1999 Harp-L Classical Harmonica Discussion

Douglas Tate: List of major works for classical harmonica

From: Douglas Tate <dougt_playwell@cableol.co.uk>

Date: Mon, 22 Feb 1999 22:31:20 +0000

Subject: Major works for Classical Harmonica

Many people still scoff at the thought of the harmonica playing 'classical'

music with orchestra.

However... a number of people have had serious works written for them.

I have compiled a list of the ones I know about, have got, played or have

had written for me.

I would be interested to learn of any other works from anyone .... Robert

Bonfiglio ????

Here is the list of about 60 works I have gathered. I KNOW there are

more.

Mine are all near the end.... I'm so much younger than anyone else :)

Douglas Tate

####################

1940 Chiimark Suite for Harmonica and Orchestra Edward Robinson

for John Sebastian

1940 Caribbean Concerto for Harmonica and Orchestra Jean Berger

for Larry Adler Mills Music Inc , USA

1941 Gay Head Dance for Harmonica and Orchestra Edward Robinson

for John Sebastian

1942 Suite Anglais for Harmonica and Orchestra Darius Milhaud

for Larry Adler Boosey& Hawkes, New York, USA

1943 Street Corner Concerto for Harmonica and Orchestra George Kleinsinger

for John Sebastian Chappel/Theadore Presser, PA, USA

1947 Fantasy for Harmonica and Orchestra Walter Anderson

for John Sebastian

1948 Concertino for Harmonica and Orchestra Norman Dello Joio

for John Sebastian AMP. New York. USA

1948 Concertino for Harmonica and Piano Hugo Hermann

for Oscar Dheinbolt Hohner Ag, Trossingen, Germany

1951 Concerto Scherzoso for Harmonica and Orchestra Graham Whettam

for Larry Adler De Wolfe, London, UK

1951 Concerto for Harmonica and Orchestra Michael Spivakovsky

for Tommy Reilly Bosworth & Co, London, UK

1952 Romance for Harmonica and Strings Ralph Vaughan Williams

for Larry Adler Oxford University Press, London, UK

1953 Fantasy for Harmonica and Orchestra Graham Whettam

for Tommy Reilly Bosworth & Co, London, UK

1953 Concerto for Harmonica and Orchestra Alexander Tcherepnin

for John Sebastian AMP, New York, USA

1953 Little Fugitive Suitefor Harmonica and Orchestra Eddy Lawrence Manson

for Eddy Manson

1953 Concerto for Harmonica and Orchestra Arthur Benjamin

for Larry Adler Boosey and Hawkes, London, UK

1953 Concerto for Harmonica and Strings Alan Hovaness

for John Sebastian C F Peters, New York, USA

1954 Concerto for Harmonica and Orchestra Malcolm Arnold

for Larry Adler

1955 Concerto for Harmonica and Orchestra Heitor Villa Lobos

for John Sebastian AMP, New York,USA

1956 Roumanian fantasy for Harmonica and Orchestra Francis Chagrin

for Larry Adler Mills Music, London, UK

1956 Greek Folk Dances for Harmonica and Strings Alan Hovaness

for John Sebastian C F Peters, New York, USA

1956 Skin Diver suite for Harmonica and Orchestra Leo Diamond

for Leo Diamond

1957 Divertimento for Harmonica and String Quartet Gordon Jacob

for Larry Adler Joseph Williams, London, UK

1957 Five Pieces for Harmonica and Orchestra (or piano) Gordon Jacob

for Tommy Reilly Joseph Williams, London, UK

1957 Intermezzo Giocoso for Harmonica and Piano Rudolf Wurthner

for Rolf Glass Hohner AG, Trossingen, Germany

1958 Concerto for Harmonica and Orchestra Serge Lancen

for Larry Adler Hienrichsen

1960 Concerto for Harmonica and Orchestra Frank Lewin

for John Sebastian Demeter Music Inc, Princeton NJ, USA

1961 Concerto for harmonica and orchestra Karl Heinz Koper

for Tommy Reilly

1961 Concerto for harmonica and Orchestra Henry Cowell

for John Sebastian C F Peters, New York, USA

1961 Concerto Sonata for Harmonica and Piano John Antill

1961 Second Concerto for Harmonica and Orchestra Graham Whettam

For Tommy Reilly

1963 Improvisation #9: Harmonica, Strings and Percussion Luciano Chailly

for John Sebastian Edizioni Musicali, Roma, Italy

Concerto for Harmonica and Strings Alan Ridout

Concerto for Harmonica and Strings Naresh Sohal

For Larry Adler

1967 Concertino for Harmonica and Orchestra A J Potter

For John Murray Ferguson

1970 Concerto for Harmonica and Orchestra Henri Sauguet

Claude Garden Ed Francais de Music, Paris, France

1972 Bachiana Americana Eddy Manson

for Eddy Manson Margery MusicI NC., Los Angeles, USA

1972 Quintet for Harmonica and Orchestra James Moody

for Tommy Reilly

1974 Concerto for Harmonica and Orchestra Roberts Russell Bennett

for Cham-Ber Huang

1977 Nigun & Paraphrase on "Kol Nidrei": Harmonica & String Quartet Eddy

Manson

for Eddy Manson Margery Music INC., Los Angeles, USA

1978 "Analogues" for Harmonica and String Quartet Eddy Manson

for Eddy Manson Margery Music INC., Los Angeles, USA

1978 Concerto for Harmonica and Orchestra Richard Hayman

for Richard Hayman Yorkville Music Co, New York, USA

