Podcasts about harpists

An ascended extra terrestrial being with the ability to travel throughout infinite existence within the multidimensional world enters a simulation of their own creation in order to understand the dynamics of its interworkings, and to repair a mysterious series of problems plaguing the world'a inhabitants, in order to prevent the imminent eventual demise of the species and the world in which they live. Sector 12, Dimension Q10 Just be on the lookout; You know these primates aren't safe— With some sort of thinking they're ‘evolved' more somehow. —or less. What's at stake here is the planet. In totality, I honestly couldn't give one single fuck about it; whether it lives or dies, or who's on it. —but you're on it. I'm on it. Somebody kill this raggedy motherfucker Before I do On good conscience. Are you not worried that they're going to kill you? They won't kill me. They won't touch a hair on my head. You know why? Cause it's fake? Exactly. You ought to be in prison. Probably, I'd suspect I'd be getting more ass that way. Or something up yours. Up mine—up yours—what really is the difference? Did you really think you were protected. Nothing is safe, nothing is sacred, my dear—but you see, what I've purchased here is time. Time? Where did you get all this time?! Where did you get all this money? It wasn't made out of time! So the old adage stands corrected. So it does. So what did your parents do for a living? I beg your pardon? To what do I owe the honor of your privelege? Hard work. Try again. Back massages And thick cut bacon I just went to sleep And woke back up again reviled Revelations on motorcycles Harpists on steroids And movies on markers God ought to have thoughts of Something, honest and awkward Other than to govern up a sermon Of prophets On Altoids, Or morons— No mountains, So far I Have leapt from the riverbed {Enter The Multiverse} [The Festival Project.™] The Complex Collective. © COPYRIGHT © THE FESTIVAL PROJECT 2019 ALL RIGHTS RESERVED. © -Ū.

An ascended extra terrestrial being with the ability to travel throughout infinite existence within the multidimensional world enters a simulation of their own creation in order to understand the dynamics of its interworkings, and to repair a mysterious series of problems plaguing the world'a inhabitants, in order to prevent the imminent eventual demise of the species and the world in which they live. Sector 12, Dimension Q10 Just be on the lookout; You know these primates aren't safe— With some sort of thinking they're ‘evolved' more somehow. —or less. What's at stake here is the planet. In totality, I honestly couldn't give one single fuck about it; whether it lives or dies, or who's on it. —but you're on it. I'm on it. Somebody kill this raggedy motherfucker Before I do On good conscience. Are you not worried that they're going to kill you? They won't kill me. They won't touch a hair on my head. You know why? Cause it's fake? Exactly. You ought to be in prison. Probably, I'd suspect I'd be getting more ass that way. Or something up yours. Up mine—up yours—what really is the difference? Did you really think you were protected. Nothing is safe, nothing is sacred, my dear—but you see, what I've purchased here is time. Time? Where did you get all this time?! Where did you get all this money? It wasn't made out of time! So the old adage stands corrected. So it does. So what did your parents do for a living? I beg your pardon? To what do I owe the honor of your privelege? Hard work. Try again. Back massages And thick cut bacon I just went to sleep And woke back up again reviled Revelations on motorcycles Harpists on steroids And movies on markers God ought to have thoughts of Something, honest and awkward Other than to govern up a sermon Of prophets On Altoids, Or morons— No mountains, So far I Have leapt from the riverbed {Enter The Multiverse} [The Festival Project.™] The Complex Collective. © COPYRIGHT © THE FESTIVAL PROJECT 2019 ALL RIGHTS RESERVED. © -Ū.

An ascended extra terrestrial being with the ability to travel throughout infinite existence within the multidimensional world enters a simulation of their own creation in order to understand the dynamics of its interworkings, and to repair a mysterious series of problems plaguing the world'a inhabitants, in order to prevent the imminent eventual demise of the species and the world in which they live. Sector 12, Dimension Q10 Just be on the lookout; You know these primates aren't safe— With some sort of thinking they're ‘evolved' more somehow. —or less. What's at stake here is the planet. In totality, I honestly couldn't give one single fuck about it; whether it lives or dies, or who's on it. —but you're on it. I'm on it. Somebody kill this raggedy motherfucker Before I do On good conscience. Are you not worried that they're going to kill you? They won't kill me. They won't touch a hair on my head. You know why? Cause it's fake? Exactly. You ought to be in prison. Probably, I'd suspect I'd be getting more ass that way. Or something up yours. Up mine—up yours—what really is the difference? Did you really think you were protected. Nothing is safe, nothing is sacred, my dear—but you see, what I've purchased here is time. Time? Where did you get all this time?! Where did you get all this money? It wasn't made out of time! So the old adage stands corrected. So it does. So what did your parents do for a living? I beg your pardon? To what do I owe the honor of your privelege? Hard work. Try again. Back massages And thick cut bacon I just went to sleep And woke back up again reviled Revelations on motorcycles Harpists on steroids And movies on markers God ought to have thoughts of Something, honest and awkward Other than to govern up a sermon Of prophets On Altoids, Or morons— No mountains, So far I Have leapt from the riverbed {Enter The Multiverse} [The Festival Project.™] The Complex Collective. © COPYRIGHT © THE FESTIVAL PROJECT 2019 ALL RIGHTS RESERVED. © -Ū.

