Harps.

Fig. 12: Erard, double-action harp in Empire style n° 3969 (Paris,

1914). Camac collection. Photo © Camac Harps.

Fig. 13: Camac’s Elysée model. Camac collection.


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Fig. 14: Camac’s the first bardic style harps (c. 1972). Camac collection. Photo © Camac Harps.

Fig. 15: View of the Celtic harp gallery of the exhibition of the Camac collection, Château d’Ancenis, France. Photo © Vincent Jacques.


would not be what it is, and it seems to me an uncontested

fact that the pedal harp, which owes its

renaissance to the Celtic harp, would also not have

the stature it has today.” 18

The Camac collection allows one to follow the

history of this twentieth-century Celtic harp revival

that began in Brittany in the 1950s in the works of

the pioneering makers who influenced the Garnier

brothers, including Gildas Jaffrennou (1908–2000),

the brothers Claude (1936–) and Michel Leroux

(1931–2000) and Daniel Paris (1936–2013). The

Camac harps inspired by these makers range from

the first bardic style harps dating from c. 1972 (see

Fig. 14) to the prototype of the first electro-harp

from 1993–94. But the collection also documents

that this was actually a second revival, which followed

an earlier one whose roots date back to 1792,

when a group of harpers gathered in Belfast to try to

preserve their dying tradition. The first significant

harp maker to emerge from this late eighteenth-century

Celtic harp revival was John Egan (c. 1814–after

1841), who is represented in the Camac collection

by a portable Irish harp (Dublin, 1815–20) and a

double-action pedal harp (no 2014). The collection

also includes harps by makers who were influenced

by Egan, such as Joseph George Morley (1847–1921)

in London and Melville Clark (1883–1953) in Syracuse,

New York. As a result of both prototype preservation

and curious collecting, the Camac collection

is able to trace the history of both phases of the

Celtic harp revival over two centuries, giving a depth

and breadth to the subject that is unique among harp

collections (see Fig. 15).

The Camac collection, amassed over the course

of thirty years, is one of the most diverse private harp

collections in the world, covering more than two

centuries of instrument building. And yet, seemingly

unaware of his pivotal role in building the collection,

Jakez François once confessed to me: ‘You know, I

am not a real collector.” I hope that the examples of

Erard and Camac will remind us that in addition to

the deliberate and systematic collectors who are justifiably

famous, we should not forget harp

makers, whose sometimes unintentionally and unsystematically

assembled collections are often just as

rich and fascinating.

ABOUT THE AUTHOR

Robert Adelson is professor of music history and organology

at Conservatoire de Nice-Université Côte d'Azur.

He is a specialist on the history of the harp and the piano,

and has also published widely on opera and the sociology

of music. His numerous publications include The

History of the Erard Piano and Harp in Letters and

Documents, 1785–1959 (2 vols., Cambridge University

Press, 2015) and two forthcoming monographs on

the Erard harp and the Erard piano. Between 2005 and

2016, he was curator of France’s second largest collection

of historical musical instruments, housed in the Musée

du Palais Lascaris in Nice. He is also the curator of

the first permanent exhibition of the Camac Collection of

historical harps at the Château d’Ancenis (Loire-Atlantique).

He is a member of the Board of Governors of the

American Musical Instrument Society and has served on

the supervisory committee of the Gaveau-Erard-Pleyel

archives and on the jury for the Thalberg International

Piano Competition. He frequently lectures on the history

of instruments, including at the Bibliothèque nationale de

France in Paris and the Geelvinck Piano Museum in the

Netherlands. In 2019, he was awarded the prestigious

Frances Densmore Prize from the American Musical Instrument

Society. V

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18 Mariannig Larc’hantec, La Harpe, instrument des Celtes

(Kerangwenn: Coop Breizh, 2013), p. 73.

WINTER 2020

21

Paul-André Bempéchat Interviews Catherine Michel

translated from the French by the author

LOYAL American Harp Journal readers will

recall my introductory articles on Jean Cras’

magnificent works for harp back in 1998 and

1999, Deux Impromptus (AHJ 16, no. 3, 1998), Suite

en duo (AHJ 16, no. 4, 1998) and Quintet for Harp,

Flute and Strings (AHJ 17, no. 1, 1999). Naturally,

these were drawn from my then-forthcoming biography

of Jean Cras: Jean Cras, Polymath of Music and

Letters, which was first published in 2009 by Ashgate

(now Routledge); its second edition, revised and

expanded, will be published this year by Peter Lang

Publishing.

To understand Cras’ enthusiasm and affection

for the “Queen of the Orchestra,” academic rigor

and artistic integrity compelled me to seek out the

veteran performers of this repertoire. My French colleagues

all directed me to Catherine Michel, then

principal harp at the Paris Opera, whose perspectives

on these works, grounded in her studies with Pierre

Jamet (for whom they were composed), proved invaluable.

By fortuitous coincidence, our friendship

suddenly renewed last July, through an invitation

from a mutual friend to attend the Musica Mundi

festival outside Brussels, where Mme Michel teaches

during part of the summer months. Our happy reunion

was marked with many lively reminiscences

and discussions of the evolution of the classical music

scene since the 1990s. So, with the near-simultaneous

release of Mme Michel’s new recording, Musique

pour harpe de Debussy à Bernstein (Musica Viva,

October 2019) and the forthcoming second edition

of Jean Cras, Polymath of Music and Letters, I decided

it was time to bring last summer’s discussions to the

attention of the AHJ community.

8

This article must begin by honoring Catherine Michel’s

distinguished career and extraordinary contributions

to the revival of much of the harp literature.

Catherine Michel was born June 25, 1948 in Amiens,

where she began studying harp, piano and solfège

with her mother. Upon her mother’s untimely passing

Pierre Jamet took Catherine under his wing at

the Conservatoire National Supérieur de Musique in

Paris, where she obtained a First Prize in harp at the

age of fifteen, later receiving top honors in competitions

in Israel, the United States, and in Paris. Mme

Michel became harpist for the Irish Radio Symphony,

while also teaching at the Royal Academy of Music

in Dublin. Her time in Ireland would launch an international

performing career that has lasted over a

half century, during which she has also been recognized

as one of the harp’s preeminent pedagogues.

In 1971, Mme Michel was appointed to the

National Orchestra of Radio-France where she performed

under Lorin Maazel, Paul Paray, Jean Martinon,

Karl Böhm, Sergiu Celibedache, Leonard Bernstein,

and Mstislav Rostropovich, among others. Her

tenure at the Paris Opera began in 1978 under the

baton of Pierre Boulez; over the course of her stellar

career with the Opera, she would work with some

of the greatest conductors, singers, choreographers,

dancers, and dramaturgs of the twentieth century.

Mme Michel’s first recordings with Philips, Sony and

Vox brought to the fore concertos by Villa Lobos,

Rodrigo and Castelnuovo-Tedesco with the Orchestra

of Monte Carlo; these were followed by recordings

of concertos by Glière, Reinecke, Pierné and

Saint-Saëns with the Luxembourg Radio Symphony.

In Monaco, she recorded Boieldieu’s harp concerto;

she would go on to record Mozart’s Concerto for


Flute and Harp three times, including with Benoït

Fromanger—for which she won the Disque d’or. Two

compact discs of concertos for two harps and orchestra

would be recorded with Susanne Mildonian and

the Chamber Orchestra of Toulouse, and with Xavier

de Maistre and the Orchestra of Radio Poland.

Mme Michel has also devoted herself to the harp

world through her publications: to assist young harpists

in their mastery of simpler works she published

her three-volume series Pièces faciles pour harpe. Additionally,

in collaboration with the distinguished

musicologist and noted Debussy scholar François

Lesure, Mme Michel produced an academic study of

the harp repertoire published during the eighteenth

century: Répertoire de la musique pour harpe publiée

du XVIIe au début XIXe siècle (Paris: Aux Auteurs de

Livres International, 1990).

In 1990, in collaboration with Leonard Bernstein,

Mme Michel began to envision adapting the classics

of musical theater and film for solo harp with

orchestra. Following Bernstein’s death she recorded

her first albums with Michel Legrand. Together, they

would record four compact discs for the Naïve and

Universal labels, including Gershwin’s Porgy and

Bess, Bernstein’s West Side Story, and works by Dave

Brubeck, Dizzy Gillespie, Oscar Peterson and Jango

Reinhardt. Subsequent albums of Legrand’s film

music—Les parapluies de Cherbourg, Yentl, Un été ’42,

Peau d’âne, and Le messager, among many—complete

the collection. Mme Michel would also accompany

the trumpeter Maurice André in repertoire ranging

from Bach to Stephen Sondheim for the EMI label.

After her early years as a pedagogue in Dublin,

Mme Michel mentored students at the Hochschulen

in Hamburg, Detmold, and Zürich, while continuing

her career as soloist and guest master-teacher.

8

PAB: How would you situate the harp in today’s

world compared with the worlds of yesteryear?

CM: The harp had long been played in places of worship

in Spain and in Portugal. This is evidenced by

the numbers of scores relegated to a lifeless existence

in the libraries of these countries. The resonance of

the chords, the peaceful sonorities of the ancient

harps were in perfect accord with the tenor of the

sacred texts.

In modern times, harpists always composed for

their students and often forgot their forebears. Pierre

Jamet told me that as a young student, his professor

had him study works by Elias Parish Alvars in

order to develop virtuosity, tonal quality, and beautiful

phrasing. Hasselmans had understood that the

high technical level which he imposed would be at

the service of the music of the future. The artistic

explosion generated by [Serge] Diaghilev enabled

numerous students of the period to come closer to

the works of Debussy, Ravel, Caplet, etc. Hasselmans

had, of course, the good fortune to have trained

among the greatest harpists of the twentieth century.

Their virtuosity helped composers reconsider the

harp not as a salon instrument but as a prominent

actor in the development of contemporary music;

such virtuosity remains, today, an axiom in the service

of creativity. This includes, of course, jazz harpists,

whose artistry renders extraordinary service to

our instrument and art.

PAB: On educating this generation of musicians,

what are your thoughts?

CM: These days, people can’t even read a score properly.

People listen to a recording on YouTube, played

more or less well, and copycat without questioning.

Wrong notes, incorrect pacing abound; and interpretations

often removed from the work’s style redound

like infectious diseases, to such a degree that few

teachers can eradicate the consequences. One must

be very prudent when one records today. Respecting

basic rules of assimilation and interpretation must be

prioritized.

It’s also important to consider that students

trained by teachers who have not played in good orchestras,

and under good conductors, very often lack

rhythmic acuity. The colleagues I invite to join me in

competition juries and seminars can be none other

than those who have worked with such conductors

and whose experience naturally projects absolute

fidelity to rhythm, absolute adherence to tempi, and

absolute precision of nuance and timbre, in equal

stance with the excellent practitioners of chamber

music. Today, the great problem is respect for the

composers’ wishes and loyalty to the stylistic traditions

inherent to each era of musical craftsmanship.

WINTER 2020

23

Paradoxically, at a time when cold, hard technology

dominates our lives, the arena of classical music has

returned to the romantic notion of “I play as I feel;

and if I play as I feel, then it must be right, because I

play as I feel.” This is an absolute travesty of all that

was codified as sacred to proper interpretation.

Addressing these issues has become my mandate

and my mantra at the institutions with which I retain

a formal affiliation as Artist-Teacher. Musica

Mundi, of course, in Belgium, and the IESM (Institut

d’Enseignement Supérieur de la Musique–Europe et

Méditerranée) in Aix-en-Provence, are the ones closest

to my home in Paris.

PAB: What do you make of competitions these days?

CM: To paraphrase Queen Victoria: “I am not

amused!” and this applies to competitions in general,

and for all instruments. Let me recount a personal

anecdote: I was in Geneva a few days ago as a jury

member with a colleague whom I greatly admire. We

grew up together and had the good fortune to have

had the same teachers. To quote her: “Seen through

the eyes of true professionals, international competitions

are too numerous and have almost no more dispositive

value than elegant dog shows.” I laughed a

lot and admired her candor. Personally, I deplore the

standardization of the prize-winners. I’m no longer

able to recognize a sound from the first measures of

a piece, as I used to; interpretations have very often

nothing to do with the style, the era, or the wishes of

the composer, but nonetheless, prizes are awarded,

come what may.

Permit me to express, as well, my complete disagreement

with the secretiveness of jury deliberations.

(I’m certain that if one had asked certain

members of the jury to perform the required repertoire,

we would have had a few surprises.) For the

Lily Laskine Competition, I have invited magnificent

and, above all, competent jurors including Nicolas

Thuillez, Xavier De Maistre, Marie-Pierre Langlamet,

Emmanuel Ceysson, Frédérique Cambreling,

Maria Graf, et al. Our deliberations were transparent,

were concluded in record time, and in the most harmonious

spirit. We were all on the same plane and

at the same level. Transparency would avoid the—

nearly perfunctory—useless comments jurors at all

competitions are at times forced to endure.

PAB: What, in your opinion, is the central problem

with launching new solo harp repertoire with orchestra

today?

CM: Chiefly, that in some cases, concertos such as

those by Nino Rota, Jean Françaix and Villa Lobos

are long, roughly 30 minutes in length, and that conductors

don’t study the scores as thoroughly as they

would scores destined for record labels. And then,

administrations want their halls filled, and it’s invariably

famous, commercially-viable singers, pianists,

and violin soloists who will fill the halls. There are

certainly some orchestras who have a policy of presenting

innovative repertoire, but these are few and

far between. It’s rare, and equally rare, or even rarer

among the recording companies. No one wants to

take a financial risk these days.