Concerto for Harmonica and Orchestra Vilem Tausky

For Tommy Reilly Anglo Continental Music, London, UK

Concerto for Harmonica and Orchestra Robert Farnon

For Tommy Reilly

Prelude and Dance for Harmonica and Orchestra Robert Farnon

For Tommy Reilly

1961 Ballad & Tarantella for Harmonica and Concert Orchestra Fried Walter

For Tommy Reilly

The Adventures of Cpl Smith Harmonica and Concert Orchestra Fried Walter

For Tommy Reilly

Spanish Fantasy for Harmonica and Orchestra James Moody

For Tommy Reilly

Irish Fallen Suite for Harmonica and Orchestra James Moody

For Tommy Reilly

Dance Suite Francais for Harmonica and Harp James Moody

For Tommy Reilly

Little Suite for Harmonica and Orchestra (or piano) James Moody

For Tommy Reilly

Fantasie Concertante for Harmonica and Orchestra Joseph Kosma

For Tommy Reilly

Apparitions for Tenor, Harmonica, Piano and String Quartet Phyllis Tate

For Douglas Tate

1970 Sonata for Harmonica and Piano Arnold Cooke

For Douglas Tate

Sonata Pastorale for Harmonica and Harpsichord Phyllis Tate

For Douglas Tate

Sonata for Harmonica and Piano Peter Jenkyns

For Douglas Tate

Romance for Harmonica and Piano Peter Jenkyns

For Douglas Tate

Quasi Harmonica and Guitar Patrick Harvey

For Douglas Tate

Sonata for Harmonica and Piano Madelaine Dring

For Douglas Tate

Concerto for Harmonica and Orchestra Alan Stripp

For Douglas Tate

Cantata (Princess Hubert) for Baritone, Harmonica and Piano John Ireland

For Douglas Tate

Douglas Tate: Reasons why classical harmonica was not popular

From: Douglas Tate <dougt_playwell@cableol.co.uk>

Date: Tue, 23 Feb 1999 09:18:11 +0000

Subject: WHO PLAYS CONCERTOS?? was Major works for Classical Harmonica

Hi Mike

At 19:38 22/02/99 EST, Diachrome@aol.com wrote:

>I was wondering today doug why you "class" cats don't talk the tunes like

the

>blues and jazz players do, and analyze the material you play. I glad to see

>you coming forward.

Number of reasons I suspect. The number of classical players who play the

concertos is about as low as the number of cockroaches with serious gout in

their number three foot.

In fact let me ask the question ...

How many of you on list play any of the harmonica concertos????

How many of you play the more serious Sonatas, Suites etc written for

harmonica???

It would be interesting to see.

I believe that one of the reasons it is not discussed is because the

players at this level tend to be professionals, busy and maybe not on list.

It is a shame.

There is also another factor... Many of these more serious works are not

generally available.

For example ... I have been trying to trace who owns the copyright on two

of the well known 'concerto' class pieces of music by trying to trace

publishers for the last three months. As a member of the Musicians

Union in the UK I would have expected at least an acknowledgement from

them... Nothing... So I tried the Composers Guild..... No

acknowledgement... so I tried.... etc etc it is quite

disheartening.

The problem is that it is illegal to photocpy and distribute this stuff...

and in any case there are hundreds of pages knocking around.

There is another problem ... some of the works are pure rubbish!!!!

Another is that some of the music is dated..

Another problem is that concert organisers latch on to certain works and

are not interested in hearing 'less well known' pieces... and with hundreds

of hours of dedication to achieve a musicianly performance level there is

poor incentive to play the lesser known.

Many of the concertos I have played no more than once in earnest for money

and on a strictly cash for hours worked they work out at about 3 cents an

hour. Robert bonfiglio is well known on the concert circuit in the States

for the Villa lobos Concerto.... but I bet he has problems playing almost

anything else besides that and the Vaughan Williams Romance with Orchestra

in the States. Concert organisers are very conservative in general...

Composers who wrote for me usually delicately asked how many broadcasts i

would get bbefore they even started. some were commissioned for me by

our BBC Radio 3 in the days when they were not so strapped for cash. Some

tho' were composers who just had the burning desire to write for the sound

produced by the harmonica... Luckily they heard me and attached me to the

pieces.

i have a guy who is trying to get me to collaborate in writing a new

concerto literally starting this week!!! But I keep telling him that it

is unlikely that he will get a broadcast performance ... local performance

maybe. Also... he shoots himself in the knee by wanting a BIG orchestra...

more likely to get performance with a small/string orch or with string

quartett. etc etc etc.