I rarely have guests on the podcast, but today I'm so happy to be sharing the show with my dear friend and my former student turned colleague, harpist Candace Lark, If you're a My Harp Mastery member or in our coaching program, you will already know and love Candace, because she is one of our Certified Coaches and helped me to found our Harp Quest program for young student harpists. But if you haven't had the chance to meet her yet, you are in for a treat. Candace isn't only an extremely busy professional harpist, playing with all kinds of ensembles and in all kinds of venues (spoiler alert: she'll tell us later about playing at Will Smith's house), but she has another aspect to her musical life as well. Utilizing her years of performing and teaching experience, she created an online business called The Happy Musician Coaching. Her coaching helps musicians, not just harpists, create and meet specific goals while cultivating a mindset for musical success. That's what we will be talking about today, success, specifically being successful as a gigging harpist by avoiding some of the career-ending pitfalls and mistakes. Let's face it; sometimes knowing what NOT TO do is even more important than knowing what TO do. If you're an experienced harpist who's played a lot of performances, you will find a lot of our conversation will resonate with you, and you will find some new ideas to help you make your gigging life easier. If you're just starting out, Candace's tips will save you tons of frustration and anxiety. And if you've never played a gig because you aren't sure how the whole thing works, trust me, you absolutely need to hear this. Be sure to listen to the entire interview, because at the end, Candace has a couple of great resources just for our podcast listeners. Links to things I think you might be interested in that were mentioned in the podcast episode:  Download Candace's Happy Musician Workbook, free for podcast listeners! Special for podcast listeners! get 50% off a Contract Consultation with Candace when you use the code HARPMASTERY24 (all caps) Harpmastery.com Get involved in the show! Send your questions and suggestions for future podcast episodes to me at podcast@harpmastery.com LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-0162  

Steve kicks off 2024 in typically contrasting style by celebrating the London Symphony Orchestra's school outreach program, and getting lost in a world on samplers and synthesisers as he sets out to create a UK Hardcore version of the podcast intro, courtesy of the genre tombola...Wilton's Music Hall tickets for 20th January: https://www.wiltons.org.uk/whatson/854-steve-pretty-and-friends-on-the-origin-of-the-piecesSteve's website: http://www.stevepretty.comPatreon: https://www.patreon.com/StevePrettyOnTheOriginofthePieces Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Listen to "The Blessing" as performed by the King's Harpists on YouTube

Yes, this episode is about Bach, the Bach, Johann Sebastian Bach. I know some of you are thinking this is a waste of a podcast episode, that you are never going to play any music by Bach and since he didn't write any music for harp anyway, this couldn't possibly be relevant to your harp playing. Let me tell you, you couldn't be more wrong. Bach may not have written anything for harp, but his influence is felt by every composer and musician since his time. You probably know that French composer Charles Gounod wrote his beautiful Ave Maria melody as a vocal addition to Bach's Prelude in C. But perhaps you didn't know that the trumpet solo on the Beatles song “Penny Lane” came about after Paul McCartney heard trumpeter Dave Mason performing the Brandenburg Concerto No. 2, the same concerto which is featured in the movie The Island of Doctor Moreau. Other movies featuring the music of Bach range from Disney's Fantasia to the Godfather to Master and Commander and Boogie Nights. But Bach's music is more than just amazing music. It is also a music theory education, a technical proving ground and a time-honored model for crafting a melody. You may associate Bach's music more with vast quantities of notes rather than melody, but discovering the basic yet profound musical principles embodied in Bach's compositions can change the way you understand all of the music you play. I know it did for me. Obviously, I won't be able to uncover all the layers in Bach's music on this podcast. What I want to do is to talk about what is meaningful to us as harpists and musicians. We'll clarify some of the musical terms that are associated with Bach and I'll show you how you can use his music to better understand chords, phrasing, flow, to develop your fingering technique, and to grow as a musician. Plus, we'll talk about which Bach pieces might be ideal for you to add to your repertoire or at least your practice list. I also have some facts and stories about Bach that you can include in program notes or repeat to impress your friends with your amazing musical knowledge.  Links to things I think you might be interested in that were mentioned in the podcast episode:  Free Clair de lune workshop in the Hub on June 23rd. Click here to join the Hub. Related resource Bach, and My Friend Edward Aldwell blog post Harpmastery.com Get involved in the show! Send your questions and suggestions for future podcast episodes to me at podcast@harpmastery.com  LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-109  

We're plucked-as-a-harp this week! Coz we're joined by the darn-gorgeous, super-talented, Harpist-extraordinaire, Lady Erin Hill! Yaaayyy! This week, this vivaciously multi-dimensional artist joins AW- and returning co-host, Matt the Quizmaster, to take a trip with David Bowie's 'The Rise and Fall of Ziggy Stardust and the Spiders From Mars' - before the boys discover if The Fantasticks is really as fantastic as its long-run would suggest!Plus we chat Horror Movies, How Harps Work, Foley with Harps, Wedding Proposals, and heaps more in this hilarious-yet-insightful episode!www.twitter.com/erinhillharp -- www.instagram.com/erinhillharpEleanor Rigby Video - https://www.youtube.com/watch?v=zrTXThl3AkIErin on You Tube - https://www.youtube.com/@erinhillharp -- Erin on Spotify - https://open.spotify.com/artist/1def2e5GEvzTkzC7bu2brX?si=GvTNFWt2Tr-tNL2980wDbgMatt's Socials - www.twitter.com/mattyoungactor -- www.instagram.com/mattyoungactorwww.thetonastontales.com/listen -- www.patreon.com/bloomingtheatricals - www.twitter.com/thrashntreasurelinktr.ee/thrashntreasure*****Help support Thrash 'n Treasure and keep us on-air, PLUS go on a fantastical adventure at the same time!Grab your copy of The Tonaston Tales by AW, and use the code TNT20 when you check out for 20% off eBooks and Paperbacks!https://www.thetonastontales.com/bookstore - TNT20 ***** ★ Support this podcast on Patreon ★

Lexman and his team of AI assistants come up with new ways to put eyebolts in Christianity and harpists in Dumortierite.

