Only songs with a harp turn. Memorandum.
・Introduction
It is thrilling to put in the arpeggio very quickly while listening to the quiet six-tuplet of strings.
Although I thought that it would be good to replace the sound of B with a C pedal by using the C pedal as a trap, I decided to stop the adventure.
Prologue
・��2. Scène dansante
Arpeggio accompaniment often found in Johann Strauss waltz. I was nervous because there were a lot of pedal changes.
・��3. Pas de six
An arpeggio continues, and the last ,grissand.
・ VI. La Fée des lilas
Only Sol.
・��4.Finale
At the beginning, wait for nearly 3 minutes, then the chords continues. Busy pedal changes at measures 89-91. This part seems to vary in tempo depending on the orchestra.
The atmosphere changes at bar 232, followed by 5 grissandos. The first is f, the second is p, the third and fourth are crescendo from p to mf, and the fifth is crescendo from mf. Don't make a mistake in the pedal.
The arpeggios after 270th bar will crescendo from p to fff in only 2 bars.
Acte ��
・��8. Pas d'action- I. Adagio
Harp throat solo. This time, the pedals were set to D ♮ C ♮ B ♭ E♯F ♮ G♯A ♭, and bars 15-16 were set to a grissando.
In that case, it would be a catastrophe if you forget to be careful and change the pedal to E ♭ G ♮ before entering the 19th bar. Lol.
You must keep playing until measure 29, but there is no turn after that.
・III. Variation d'Aurore
Glissand continues for 14 bars. From the 216th bar, if harp were out of tune, it will be very noticeable in comparison with the Vn solo, so it is safer to tune carefully the four sounds of the Ra Si Do Re until just before the actual performance.
・��9. Scène finale
The chords at bars 116-117 are unexpectedly difficult. The tempo is a little difficult to grasp and there are many sounds, so it tends to be hard to play all the sounds perfectly. When the tempo is fast, it feels more difficult.
Therefore, as a safety measure, I've tried changing the pedal to C ♭ F ♭, but I stopped it in this production.
This area is the same as the suite version.
Acte I concludes with the last harmonics. The disappointment when the harmonics didn't sound is tremendous.
Acte II
・��14. Scène
Arpeggio, the chords, arpeggio, the chords ...
・��15. Pas d'action (Scène d'Aurore et de Désiré)
Five chords.
・Coda
There are 7 harmonics and a chord in the last.
・��17. Panorama
It seems to be one of the three major harp songs in this work. Solely to playing arpeggio.
It can be said that it is carefree in that there is no pedal change. Only p or mf appears, but they say the harp's p is mf, so I played it fortly.
・��19. Entracte symphonique (Le Sommeil) et scène
Arpeggios and chords in silence, the atmosphere of the song makes me more nervous than necessary. The sound is somewhat difficult to play.
I noticed that I had been mistaking Ra♭ for Ra♮ of bar 18 just before the rehearsal.
Such as having to change the three pedals very quietly when entering bar 37-38.
Since measures 41-42 have a similar sound shape to measures 116-117 of song No. 9, I considered playing the pedal with B # E # as a safety measure, I stopped it because the tempo wasn't so fast.
After banging a chord at measure 141,if a gong rang, it will be the end of the turn of the harp.
After that, it will be a longer tacet.
��8. Pas d'action- I. Adagio, LyraMusic Orchestra Study includes another long version of Cadenza by Walter-Kuhne. Is
this Ekaterina Walter-Kühne (1870-1930), I wonder?
I heard a similar Cadenza somewhere, so if I found Youtube, I would like to introduce it here.
This Orchestra Study also introduces a harp version of the No.14 of the Nutcracker, Pas de deux. If I played this version, I would feel dizzy. There is also a flower waltz Cadenza by A. Zabel, where Cadenza 10 bars are the same as the conventional type, but bars 11-17 are chords. I have never heard this version. If I played it in the next performance, many people would be surprised. But I probably play the standard version.