One more factor :)) I wonder how many of you 'Blooos' guys would murmur

under your breaths "Ye Gods... not ANOTHER 14 page analysis of bar 78 of

the Tcherapnin Concerto slow movement ..... what is this Concerto-L??

Mike ... thanks for the interest.... the Tate is willing..... who wants

to start!!!!

hmmmm another factor has cropped up.... The 'Golden Age' for concertos

was 50s & 60s . At the moment there is not a lot of deep serious music

being played on harmonica... I am not talking 'show classics' ie a

classical piece shoved in an otherwise rabble rousing performance by the

player announcing " now seriously folks ..... " And if that sounds

denigratory it is not supposed to be ...

The diaatonic scene is growing by leaps and bounds.... I sincerely hope

that the same thing happens with harp as happened with guitar. The vast

number of people in the fifties playing rock and pop guitars spawned an

interest in, and growth of the number of people playing classical

guitar.... hence better instruments were demanded... quality of playing

rose etc.

Maybe with the way the diatonic revolution is growing with the Levy ...

Filisko type of combination mirroring the Segovia - Ramirez , or Bream -

Rubio will lead to a Renaissance in Classical playing :)))

douglas t

> I try to buy "good" classical harp (and non harp) cd's whenever i can

find

>them. especially tommy reilly. It would be nice to read once in a while

>classical players opinions on certain recordings so the rest of us that may

>not play it ,but can appreciate it can get some insight.

>

>if your bored blue bellow bach:))

>

>mike e

Michael Polesky: Experience in learning classical harmonica

From: "Michael Polesky MPA" <NewCalif@pacbell.net>

Date: Tue, 23 Feb 1999 13:27:21 -0800

Subject: Re: WHO PLAYS CONCERTOS?? was Major works for Classical Harmonica

Tinus says:

>I would like to play classical music

>but don't know where to start.

>All the pieces I have seen where

>terrifyingly difficult.

Ahh, yes. This jogs my memory. I received a "classical

training" in my instruments growing up - including harmonica, but

I didn't really get interested in classical music until I started

listening to it. Then, I picked pieces I wanted to play because

they were BEAUTIFUL and not because they were "possible" ;-). I

quickly discovered that not everything was sutiable for

performance on harmonica, but I realized that the attempt was a

good learning process and I developed stratagies for adapting or

reproducing traditional classical sounds from a wide range of

instruments on to the harp. I never let the fact that these

things were difficult stop me from playing them for myself.

Picking things to play in public or just with other people was

tougher and I tended to stick with short excerpts from favorite

pieces of music that were sutiable for harmonica rather than

search long hours for whole pieces. I think it is interesting to

note from Doug's comments how little music is readily available

for the harp in the classical realm. This makes the process of

adpatation far more necessary and an excellent way to "start"

learning classical harmonica for someone who is already familiar

with classical music. Just because it can't be played at speed

for performance purposes or with others doesn't mean it can't be

rewarding to "fulfill the fantasy" of playing these things as

exercise anyway. Go ahead nad "have fun" and then figure out

what you can adpat for performance. As funny as it may sound,

there are probably fewer rules, guidelines or helpful

publications for playing classical harmonica than nearly any

other style. You do kind of have to forge your own path in that

area until you can find and get a hold of the repertoire

necessary to actually play with others. hope that helps,

Michael

Robert Bonfiglio: Professional classical player sharing his experience

From: bon@i-2000.com (Robert Bonfiglio)

Date: Tue, 23 Feb 1999 23:42:20 -0700

Subject: Concerto work

Doug Tate wrote:

Many of the concertos I have played no more than once in earnest for money

and on a strictly cash for hours worked they work out at about 3 cents an

hour. Robert bonfiglio is well known on the concert circuit in the States

for the Villa lobos Concerto.... but I bet he has problems playing almost

anything else besides that and the Vaughan Williams Romance with Orchestra

in the States. Concert organisers are very conservative in general...

Dear List,

I just returned from playing with the National Symphony in Bogota, Columbia

and before that the Mexico City Philharmonic. I saw the list of major

works for harmonica that Doug Tate put up and it is basically the same as

the one I gave my student, Mark Weber, to have copied at the 1989

Championships that I judged in Trossingen. I know most of the works on

that list and have read through them.

Of the major works, the ones I play the most are:

Villa-Lobos Harmonica Concerto

Henry Cowell Harmonica Concerto

Vaughan Williams Romance for Harmonica, Strings and Piano

Alexander Tcherepnin Harmonica Concerto

Malcolm Arnold Harmonica Concerto

Darius Milhaud Suite for Harmonica and Orchestra

Gordon Jacob Five Pieces for Harmonica and String Orchestra

Alan Hovhaness Harmonica Concerto

Alan Hovhaness Greek Folk Dances for Harmonica and Strings

Arthur Benjamin Harmonica Concerto

I have also done the Vilem Tausky Harmonica Concerto for the American

Ballet Theater but only during an 8 day run. I have just been asked by

Fabio Luisi, who conducts the Suisse Romande Orchestra, to play the

Villa-Lobos Harmonica Concerto with the Leipzig MDR Sinfonieorchester. I

will be playing concerti in Toulouse, with the Luxembourg Philharmonic at

the Saar Festival, with the Northwest German Orchestra, the Grand Rapids

Symphony, the Long Beach Symphony, the Boston Pro Arte Orchestra, the

Bochumer Sinfoniker in Germany, the Interlochen Festival Orchestra, the

Buffalo Philharmonic, etc.