Today we're talking technology, the technology that has changed the lives of harpists everywhere. It's the world of digital sheet music - PDFs, tablets, computers, foot pedals, all the things that have made thick binders of sheet music a distant memory - thankfully! - for so many of us. Consider how an innovation works. Usually it doesn't change the world all at once. The Wright brothers managed to get their airplane off the ground, but it took a lot of time and development before the general public could fly coast to coast. There was a span of nearly a hundred years between Alexander Graham Bell's invention of the telephone and Motorola's first handheld cellular phone. It takes time to sort out what is really useful about a new technology and how it can benefit the person on the street, or in our case today, the harpist at the harp. Sheet music downloads have been around for a long time. I published my first downloadable music PDFs way back in 2004. Granted, the technology for delivering them and using them was primitive by today's standards, and you still had to print them out, but that's my point. Here we are nearly 20 years later and purchasing, downloading and playing from PDFs is simple and commonplace.  Even harpists who aren't fans of computers are often quite comfortable with this aspect of technology. It has now gotten to the point where using digital sheet music is enough easier and more convenient that it is worth your time to figure it out.  But if you haven't taken the digital plunge yet, today's podcast will help you feel more confident about doing so. Or if you made the leap a while ago and want to know some of the best practices and insider tips for getting the most out of your digital tools, you're going to love this episode too. Just a little while ago, Dr. Kristina Finch, who is one of our amazing Harp Mastery® Certified Coaches, presented a seminar to our My Harp Mastery members on this topic. Kristina is not only a fabulous harpist and a gifted coach, but she is a tech wizard. So I had asked her to teach our members how she uses her iPad and how to put the technology together. She did such a spectacular job that I pulled out just a part of the recording of her live seminar to share with you. If you haven't met her before, you are going to love her energy and enthusiasm in addition to all the great information she shares. By the way, I use digital music and I don't have an iPad. This technology is available to you if you are an Android or Windows user too, so don't think you have to buy a new computer or tablet to take advantage of this. I use my Windows Surface Pro for my music, not an iPad. Kristina talks mostly about the iPad in her presentation, and I want to be sure that those of you who don't have Apple products know what tools you need. So I have put together a free PDF called the Digital Sheet Music Cheat Sheet for Harpists. It's a quick one-page guide to devices, apps, and foot pedals that will help you get started whether you're an Apple, Android or Windows user. To get the PDF, just go to the link in the show notes for this episode. I'll remind you about it, plus I'll share a couple of other bits of info at the end of the show. Right now, let's get started with Kristina's presentation. Links to things I think you might be interested in that were mentioned in the podcast episode:  Free PDF resource: Digital Sheet Music Cheat Sheet for Harpists Related resource: Practice Friend or Practice Enemy: The Great Cell Phone Debate blog post Harpmastery.com Get involved in the show! Send your questions for future podcast episodes to me at podcast@harpmastery.com  LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-069

The Principal Harp of the Pittsburgh Symphony Gretchen Van Hoesen will organize and join in an ensemble of 16 harps to play a new score by Alyssa Reit inspired by Hans Christian Anderson's "The Snow Queen" on September 25 at 5:30 PM at Kresge Theater, Carnegie Mellon University.  It is co-sponsored by The Pittsburgh Chapter of the American Harp Society and Carnegie Mellon University. Alyssa Reit will be narrating the Hans Christian Andersen story, Peter Reit will be conducting 16 harpists performing, including Gretchen Katie Ventura and Marissa Knaub Avon, the entire harp department at CMU, the PYSO harp section and many more area harpists.  This production is a setting of the famous Hans Christian Andersen classic, for storyteller and 15 harps. In this performance, the music will incorporate excerpts from participant solos, specially arranged ensemble sections, sound effects, and excerpts from the orchestral repertoire to illustrate the story. The individual solos and ensemble selections will be set as musical interludes. In addition, participants will play underscoring and sound effects, accompanying the text. Harpists of all ages, skill levels, and harp types will be participating.  Alyssa Reit has worked as an independent performer, composer and arranger in the New York tri-state area since completing her Bachelors and Master's degrees at the Juilliard School as a student of Marcel Grandjany in 1975. Composition teachers include Jacob Druckman, Andrew Thomas, and Richard Einhorn. She has performed with institutions ranging from the Orchestra of St. Lukes, the Pittsburgh Symphony, and the Metropolitan Opera,