I recorded Debussy’s Danses for his centenary, but

I would never have done so without the backdrop of

the anniversary. Same with Bernstein. As for works

by other composers, they take on a life of their own,

however the outcome. But to rehash the same material

time and again is useless.

PAB: Please tell us about your new double-album!

CM: The double album is somewhat a reflection of

my early career. After my studies at the Paris Conservatoire

I left for Ireland. The orchestra in which

I played was the Radio Eirann [Irish Radio] Light

Orchestra. I was just sixteen and, after having been

“nourished” by Pierre Jamet with the demands of the

French school and its superb repertoire, I discovered

the vast American standard repertoire, musical comedies,

Irish folklore, etc. When I saw Leonard Bernstein

for the last time, he encouraged me to perform

what he called “accessible music”; he gave me his

“anniversary works” and asked me to perform them

in New York. Unfortunately, he passed away two

weeks before we could meet again.

Several months later, I asked Michel Legrand

if I could perform his piano works on the harp. He

replied that the harp was an instrument “which

played glissandi at the back of the orchestra.” Fi-


nally, thanks to a concert during which I performed

in the Senate in Paris, the director of SACEM [the

French equivalent of ASCAP] managed to convince

Legrand to give me some of his scores. He was, for

example, convinced that his suite on Yentl, for piano

and orchestra would be unplayable on the harp; it

turned out to be our greatest success at each concert.

Thereafter, we collaborated for twenty years, and

this enabled me to present the harp as a solo instrument

with orchestra to thousands of people who

would otherwise never have imagined such a literature

or would ever have attended such concerts.

It is my sincere hope that the younger generation

will follow this example and work with the composers

of their generation.

8

Mme Michel’s double album Musique pour harpe de

Debussy à Bernstein, released last fall by Musica Viva,

is now widely available through numerous online sites.

ABOUT THE AUTHOR

Renowned Franco-Canadian pianist and historian

Paul-André Bempéchat is based at Harvard University,

where he is Music Fellow at Cabot House and a research

scholar at the Davis Center for Russian and Eurasian

Studies. He is a self-styled product of the Manhattan

School of Music and The Juilliard School, where he

worked with the legendary performer-teachers Artur Balsam

and Nadia Reisenberg. His training in musicology at

the Sorbonne sowed the seeds of his principal academic

work, the first biography of the Breton impressionist composer,

Jean Cras, as Jean Cras, Polymath of Music and

Letters (Routledge, 2009); its expanded version is scheduled

for release in 2020 through Peter Lang Editions. Dr.

Bempéchat was knighted Chevalier de l’Ordre des Arts

et des Lettres by the French Ministry of Cultural Affairs

in 2017, and later that year was conferred the title

of Honorary Fellow of the Royial Academic Chapel at

Uppsala University, Sweden. V

WINTER 2020

25

Applying the Alexander Technique to Modern Pedal Harp Performance

and Pedagogy: A Discussion with Imogen Barford

and Marie Leenhardt

by Claire Happel Ashe

I

N the late nineteenth century, aspiring Australian

actor Frederick Matthias Alexander

(1869-1955) began losing his voice during

performances. Alexander sought professional medical

help for the condition and was advised to rest his

voice, but when he resumed speaking and performing,

he again lost his ability to speak. Frustrated, he

decided that he must figure out the problem for himself,

and he began observing himself in a mirror. He

noticed that he habitually pulled his head back every

time he spoke, a habit that invariably strained his

larynx. This discovery was the first step in developing

what came to be known as the Alexander Technique—a

method that draws on the observations he

made while attempting to change this habitual pattern.

The Alexander Technique uses a hands-on approach

to increase awareness of how people use their

bodies in activity. Alexander Technique teachers use

the term poise—a state of balanced equilibrium—to

describe their aim, rather than posture, which indicates

a rigidity or fixed position. 1 Many performing

artists in theater, dance, and music—including harpists—seek

out the Alexander Technique to prevent

injury, improve technique, and lessen performance

anxiety; today, it is taught in music conservatories

across the world. 2

The American Harp Journal originally published

two articles on the benefits of Alexander Technique

by harpist Linda-Rose Hembreiker in 2010. Hembreiker

presented concepts she learned as a student

of the Alexander Technique that applied to both her

practice and teaching. In this article, I will discuss

1 Raymond Dart, “The Attainment of Poise,” in Skill and Poise,

ed. Alexander Murray (London: STAT Books, 1996), 111.

2 e.g. The Juilliard School in New York City and the Royal

College of Music in London.

the principles that Alexander developed and systems

that have grown out of the Alexander Technique—

including Body Mapping, the Dart Procedures, and

the Framework for Integration—and their impact

on harp performance and pedagogy. I have included

the perspectives of harpists Imogen Barford, Head of

Harp at the Guildhall School in London, and Marie

Leenhardt, Principal Harpist of the Hallé Orchestra

and Harp Instructor at Chetham’s School of Music

in Manchester, England, who are both trained in the

Alexander Technique. Their remarks include many

insightful observations about the core principles of

the Alexander Technique—principles for which Alexander

coined his own terminology. These include

“use affects functioning,” “psychophysical unity,”

“faulty sensory awareness,” “inhibition,” “direction,”

“primary control,” and “means-whereby vs. endgaining.”

Each principle is important in applying the

Alexander Technique and will be addressed below.

Use Affects Functioning

When Alexander discovered that he was straining

his larynx whenever he pulled his head back, he

realized that use affects functioning. His own habitual

patterns were causing his vocal problems. Following

this principle, Alexander Technique teachers do

not typically look to faulty joints or structural issues

as the root of the problem and therefore do not put

stock in phrases such as “I have a bad back” or “I

have a bad knee”; instead they look at the way a person

is using his or her body and affecting its structure

in activity. Imogen Barford came to the Alexander

Technique because of a repetitive use injury. “I tried

everything,” she states. “I couldn’t work out what


was the problem, and the Alexander Technique was

the thing that unlocked it all.” Now that she has

trained in the Alexander Technique, she finds that

it has helped her and her students’ functioning even

beyond injury prevention.

Obviously, injury prevention is a by-product [of the

Alexander Technique]. [But] for me, my interest is

in two things [when applying the Alexander Technique

to harp performance and pedagogy]: virtuosity–enabling

people to let go of things that they

don’t know are happening so they can have that

kind of freedom which looks natural… The other

one is the musical expression because obviously the

tension will hamper that. 3

For Barford, the Alexander Technique not only helps

prevent injury but also helps increase virtuosity and

musical expression at the harp by helping harpists

recognize how they are interfering with their natural

abilities.

Psychophysical Unity

As Alexander observed himself in a mirror, he realized

that his habitual pattern began at his head and

affected his balance and muscular tone all the way to

his feet. He began to see that the faulty pattern was

not just in his neck and throat but throughout his

whole body—even the thought of speaking engaged

the pattern. In order to regain his voice, he had to

alter the pattern that interfered with his natural

balance and poise. This adjustment led him to the

principle of psychophysical unity, a concept proposing

that how one thinks about an activity affects how

one does it and that every action in one part of the

body is supported or interfered with by the rest of the

body.

For harpists, psychophysical unity influences

one’s approach to technique as well as one’s general

mental approach when playing and teaching. A performer’s

attitude impacts the body’s muscle tone,

which cannot be fully changed without observing the

thought patterns that direct the performer’s playing.

Marie Leenhardt finds that the Alexander Technique

3 Imogen Barford, online video conference with author, August

22, 2018.

makes her more patient when a student does not

understand something in a lesson. Moreover, she is

less likely to ignore the psychological aspect of playing

the instrument. When students are overwhelmed

or anxious about succeeding in upcoming juries, for

example, they will use their bodies more efficiently

if they take a step back and notice how they are accomplishing

their goals and where their attention is

placed. Leenhardt explains,

If I want [students] to relax, I have to put them in

a situation where they can be relaxed, not by telling

them to relax… I say things more to distract them

when I see them working too hard: think of your

sitting bones, think of the space around you, think

of your back, or listen out… 4

Leenhardt is describing an environment she and

other Alexander Technique teachers try to create:

one in which students are given a choice beyond unconsciously

engaging their habitual sense of what it

is to be “right.” Alexander Technique teachers seek

to help students find a state in which they are not

interfering with their own coordination.

Psychophysical unity also affects harpists’ physical

approach to the instrument. Imogen Barford

describes her early training at the harp in relation to

the Alexander Technique,

My [harp] teachers would talk about the hands and

the elbows but not at all about what was supporting

them–the whole…and [they did not talk about]

how much the legs can pull you down… In harpists,

the legs get very, very tight–particularly the

insides of the legs, and we don’t take enough notice

of how that can pull on the front and on the

arms…and pull on everything. 5

In the Alexander Technique, teachers do not change

something about hand position or the relationship of

the head and hips and expect it to have an isolated

effect. They look at the whole, and when they look

for changes in one part, they aim to affect the balance

of the whole self.

4 Marie Leenhardt, online video conference with author,

September 25, 2018.


September 25, 2018.

WINTER 2020

27

Unreliable Sensory Appreciation

After discovering that the relationship of his head,

neck, and back had caused his strained larynx, Alexander

began trying to change his habit. But when

he began to speak, he saw in the mirror that the

same pattern took hold even though he could not

sense himself pulling his head back. This led him to

realize that what he felt was happening was not what

was actually happening, and he called this phenomenon

unreliable sensory appreciation, or faulty sensory

awareness. Imogen Barford finds that playing in the

high and low registers often causes harpists to lose

their balance without being aware of it. “Even the

use of the words high and low can pull [harpists] off

[their] sitting bones.” 6 On the piano, high and low

registers are associated with shifts side-to-side; on

the harp, however, high and low registers are closer

or further from the head and torso. When a harpist

plays in the high register, typically the head pulls

back and the chest lifts; when the harpist reaches for

the low register, the body collapses down. Often this

response is so habituated that the difference in posture

when playing in the high and low registers is not

felt kinesthetically.

Harold Taylor, author of The Pianist’s Talent: A

New Approach to Piano Playing Based on the Principles

of F. Matthias Alexander and Raymond Thiberge, describes

Thiberge’s realization that his piano teachers’

verbal instructions differed from their actions.

Thiberge, who was blind, put a hand on his teachers

as they played. He wrote, “To my great astonishment,

my hands revealed to me that their technical

procedures were actually in disagreement with the

principles they professed!” 7 Teachers also encounter

faulty sensory awareness when students play a short

passage in a new way following the teacher’s suggestion

but then revert to their typical way when they

play it in the context of the piece and cannot feel

that they are reverting.

Because faulty sensory awareness caused Alexander

Technique students to interpret instructions

differently from the way Alexander intended them,

he found that teaching through hands-on work was

more effective than explaining through verbal instruction.

Barford says that with her harp students,

“I normally stand behind them on the stool and I put

my hands on the shoulders [of the student]. That’s

a very common thing that I do just to get them

onto the chair...and they can find balance, and they

can find the sitting bones, and I can see how much

they’re not on them or on them. For that, I would

have hands on.” 8

Inhibition

Alexander is often quoted as saying, “If you stop doing

the wrong thing, the right thing will do itself.” 9

He found that if he tried to fix his problem by

pushing his head forward or by doing exercises to

strengthen his neck flexors there was no positive

change in the overall pattern. Instead, it created a

new habit of overcorrecting on top of the already

existing one. He found that his head, neck, and back

returned to a poised balance when he simply inhibited,

or stopped, himself from pulling his head back.

Inhibition is a principle of the Alexander Technique

that distinguishes it from other methods that teach

exercises or strategies to “fix” technique or posture

rather than offering strategies to increase awareness

of habitual behaviors. The Alexander Technique is

often referred to as a method of re-education, which

implies that the body is naturally balanced when one

stops interfering with it.

Alexander’s use of the word inhibition relates to

the definition used in physiology that contrasts with

excitation but differs greatly from the definition used

in psychology where it refers to the Freudian sense


22, 2018.

7 Harold Taylor, The Pianist’s Talent: A New Approach to Piano

Playing Based on the Principles of F. Matthias Alexander and

Raymond Thiberge (London: Kahn and Averill, 2002), 36.


22, 2018.

9 Judith Kleinman and Peter Buckoke, The Alexander Technique

for Musicians (London: Methuen Publishing, 2014), 223.


of repression. 10 Researcher and writer on the Alexander

Technique, Frank Pierce Jones (1905-1975),

explained that although “Inhibition is a negative

term . . . it describes a positive process. By refusing to

respond to a stimulus in a habitual way you release a

set of reflexes that lengthen the body and facilitate

movement. The immediate result of Alexandrian

inhibition is a sense of freedom, as if a heavy garment

that has been hampering all of your movements has

been removed.” 11

Inhibition in the Alexander Technique is also

distinct from “relaxing.” Alexander found that the

instruction to relax caused students to both lose the

support of poise and to employ their mal-coordinated

habits, habits that engaged in response to efforts to

improve. Barford explains, “I try to use words like

buoyancy and springiness and elasticity rather than

relaxing. I try to use ‘feel the string’ rather than

‘press the string’ or ‘squeeze the string’ which a lot of

people use, which is my least favorite.” 12

When practicing the principle of inhibition, observation

of interference becomes primary to changing

one’s technique above “fixing” isolated issues.