I am talking with Lowell Liebermann who just wrote for Galway, and is

composer in residence at the Dallas Symphony, about a new Concerto. I have

also spoken to John Corigliano and Bill Balcolm, both Pulitzer Prize

winners about writing for me. The reason I mostly play the Villa-Lobos

Harmonica

Concerto is that that is the Concerto I recorded on RCA with Gerard Schwarz

and the New York Chamber Symphony. It takes me about two years to add a

new Harmonica Concerto to my repertoire, i.e., a lot of work.

I love playing serious music on the harmonica; the audience hangs on every

note, I don't have to tell jokes or sing or dance. There is no smoke and

most everyone is sober. The orchestra members nearly always buy my CD's

and the best compliments come from these trained musicians and the

conductors, but I love harmonica players who come and say hello after the

concert.

Serious classical harmonica playing is quite alive and well. Orchestras

NEVER ask for transcriptions, only for pieces written for the instrument.

I am now able to command a fee of $5,000-$8,000 for a single concerto,

about $10,000 for a double and up to $15,000 for a triple. I do play Pops

concerts (the Elvis Medley is a big hit) where I do more blues harp work

and I always bring out the diatonic for encores at every concert.

What would I like to see on the list: As much concentration on reed

material and construction as there is on instrument design and material.

So often we have great instruments with crappy reeds.

Harmonically yours,

BONFIGLIO

http://www.robertbonfiglio.com

Douglas Tate: More advice on learning classical harmonica

From: Douglas Tate <dougt_playwell@cableol.co.uk>

Date: Wed, 24 Feb 1999 10:34:44 +0000

Subject: Re: WHO PLAYS CONCERTOS?? was Major works for Classical Harmonica

At 13:27 23/02/99 -0800, Michael Polesky MPA wrote:

Michael writes about his introduction into classical music on the harmonica...

What he says rings so many bells for me.... the only difference was that I

was self taught.

Although i cannot think of a better way of putting it than Michael there

are a couple of things i would like to add.... and he has already covered

some of it already!!!

>Then, I picked pieces I wanted to play because

>they were BEAUTIFUL and not because they were "possible" ;-).

I believe that if you approach music like this it is hard to go wrong..

Successful achievement in music is due to three factors.... love of the

ebb and flow of your styles music, love of the sound that you can get

out of your instrument, and an insatiable curiosity.

I

>quickly discovered that not everything was sutiable for

>performance on harmonica, but I realized that the attempt was a

>good learning process and I developed stratagies for adapting or

>reproducing traditional classical sounds from a wide range of

>instruments on to the harp. I never let the fact that these

>things were difficult stop me from playing them for myself.

:) There is a saying in the British Army , which I am sure translates

to many other activities. "Every Private soldier carries a Field Marshall's

Baton in his backpack"

One of the highest selling albums of violin sheet music is the set pf

Paganini Studies..... fiendishly difficult, capable of only being played

successfully by a handful of players... but many buy them and struggle,

and work ... because 'one day.......' I have pieces I have been working

on for years (more than I care to think of..) i will never play them in

public.... but they are getting there ... and in the process giving me,, at

any rate, great pleasure. it is wonderful to wander through the Violin

Concertos of Brahms, Beethove, Mendelsohhn, Tchaikovsky etc and feel the

sweep of the wonderful imagination of these people. The fact that it

takes an hour and a half to reach the end and that many a phrase ends in a

muttered curse doesn't alter the internal musical experience.

>Picking things to play in public or just with other people was

>tougher and I tended to stick with short excerpts from favorite

>pieces of music that were sutiable for harmonica rather than

>search long hours for whole pieces.

The well worn road!!!! see you all there !

I think it is interesting to

>note from Doug's comments how little music is readily available

>for the harp in the classical realm.

There have been many, many pieces written for harmonica in fact. Hohner

has published quite a bit.. But there is so much very poor music written

that it is a frustrating business trying to find Michael's 'beauty' in them.

NOT that this isn't the case for other instruments!!! In any field of

endeavour there are only a few genius level people. Occasionally tho you

find a gem and it all becomes worthwhile.

Another big prob is that most of the music has been written for the front

line players and is therfore to show off their skills.... there are few

pieces written BECAUSE the sound of the instrument is needed to achieve

the effect a composer wants and almost anyone with a modicum of skill can

play it. I was involved in one piece where that was just the case. The

composer heard me play ... she had been working on a Ghost song cycle for

nearly a year and couldn't get the sounds she wanted (instrumental

combination sounds) the harmonica provided them... it wasn't a vehicle for

a rabid soloist (me :) it was a work of integration... wonderful

(actually it turned out durn difficult in places because she forgt to ask

me what the instrument could do !)