If the fairy godmother of harp appeared today to grant you just one wish, what would it be? Would you wish for a new harp, flying fingers, an endless supply of music? I know what I would wish for: standardized harp markings. That may sound to you as if I haven't given this wish a lot of thought, but actually I believe if the harp fairy godmother would grant that one wish, it would save all of us harpists much time, confusion and frustration. Allow me to explain. Harp notation is anything but standardized. Take a simple technique like a harmonic. Most composers write harp harmonics where they are to be played, which results in the note sounding one octave higher. But there are a few composers - Carlos Salzedo, most notably - who write their harmonics where the notes actually sound, meaning that we need to play them one octave lower than they are written. Many harpist composers explain which system they are using with a note to the performer printed on the music. Unfortunately, the vast majority of works for harp leave this important piece of information unwritten for the players to figure out for themselves.  And that's merely one example. Harp markings seem to change with each new generation of composers and arrangers. Harpists must become detectives, scouring the page for clues to decide what a marking means and learning what to do when you can't find any clues.  Other markings are just plain confusing. Take harp fingering from some of the 19th harpist composers. Rather than use the number 1 to indicate the thumb, some composers used a plus sign or an “x” to indicate the thumb. To add another layer of confusion, the fingers 2, 3 and 4 were indicated as 1, 2 and 3. It's easier to read these pieces without the fingering at all than to try to translate the fingering as you play. Sadly, I can't clear up all the harp marking inconsistencies for you in one podcast. What we will talk about on today's show are the meanings of 10 fairly common markings. I will tell you what they mean or in some cases what they don't  mean and most importantly, when you need to use your own judgment. Also, at the end of our discussion, I will share a wonderful free online resource with you that will help you with many more harp marking questions.  One word of warning: there's one three-word phrase that crops up repeatedly in today's discussion. I won't tell you what that phrase is now; you'll recognize it soon enough!  Links to things I think you might be interested in that were mentioned in the podcast episode:  Harp Notation Manual by Gunnhildur Einarsdóttir Related resource The Mysterious Case of the Extra Accidental blog post Harpmastery.com Get involved in the show! Send your questions for future podcast episodes to me at podcast@harpmastery.com  LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-059

 As broadcast live from the trading Post, Tuamgraney as part of the Tuamgraney Harp Festival weekend.   Hosted by Carol McNamara and Geraldine Colleran -00.34- Introduction with Manus Maguire and Anne Marie O'Farrell and Catriona McKay, both renowned Harpists who are taking part in the workshops and concert at The Harp Festival Headlines  -18.30 News Headlines. Saturday Chronicle is Sponsored by JAMES M NASH AND DERG KITCHEN DESIGN http://dergkitchendesign.ie

Do you think you're too old or too uncoordinated to have agile fingers? Think again. Agile fingers aren't just for the young or the gifted and they don't happen by magic. Developing finger facility is key to faster learning and more stumble-free playing. Listen and discover the three things you need to stop doing and the three you need to start doing now to teach your fingers to play with more speed and security at any age. Links to things I think you might be interested in that were mentioned in the podcast episode: Two Step Chord Theory for Harpists webinar The Failsafe Fix For Fast Flexible Fingers blog post Harpmastery.com Get involved in the show! Send your questions for future podcast episodes to me at podcast@harpmastery.com

If you ask a professional harpist how she plans her practice, she probably won't be able to tell you. But ask her what she does every day and she'll tell you her favorite routine, what she does first and what is the most important part of her practice. Pros learn how to practice efficiently and how to get consistent results from their practice. If you've ever wondered if you're missing something in your practice, this episode is for you. Links to things I think you might be interested in that were mentioned in the podcast episode: Two-Step Chord Theory for Harpists webinar Spark Journal 10 Ways to Cut Your Practice Time in Half blog post Harpmastery.com

Case Study: A 90 Day Goal In Action On this show, I present a case study of a student whose 90 Day Goal was to improve her skill in playing hands together. You'll see the plan come together as I walk you through each step of the goal setting process from idea to action. You'll also learn how to adapt this plan for a different skill or change it for your personal learning style, along with critical safeguards to put in place to ensure your success. Links to things I think you might be interested in that were mentioned in the podcast episode: Two-Step Chord Theory for Harpists webinar Spark Journal Why Being a Better Harpist Isn't Good Enough blog post Harpmastery.com

There is one God, one Creator, one Sovereign. He is right, He is just, He is holy. Thus, despite difficult times and difficult messages, may I, may we come to find that it is "well with my soul."

Spotify Playlist “Favorite Piano-led Jazz Albums of the 1950s” Link - https://spoti.fi/3xg5TOy www.rightfiction.com

Season 2 Episode 11Opening the Harp Chakra - The PodcastBringing you beautiful, healing, magical Harp Music...and talking with the artists that create it...Hosted by Jay MichaelsThis weeks episode features Robbin Gordon-Cartier.  We talk about Cultural Diversity,  an Instagram group promoting Harpists of African descent called Ennanga Harp, her time studying at the Irish Academy in Dublin, her passion for teaching and motivational speaking, and the book she inspired. We also listen to beautiful music from her cd “Just As I Am”.To learn more about Robbin Gordon-CartierWebsite: https://www.robbingordoncartier.com/Facebook: https://www.facebook.com/robbin.gordoncartierInstagram: https://instagram.com/harpspirits?igshid=1t7og29jwumdvEnnanga Harp: https://instagram.com/ennangaharp?igshid=mksrmc0r76jf—————————————————————Feedspot recently announced that Opening The Harp Chakra - The Podcast is one of the Top 5 Harp Music Podcasts on the web.https://blog.feedspot.com/harp_music_podcasts/ Top 5 Harp Music Podcasts If you are enjoying this podcast, please consider writing a review.Do you have questions or guest suggestions? Please email  Jay Michaels: openingtheharpchakra@yahoo.comIf you would like to make a financial contribution to help support the production of this podcast (any amount is appreciated):PayPal.me/harperminstrelVenmo.com/harper-minstrelSupport the show (https://PayPal.me/harperminstrel)