Marie Leenhardt discusses the problem of constantly

correcting students to the detriment of their use. Her

own training involved

…a lot through correcting, correcting, correcting.

And it can have some good results but it can bring

a lot of neuroses and [result in] never being satisfied

and never feeling that you’re good enough,

never enjoying really because you’re aiming so high,

and I find that sometimes you can get in the way

10 Sigmund Freud (1856-1939) defined inhibition as “the

expression of a restriction of an ego-function. A restriction

of this kind can itself have very different causes.” Sigmund

Freud, “Inhibitions, Symptoms, and Anxiety” in The Standard

Edition of the Complete Psychological Works of Sigmund Freud,

vol. 20 (1925-1926), 75-172, quoted in Nicolas Dissez, “Inhibition,”

in the International Dictionary of Psychoanalysis, ed. by

Alain de Mijolla, vol. 2 (Detroit, MI: Macmillan Reference

USA, 2005), 832-833.

11 Frank Pierce Jones, Freedom to Change: The Development and

Science of the Alexander Technique (London: Mouritz Press,

1997), 11.


22, 2018.

by not allowing [students] to develop in their

own space. 13

Alexander Technique teachers typically aim to have

students discover their habits for themselves as the

teacher gives them an experience outside of their

habitual one. Barford explains, “We quite often have

it in class where someone comes and plays…badly,

and they can see and hear how a few little inhibitory

thoughts can have a massive impact on how easy it

feels, how easy it looks, and how good it sounds. The

quality of the sound is enormously impacted.” 14

Direction and Primary Control

Alexander’s principle of inhibition is directly linked

to his principle of direction. He found that there is

a natural direction of the head upward away from

the ground when poised and that the head is always

balanced in relation to the neck, back, and limbs in

a dynamic relationship. The purpose of Alexander

Technique lessons is to help students find good direction

through learning to inhibit interference with it.

Direction is not a physical movement but a direction

of attention. In Alexander’s own habit, he impeded

the direction of his head forward and up by pulling

it back and down. In order to inhibit this habit, he

thought of the head going forward and up. 15 By directing

himself clearly, he inhibited his habitual response

of pulling the head back and down.

For harpists, the direction of the head, neck, and

back, have a large impact on the use of the arms and

hands at the harp. The various positions traditionally

taught as correct harp hand position can be thought

of as a set of constantly changing, optimal relationships

among the fingers, thumb, wrist, elbow, and

back rather than a static position that must be held.

When directing the whole self, Alexander found

that the relationship of the head, neck, and back was

fundamental to the use of the whole. This reinforces

the principles of psychophysical unity and direction


September 25, 2018.


22, 2018.

15 Alexander used the word “thought” to teach his students to

direct themselves.

WINTER 2020

29

but places the relationship of the head, neck, and

back at the top of the hierarchy of the use of the

body. Alexander found that the direction or relationship

of the head, neck, and back is crucial to poise,

and called it primary control.

The concentration of sensory organs at the head

(eyes, ears, nose, mouth) is part of the hierarchical

design of primary control in which the head

and neck relationship affects the whole self and is

balanced through the sensory organs. Listening is

an important part of this system. Marie Leenhardt

explains, “I think the listening is very important.

The more [students] listen to the sound, immediately

their use changes. So I try to get them away

from doing, doing, doing, and more into listening

and opening.” 16 By bringing attention to the sensory

information in the environment aurally or visually,

often the relationship of the head, neck, and back

lengthens. Sensory feedback from the eyes and ears

about the position of the head, neck, and back can

be used to observe when one is pulling the head off

balance.

Means-Whereby versus End-Gaining

Alexander found that if he solely thought about

speaking, his faulty habit took hold and he was not

able to sense his head pulling back. He discovered

that he had to create a strategy of speaking without

pulling his head back. He did not stop his habitual

pattern by directly thinking of speaking or putting

the head in the right position but through the

indirect procedures of inhibition and direction.

He described this focus on process above results as

“means-whereby versus end-gaining.” Linda-Rose

Hembreiker, in her article on the Alexander Technique

for harpists, offers a useful definition of endgaining:

“the practice of using any means necessary

to reach a goal.” 17

End-gaining often occurs when musicians choose

repertoire that is beyond their musical knowledge

or technical capacity. When students play pieces

beyond their coordination and skill, they may not be

able to keep their attention wide on both their own

use and the musical intent of the piece. Hembreiker

also gives examples of end-gaining in music when

harpists try to “cram” prior to performances or to

play loudly without noticing the effect of that intention

on their whole self. 18 Instead, through inhibiting

the desire to play louder, to play a piece “perfectly,”

or to play quickly at all costs, performers can observe

themselves in the present, play with poise, and perform

at a level commensurate with their own individual

understanding and capacity.

Marie Leenhardt finds that she often applies Alexander’s

means-whereby principle in teaching:

[In teaching younger beginners], I can see how the

first lesson was great and then they haven’t applied

what I told them and I start to be too end-gaining

to get that. And I can see them change–they’re less

lively… This one [student] is full of goodwill, and

I can see her not understanding what I want… I

need to find the means-whereby, and I need to get

her to slowly evolve because I realize she hasn’t got

it, and she needs to grow before she can do it. 19

By inhibiting her desire to tell the student directly

what is wrong (since the student is not ready to act

on it) she patiently figures out the process that the

student needs to gain understanding. Leenhardt also

finds herself end-gaining in her own playing. She

describes:

…when I started [Alexander Technique] lessons,

the discovery was that I saw trying hard as a means

to an end. And it was realizing that I was actually

getting in the way so much. One of the pindropping

moments was when I had an [Alexander

Technique] lesson on the harp – [the teacher]

would come to my house occasionally, and I hadn’t

warmed up that day, and she worked on me for

5-10 minutes and then, not having warmed up, I

started to play the passage that I found difficult. It

was much easier than when I warmed up and I re


September 25, 2018.

17 Linda-Rose Hembreiker, “Incorporating the Alexander Technique

into the Daily Practice Session,” The American Harp

Journal 22, no. 4 (Summer 2010): 39.

18 Hembreiker, “Incorporating,” 38.


September 25, 2018.


alize the warming up was putting on a lot of habits

that were actually getting in the way. 20

In another experience, Leenhardt found herself

end-gaining with many concerts to prepare and

little time. She was using the Alexander Technique

in order to play the notes perfectly. When she realized

that she was using it to “get it right” (i.e. endgaining),

a fellow Alexander Technique teacher

suggested that she begin observing her use in an easy

piece as a means-whereby to find a space where the

desire to be perfect lessened. She explains, “sometimes

I just play a bit of [an easy, familiar] piece and

then go back to something else that I was practicing

[for a concert], and it really helps a lot. I think for

me that’s more important than going into the details

of the body.” She also finds that improvising can be

a useful process to inhibit end-gaining tendencies.

She states, “And improvising is the same–I’m not a

great improviser–but if I feel I’m getting stuck with

the harp, I’ll do a game of just making nice sounds

and listening and being more into the resonance of it

rather than the results side of it.” 21 Many Alexander

Technique-trained musicians find improvisation to

be a useful tool in which they play for enjoyment

within their capacity rather than attempting to play

passages that are beyond their abilities at the moment.

Leenhardt has another process or means-whereby

that allows her to notice if she is interfering with

her natural poise. It involves a phrase she learned

from an Alexander Technique teacher-musician, and

she uses it to broaden her awareness and bring attention

to her balance through her sit bones before

important solos and orchestral entrances. She asks

herself, “Am I breathing? Am I aware of the space

around me? Am I balanced?” 22 These questions offer

a chance to gain awareness and bring about change

indirectly by bringing attention to various aspects of

one’s use: holding one’s breath; narrowing one’s focus;

or lacking balance on one’s sit-bones. Leenhardt

describes her use of it in the context of orchestral

playing,

It’s always the moments when you have so long to

wait until you play, and more and more the way I

deal with it is to try not to separate what I do from

the rest. So I really listen beforehand so that what I

do is part of [it. And] I really listen after because I

notice I overthink it, so I try not to do that and try

to stay in the sound–basically [I try] to take myself

out of it more and be part of the whole, and what’s

past is past. As soon as I finish, I keep listening to

what’s going on, but these three questions also really

help me to be present. I think they give you a lot

of presence, even in solo recitals. 23

She finds a similar re-directing of attention useful for

her students.

A student once told me – ‘Oh, those two lines, I

can’t do them.’ It was Pierné’s Impromptu-Caprice in

the pedals bit, and I said ‘Okay, do it this time and

think about your sitting bones and think about the

space around your head.” She tended to clench her

jaw a lot, so I did it again, and I said, “Blow a feather.

Just imagine you’re blowing a feather while you

play.” And she did it again, and every time I asked

her [to think of] something…that was not about

playing the notes…she was playing it. And I looked

at her and said, ‘how can you do this?’ 24

Leenhardt also describes a practice method she uses

from a well-known introductory Alexander Technique

book for musicians, Indirect Procedures by Pedro

de Alcantara:

When something is difficult, I don’t necessarily

practice it slowly, but, for instance, I repeat passages

or repeat each bar so that you can sight-read

it and keep going. Or I make a pause. In a 4/4 bar,

you make a pause for one or two beats in which you

think your [Alexander Technique] directions again

and then you continue. For anything that’s repetitive

and tiring, to do that has really transformed it

for me. In things that I struggled with for years, I


September 25, 2018.


September 25, 2018.


September 25, 2018.


September 25, 2018.


September 25, 2018.

WINTER 2020

31

did that, and it solved it. I also use that a lot with

my pupils. 25

Body Mapping

There are several systems that are used by Alexander

Technique teachers and musicians which stem from

the Alexander Technique. One is Barbara Conable’s

Body Mapping, which seeks to provide clear and

practical information about anatomy and movement

for musicians. 26 Imogen Barford uses it as an important

part of teaching the Alexander Technique to her

students. She feels that Body Mapping helps students

have a clear idea of their structure and states, “Body

Mapping is the address, and Alexander Technique is

the message.” The aspects of Body Mapping that relate

most to harpists from her point of view are,

…the structure of the hands–that it turns at the elbow

rather than the wrists. The nature of the fingers.

I like to make a distinction between the bit of

myself that I can have a conversation with and negotiate

with, which are the soft tissue[s]—the muscles

I can talk to, and the bits that I can’t talk to,

which are the bones. Then I understand what I can

let go of and what I can have a conversation with.

And that’s what I find useful about Body Mapping—[to

understand that] there’s not one great

big thing [pointing to her shoulder], but we have

these areas that really respond to direction, which

are the muscles, and [we have] the bones, which

don’t. 27

She also describes the shoulder joint in more detail:

So what does that joint like? The meeting of these

three things they call the collar bone, the shoulder

blade, and humerus… It’s a very delicate and small

affair really…! It’s just that little dainty joint, and

everything else [around it] I can talk to and let go

of… We can think of things like shoulders be-


September 25, 2018.

26 William Conable, "Origins and Theory of Body Mapping," in

The Third International Alexander Congress Papers, Engleberg,

Switzerland (Bondi, Australia: Direction, 1991), quoted in

Jennifer Johnson, What Every Violinist Needs to Know About

the Body (Chicago, GIA Publications, Inc., 2009), 185-189.


22, 2018.

ing very opaque and dense and like a big thing that

tends to hold lots of tension. 28

Dart Procedures

The Dart Procedures are a set of movements and

“postures” from early childhood development that

are based on the ideas and articles of neuroanatomist

and anthropologist Raymond Dart (1893-1988).

Dart discovered connections between the Alexander

Technique and his own knowledge of anatomy

and development and believed that developmental

movement patterns underlie ease, balance, and poise

in skill. Former London Symphony Principal Flutist

Alex Murray and his wife Joan Murray (both trained

in the Alexander Technique) put Dart’s movements

and positions together in a sequence that progresses

from fetal to crawling to standing upright and began

using the patterns in their Alexander Technique

teaching. Today, many Alexander Technique teachers

trained under the Murrays find the Dart Procedures

useful in finding coordination in movement.

Dart drew a distinction between an Alexander

Technique approach to his developmental movement

patterns and other approaches:

This training is not so much a training to do good

movements as a restraining of the individual from

performing improper and inappropriate movements

by means of manipulative and personal inhibition.

A sharp distinction should therefore be drawn between

the inhibitional manipulative education for

the body in respect of symmetry and poise [the AT]

and the procedures carried out by naturopaths, chiropractors,

osteopaths, bonesetters, and others who

manipulate body parts on one or more occasions for

the purpose of relieving pain. 29

Thus, observation and awareness of habits is integral

both to the Alexander Technique and the Dart Procedures.

It is a different approach from traditional

methods that teach new techniques or voluntary

movement to students. The Dart Procedures always:


22, 2018.

29 Raymond Dart, “The Postural Aspect of Malocclusion,” in

Skill and Poise, ed. Alexander Murray (London, STAT Books,

1996), 98.


1) begin with the intention to see, hear, smell, taste,

or touch something rather than the intention to

create a position or movement (i.e. voluntary movement);

2) occur in all humans with a healthy development

(e.g. fetal, crawling, creeping, walking); 3)

are patterns that coordinate the whole self; and 4)

involve movement and direction rather than positions.