This makes the process of

>adpatation far more necessary and an excellent way to "start"

>learning classical harmonica for someone who is already familiar

>with classical music.

So true

As funny as it may sound,

>there are probably fewer rules, guidelines or helpful

>publications for playing classical harmonica than nearly any

>other style. You do kind of have to forge your own path in that

>area until you can find and get a hold of the repertoire

>necessary to actually play with others.

Harp-L has been a torch in the diatonic world I believe... The knowledge

and breadth of experience featured here can only have been an inspiration

and a guide to many who are starting the route ... certainly in the four

years (!) i have been L watching there have been rapid advances in all

sorts of directions.

What would be a help .. like that , for the person who wants to start

classical...????

Agin ... thanks michael... that was an inspiring contribution.

Douglas t

Jonas: Reference to list of classical pieces posted by Douglas Tate

From: karlsson@wrc.xerox.com

Date: Wed, 24 Feb 1999 11:38:29 -0600 (CST)

Subject: Re: WHO PLAYS CONCERTOS?? was Major works for Classical

On Wed Feb 24 04:36:59 1999 CST, Douglas Tate wrote:

>What would be a help .. like that , for the person who wants to start

>classical...????

Over time there's been several helpful posts regarding Chromatic Harmonica

technique from the classical players on the list (Bonfiglio, Hamper, Tate,

and others). The main problem is the low frequency of these messages

so that over a month's time, there's relatively few messages regarding

non-blues harmonica playing.

You've posted a list of classical pieces,

with a difficulty measurement, and other comments. This post is available

in the archives at

http://www.garply.com/harp-l/archives/1995/9505/0729.html

What would be helpful, I think, would be a suggestion as to which piece

(or pieces) to start with. Something relatively easy, with sheet music

and recordings readily available to serve as guide (I have a good recording

of 'Georgie Girl', but perhaps that's not classical.. :). If that could lead to

an online study group, that would be even better!

Other things that would be fun to see is more sharing of information about

problematic aspects of pieces you're working on now - ie. "I'm having problems

getting through the beginning of this movement, this is how I'm approaching it,

does anybody have any tips on how to accomplish it?"

Also - classical pieces on the next Harp-l CD/tape!

I'm sure there is lot's of things that could help - what do you tell the student

who shows up at your door and wants to start out?

_jonas

Debbie Temple: Experience in arranging for classical harmonica

From: Debbie Hamper Temple <theharper@lightstream.net>

Date: Wed, 24 Feb 1999 13:58:28 -0500

Subject: Classical Harmonica (was Re: WHO PLAYS CONCERTOS?? )

Hi Group,

Michael P. wrote:

> I quickly discovered that not everything was sutiable for

>performance on harmonica, but I realized that the attempt was a

>good learning process and I developed stratagies for adapting or

>reproducing traditional classical sounds from a wide range of

>instruments on to the harp. I never let the fact that these

>things were difficult stop me from playing them for myself.

I can identify with this. My first love is classical music and I ~do~

arrange for it. The trouble is two-fold: 1. I have to go with what

accompaniment is available to me and my partner/husband is primarily a

chord harp player. 2. There isn't a big audience demanding such things.

I am ~not~ a fan of the PDQ Bach-style of watered down classics and I can't

stand what I'd call 'contrived classics'. Whenever I arrange for a piece, I

will always try to work from the original composer's work and try very hard

to convey the line and feeling I believe that he intended. This can be a

challenge.

Some successes have been:

1. The Allegretto movement of Beethoven's 7th Symphony. This took over 6

months to work up and perfect. It took me another 6 months to properly play

what I arranged! Beethoven wrote it in such a way that the orchestra

basically moves together, creating chords ---this was perfect for chord

harp. My line on lead, combines the many voices who trade off the main

melodic movement. We did an exerpt of this piece in the workshop on

arranging that I presented at BHF last year; although only now can I claim

to be able to play it the way I intended it to be played.

2. Ases Tod from the Pier Gynt Suite by Grieg. Although this was for

orchestra, there are basically two lines that emerge as predominant. On

this, my partner plays chromatic as do I. It has a high degree of

chromaticism in it, but works very well for two harps. The biggest

challenge here is to keep together while playing ~very~ slowly.

3. The Pavane pour une infante defunte by Ravel. This has been done by

several professional classical harmonicists. In my version, the chord harp

does very well in replacing the orchestra and the main melody on chromatic

harp is rather easy.

4. The Prelude in C#m by Rachmaninoff. I know that the Harmonica Rascals

and other harmonica groups did their own version of this (usually in Cm).

In any harp recording I've run across, the difficult chordal movement is

not handled by harp. Grant it, I have retained the original key of C#m and

Rachmaninoff wrote this in block chords for piano. It is a challenge for a

chord player, but it sounds good on chord harp. My notes on lead try to

bring out the feel of the melody as well as add notes to layer over the

chord harp to make it into, or as close as possible, to the chords

Rachmaninoff intended. We are not quite ready for performance yet, but

we're working on it and it is progressing very nicely.