Land, landscape, history, and music…Janet Harbison is one of the most well respected celebrators of the Irish Harp and Traditional Irish Music. She has had a profound influence on the harp and trad community teaching some of the most well known harp players in the tradition like Grainne Hambly, Michael Rooney, and Laoise Kelly.Her new solo album, “By Strangford Water” is a collection of Janet's compositions. There is also a companion book of the compositions on this album available on Janet's website. We discuss her relationship with Camac harps and the story behind the making of the Camac “Janet” harp, how to interpret slow airs on the harp, and other interesting topics.Janet likes to remind players that when playing a slow air, knowing the text and how you can tell the story of that song through the music is so integral to your musical interpretation. ”We have detached the music from the story. It's turning the meaningful music that connects us as a community into something totally superficial and sugary.”-Janet Harbison (on interpreting a song) Janet is so proud of her many students who have gone on to teach and perform. “To be their teacher was a privilege.” Performers and educators like Gráinne Hambly, Laoise Kelly, and Michael Rooney continue to share the tradition with a new generation of harp players. What does it mean to learn music in the tradition?“The way people are learning now, mostly is in workshops by rote. It's learning by ear, but it's not traditional. To be traditional is to start with the basics and then to evolve the arrangement yourself using a free form of ornamentation and variation and accompaniment. None of that should be present.”-Janet HarbisonJanet believes that a musician should be able to converse with and, “be in community with the [other] players otherwise “You're limiting yourself”.“It's a natural thing for a student to emulate their teachers, but it shouldn't be that they only can play what they've been formally taught, by ear or by any other means. It's about teaching somebody a language so they can speak it. And that they feel confident to commune with it with the other tradition makers. For me that's the purpose behind teaching.”-Janet HarbisonPlaying Harp in Irish Traditional Music Sessions“Harp players have a unique opportunity to do the traditional stuff in a traditional way that is still also ahead of the fashion, if you like.”-Janet Harbison On Accompanying:“It's all about dressing up and dressing down any piece of music…The tune is the story and the accompaniment is the fluff. “-Janet HarbisonSession EtiquetteJanet encourages harpists to play with the best musicians you can find, not to play in slow sessions, but go and try to stretch yourself. You don't have to play every note, but let your playing breathe and get into the feel of the music. Janet reminds us to “Watch how the musicians look at each other and the unspoken communication”. Harpists and Poets“The harpists had a partnership with the poets. The poets composed the epic verse. [The verse] would never be performed without the harper providing the emotional impact in the music of the suantraí, geantraí and goltraí.”-Janet HarbisonAccording to tradition, there are three types of Irish melody – suantraí, geantraí and goltraí. Suantraí (lullaby) was a tune that put you to sleep, geantraí caused laughter or merriment, whereas goltraí brought the listener to tears.www.livinglanguage.com/blog/Janet is passionate about training and teaching traditional Irish Harp and believes that, “Irish harp music should have a much higher profile in harp music worldwide.” LINKSJanet's Website: www.janetharbisonharp.comThe History of The Belfast Harp Orchestra: www.irishharporchestra.com/history/short-history-of-the-belfast-harp-orchestra/Janet and Grainne Hambly performing, “Bright New Morning” at The Somerset Folk Harp Festival in 2019:https://www.youtube.com/watch?v=SSc7qcqg1KAThe Camac “Janet” Harp: www.camac-harps.com/en/harps-en/lever/janet/

Ep. 106: Yolanda Kondonassis, one of the world's premier solo harpists. Let's Talk Off The Podium with Tigran Arakelyan. Yolanda Kondonassis is celebrated as one of the world’s premier solo harpists and is widely regarded as today’s most recorded classical harpist. Hailed as “viscerally exciting” (The Chicago Tribune) and a “brilliant and expressive player” (The Dallas Morning News), she has performed around the globe as a concerto soloist and in recital, bringing her unique brand of musicianship and warm artistry to an ever-increasing audience. Also a published author, speaker, professor of harp, and environmental activist, sheweaves her many passions into a vibrant and multi-faceted career. Kondonassis has sold hundreds of thousands of albums and downloads worldwide and her extensive discography includes over twenty titles. She continues to be a pioneering force in the harp world, striving to make her instrument more accessible to audiences and push the boundaries of what listeners expect of the harp. She was nominated for a Grammy Award for Best Classical Instrumental Solo for the world premiere recording of Jennifer Higdon’s Harp Concerto with The Rochester Philharmonic Orchestra (Azica Records, 2019). Her 2008 album of music by Takemitsu and Debussy, Air (Telarc), was also nominated for a Grammy Award. Since making her debut at age 18 with the New York Philharmonic and Zubin Mehta, Kondonassis has appeared as soloist with major orchestras in the United States and abroad including The Cleveland Orchestra, English Chamber Orchestra, and Hong Kong Philharmonic, to name a few. Other engagements include performances at renowned festivals including the Marlboro Music Festival, Spoleto Festival,Tanglewood Music Festival, and she has been featured on CNN and PBS, as well as Sirius XM Radio’s Symphony Hall, NPR’s All Things Considered and Tiny Desk Concerts,St. Paul Sunday Morning, and Performance Today.   Kondonassis is committed to the advancement of contemporary music for the instrument, with recent premieres including works by Bright Sheng, and Jennifer Higdon. Her extensive discography includes works by Rorem, Rochberg, Erb, Liebermann, Paulus, Fitch, Lash, Montsalvatge,Takemitsu, Cage, and Carter, among others. Her most recent book,The Composer’s Guide to Writing Well for the Harp, was released in 2019. In addition to her active solo, chamber music and recording schedule, Kondonassis heads the harp departments at Oberlin Conservatory of Music and The Cleveland Institute of Music, and presentsmasterclasses around the world.   In this podcast we talk about premieres, her new book, passion for writing, life changing moments and hobbies. Ms. Kondonassis also speaks about her non-profit, Earth at Heart and much more. For more information about Yolanda Kondonassis please visit: https://www.yolandaharp.com © Let's Talk Off The Podium, 2020