There are developmental movement patterns that

underlie harp technique. By understanding and moving

through developmental movement patterns of

grasping and reaching, harpists can use these procedures

to find coordination and sense what is interfering

with ease, strength, or facility at the instrument.

Framework for Integration

Another system that evolved from the Alexander

Technique and the Dart Procedures is the Framework

for Integration. It was developed by dance professors

and Alexander Technique teachers Rebecca

Nettl-Fiol and Luc Vanier as part of their efforts to

apply the subtlety of the Alexander Technique to the

dynamic, large-scale movements of dance. By creating

a framework for understanding the patterns of

the Dart Procedures, they rely less on the hands-on

work of the Alexander Technique and more on guiding

students through movement patterns and pointing

out the nature of those patterns.

Nettl-Fiol and Vanier have found that their point

of view on coordination can be applied more broadly

to all skills. While some of the movements and patterns

involve a large range of motion, applications to

playing the harp occur at a subtler level. One application

is that the fetal pattern provides a push in the

limbs which aids strength in the thumbs in relation

to the back. The opposing pattern of pulling forward

along the floor, colloquially known as “tummy time,”

creates a pull in the limbs which aids the opposing

fingers in relation to the back. Both the push and

pull of these patterns create a balance in the hand

that provides strength and freedom in harp playing.

Because Nettl-Fiol and Vanier approach their

work from a developmental point of view, they accept

each student’s individual level and do not try

to force a higher level of skill for which the student

is not ready. As teachers, they observe students’

patterns through the framework and help students

discover how they might be interfering with the

underlying developmental pattern that supports the

movement. Their method becomes especially useful

when applying the Alexander Technique to skills

that require virtuosity because when a high level of

skill is needed, the direction to “think head up” may

not provide the full range of tools needed to play a

difficult passage.

Many musicians know intellectually that performance

on their instrument involves the whole of

themselves, that the use of their arms is related to

their backs, and that distortion of the spine is not

useful, but they lack procedures to observe themselves

and change unconscious habits. The Alexander

Technique, Dart Procedures, and Framework for

Integration provide that.

The Alexander Technique and all systems related

to it provide an alternate lens through which

to see harp performance and teaching. While some

students thrive under traditional instruction, the

innovative systems presented in this article are intended

for students who feel they could benefit from

an approach that goes beyond the traditional models.

Both professional and student harpists suffer many

occupational hazards, from tendonitis, tightness, and

joint pain to psychological stress. For all those that

do, the methods discussed here might allow them to

play with more freedom and ease and prevent injury.

ABOUT THE AUTHOR

Chicago-based harpist Claire Happel Ashe performs

with ensembles throughout the Midwest including the

Saint Louis Symphony Orchestra, Milwaukee Symphony

Orchestra, and Newberry Consort. She was a 2007-08

Fulbright Scholar under Jana Boušková in Prague and

holds degrees from Yale University and the University of

Illinois at Urbana-Champaign, where she also received

a BFA in Dance. In 2016, she completed training at the

Alexander Technique Centre Urbana with Joan and Alex

Murray and currently teaches harp, movement, and the

Alexander Technique at the Music Institute of Chicago,

Valparaiso University, Olivet Nazarene University, and

in the Homewood Public Schools. V

WINTER 2020

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In Memoriam: Sam Milligan

1932-2019

by Leslie Shortlidge

T

HE harp world lost a good friend when Samuel

Milligan left us. Not only was Sam a friend

to the harp world, but he was a friend to music and

musicians. He touched the lives of so many people

with his generosity, good humor, passion for teaching,

and his love of the harp. His passing leaves behind

an empty space that will take time to fill, but we’re

glad he was here and that we could benefit from his

friendship. Here are some heartfelt tributes from

those who knew him best:

From Gordon Johnston:

Today the harp world lost one of its great ones, Samuel

Milligan (1932-2019). He passed at 4:12 pm on

Tuesday, August 27 in Brooklyn Methodist Hospital

from esophageal cancer and respiratory complications.

The final week of his life he was calm, lucid,

often witty, and, as always, generous to a fault. He

was surrounded by friends from Alcoholics Anonymous,

his nephew, and adoring musicians and harpists

(who played many of his own arrangements for

him). He was beloved and admired.

Known as a meticulous harp technician, he was

also a respected arranger of harp music. He was the

founding editor of The American Harp Journal, and

served on the boards of the American Harp Society

and the Historical Harp Society. Generations of

harpists learned to play using Milligan’s Fun From

the First and Medieval to Modern books, published by

Lyon & Healy. Sam’s enthusiasm and his method and

repertoire books are credited with helping to inspire

a renaissance in American harp playing.

Asked recently which of his arrangements for

harp pleased him most, he mentioned his “Bourées

d’Auvergne” suite, by Joseph Canteloube, which is

found in Medieval to Modern, vol. III. Sam was creatively

active until his final days. His numerous published

arrangements also include: “Der Jolly Huntsman

und der Kuckoo” (for piccolo, harp and shotgun

[slapstick]) “Vox Angelica” (four pieces for harp and

organ), “Vox Coelestis” (for harp and organ), “Black

and White Rag”by George Botsford, “Kol Nidrei” by

Max Bruch (for cello, harp and organ), “Campanas

de Belén / Bells of Bethlehem” (for choir, and harp),

and his more recent Five Medieval Dances, Seven Medieval

Songs, Nine Sephardic Songs and the forthcoming

Songs My Father Taught Me (by Thomas Moore),

all arranged for small or lever harp, voice, and optional

instruments.

Sam was predeceased by his life partner, Jesús

Castellón. Per his request, Sam’s ashes will be scattered

in Prospect Park in Brooklyn, in the Quaker

Cemetery. A memorial celebration will be held May

30, 2020.

From Emily Mitchell:

I’ve known Sam since I was a teenager. He regaled us

all with his colorful life’s tales. What an amazing influence

he had on the harp world. Rest in Peace and

Truth, dear Sam.


From Lucy Scandrett:

Sam, you have given the harp world a treasure of

wisdom, wonderful arrangements, incredible and witty

stories, vision and encouragement for harpists, and

unforgettable times with you! When I talked with

you several weeks ago, you still told me you were

fine! Oh, my friend, we will miss you! Thank you for

your amazing life!

From Robbin Gordon-Cartier:

I’ve known Mr. Milligan since I was nine years old!

It’s been only a few years that he finally got me to

call him Sam!! I’m so grateful that I got to see and

play for him. We love him here in East Orange! His

Burmese harp sits in my classroom. We will play his

music and keep him with us always. Rest well, Mr.

Milligan.

From Diane Michaels:

With each year that Sam took care of my harps, the

regulation appointments grew longer and longer. At

the end of his career as a regulator, we were taking

9-10 hour days to regulate two healthy harps that

didn’t require restringing. We simply had too much

to say to each other. Our conversations spanned

from highbrow down to lowbrow and, with his wicked

sense of humor, going low was too irresistible. In

recent years, we’d sit together at harp events, mostly

paying homage to his latest acquisition in the harp

department and all the amazing historical knowledge

surrounding his stable of instruments.

I’ll miss being asked, “How is himself?” during

each meeting or phone conversation. Sam and my

husband struck up not only a friendship but also a

professional relationship. Kevin played bass in Sam’s

band, accompanying him at engagements that included

the 2012 AHS conference and Sam’s eightieth

birthday fest.

I’d say there are no words to describe the hole in

our hearts today, but truthfully, given the decades of

scintillating conversations we’ve had together, I have

nothing but long, delicious stories in my memory to

keep Sam alive.

From Barbara Weiger Lepke-Sims:

Sam was such a dear person and so nice to me when

we served on the AHS board together. He will be

missed.

From Ann Yeung:

RIP Samuel Milligan —Fun from the First to Last.

8

Here at the American Harp Society, we are especially

sad because Sam was the first editor of The

American Harp Journal, but we are also grateful for

his leadership and innovation.

The first issue of the AHJ, published in the spring

of 1967, includes Sam’s message to the readership

about the fledgling publication. He began with an

appreciation of Harp News that focused on the increased

connection among harpists made possible by

that early publication . Then Sam detailed what the

new AHJ could do: longer stories, larger font sizes,

a focus on significant composers, musical scores—

more space for more potential.

That first issue also included a feature from Sam

that championed the importance of the Celtic harp,

an apparently niche topic in 1967. Sam also wrote

lovingly about the history of the harp and was of

course famous for his extensive collection, a topic he

returned to many times.

Sam wrote a wonderful article for the Summer

2017 issue, “A Reminiscence.” It’s an engaging and

intimate portrait of a man who loved the harp “like

e-coli loves warm potato salad at a Texas picnic in

July,” and who felt that his mission on earth was

to bring the harp to the heathen, like a missionary

spreading the good news. In the article, Sam wove a

tapestry of his life in music, telling tales of the harps

he’s known and the people he’s played with. And

while he confessed to missing the old days (the subway

in New York City was $.15!), he was heartened

by how much easier it is for a beginning harpist to

own an instrument today than when he began his

musical career.

Sam, thank you for everything. V

WINTER 2020

37

In Memoriam: Ruth Wickersham Papalia

1935-2019

by Lucy Scandrett and Jan Bishop

RUTH Wickersham Papalia died peacefully surrounded

by her family on October 8 at Aster

Retirement Community Home in Cottage Grove,

Wisconsin. She lived for six years with Parkinson’s

Disease without complaint.

Whether we were playing trios together, working

together in our administrative roles for the American

Harp Society, or enjoying social events with our families,

it was always a pleasure for us to be with Ruth.

Everyone who knew Ruth commented on her

kindness. She listened to everyone’s viewpoint, was

detailed and thorough in her work, and had a great

wit. She was always a source of information for past

AHS history and often had historical records to

share. She was co-founder of the Central New York

Chapter of the AHS. Ruth served at the national

level with the AHS as the New York Regional Director

(1980-1984), Rules Committee Chair (1983),

Treasurer (1983-1984), Chairman of the Board

(1986-1988), Secretary (1998-2002) and on other

national committees. She arranged the AHS Harp

Insurance Policies with the George B. Bailey Agency

and was on the founding committee of the AHS

Foundation, serving as the first Treasurer. Ruth received

the AHS Lifetime Achievement Award in

2008 for her service to the AHS at the National

Conference in Dearborn, Michigan.

Ruth was born February 5, 1935 in Quakertown,

Pennsylvania, and began harp lessons at age nine

with Mildred Johnson. She used her older sister Esther’s

harp at the beginning of her studies. Ruth then

began her lessons with Edna Phillips. She entered

the Oberlin Conservatory of Music at age seventeen,

studying with Lucy Lewis, and received a degree in

Harp Performance. During the summers she studied

with Carlos Salzedo at his harp colony in Camden,

Maine. She toured the United States and Canada in

the 1950s at the invitation of Salzedo with The Angelaires,

a quintet of professional harpists under the

management of Columbia Artists. Ruth performed

for forty years with the College Community Orchestra

at the State University of New York in Cortland,

New York and was a soloist with symphony orchestras

in New York, Pennsylvania and Ohio.

In 2004 the two of us joined Ruth to form a harp

trio and commissioned two pieces from the British

composer Simon Proctor. The name of our trio

was the title of the first piece he wrote for us: The

Three of Harps. We performed concerts in the Eastern

United States, at AHS Conferences, and at the

Royal Academy of Music, London with the composer

present. Ruth always enjoyed telling us that she met

Simon in the stage curtains after she performed the

Mozart with the College Community Orchestra. She

was coming off the stage, and he was coming onstage

to speak about his piece that was next on the

program. Ruth would smile and say his writing for us

was meant to be!

Ruth met Dr. Anthony S. Papalia, her husband of

sixty-three years, at Oberlin. They often presented

wonderful workshops together on “Dealing with

Performance Tension and Anxiety” at AHS National

Conferences beginning in 1982. Tony is a psychologist

who served as Director of Counseling at the

State University of New York College at Cortland

and as an industrial consultant to Smith-Corona-

Marchant Corp. Tony and Ruth have four daughters

and five granddaughters. Ruth was a marvelous hostess

and always remembered everyone’s birthday.

Tony and Ruth enjoyed reminiscing about visiting

Camden to see Salzedo after they were married. Salzedo

told Tony that if you ever stop her from playing,

I will…you! They always laughed about that meeting.

Tony always supported Ruth in whatever she did.

We feel honored to have played with Ruth as The

Three of Harps. We miss Ruth immensely, and we will

be forever inspired by her! V


Jan Bishop, Lucy Scandrett, Ruth Papalia (seated).

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WINTER 2020

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In Memoriam: Louise Trotter

1923-2019

by Tracy Thornton

LOUISE L. Trotter, aged ninety-six, of Houston,

Texas passed away October 17, 2019 with her

loving family by her side. She was born in Port Arthur,

Texas on September 4, 1923 to Oren and Grace

Lantz. Her dad was known as “Pop” Lantz and was

the band director at Thomas Jefferson High School

for forty years. Louise, lovingly called “Weezie,” graduated

from the same school in 1941 and attended

Texas State College for Women (TSCW) in Denton

where she studied music. Her father couldn’t afford

to buy her a harp when she was twelve, so he visited

a harp factory and figured out how to BUILD one for

her!