Some works in process:

1. Adagio for Strings by Barber. So far my arrangement is for two

chromatics and also chord harp. It does work very well; however, two people

trying to fill in 3 harp parts doesn't. :-)

2. Allregretto movement of Brahm's 3rd Symphony. Another one that is

technically finished; however, I'm not quite satisfied with it yet. I'm

still in process of trying to capture what my mind hears.

3. Comedian's Gallop by Kabalevsky. This was done very nicely by the

Harmonica Rascals (or was it the Harmonicats?). My version is closer to the

original classical piece and as before, is for harps only (no other

instrumental accompaniment). This is technically demanding. I haven't

finished with it yet, but heck, I can't play what I've already arranged for

it yet either. (I never let that stop me! ;)

4. The Sicilienne by Faure. My version is for two chromatics. My partner

grumbles at me for this one! It starts off in Gm, modulates to Cm then back

to Gm, add to that a high degree of extra chromaticsm and it isn't easy for

him. I suppose it's not really fair that I had been working on a solo

version of this for many months before he and I got together. I also have

written a line for chord harp here which sounds very nice; however, without

dubbling overlays, I've never heard all three of my parts at once!

There are ~many~ other pieces; however, when you find yourself playing gigs

for people who enjoy polkas or old standards like "You Are My Sunshine" or

"Let Me Call You Sweetheart" there is just no demand for the classics! It's

very frustrating really. I keep working on the classics to keep myself

challenged and hoping that someday we will find the audience that wants to

hear it!

We do sneak one in once in a while and have gotten some good

reviews...however, I still highly doubt a whole program of this would be so

well received in this neck of the woods.

As for playing concertos, all I can say is....in my dreams!:-)

Best Wishes,

Debbie (theharper) Temple

P.S. I do wish to thank Douglas for posting the list of harmonica

concertos. I was only aware of a small portion of these, which I have also

gone through great pains to acquire. I'd be interested to know if there are

others out there that did not appear on his list. Heck, I guess it really

IS in my dreams...someday. :-)

Robert Bonfiglio: Advice on learning classical harmonica

From: bon@i-2000.com (Robert Bonfiglio)

Date: Wed, 24 Feb 1999 19:17:17 -0700

Subject: Classical Harmonica

What would be helpful, I think, would be a suggestion as to which piece

(or pieces) to start with. Something relatively easy, with sheet music

and recordings readily available to serve as guide (I have a good recording

of 'Georgie Girl', but perhaps that's not classical.. :). If that could

lead to

an online study group, that would be even better!

Dear List,

I would suggest that you learn your scales and arpeggios on chromatic and

as you do play little pieces in those keys. Start with Mary Had a Little

Lamb, Ode To Joy, etc. Move on to pieces for beginner flute or violin

available everywhere. Get "Bona" in any music store and start working on

rhythm - soon I will have this available on tape. Next you go to little

Telemann duets, Anderson etudes, and bigger pieces. Eventully a lesson

should consist of rhythm training, one etude, then a duet, then a piece.

Good pieces in beginner flute and violin books leading to Bach Flute

Sonatas, and Heifitz transcriptions of almost everything.

Now you need to find a harmonica teacher to go over harmonica technique.

When you get good enough, you should seek out one of the harmonica masters

for lessons. Eventually you need to go to a Music Conservatory and study

sight singing, dictation, keyboard harmony, theory and rhythm. Since no

harmonica major is available, it is necessary to major in composition,

theory or conducting.

This process should be started at the latest as a teenager; if started

later, then it it is possible to become a good amateur.

Harmonically yours,

BONFIGLIO

http:www.robertbonfiglio.com

Robert Bonfiglio: Supplement to list of major works

From: bon@i-2000.com (Robert Bonfiglio)

Date: Wed, 24 Feb 1999 19:17:20 -0700

Subject: Obtaining Harmonica Concerti

Hello Robert Bonfiglio,

thanks very much for that contribution to the list. I am personally interested

in the works you mentioned:

> Villa-Lobos Harmonica Concerto

> Henry Cowell Harmonica Concerto

> Vaughan Williams Romance for Harmonica, Strings and Piano

> Alexander Tcherepnin Harmonica Concerto

> Malcolm Arnold Harmonica Concerto

> Darius Milhaud Suite for Harmonica and Orchestra

> Gordon Jacob Five Pieces for Harmonica and String Orchestra

> Alan Hovhaness Harmonica Concerto

> Alan Hovhaness Greek Folk Dances for Harmonica and Strings

> Arthur Benjamin Harmonica Concerto

I would like to read and study them. Can you tell me where to get the scores?

Thanks for helping.

Harmonically

Dr. Bernhard Geue

Dear Dr. Geue,

All of these Concerti scores can be obtained for perusal from the

publishers. The problem is that they may want to know the orchestra you

plan to play with before they will send the perusal score. It is my

suggestion that you copy the score and make your own harmonica part after

you know the piece as changes are inevitable. Go to your local music store

or on line for the publishers info.