[The Harrogate Theatre is half through panto season and the Harrogate Convention Centre is gearing up to welcome the harpist who played at Will and Kates Royal Wedding! ](https://www.strayfm.com/the-box-office.php)

This was such a great and funny conversation! London based Harpist Alina Bzhezhinska talks about her journey to becoming one of the top Harpists in the UK, discovering the music of Alice Coltrane, working for the King of Thailand plus the joys of motherhood. https://www.alina-harpist.com/ The I Wish I Didnt Quit Podcast gets inside the minds of musicians and other creatives and is hosted by Nate Holder. Contact: info@iwishididntquit.com IG @iwishididntquitpodcast Twitter @iwishididntquit www.iwishididntquit.com

Wedding Lighting Options for Ceremonies and Receptions - Episode #122 Marie Kubin is the CEO of the nationwide rental company, Rent My Wedding. In efforts to cut costs on her own wedding, she was led to something called bride-sharing.   She's here to provide us with some expert advice on wedding lighting options for ceremonies and receptions. She tells us about her journey. What unique options are available for ceremonies? Unique options for receptions? Custom gobos? Ie. Hand lettering to match the wedding suite. Spotlights, what can you spotlight, what do you suggest? Trends? What are you seeing done lately? Rent My Wedding Segment/Addendum Email from local vendor Cynthia Kuni, Harpist giving us some more info after listening to Episode 56 on hidden fees  Late weddings (more the 15 minutes late).The only ambiguous cost I have ever had to charge is the "late wedding" fee. My contract does state that late weddings will incur a fee after a grace period, but the length of the "overtime" can vary so much. Without a possible extra fee hanging over them, many brides will linger in their dressing rooms while their poor harpist performs a full hour long recital instead of what was supposed to be 20 minutes of a prelude. I hate charging for late weddings (I have to bill them after the fact - very uncomfortable), but I found many years ago that it was necessary to motivate clients to honor the value of my performance, so to speak, and step on out! Travel. Many harpists charge travel fees. Personally, I will drive about 50 miles without charging a fee, but I always charge for travel that involves a ferry ride. (Puget Sound Ferry System.) I need to be at least one ferry early to make sure I am not late, and the whole commute is extremely long when a ferry is involved. Special music. Most wedding harpists have a very large repertoire to choose from. But the world of popular music is constantly changing and we often find a bride wants a particular song for her wedding that we must learn. I try to offer one or two special requests (depending on how many weddings I have in that month) free of charge. But similar to the "late wedding" issue, I found that without a fee people will demand quite a lot. Who can blame them?  So for me, I charge on a case by case basis and am as generous as I can be. The important thing is that the fee is stated clearly in my contract and I don't sign with anyone unless I feel sure we both know what is expected. Shelter. The harp is so lovely at an outdoor event, but sun and moisture can be very damaging to the wood and strings of our precious instruments. Harpists differ enormously on whether they will play outside, when (not March! lol), and under what conditions. The hidden cost here is providing shelter, and sometimes a firm flooring, for those of us who do play outdoors but are not willing to risk harm to our harps. There might be damp, soft, or uneven ground, which can damage the wood and which interferes with the balance of the harp when it is being played. Sunlight damages gut harp strings, and even a light mist (whether from the sky or a nearby fountain) is disastrous to the harp's wood. I have played on shady patios and gazebos, and I have also had clients build platforms, rent canopies, or make sun shelters for the harp. Accompanying a soloist. This is a similar cost to "special music requests," with the added expense of at least one rehearsal, chez Moi, with the soloist. I don't charge a lot for this, but I insist on rehearsal. Attendance at the wedding rehearsal. Very few brides opt to have me play at their rehearsal. If I don't have to drive too far and if I'm free, I will sometimes volunteer to attend the rehearsal for free. I enjoy doing so when I can manage it.  But obviously,  live harp music for rehearsal = $. "Hourly" rates. This is THE biggest misconception about harpist fees that I encounter.  "We will need you for about 2 hours? What will that cost?" I cannot speak for other harpists, but I have a flat rate for wedding ceremonies, regardless of the length of time. Apart from the aforementioned "late wedding" fee, I provide pretty much the same amount of music for every wedding. If your ceremony is 10 minutes or an hour long, I am still providing the same service, just with more or less sitting pretty in between harp elements. The confusion is increased by the fact that many people would like 20 or 30 minutes of "cocktail" music after the ceremony, and for that, I bill on a separate scale: my hourly background music fee (in 15-minute increments), is added to the ceremony fee. I tell brides to consider it this way: the ceremony music is a completely different kind of product you are purchasing, drawing on my experience and expertise to play well under extreme pressure while keeping an eye on moving bodies and adjusting musical performance to fit into a changeable event. I have seen silk flowers catch fire, tight dresses burst at the seam, flower girls run off, mothers-in-law fall down... the harp must be a steady yet flexible anchor for it all.  It costs more because I am providing more. Background music, on the other hand, is a more casual experience while guests chat, laugh and enjoy champagne. There the client is paying for my varied music repertoire, the countless hours of practice over the years, and the beautiful ambiance the harp provides. If you'd like to support us please check out our patreon page at fromringtoveil.com/give Remember you can reach us anytime by emailing info@fromringtoveil.com Subscribe to the podcast: {Apple Podcasts} {Google Play} {Stitcher} -Until next time, No Stress No Worries Keep Calm and Listen On-