Louise married George P. Trotter in 1942 and

they enjoyed a few short months together before he

deployed to the army during World War II. When

the war was over, he went to work for the Gulf Oil

Company for forty years. The Trotters lived happily

in Port Arthur, Puerto Rico, Baytown, and Houston

until George’s death in 1979. They had three children:

Gary, Caryl and Tracy; seven grandchildren:

Jessica, Ryan, Ariane, Katie, Stephanie, Carly and

Joshua; and five great-grandchildren, all of whom

she adored. Louise’s family meant more to her than

anything and she kept in close touch with everyone

until the end. “One thing about Mother,” says Gary,

“if I ever got in a word edgewise in our weekly phone

conversations, it was a total surprise!” Louise was a

storyteller and loved to spell out all of the details.

Louise learned the art of performing and entertaining

at a very early age, but her career really took

off after she landed a professional gig playing nightly

at the Brownstone Restaurant and the Adam’s Mark

Hotel in Houston. During her career she performed

with the Baytown Symphony orchestra, and for hundreds

of church events, weddings and programs, but

was perhaps best-known for her concerts at annual

pop and folk harp workshops across the globe. She

became an internationally renowned harpist in a

career that spanned over seventy years. Friends and

colleagues from around the country continue to reminisce

about her famous performances highlighting

her country and western arrangements of Steel Guitar

Rag, Don’t It Make Your Brown Eyes Blue and Chattanooga

Choo Choo. They loved her amusing Willie

Nelson impersonation while her family especially

enjoyed her versions of Harvest Moon, Summertime

and various boogie-woogie compositions. She was

honored with a cover story in The American Harp

Journal just a few years before her passing and regularly

kept in touch with her many friends in the harp

community. After producing fourteen compact discs

and selling hundreds of harp arrangements online,

she retired at age ninety-five but continued playing

the piano for the other residents at her home until a

week before her death. V


In Memoriam: Linda Wellbaum

1922-2019

by Lisa Geber

LINDA (née Iacobucci) Wellbaum, aged ninetyseven,

died peacefully on July 15, 2019, surrounded

by her children.

Linda was an accomplished pianist and harpist

who performed extensively with the Cincinnati

Symphony Orchestra, the Dayton Philharmonic, and

many other ensembles. A graduate of the University

of Cincinnati College Conservatory of Music, she

was a member of Mu Phi Epsilon, Matinee Musicale,

and the American Harp Society.

Linda was a loving wife, mother, and grandmother

who devoted her life to her family and to music. She

was the wife of the late Jack Wellbaum for sixty-five

years. She leaves behind daughter Lisa Geber and

her husband Stephen; son Ray Wellbaum and his

wife Karen; daughter Laura Kalaitzoglou; six grandchildren

(Stephanie, Lauren, Leah, Alex, Erik and

Emma); and two great grandchildren.

Lisa Geber shares, “My mother wasn’t just my

mother. She was my very first harp teacher, giving me

lessons starting when I was nine years old. When I

was fifteen, she sent me to Camden, Maine, to study

with Alice Chalifoux. My mother followed my career

throughout the years. When I was awarded the principal

harp position with the Cleveland Orchestra, my

dream came true and so did hers!

“Mother started playing the harp later in life than

most of us. She was a piano major at the Cincinnati

College Conservatory of Music. She needed a minor,

so she began studying the harp at that time. Obviously,

she was quite talented. She became the second

harpist of the Cincinnati Symphony and she shared

many concerts and tours with my father, Jack Wellbaum.

Dad played piccolo and was the personnel

manager for many years.

“Mother and I took several trips together. Our

favorite venture was driving to Roundhill, Virginia to

visit Alice Chalifoux. Alice was not well but her humor

and many stories had us laughing for hours!

“Thank you,

mom, for all of your

knowledge and love!

Your spirit will live

on in the hearts of

so many people who

loved you.”

Donations in Linda’s

memory may be made to Hospice of Cincinnati (hospiceofcincinnati.org;

513-865-1616), and the Cincinnati

Symphony Orchestra (1241 Elm Street, Cincinnati,

OH 45202).

Our thanks to Harp Column for this obituary, and

to its author, Lisa Geber, for the additional memories of

her mother. V

WINTER 2020

41

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AHS MEMBERSHIP:

MORE THAN A MAGAZINE

The mission of the American

Harp Society, Inc. is to celebrate

our legacy, inspire excellence,

and empower the next generation

of harpists.

JAM SESSIONS

WORKSHOPS

FIELD TRIP

CONCERTS

SEMINARS

Join Online at the AHS Website:

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WINTER 2020

43

Preview of the 2020 National Conference, Orlando

T

HE American Harp Society’s forty-fourth national

conference in Orlando, Florida is shaping

up to be an exciting event. “That’s Entertainment”

is the theme and there will be plenty of educational

and entertaining performances, workshops,

lectures, and interactive panels to appeal to a broad

range of interests.

The conference planning committee has chosen

to focus on the legacy of outstanding pop and jazz

artists from the last century; dynamic and groundbreaking

current artists; jazz harp traditions of Latin

America; concerts by inspiring classical artists;

concerts highlighting the diverse talent of Florida

harpists; and workshops and panels about technology

and business practices, arranging for the harp, commissioning

and composing for the harp, and enhancing

physical wellness. There will also be yoga classes

each morning, so don’t forget to bring your mat!

We will survey the history of pop and jazz harp

through lectures and extensive exhibits, complemented

by performances by international jazz harp

stars (including Nikolaz Cadoret, Ben Creighton

Griffiths, Scott Marischen, Charles Overton, Felice

Pomeranz and Brandee Younger), and popular harp

ensembles (including Cindy Horstman and the Dallas

Jazz Harp Ensemble). In addition to performing,

many artists will give workshops about their area of

expertise (such as arranging, jazz theory, and electronics),

as well as work with the participatory harp

ensembles. Make sure to sign-up to play when you

register and to bring your harps!

This year’s conference will also include sessions

on the harp in Latin America. Venezuelan jazz harpists

Eduardo Betancourt and Leonard Jacome will

discuss their country’s harp-rich musical heritage

as well as perform at the conference. Also on tap

are lectures about Brazilian composer Heitor Villa-

Lobos’s Harp Concerto and Nicanor Zabaleta’s experiences

in Columbia.

Several offerings will touch on the harp’s role in

American film music and in the work of film music

composers. Ann Hobson Pilot will be reflecting on

her long-time work with composer John Williams

in a moderated discussion. David Ice will share his

recently updated “Hooray for Harpywood” presentation,

which explores on-screen harp playing in the

movies, and Molly O’Roarke will give a lecture about

Harpo Marx’s legacy.

On the classical front, international harp superstar,

Anneleen Lenaerts, will be giving an evening

solo concert, and Anne-Marie O’Farrell and I will

discuss playing and transcribing J.S. Bach’s music for

both lever and pedal harps.

As the conference is in Florida this year, prominent

symphony and university harpists from the area

will perform, as well as several of the harpists who

play at nearby Disney World. For the first time, harp

alumni from the New World Symphony, (based in

Miami Beach) will perform and discuss their experiences

with this unique training orchestra.

On the wellness front, Dr. Don Greene, the wizard

of performance preparation and success, will

present two workshops on how to develop optimal

learning and performance skills. He will be available

for customized private consultations. Additionally,

MELT master instructor Meegan Descheneaux will


give two classes in this unique self-care technique

that uses specialized balls and soft body rollers to

kick-start the body’s natural healing mechanisms to

decrease pain and increase mobility. Meegan will also

be available for customized private consultations.

On a lighter note, the conference committee has

scheduled a photo shoot at the hotel’s pool, with the

hope of setting a record for the largest number of

harpists in a pool. Whether pool-side or in the water,

wearing a bathing suit or conference attire, we hope

you will join us for this fun event.

For the latest details about programming, concerts

and special events, and to register for the conference,

and book a hotel room, please see the new

AHS Conference website, www.ahsconference.org.

We invite you to follow us on Facebook, Instagram,

and Twitter @harpsociety and to make abundant

use of our new, official hashtags:

#harpistsinapool

#sunshineharps

#OrlandoHarpening

Help us set a record for the most harpists in a pool. Photo shoot

details coming soon. (photo: Florida harpists Deborah Fleisher

and Laura Sherman.)

The conference committee and I hope to see you

next June in Orlando!

All the best,

Laura Sherman

Explore the PEABODY CONSERVATORY,

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Our world-class harp faculty include

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peabody.jhu.edu

667-208-6600

WINTER 2020

45

2020 National Conference, Orlando — Join Us!

2

1

3

4

6


5

8

7

9

10

1 Eduardo Betancourt

2 Ben Creighton-Griffiths

3 Brandee Younger

4 Anne-Marie O'Farrell

5 Charles Overton

6 Grace Browning

7 Don Greene

8 The Spencer Brothers

9 Kontra Duo

10 Haley Rhodeside

WINTER 2020

47

2019 ANNUAL MEMBERSHIP MEETING

June 19, 2019, 2:00 PM EST

Eisenburg Social Hall, Hanes Student Commons

Universitiy of North Carolina School of the Arts

Winston-Salem, North Carolina

WELCOME & CALL TO ORDER

The meeting was called to order by President Lynne

Aspnes at 2:15 PM EST. President Aspnes welcomed

every American Harp Society, Inc. member and conducted

a Call of Regions, recognizing those members

attending from each region of the AHS.

I. Items for Action

A. Approval of the minutes of the June 27, 2018

annual membership meeting as published in The

American Harp Journal, Winter 2019.

Delaine Leonard moved to approve the minutes of the

June 27, 2018 annual membership meeting. The

motion carried.

II. Items for Information

A. Report of the Treasurer

Treasurer Karen Lindquist Speyer reported the

Operating fund of the AHS closed the third quarter

with an account value of $380,324. The AHS

Endowment Fund closed at $338,078. Cash on

Hand amounts stand at $25,673.99 in PayPal and

$142,982.41 in TIAA.

B. Keynote Address

A keynote address was delivered by 2017-2019 AHS

Concert Artist Abigail Kent, following her final

Concert Artist performance on June 19, 2019 at the

2019 AHS Summer Institute. In her role as AHS

Concert Artist, Ms. Kent has presented twenty-five

(25) recitals and eighteen (18) masterclasses all over

the United States. Ms. Kent thanked the American

Harp Society leadership for the many opportunities

afforded her by the Concert Artist program and

expressed her congratulations to the incoming AHS

Concert Artist for 2019-2021, Caroline Wilkins.

C. Introductions and recognition of national

leadership

Chairman of the Board Elaine Pack Litster recognized

outgoing board members Catherine Case,

Cheryl Dungan Cunningham, Cheryl Ann Fulton,

Julia Kay Jamieson, Diane Michaels, Kela Walton,

and Erin Wood and thanked them for their tremendous

service to the American Harp Society and the

cause of the harp.

New members joining the board this year are

Pacific Regional Director Jennifer Ellis, Western Regional

Director Chilali Hugo, Mid Atlantic Regional

Director Anne Sullivan, and Directors at Large

Cindy Horstman, Charles W. Lynch III, and Angela

Schwarzkopf.

D. 2019 Summer Institute and Camp Innovation

2019 AHS Summer Institute Co-Chair Grace

Wepner Ludtke reported on the success of the inaugural

AHS Camp Innovation, as part of the Summer

Institute, and introduced Camp Innovation campers

in attendance at the membership meeting.

E. Membership and chapter report

Executive Director Kathryn McManus reported that

current AHS membership stands at three thousand

fifty-eight (3058) total members. The Society has

seventy-eight (78) chapters. New chapters chartered

within the past year are the Alabama Chapter and

Western New York Chapter. Reinstated chapters are

the Tulsa, Oklahoma, Central Gulf Coast (Florida),

and Bayou (Baton Rouge, Louisiana) Chapters. Requests

for dissolution were approved for the Redding,

California and Columbus, Ohio chapters. Reinstatement

of the Oklahoma City Chapter is in process.

F. AHS Foundation Report

AHS Foundation Board member Jaymee Haefner

gave a report on behalf of AHS Foundation President

Carrie Kourkemelis. Foundation funds are stable

and remain strong. The Foundation has plans to

conduct active fundraising to support further growth.

The Foundation hopes to work with the Society to

strategically advance shared missions. The AHS

Foundation would like to give official recognition

to founders and emerita members Ruth Papalia and

Wenonah Govea.


G. 2018-2019 Board of Directors actions – President

Lynne Aspnes

1. Code of Ethics/Code of Conduct

The Board of Directors of the American Harp Society

voted to approve a Code of Ethics at its February

29, 2019 board meeting as stated:

The American Harp Society, Inc., is committed

to promoting honesty, integrity, and transparency.

The AHS asks its members, when engaged in Society

activities and/or when representing the Society

in the community at large, to maintain the highest

standards of professional conduct; to treat everyone

with courtesy, fairness, and respect; to be accountable

for their actions; and to strive for the highest

levels of service, performance, and social responsibility

in pursuit of the goals and the objectives of

the Society. This Code is part of a broader set of organizational

policies and compliance procedures. This

Code is not intended to supersede or materially alter

current organizational policies and procedures.

2. Chapter Ambassador Awards program

The Board of Directors included $15,000 in the

2019 fiscal year budget to award up to thirty (30)

$500 matching grants to chapters to designate student

chapter members as Chapter Ambassador

award recipients. Twelve (12) Chapter Ambassadors

were named from six (6) chapters: Dallas,

Georgia, Metropolitan New York, Western Michigan,

Chicago, and Connecticut. Chapter Ambassadors

participated in Institute events and Camp

Innovation and received mentorship while in residency

at the Institute. The 2019 Chapter Ambassadors

will receive further guidance from chapter and

national mentors, as they pursue community engagement

projects.