Harmonically yours,

BONFIGLIO

http:www.robertbonfiglio.com

1942 Suite Anglais for Harmonica and Orchestra Darius Milhaud

for Larry Adler Boosey& Hawkes, New York, USA

1948 Concertino for Harmonica and Orchestra Norman Dello Joio

for John Sebastian AMP. New York. USA

1952 Romance for Harmonica and Strings Ralph Vaughan Williams

for Larry Adler Oxford University Press, London, UK

1953 Concerto for Harmonica and Orchestra Alexander Tcherepnin

for John Sebastian AMP, New York, USA

1953 Concerto for Harmonica and Orchestra Arthur Benjamin

for Larry Adler Boosey and Hawkes, London, UK

1953 Concerto for Harmonica and Strings Alan Hovaness

for John Sebastian C F Peters, New York, USA

1954 Concerto for Harmonica and Orchestra Malcolm Arnold

for Larry Adler

1955 Concerto for Harmonica and Orchestra Heitor Villa Lobos

for John Sebastian AMP, New York,USA

1957 Divertimento for Harmonica and String Quartet Gordon Jacob

for Larry Adler Stainer and Bell, London, UK (This is a nice

chamber piece I've played about 100 times)

1957 Five Pieces for Harmonica and Orchestra (or piano) Gordon Jacob

for Tommy Reilly Stainer and Bell, London, UK

1961 Concerto for harmonica and Orchestra Henry Cowell

for John Sebastian C F Peters, New York, USA (I did the World

Premiere of this work)

Douglas Tate: Supplement to list of major works

From: Douglas Tate <dougt_playwell@cableol.co.uk>

Date: Thu, 25 Feb 1999 17:30:55 +0000

Subject: Re: Obtaining Harmonica Concerti

Thanks Robert for adding some publishers to the list of 'concerto '

pieces of music.

Sometimes it is difficult to get hold of this info.... names change,

businesses get sold etc.

The Malcolm Arnold Concerto ( a delight to play with lots of percussion and

brass...but well enough written that you can play with them unamplified in

reasonable halls.) was published by Paterson's Publications Ltd, Wigmore

>1957 Divertimento for Harmonica and String Quartet Gordon Jacob

> for Larry Adler Stainer and Bell, London, UK (This is a nice

>chamber piece I've played about 100 times)

>

I can't compete with that number! at most I've done it about 35 ish

times...... but they do mount up! as i mentioned in another post today I

have done over 2,500 schools visits /demo/lectures for harmonica .....

damned if I know where the money has gone :) there was a period a while

back where i did just under a hundred Harmonica and piano recitals, 90

minute affairs in one year ... the scene is now different. in the UK

>1957 Five Pieces for Harmonica and Orchestra (or piano) Gordon Jacob

> for Tommy Reilly Stainer and Bell, London, UK

Thank you for that one... been trying to find it again for a few years.

Jim Hughes and I premiered this work by accident.... We got the green

pulls (composer's original alteration sheets ) from the publishers who

asked us if we would play them in Oxford, England at a big music

conference. They were really written for Tommy Reilly and although he had

read through them he hadn't played them in public. James and I were given

two days to get to grips and divide them as we wished. Jim chose the

'easy' slow movements and left the fast stuf to me. In the end I think I

got the better bargain! the slow ones were not easy to play effectively.

what Tommy thought... or if he even knew I haven't a clue.

BTW... ALL of James Moody's works ... and there are a lot of them, some of

them major are available from

Jim Hughes

59 Bronte Farm Road

Shirley

SOLIHULL

West Midlands

B90 3DF

United Kingdom

His music goes from medium difficult to very!

Works to look out for ..

Quintette for Harmonica and String Quartette

Little Suite for Harmonica and Orchestra

Both delightful ... the quartette is difficult.

>1961 Concerto for harmonica and Orchestra Henry Cowell

> for John Sebastian C F Peters, New York, USA (I did the World

>Premiere of this work)

Didn't know that ... well done...... Did Sebastian not like the work cos i

am sure you can only have been about 3 in 1961.... !!!! When did you do it??

Douglas t

Douglas Tate: Experience in learning classical harmonica

From: Douglas Tate <dougt_playwell@cableol.co.uk>

Date: Thu, 25 Feb 1999 23:38:23 +0000

Subject: Re: robert is no amateur

At 16:36 25/02/99 -0500, Alec Drachman wrote

>The challenge is still on. Can anyone name a well-known classical

>professional that started music lessons after high school?

>

>Alec

Depends what you mean by well known

Depends what you mean by professional

As for me... I started my first musical instrument ... chromatic ... a few

weeks before leaving school. had my first, second and only music lessons

from Tommy Reilly when about 25 I suppose. I was busy being an engineer

and teacher most of the time ... and playing with the orchs and doing

recitals and film and tv music in my spare time and teaching music/

harmony etc to Uni level in the rest of my spare time. I believe I have

reached a fair standard just as many of the full time professionals have

without formal lessons.