Have you ever dreamed of getting nicknamed the "King of the Clarinet"? Too bad—it's already taken. Kyla and Taylor are talking the King of the Clarinet Artie Shaw in this episode, including why he thinks we're morons and his connections to Gilmore Girls. (And Peyton Place!) Plus, the return of Easter Egg Hunt! If Netflix brings Gilmore Girls back again, here's hoping we'll see adult Rory tap dancing while dressed like broccoli.

Deborah Henson-Conant is a Grammy nominated artist, who sings & plays the harp, tells stories and composes symphonic music. She has made her own path, composing since age 12. She first studied classical harp, then she developed her own style, combining blues, swing and Latin Jazz, with storytelling and humor. Deborah has toured with the Boston Pops, premiered her own orchestral compositions, played at jazz clubs in Germany and Celtic festivals in France. In 2007, her one-woman show, Invention and Alchemy, debuted on PBS and was nominated for a Grammy award. You can hear Deborah Henson-Conant perform and teach at the 2013 New Orleans Jazz and Pop Harp Weekend, June 6 through 9. For more information, go to www.neworleansjazzharp.com. This HarpTalk program was sponsored by a grant from the American Harp Society and produced by the New Orleans Chapter. Our host is Patrice Fisher and our audio engineer is Carlos Valladares. You can find out more information about Deborah Henson-Conant at www.hipharp.com.

Sadie Turner, 1st prize winner of the American Harp Society’s National Competition, made her solo debut at age 18 with the Houston Symphony Orchestra as winner of their High School Concerto Competition. As a recitalist, she has performed throughout the United States. In the orchestral arena, she has performed with the Houston Symphony, New World Symphony, Shreveport Symphony, Arkansas Symphony and the Rice University Symphony and Chamber Orchestras. During the summers, she has also participated in several acclaimed festivals such as the Tanglewood Music Center for two summers, the International Festival Institute at Round Top, Texas Music Festival and the Salzedo School for Harp.

CHRISTA GRIX Christa fell under the spell of the harp during her first lesson at 16. Two years earlier, she was transfixed by live jazz during a performance at her high school. The two influences have shaped, but not limited her explorations and accomplishments on the instrument. Equally adept as both a classical and jazz harpist, she is one of those rare individuals who can make the transition from the jazz rhythm section to the symphonic string section sound effortless. The appeal and respect her music generates has taken her throughout the U.S., Canada and Europe as an invited soloist and clinician at all the major harp festivals and conferences. Christa released her first jazz harp recording, freefall, in 1996, on the Freefall Music label. Her second recording, Cheek to Chic was released in 2002. She is the President and CEO of Freefall Music, and founder of ArtnHarp, a division of Freefall Music. She currently sits on the board of the Detroit Musicians Fund, and is a past board member and executive committee member of the American Harp Society. Upcoming national and international appearances include performances at the 2010 Conference of the American Harp Society in Tacoma, Washington, and the 2011 meeting of the World Harp Congress in Vancouver, British Columbia. You can contact Christa at christagrix@mac.com and read more about her at http://web.mac.com/christagrix

In 2007, Dr. Alfredo Rolando Ortiz was invited to compose a piece to be premiered on July 22, 2008, during the Tenth World Harp Congress in Amsterdam, The Netherlands. Originally composed for four harps or harp ensemble, the piece was performed by 232 harpists, breaking the Guinness World Record of the largest harp ensemble to date. In April, 2009, performing his own compositions, he was one of the winners of the Beverly Hills Chamber Music Auditions of the Southern California Chamber Music Presenters Consortium. On July 19, 2009, twelve 5th grade harp students of Lou Anne Neill (harpist of the Los Angeles Phlharmonic), from Moffett Elementary School, performed Alfredo’s composition PAISAJE, during the Opening Night Gala of the Hollywood Bowl, accompanied by the Hollywood Bowl Symphony, for an audience of over seventeen thousand. Internationally acclaimed by the critics, soloist of the "arpa paraguaya" (Paraguayan harp), a composer, author, educator and recording artist, Alfredo Rolando Ortiz considers his "most important concert" playing the harp in the delivery room during the birth of his second daughter. Alfredo was born in Cuba. When he was eleven years old he immigrated with his family to Venezuela. Four years later he began studying the Venezuelan folk harp with his school friend Fernando Guerrero. A year later he became a pupil of Alberto Romero on the Paraguayan harp. Just two years after his first harp lesson, he began medical studies in Medellín, Colombia, began performing professionally and recorded his first album. Music supported his medical studies until graduation. Five years later he moved to the United States to continue studies of Music Therapy. Two years later he married Luz Marina Otero. For eight years from the time of his graduation from medical school, he worked in the medical field as well as a harpist and recording artist, until his wife became pregnant. In order to have time for his growing family, he then decided to dedicate his life only to them and to his first love: the harp. You can find out more about Dr. Ortiz at www.alfredo-rolando-ortiz.com or contact him at harp4ortiz@aol.com