3. Five-year strategic planning

Vice President and Strategic Planning Committee

(SPC) member Megan Sesma gave an update to the

membership on the board’s continuing work in developing

a (5) year strategic plan for the AHS. The

goals and objectives of the strategic plan are closely

linked to the mission statement of the AHS: To celebrate

our legacy, inspire excellence, and empower the

next generation of harpists.

The five (5) strategic goals are to:

• Continue examining strategic organizational

growth

• Cultivate accessible technology, communications,

and publications

• Mentor and strengthen connections to AHS

chapters

• Empower the harp community with educational

initiatives

• Engage a diverse and inclusive membership

4. Chapter of the Year

Chapter Committee member Erin Wood reported

that applications for Chapter of the Year were received

from four (4) chapters this year. The Executive

Committee reviewed all the materials and

voted by secret ballot. The Georgia Chapter, Ellen

Foster, President, was named as Chapter of the Year

and will receive a $300 acknowledgement award.

The award was accepted by Ms. Foster, Southeastern

Regional Director and chapter member Mary

Ann Flinn, and other chapter members in attendance.

The Georgia Chapter sponsored three (3)

Chapter Ambassador awards winners and will be

celebrating their chapter’s fiftieth (50 th ) anniversary

in 2020.

H. Additional reports

Additional reports on the programs and initiatives of

the Society are available through Member365. The

general membership is encouraged to browse the

materials there, to follow announcements regarding

programs available for chapter sponsorship through

the monthly e-newsletters, and to access support

for chapter and individual member opportunities

through communications with regional directors,

committee chairs and liaisons, and chapter officers

and members.

ADJOURNMENT

The meeting was adjourned by President Aspnes at

3:00 PM EST.

The meeting was followed by a cupcake reception

honoring outgoing AHS Concert Artist Abigail

Kent.

Submitted by,

Laura L. Brandenburg, Secretary V

WINTER 2020

49

American Harp Society, Inc.

Statement of Operations: 2018–2019

REVENUE

Membership dues 164,470

Event income 49,731

Contributions 12,081

Publication income 24,995

Investment income 43,810

Other income 596

Total revenues: 294,683

EXPENSES

Program Services

Member programs 76,824

Publication of American Harp Journal 69,016

Summer Institute, Competition and other 123,297

Total program services: 269,137

General & Administrative 47,831

Total expenses: 316,968

Change in net assets (22,285)

Net assets, beginning of year 817,660

Net assets, end of year 795,375

Assets

Cash 229,209

Investment 573,444

Total assets: 802,653

Liabilities & Net Assets

Accounts payable 7,278

Total liabilities: 7,278

Net Assets

Without donor restrictions:

Board-designated endowment 293,432

Undesignated cash reserve 416,160

With donor restrictions

Escosa, Grandjany Centennial, Palmer,

85,783

Salzedo funds

Total Net Assets 795,375

Total Liabilities & Assets 802,653

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Recent Publications and Recordings

compiled by Dr. Suzanne L. Moulton-Gertig

PLEASE NOTE ADDRESS CHANGE: Send copies of music and recordings to Dr. Suzanne L. Moulton-Gertig, 19

Farmington Drive, Dover, NH 03820. A photocopy of the recto and verso of the title page and the first page of

music, together with a page count; or photocopies of the accompanying packaging for recordings (as well as a photocopy

of the CD or cassette itself) may be submitted in lieu of a review copy, if necessary. Corrections from readers

are welcomed, since it has not been possible in every case to see a copy of the publication.

As a general principle, all printed music, audio and video recordings issued within the past three years are eligible

to be listed here; foreign imprints and recording labels that have only recently been released for distribution

in the United States may also be included, although they may bear earlier dates.

BOOKS

Haefner, Jaymee, 1976-

One stone to the building: Henriette Renié’s life through

her works for harp.

Bloomington, IN: AuthorHouse,

ISBN 978-1-5246-8513-3, ©2017. 222p.

Kondonassis, Yolanda, 1963-

The composer’s guide to writing well for the modern

harp.

New York: Carl Fischer,

ISBN 978-1-4911-5691-9, ©2019. 128p.

Méndez, Marcela.

Mirella Vita: The indefatigable seeker.

Bologna: Ut Orpheus Edizioni,

ISBN 978-88-8109-517-9, ©2019. 96p.

CHAMBER

Agócs, Kati, 1975-

Devotion.

For horn, harp, and string quintet.

Needham, MA: Kati Agócs Music, ©2019.

Score (20p) and parts (5p, 12p, 3x5p).

Albert, Adrienne, 1941-

Fanta*Z.

For harp, flute, clarinet, two violins, viola, cello,

and bass.

Los Angeles: Kenter Canyon Music, ©2019.

Score (12p) and 8 parts (5p, 7x2p).

Arismendi, Diana, 1962-

Cantos III.

For flute and harp.

Minot, ND: Latin American Frontiers International

Pub., ©2019. Score (11p) and part (3p).

Bhatti, Ketan, 1981-

Insel vor Tounisbuurg.

For alto flute, bass clarinet, harp, piano, drum set,

and cello.

London: Bosworth, ©2019. Score, 4p.

Bhatti, Ketan, 1981-

Laughter leading.

For alto flute, bass clarinet, harp, piano, synthesizer,

cello, percussion (marimba and vibraphone), and

drum kit.

London: Bosworth, ©2019. Study score, 23p.

Bond, Victoria, 1945-

Sacred sisters.

For violin and harp.

New York: Protone Music, ©2019.

Score (23p) and parts (8p, 23p).

Bonis, Mel(Anie), 1858-1937.

Chant nuptial.

For violin and harp (or piano), organ, and cello

(ad libitum).

Paris: Lemoine, ©2019. Score (6p) and part (4p).


Caramiello, Giovanni, 1838-1938.

3 fantasias on themes by Bellini for harp and piano.

Edited by Letizia Belmondo.

Contents: Fantasia sulla “Sonnambula” del Bellini, Ricordo

variato dell’opera “Norma” di Bellini, and Duetto

sulla “Casta diva” del Bellini.

Bologna: Ut Orpheus Editioni, 2019.



2 fantasias on themes by Rossini and Donizetti for harp

and piano.


Contents: “Il barbiere di Siviglia” di Rossini and Fantasia

concertante sull’opera “Poliuto” di Donizetti.




2 fantasias on themes by Verdi for harp and piano.


Contents: Divertimento brillante sulla “Traviata” di G.

Verdi and Duetto sulla “Forza del destino” di G. Verdi.



Cone, Edward T., 1917-2004.

Duo.


Verona, NJ: Estate of Edward Cone, ©2019.

Score (32p) and part (13p).

Daughtrey, Nathan, 1975-

Labyrinth of light.

For harp and marimba.

Greensboro, NC: C. Alan Publications, ©2018.


Delise, Louis Anthony, 21stc.

Giocara.

For flute and harp.

Note: This edition also includes an appendix of parts

for lever harp.

Seattle: Alry Publications, ©2019.


Diaz-Jerez, Gustavo, 1970-

Nous V.

For flute and harp.

Oxfordshire, Eng.: Composers Edition, ©2020.


Dubugnon, Richard, 1968-

Hermes & Apollo, op. 79.

For harp and piano.

London: C. F. Peters, ©2018.


Falconieri, Andrea, 1585-1656.

La suave melodia.

For violin, cello, harp, and clavichord.

Edited by Vincenzo Bianco.

Osaka: Da Vinci Edition, ©2019.

Score (5p) and parts (2p, 2p, 1p, 1p).

Freidlin, Jan, 1944-

Enigma.

For bass trombone and harp.

Lagny Sur Marne, Paris, FR: Musik Fabrik, ©2018.


Hölscher, Rieteke, 1969-

Earcatcher–Digitalis.

For flute, viola, and harp.

Note: Spiral binding.

Rijswijk, Neth.: Donemus, ©2020.


Izarra, Adina, 1959-

Oratorio profane.

For mezzo soprano, baritone, flute, guitar, harp, and

percussion.

Note: Score also available separately.

Minot, ND: Latin American Frontiers International

Pub., ©2019.

Score (34p) and parts (13p, 7p, 6p, 4p).

Kaca, Aleksandra, 1991-

Shadow lines.

For harp, piano, and cello.

Krakow: Polskie Wydawnictwo Muzyczne, ©2018.

Set of 2 scores (15p, 15p) and part (8p).

WINTER 2020

53

Leone, Gustavo, 1956-

Red quintet.

For harp and string quartet.

Chicago, IL: One-L, ©2020.

Score (34p) and parts (8p, 5p, 5p, 5p, 5p).

Locklair, Dan, 1949-

Sonata for flute and harp.

Verona, NJ: Subito Music Corporation, ©2018.


Milstein, Silvina, 1956-

Cristales y susurrus.

For flute/piccolo, clarinet/bass clarinet, harp, violin,

viola, violoncello, and double bass.

Oxfordshire: Composers Edition, ©2019. Score, 26p.

Milstein, Silvina, 1956-

Ochre, umber and burnt sienna.

For flute (alto flute), harp, three violins, and two

double basses.

Oxfordshire: Composers Edition, ©2019. Score, 59p.

Murail, Tristan, 1947-

L’attente.

For flute, clarinet, harp, two violins, viola, and cello.

Paris: Lemoine, ©2019. Score, 69p.

Nicholson, George, 1949-

La dame à la licorne.

For flute (doubling piccolo), harp, and string quartet.

Note: Spiral binding.

York: Univ. of York Music Press, ©2019. Score, 76p.

Polin, Claire, 1926-1995.

Felina, Felina.


Note: Printed from manuscript.

Verona, NJ: Seesaw Music Corporation, ©2019.

Set of 2 scores (7p, 7p).

Richardson, Dana Dimitri, 1953-

Mysterium.

For vibraphone, harp, and cello.

Verona, NJ: Dana Richardson Publishing, ©2020.

Score (11p) and parts (5p, 3p, 3p).

Sierra, Arlene, 1970-

Studies in choreography.

For flute, viola, and harp.

London: Cecilian Music, ©2019.


Staud, Johannes Maria, 1974-

Vielleicht zunächst wirklich nur.

For soprano, alto/bass flute, trumpet, percussion,

harp, viola, and double bass.

Note: Printed from manuscript. Custom

print edition.

Vienna: Universal Edition, ©2019. Study score, 27p.

Young, Nina C., 1984-

Fleeting musings and restless pause—a pocket concerto.

For bassoon, flute, harp, viola, and bass.

Note: A chamber work that features bassoon.

New York: Peermusic Classical, ©2019.

Score (12p) and parts (5p, 3p, 3p, 3p, 3p).

CONCERTOS/HARP AND ORCHESTRA

Guo, Wenjing, 1956-

Concerto, op. 36.

For harp, lyric soprano, and chamber orchestra.

Milano: Ricordi, ©2019. Full score, 78p.

Harty, Hamilton, 1879-1941.

In Ireland.

For flute, harp, and small orchestra.

Note: Printed from the manuscript.

München: Musikproduktion Juergen Hoeflich,

©2019. Study score, 36p.

Leone, Gustavo, 1956-

Como un sueño.

For harp and chamber orchestra.

Chicago, IL: One-L, ©2020. Study score, 60p.

VOICE AND HARP

Holliger, Heinz, 1939-

Lieder aus 50 jahren.

For soprano and harp.

Mainz: Schott, ©2019. Score, 24p.


SOLO

Agócs, Kati, 1975-

Every lover is a warrior.

Edited by Bridget Kibbey.

Needham, MA: Kati Agócs Music, ©2019. 18p.

Agócs, Kati, 1975-

Northern lights.

Needham, MA: Kati Agócs Music, ©2019. 19p.

Dzubay, David, 1964-

Lullaby.

Bloomington, IN: Pro Nova Music, ©2019. 2p.

Faure, Gabriel, 1845-1924.

Two masterpieces for solo harp.

Edited by Carl Swanson.

Contents: Impromptu, op. 86 and Une chatelaine en sa

tour…, op. 110.

New York: Carl Fischer, ©2019. 28p.


4 fantasias on themes by Bellini and Verdi for solo harp.

Contents: Fantasia sul finale della “Norma” del Bellini,

Rimembranze dell’opera “Un ballo in maschera” di Verdi,

Divertimento sull’opera “Don Carlo” di G. Verdi, and

Fantasia sull’opera “Aida” di Verdi.


Bologna: Ut Orpheus Editioni, 2019. 52p.


Le serenate del Vesuvio. 6 melodie popolari trascritte e

variate in forma di studi op. 12 for solo harp.




Variations and fantasias on celebrated melodies for solo

harp.


Contents: Celebre siciliana di Pergolesi, “Che farò senza

Euridice!” Aria di Gluck, “Delizia” celebre melodia di

Beethoven, Fantasia brillante sullar romanza della “Fornarina”

del Maestro Michele Ruta, and Piccolo divertimento

sulla “Palummella” di T. Cottrau.


Lim, Liza, 1966-

Rug music.

Note: Printed from manuscript.

Berlin: Ricordi, ©2019. 4p.

Lipten, David, 1961-

Double clutch.

Verona, NJ: Subito Music, ©2019. 8p.

Patterson, Robert, 1970-

Glitch.

Bill Holab Music, www.billholabmusic.com,

©2019. 11p.