A veteran member of McNeese’s music faculty, Miss Belew is a graduate of Hardin- Simmons University (Abilene, Texas) and Indiana University, who has taught piano and harp, as well as courses in pedagogy and literature of the two instruments. She has coached both MSU’s harp ensemble and that of the Louisiana Chapter of the American Harp Society. Barbara founded the first American Harp Society chapter in Louisiana in 1972. She was the Southern Regional Director of the AHS from 1973 to 1979. She has played harp in the Lake Charles Symphony and several other area performing organizations, including Baton Rouge Symphony, Rapides Symphony and the opera in Beaumont, Texas. Miss Belew maintains active membership in the AHS chapter, the Lake Charles Piano Teachers Association, Louisiana Music Teachers Association, and Delta Kappa Gamma Society International, honorary/professional organization for women educators. She recently was named to the 2010 edition of Who’s Who in America. Barbara was the founder of the McNeese Summer Harp Camp in 2000. You can contact Barbara Belew at bbelew@mcneese.edu.

Mary Radspinner began harp studies with Jeanne Henderson in the Milwaukee Public School System. Jeanne provided many kids with the opportunity to learn the harp who may have never had the luck otherwise. Mary credits her love of music and the harp to Jeanne, a wise teacher who imparted many different styles of playing to her students, preparing them for all kinds of work in the music world. She also studied string bass and voice. In 1977 she earned degrees in applied harp and music education from Alverno College in Milwaukee, WI. During the next 10 years she taught elementary general music, elementary band, high school orchestra, choir and music theory. Mary free-lanced in Houston for 11 years, playing an average of 4 events per week, and during that time she served as substitute harpist with the Houston Symphony and second harpist with the Houston Ballet Orchestra. She has served as president of the San Jacinto Chapter of the American Harp Society, SW Regional director of the American Harp Society, and president of the International Society of Folk Harpers and Craftsmen. She chaired the International Folk Harp Conference held in Galveston in 1998. Mary is the immediate past president of the Scottish Harp Society of America. She served as editor-in-chief of the Folk Harp Journal for a six-issue interim. In 1993 Mary and her husband John Gill opened Melody's Traditional Music & Harp Shoppe, a harp specialty store in Houston, TX. In 1999 Mary and husband John established Afghan Press, specializing in harp music publications. Afghan Press is named after John and Mary's beloved Afghan Hound, Melody. (1987 - 1998). Mary instituted the harp events at the TX Scottish Festival in Arlington, and has chaired the harp competition events for the Houston Highland Games. She was a winner in the Florida Summer Harp Seminar pop harp competition in 1994, and is the 1995 Texas champion Scottish harper. She performs and gives workshops throughout the country on harp techniques for relaxation, ensemble ideas and improvisation. You can find out more about Mary Radspinner at www.maryradspinner.com and contact her at mary@folkharp.com.

"Imagine a red haired Celt from Brittany, just out of a Broceliande tale, with a voice that hovers somewhere between the high registers of Kate Bush, the purity of Sinead O Connor and the mysticism of Enya and you’ll have a good idea what this remarkable young harpist, arranger of traditional songs and original songwriter sounds like.” Singer and Harpist Cecile Corbel was born in Brittany, in the Finistère, at the very west of Europe. In her teens, after learning the guitar, she discovered the Celtic harp. The young Breton composer and singer now shares her « pop folk Celtic » music with her musicians in France and abroad. You can contact Cecile Corbel at cecile.corbel@netcourrier.com.

Known for her bold interpretations and diverse repertoire, Dr. Yeung has performed in festivals throughout Europe, Asia, and the Americas. She has won top prizes at the Nippon International Harp Competition, Lily Laskine International Harp Competition, American String Teachers Association National Solo Competition, Anne Adams Awards, and Ruth Lorraine Close Awards. To her credit, Dr. Yeung is the only person to simultaneously receive first prizes in the two highest divisions of the American Harp Society National Competition and Prix Renié. As a winner of Artists International, Dr. Yeung premiered her transcription of the Goldberg Variations at Carnegie Hall in 1999. She has premiered numerous compositions, including multi-media works at World Harp Congresses in Dublin and Amsterdam, and the National Flute Convention in New York City. She has made recordings for the Innova, Fons, Albany, and Cadenza labels. You can contact Ann Yeung at annyeung@illinois.edu.

"Imagine a red haired Celt from Brittany, just out of a Broceliande tale, with a voice that hovers somewhere between the high registers of Kate Bush, the purity of Sinead O Connor and the mysticism of Enya and you’ll have a good idea what this remarkable young harpist, arranger of traditional songs and original songwriter sounds like.” Singer and Harpist Cecile Corbel was born in Brittany, in the Finistère, at the very west of Europe. In her teens, after learning the guitar, she discovered the Celtic harp. The young Breton composer and singer now shares her « pop folk Celtic » music with her musicians in France and abroad.