Snell, David, 1936-

Bizarre waltz.

For pedal or lever harp.

Enfield, England: Modus Music, ©2019. 7p.

Stork, Diana

Harp crossings: From North to South America and

back again.

For Latin, lever, and pedal harps.

Note: Trad. Latin American works, solo, and

two-harp duos, arranged and/or composed by

Diana Stork.

Berkeley, CA: dianastork@harpdancer.com,

©2019. 61p.

RECODINGS

American rapture.

Yolanda Kondonassis, harp; Rochester Philharmonic

Orchestra, Ward Stare, cond.

Contents: Harp concerto by Jennifer Higdon; Symphony

no. 1 by Barber; and Rapture by Patrick Harlin.

Azica Records, ©2019.

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55

Beau soir.

Dariusz Skoraczewski, cello; Jacqueline Pollauf, harp.

Note: Transcriptions by Dariusz Skoraczewski and

Jacqueline Pollauf.

Contents: Beau soir and Claire de lune by Debussy;

Après un rêve and Romance, op. 69 by Fauré; Pièce

en forme de habanera by Ravel; Fratres and Spiegel

im spiegel by Pärt; Six studies in English folk song by

Vaughan Williams; Sicilienne by M.T. von Paradis;

“Meditation” from Thaïs by Massenet; Romanian folk

dances by Bartok; and “Le cygne” from Le carnaval

des animaux by Saint Saëns.

Baltimore, MD: Monument Music,

www.jpharp.com, ©2019.

The bounds of spring.

JOLO Duo: Joseph Rebman, harp; Louis Setzer,

trombone.

Contents: The bounds of spring by Taylor Roland/Rebman;

A little music for trombone and harp by Raymond

Goldstein; “Ostinato malinconico” from Four songs

without words by Gideon Lewensohn; Pavane by Ravel/Ostrander/Lawrence;

Endless by Mack LaMont;

Negotiations by Sy Brandon; Sehnsucht by Donald Appert;

and Al circo by David Stout/Setzer.

Cottonwood, AZ: Emeritus Recordings, Emeritus

20201, emeritusrecordings@gmail.com, ©2020.

Detach.

Angela Schwarzkopf, harp; Michelle Cotton and

Étienne Levesque, vibraphones.

Contents: attach/detach by Monica Pearce; Garden by

Cecilia Livingston; A portrait of Tschamiu by Patrick

Arteaga; Contemplation by Mark Nerenberg; Sonatina

for vibraphone and harp by Elisha Denburg; and

Castles in the sand by Kevin Lau.

www.angelaschwarzkopf.com, ©2019.

La harpe consolatrice.

Kyunghee Kim-Sutre, harp.

Contents: Six pièces by Ibert; 4 préludes by Tournier; 6

pièces brève by Renié; La jardin mouillé by de la Presle;

Impromptu by Roussel; and Une châtelaine en sa tour

by Fauré.

WWI Music, Editions Hortus, ©2018.

Nino Rota: Works for harp.

Anneleen Lenaerts, harp; Emmanuel Pahud, flute;

Brussels Philharmonic, Adrien Perruchon, cond.

Contents: Concerto for harp and orchestra, Sonata for

flute and harp, Sarabanda e toccata, “Suite” from The

Godfather, “Nile journey” from Death on the Nile,

“Suite” from La dolce vita, “Love theme” from Romeo

and Juliet, and “Overture” from Taming of the shrew.

Warner Classics: PLG UK Classics, ©2019.

Renderings: A musical landscape for violin

and harp.

Crimson Duo: Matt Milewski, violin; Jaymee

Haefner, harp.

Contents: Andante religioso and Scherzo-Fantaisie

by Renié; Still/Nervous by Schocker; Violin and harp

music by Patricio da Silva; Flutter by Kirsten Soriano

Broberg; and Sonata for flute and harp by Rota.

Newtown, CT: MSR Classics, ©2019.

Soul awakening.

Brandee Younger, harp; Niia Bertino, voice; Robi

Coltrane, saxophone; Sean Jones, trumpet; Dezron

Douglas, bass; and E. J. Strickland, percussion.

Contents: Soulris, Linda Lee, Love’s prayer, Respected

destroyer, Games, Save the children, Soul awakening,

and Blue Nile.

Brandee Younger, ©2019 V.

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Directory of Teachers

ARIZONA

Christine Vivona

PO Box 37163

Tucson, AZ 85740

tel: 520-256-1655

chrisvivona@comcast.net

www.ChristineVivona.com

Darice Augustson

909 Bonnie Bell Lane

Greenwood, AR 72936

tel: 417-773-0437

CALIFORNIA

Allison Allport

3732 Mohawk St

Pasadena, CA 91107

www.allisonallport.com

Mindy Ball

401 Brighton Springs

Costa Mesa, CA 92627

tel: 714-342-3800

Alison Bjorkedal

1940 Fern Lane

Glendale, CA 91208

tel: 213-952-5977

abjorkedal@calarts.edu

Shula Calmann

3948 K Street

Sacramento, CA 95816

tel: 916-442-7315

Maria Casale

Studio City, CA 91604

tel: 818-762-9111

Ellie Choate

PO Box 4761

Lakewood , CA 90711-4761

tel: 310-613-1847

harpwoman@mindspring.com

Marcia Dickstein

PO Box 492225

Los Angeles, CA 90049

tel: 310-365-5763

info@debussytrio.com

Mary Dropkin

Claremont, CA 91711-2529

tel: 909-367-5376

Cheryl Ann Fulton

5670 Nottingham Court

Detailed information (full address; education; other information) can be

found on the AHS website:

harpsociety.org/Resources/TeachersDirectory.html

El Sobrante, CA 94803

tel: 510-367-7107

Karen Gottlieb

218 9th Ave

San Francisco, CA 94118

tel: 415-3860702

www.kgharp@com

Bennetta Heaton

47 Rovigo Court

Danville, CA 94526

tel: 925-820-1169


4522 Rainier Drive

Cypres, CA 90630

tel: 714-290-4615

www.lindarosehembreiker.com

Stephanie Janowski

San Jose, CA 95129

www.harpeggio.com

Heather Jenkins

8975 Nevada Ave

West Hills, CA 91304

tel: 818-516-8697

Kate Loughrey

3146 Marengo Ave.

Altadena, CA 91001

tel: 760-8450693

www.californiaharpist.com

Elena Mashkovtseva

6608 Reservoir lane

San Diego, CA 92115

tel: 619-2778978

Bonnie Mohr

225 S Ivy Ave Unit 821

Monrovia, CA 91017

tel: 626-357-0355

www.bonnieharpsong.com

Melissa Morgan

416 University Pl

San Diego, CA 92103-2937

tel: 619-995-0305

mmharp@gmail.com

www.mmmharp.com/

Samantha Mulgrew

3525 Dormer Ave

Concord, CA 94519

tel: 925-595-3845

www.fancyfingersmusic.com

Dominique Piana

5662 Carnegie Way

Livermore, CA 94550

tel: 925-455-5333

dominiquepiana@gmail.com

www.dominiquepiana.com,

www.harpiana.com

Laura Porter

2380 E Keats Ave

M/S MB 77

Fresno, CA 93740

tel: 559-903-3747

Donna L Rickard

21791 Eveningside Lane

Lake Forest, CA 92630-2404

tel: 949-830-6578

Jillian Risigari-Gai Lopez

4909 Locust Ave

Long Beach, CA 90805

tel: 626-6765458

www.jillharp.com

Linda Wood Rollo

8744 McCarty Ranch Drive

San Jose, CA 95135

tel: 408-622-6405

Jennifer Sayre

1055 Sunset Dr

Arroyo Grande, CA 93420

tel: 805-489-2204

Jessica Schaeffer

2264 Linden St

Hayward, CA 94541

tel: 937-409-9172

jessschaeffer@gmail.com

Kristal Schwartz Barlaan

17791 Mckinnon Dr

Saratoga, CA 95070

tel: 408-3163365

www.Bayareaharpacademy.com

Wendy E Smith

San Clemente, CA 92673

harpdove@gmail.com

Sonya (Shang-I) Yu

PO Box 10711

San Jose, CA 95117

tel: 408-6578153

musica2g@gmail.com

www.musica2g.us

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57

COLORADO

Barbara Lepke-Sims

7300 W. Stetson Place #42

Denver, CO 80123

tel: 303-808-9307

blepkesims@gmail.com

www.barbaratheharpist.com

CONNECTICUT

Wendy Kerner

Wilton, CT 06897

tel: 203-554-0267

wklharp@gmail.com

Megan Sesma

61 Summer Hill Road

Madison, CT 06443

tel: 860-2870429

Lisa Tannebaum

359 Merriebrook Lane

Stamford, CT 06902

tel: 203-2737986

www.lisaharpist.com

FLORIDA

Catie Conway

400 Fairway Pointe Circle

Orlando, FL 32828

tel: 407-538-4402

Verlon Eason

142 Seville Chase Dr

Winter Springs, FL 32708

tel: 407-719-2038

Laura Sherman

Coral Gables, FL 33146

tel: 917-6973667

www.people.miami.edu/profile/

lxs126@miami.edu

GEORGIA

Susan Bennett Brady

1281 Rolling Oaks Drive

Kennesaw, GA 30152

tel: 404-643-7871

sbrady@harpcompetition.com

www.susanbennettbrady.com

Lisa Handman

905 Big Horn Cir

Alpharetta, GA 30022-4793

LHand30556@aol.com

www.harpnotes.com

Maggie Lovell

Cumming, GA 30028


tel: 574-870-2476

mjlovell317@gmail.com

www.maggieplaystheharp.com

Magg Wattley

2819 Pine Needle Drive

Atlanta, GA 30344-1949

tel: 404-245-7633

atlantagirlchoir@aol.com

HAWAII

Megan Ward

1031 Maunaihi Pl. Apt. #905

Honolulu, HI 96822

tel: 585-2595439

meganbledsoeward@gmail.com

www.meganbledsoeward.com

ILLINOIS

Annette Bjorling

721 Case St

Evanston, IL 60202

tel: 847-475-3905

www.muziker.org

Claudine Cappelle-Harig

260 Deerfield Rd

Deerfield, IL 60015

tel: 312-316-2720

Erin Freund

2065 Eldorado Dr.

Geneva, IL 60134

tel: 630-864-8489

erin.p.freund@gmail.com

Janelle Lake

Loyola University Mundelein Hall

Chicago, IL 60608

tel: 847-636-2612

www.wheretheharpis.com

Lillian Lau

University of Chicago Department

of Music

Goodspeed Hall 101

Chicago, IL 60637

tel: 812-391-0730

Lillian.Lau.Music@gmail.com

www.LyrebirdEnsemble.com

Brittany E. Smith

Barrington, IL 60010

tel: 847-204-5773

www.harpbybrittany.com

Julie Spring

609 E Wilson Ave

Lombard, IL 60148

tel: 585-7557772

www.juliespring.com

Marguerite Lynn Williams

1750 N Campbell Ave Unit C

Chicago, IL 60647

tel: 773-7917520

marguerite@mlwharp.com

www.mlwharp.com

INDIANA

Abigail Crouch Acosta

6502 Kingsbury Way

Zionsville, IN 46077

tel: 317-750-4267

Diane Evans

8105 North Illinois Street

Indianapolis, IN 46260

tel: 317-797-4299

KENTUCKY

Elaine Humphreys Cook

Lexington, KY 40502

elainecookharp@gmail.com

LOUISIANA

Cathy Anderson

4808 Antonini Dr

Metairie, LA 70006

tel: 504-782-6531

cathharp@aol.com

www.andersonmusicnola.com

Rebecca Todaro

7110 Goodwood Avenue

Baton Rouge, LA 70806

tel: 225-572-4138

MAINE

Jara Goodrich

Limerick, ME 4048

jara.goodrich@maine.edu

MARYLAND

Jacqueline Pollauf

Baltimore, MD 21212

tel: 443-846-8437

www.jpharp.com

Barbara Seidman

5301 Westbard Cir #239

Bethesda, MD 20816-1430

tel: 301-656-4423

Rebecca Anstine Smith

1796 Reading St

Crofton, MD 21114

tel: 301-261-0303

www.marylandharpist.com

Wendy Willis

8715 First Ave #1131C

Silver Springs, MD 20910

tel: 301-588-2502

www.harpistsonline.com

MASSACHUSETTS

Sally Elliott

472 Powder Mill Rd

Concord, MA 01742

tel: 978-369-9366

Krysten Keches

351 Marlborough St. #4

Boston, MA 02115

tel: 508-272-9659

Michele Pinet

Arlington, MA 02476-5754

tel: 781-646-4460

Felice Pomeranz

379 Old Lancaster Rd

Subury, MA 01776

tel: 978-443-0656

fpomeranz@berklee.edu

www.gildedharps.com

MICHIGAN

Patricia Masri-Fletcher

Detroit, MI 48201

Martha Waldvogel-Warren

1320 Waukazoo Drive

Holland, MI 49424

tel: 616-610-9004

MINNESOTA

Paula Smith

2315 Superior Lane NW

Rochester, MN 55901

tel: 715-308-0297

MISSOURI

Joan Ferguson

1404 Rockford Dr

Warrenburg, MO 64093

tel: 660-747-1387

Denise Fink

Dept of Music

900 North Benton Ave.

Springfield, MO 65804

tel: 417-8737879

www.harp-to-harp.com

V Sue Taylor

8130 Edinburgh Dr

St Louis, MO 63105

tel: 314-862-0874

NEBRASKA

Mary Bircher

1522 South 32nd Ave

Omaha, NE 68105

tel: 402-203-7005

NEW JERSEY

Kathryn Andrews

1 Harborside Place Apt 415

Jersey City, NJ 07311

tel: 973-4208434

kathrynandrewsharp@gmail.com

Elaine Christy

197 Princeton Ave

Princeton, NJ 08540

tel: 609-4541685

harpdma@gmail.com

Frances Duffy

44 Mountain Ave

Bloomfield, NJ 07003

tel: 917-975-8719

francesduffy99@gmail.com

www.francesduffy.webs.com

Oksana Kessous

Manalapan, NJ 07726

tel: 917-579-1833

www.harp4you.com

Marjorie Mollenauer

11 Carriage Hill Rd

Colts Neck, NJ 07722

tel: 732-431-0010

NEW YORK

Karlinda Caldicott

335 Jefferson St. Lot C18

Saratoga Springs, NY 12866

tel: 518-2260508

kdcharp@hotmail.com

Mary-Elizabeth Gale

287 Scarsdale Rd

Tuckahoe, NY 10707-2114

tel: 914-961-9443

Sonja Inglefield

State University of New York at

Fredonia

Fredonia, NY 14063

tel: 716-673-4629

Sonjaling@yahoo.com

Nina Kellman

149 E 18th St Apt P

New York, NY 10003

tel: 212-533-1327

Sylvia Kowalczuk

PO Box 541182

Flushing , NY 11354

tel: 646-554-1058

Karen Lindquist

450 West End Ave Apt 3A

New York, NY 10024

tel: 212-8736827

Tomina Parvanova

4700 Broadway

New York, NY 10040

tel: 617-412-9487

www.tominaparvanova.com

Alyssa Reit

5 Dogwood Rd.

Mahopac, NY 10541

tel: 914-248-0366

Kristi Shade

New York, NY 10026

kristishade@gmail.com

Karen Strauss

45 Fir Drive

East Hills, Long Island, NY 11576-

2405

tel: 516-484-9554

NORTH CAROLINA

Jacquelyn Bartlett

1533 South Main Street

Winston-Salem, NC 27127

tel: 757-818-4869

Laura S Byrne

11704 Black Horse Run

Raleigh, NC 27613

tel: 919-845-8343

www.raleighharpist.com

NORTH DAKOTA

Gayla Sherman

Bismark, ND 58501

tel: 701-221-5894

OHIO

Jeanne Z Norton

Columbus, OH 43221-4130

tel: 614-486-8567

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59

norton.3@osu.edu

www.music.osu.edu

Alix Raspe

Columbus, OH 43240

www.alixraspe.com

Ni Yan

6239 Muirloch Dr

Dublin, OH 43017

tel: 614-766-4048

yanniharp@gmail.com

OKLAHOMA

Lorelei Kaiser Barton

711 South Allegheny Ave

Tulsa, OK 74112

tel: 918-520-4041

lkbe2014@gmail.com

OREGON

Laura Zaerr

3015 NW Taft Avenue

Corvallis, OR 97330

tel: 541-757-8313

lzaerr@uoregon.edu

www.laruazaerr.com

PENNSYLVANIA

Cheryl Dungan Cunningham

734 Morning Glory Drive

Southampton, PA 18966-4247

tel: 215-355-3872

www.cdcharp.com

Andre’ Tarantiles

118 New Street

New Hope, PA 18938

tel: 917-992-4393

Andrea Wittchen

1885 Dartford Road

Bethlehem, PA 18015

tel: 610-7308246

www.andreawittchen.com

SOUTH CAROLINA

Abigail Kent

79 Church Street

Charleston, SC 29401

tel: 843-530-5689

musikmaid@gmail.com

www.abigailkentharp.com

TENNESSEE

Kirsten Agresta Copely

Franklin, TN 37064


tel: 212-851-6387

kirsten.agresta.copely@vanderbilt.

edu

www.musiccityharp.com

Alissa Amundson

1422 Woodpointe Dr

Knoxville, TN 37931

tel: 865-3216799

alissa.smith@me.com

Paula Bressman

2400 Blakemore Ave.

Nashville, TN 37221

tel: 615-9696888

Sarah Crocker

1545 Brentwood Pointe

Franklin, TN 37067

tel: 615-416-0971

hillnotemusic@gmail.com

www.hillnotemusic.com/index.html

Cindy Emory Hicks

4228 Taliluna Ave

Knoxville, TN 37919

tel: 865-323-8413

Gina Neupert

803 Culbreath Rd

Covington, TN 38019

tel: 901-326-4748

Marian Shaffer

8494 Bergen Cove

Cordova, TN 38018

tel: 901-833-3888

marianshaffer@gmail.com

Phyllis Sparks

3500 John A Merritt Blvd

PAC Building, RM 286

Nashville, TN 37209-1561

tel: 615-963-1482

psparks1@tnstate.edu

TEXAS

Nelda Etheredge

P O Box 120444

San Antonio, TX 78212

tel: 210-4738399

Neldaetheredge@yahoo.com

www.Saharp.com

Moira Greyland

1580 Mahogany Drive

Allen, TX 75002-6467

tel: 510-599-7828

Jaymee Haefner

2216 Acorn Bend

Denton, TX 76210-3854

tel: 940-453-0488

Jaymee@theprofessionalharpist.com

Sydney Howell

Ft. Worth, TX 76108

sydney@harpsofgold.com

Alice M Spero Keene

810 Venado Hills

San Antonio, TX 78260

tel: 830-714-5028

Luzviminda Keene

1456 Beltline Rd. Suite 165

Garland, TX 75044

tel: 469-661-8116

mindamusicschool@yahoo.com

www.mindamusicstore.com/

Delaine Leonard

Austin, TX 78755

tel: 512-413-3152

Delaine@austin.utexas.edu

www.harpist.net

Sandra Salstrom

14500 Cutten Rd., #21104

Houston, TX 77069

tel: 281-543-1156

www.gigsalad.com/sandra_salstrom;

www.thebash.com/harp/sandra

UTAH

Maren Laurence

Salt Lake City, UT 84111

tel: 801-520-2686

www.marenlaurence.com

VIRGINIA

Elizabeth Blakeslee

3006 Woodlawn Ave

Falls Church, VA 22042

tel: 703-975-1132

elizabethblakesleeharp.com

Elisa Dickon

408 Dundaff St. apt.706

Norfolk, VA 23507

tel: 757-4707486

Melissa Tardiff Dvorak

7207 Idylwood Ct


tel: 202-2622613

www.melissadvorak.com

Jennifer Narkevicius

Alexandria, VA 22315

www.jeniuscreations.com

Colleen Potter Thorburn

922 Park Ave.

Richmond, VA 23284-2004

tel: 804-828-1166

cpthorburn@vcu.edu

Monika Vasey Rhodes

7312 Woodley Place


tel: 716-316-6961

www.monikavasey.net

WASHINGTON

Sophie Baird-Daniel

Seattle, WA 98115

sophiebd@comcast.net

www.sophiebdharp.com

Susi (Rowles) Hussong

2640 NW North Beach Drive

Seattle, WA 98117

tel: 206-783-9493

Deborah E McClellan

16529 9th Pl NW

Shoreline, WA 98177

tel: 206-696-3552

harpdeb@gmail.com

Juliet Stratton

12429 NE 127th Ct Apt B6

Kirkland, WA 98034

tel: 206-304-3519

julietstra@gmail.com

WEST VIRGINIA

Christine Mazza

West Virginia University

School of Music

1436 Evansdale Drive PO Box 6111

Morgantown, WV 26506-6111

tel: 304-598-2569

Christine.Mazza@mail.wvu.edu

www.christinemazzaharpist.com

WISCONSIN

Johanna Wienholts

3001 HERMINA ST

MADISON, WI 53714

tel: 513-6007151

jwienholts@gmail.com

INTERNATIONAL

Karen Rokos

136-1083 Queen St

Halifax, B3H0B2 Nova Scotia

CANADA

tel: 902-221-7471

Lanalee Montgomery

55 Rue De Rountzenheim

67620 Soufflenheim, 67620

FRANCE

tel: 333- 88867370

jwmontgomery@compuserve.com

Karen Vaughan

Middlesex, HA5 4PW

UNITED KINGDOM

k.vaughan@ram.ac.uk V

TheHARPCONNECTION

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(888) 287-4277 • www.harpconnection.com • Rowley, Massachusetts

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Advertise in The American Harp Journal (Vol. 27 No. 3, Summer 2020)

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The American Harp Journal will alter ads for an additional charge. A minimum $50 charge will be assessed for any

modifications made to process incomplete or incorrectly prepared ads.

SUBMISSION OPTIONS

1. Email stuffed/zipped files to AdManager@harpsociety.org.

2. Mail a CD, with a printout of the ad for reference. (Disks will be returned ONLY if SASE is provided.)

CLASSIFIED ADVERTISEMENT (Single Issue)

$25.00. No artwork; the Journal creates all classified copy. Provide name/make/style of harp; anything additional that is

included (ex. case); price; preferred contact information (phone or email); area of the country or city where you live.

ADVERTISING RATES

Black and White Pages


Full Page $625 7" x 10" (42 x 60)

Half Page $325


Vertical 3.5" x 10" (21 x 60)

Quarter Page $175 3.5" x 5" (21 x 30)

Eighth Page $125 3.5" x 2.5" (21 x 15)


Four-Color Pages


Cover Page* $1275 9" x 11.5" (54 x 69)

Full Page $1125 9" x 11.5" (54 x 69)

Half Page $550


Vertical 3.5" x 10" (21 x 60)

Quarter Page $275 3.5" x 5" (21 x 30)

* Includes 1/8” bleed

Order Form for Advertising Space in The American Harp Journal

Vol. 27 No. 3 (Summer 2020)

Please complete this form:

1. To order advertising space in the Summer 2020 issue of

The American Harp Journal.

2. To be added to the mailing list for future advertising

opportunities. You will receive a mailing twice a year.

INSTRUCTIONS: Make check (in US funds only) payable to The American Harp Society, Inc., and mail to Stacie

Johnston, Advertising Manager, The American Harp Journal, 2 Charlton Street, Suite 9K, New York, NY 10014.

Deadlines: Reservation/Payment: June 1, 2020; Artwork: July 1, 2020

No of Ads Ad Type Rate Total

COLOR

cover page* $1,275

full page $1,125

half page $550

quarter page $275

BLACK & WHITE

full page $625

half page horizontal $325

half page vertical $325

quarter page $175

eighth page $125

*contact Advertising Manager for availability before ordering

TOTAL ENCLOSED:

CHECKS MUST ACCOMPANY ORDER. Educational institutions may follow the normal purchasing procedure.

□ Check here if you are an educational institution and you would like an invoice.

Advertiser

Contact

Address

ORDER ONLINE

Order and pay for your ads at:

HarpAds.com

Telephone

Email

Billing Address

(if different)

□ Check here to be added to the mailing list.

CHECK ONE:

□ Artwork included.

□

□

Artwork will be emailed to AdManager@harpsociety.org or sent on CD to the address above.

Please use advertisement from previous issue. (Attach a photocopy and indicate issue date and page number.)

(issue date and page number)

WINTER 2020

63

Index of Advertisers

Schools and Teachers

Concordia University Irvine

(Mindy Ball)....................................................................6

Crane School of Music at SUNY Potsdam

(Jessica Suchy-Pilalis)....................................................39

Department of Music at Christopher Newport University

(Anastasia Pike)............................................................51

Frost School of Music, at University of Miami

(Laura Sherman)...........................................................51

Peabody Conservatory, The, at Johns Hopkins University

(Jasmine Hogan and Sonja Inglefield)..........................45

School of the Arts at University of North Carolina

(Jacqueline Bartlett)......................................................34

Music Competitions

USA International Harp Competition.............................42

Music Camps, Festivals, Conferences, and Workshops

Blue Lake Fine Arts Camp................................................50

Christopher Newport U. Annual Harp Festival...............51

Dusty Strings 14 th Folk Harp Symposium.........................10

Greenspring American Youth Harp Ensemble.................35

Harp in the Mountains.....................................................25

Historical Harp Retreat....................................................43

New England Music Camp...............................................42

Retail

Atlanta Harp Center.........................................................43

Camac Harps.............................................inside back cover

Dusty Strings.....................................................................10

Fatrock Ink Music Publishers............................................34

Harp Caddy.......................................................................42

Harp Connection..............................................................61

Lyon & Healy Harps..............inside front cover, back cover

MusicWorks - Harp Editions.......................................41, 42

Salvi Harps.......................................................... back cover

Virginia Harp Center........................................................43

The American Harp Society, Inc.

AHS Annual Meeting......................................................51

AHS Membership.............................................................43

Harp Resources

Harp.com..................................................inside front cover

Harp Mastery....................................................................25

Other Societies

Folk Harp Society.............................................................34

Historial Harp Society......................................................43


Advertising Information........................................56, 62-63

Subscriptions.....................................................................21


Carve Out Tomorrow

Camac Centre Paris

92, rue Petit

75019 Paris, France

Workshop & Offices

La Richerais BP15

44850 Mouzeil, France

www.camac-harps.com

The American Harp Journal - Winter 2020

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