BUT.... in order to do that I did what they did and put in the hours doing

all the things Robert talks about.... all the tools of the trade.. scales,

arpeggios, bit practice of difficult stuff... listening to great

performances on other instruments.. talking music to anyone willing to

discuss it, taking the advice of people I played with (except for the one

who told me to shut up that goddam awful row), teaching myself the

structure of music and music history.

You DON'T get to any standard unless you work hard. For at least five

years, whilst I was learning engineering I played at LEAST four hours a

day... and mainly six ... and at weekends I did between 8 and 10 hours

playing frequently. It was actually TOO much... but it all counts. After

that for the next 10 years i suppose I played about 4 hours a day.

Anything worth achieving is worth working for. Specially when it doesn't

seem like work because you enjoy it so. The other cardinal rule, I think,

is not to become blinkered by what you are doing.... take a step back

occasionally and have a laugh at yourself and see if your perspective on

your music has to do with making music / earning money / selfpromotion .

Each of these has it's place if you are going to advance as a professional

... if you don't tell people you are good they won't know!!!!! Not many

agents beat a path to your door gagging to find a new harmonica whizz kid!

But there is always the danger of a disease which a lovely age

challenged pro said to me about another Pro harp player... " the trouble is

that he reads his own publicity"

So... if Icount as a sort of Pro... then I started late

However... the REAL trick ... which is quite difficult in hindsight ... is

to start young, young, young.

douglas t

Debbie Temple: Common problems in learning classical harmonica

From: Debbie Hamper Temple <theharper@lightstream.net>

Date: Fri, 26 Feb 1999 11:12:51 -0500

Subject: Reading Music (was Re: WHO PLAYS CONCERTOS??)

Hi Group,

Douglas wrote:

>An aside.... Easy peasy notes don't mean the music is easy to bring off.

>Some of the most difficult music to communicate to your audience is slow

>and with few notes...

This is SO very true! One thing that tends to separate beginners from

seasoned musicians is that beginners feel that because classical music has

a tendency to be more difficult, if they play it REAL FAST, that it will

prove they are a good musician. This is complete hogwash! What it really

does is prove that the beginner is just that....a beginner!

>There is no way that you can get away playing classical music without

>learning to read music.... and, as Robert says, if you are going to

>advance you have to know your way around the harmonica and the way to >do

that is to learn your scales.

I'm in complete agreement here. Mozart was known to have an absolutely

incredible ear which at a very young age, he could listen to a performance

of a symphony, go home and notate every part of every instrument of every

movement of that symphony and do it ~correctly~! But Mozart is not the norm

by any means! And even at that, he could read and write music.

Classical music cannot be done by ear, IMHO. Now I don't mean that you

couldn't pick out a melody by ear; but to do things the way they were

intended, a classical musician must know how to read and also how to

interpret it in their own fashion with feeling.

>Debbie took me to task some time ago for saying that you could learn to

>read music in under an hour... she correctly pointed out that anyone who

>then didn't would feel dreadful. I agree... and as a bald statement it

>could have proven counter productive for some. Nevertheless, I have found

>that the majority of real people of all ages can learn to read simple tunes

>in a few minutes if guided.

I do agree that with guided instruction, it can indeed be done quickly and

painlessly. Kids learn a lot easier than adults, especially when you've

wetted their interest and they ~want~ to learn.

Adult, especially older ones, resist this, usually because of incomplete or

short-circuited training they received in younger years.

Some problems I've run across are:

1. A person I know who 'can't'...strike that word...'won't' read below

middle C. It was a complete revelation to this person when I explained that

all the Grand Staff is, is repitition of A through G, with some accidentals

thrown in. For some reason, this person never realized they could think

backwards from C (B, A, G, F, E, etc.)

2. All sorts of confusion regarding when key signature accidentals are

applied or not applied...and when accidentals appear within measures, how

far they apply.

3. A mistaken belief that there are no flats on a chromatic harp, only

sharps (Thank you, Hohner, for all those years of posting sharps only in

your layouts!), completely oblivious to what "enharmonics" are in an Equal

Temperament system.

4. A different person who believes it's easier to re-write every piece so

that only sharped notes occur. (I want to scream when I see a key signature

in Eb but find A, D, and G sharped!) (Again, thank you Hohner!).

5. People who don't see the need to learn to read flats.

6. People who ask me why I won't put ~everything~ in the key of C,

including pieces in minor keys!

7. Why I keep insisting that a piece in Am is not in C major.

8. A bass player who won't read bass cleff but instead takes the root of

every chord listed for the chord player as the note they play, insisting

that this is an interesting bass line! (Argh!)

9. A mistaken belief that you can strip out all dotted rhythms and triplets

and still play the piece as it was intended to be played.

I could go on here, but I think I made my point. (My appologies for any of

the list lurkers who are located in my area and who may know me

personally. Would it help here to say that any resemblence to anyone living

or dead is purely coincidental? :-)

>I am doing a seminar on this at BHF in a few

>weeks time. I challenge anyone who is there NOT to learn to read music

>from scratch in under an hour :)

I urge anyone who wants to learn, or to get better at reading, no matter

what kind of music you play, attend Douglas' seminar!

>The most difficult thing about learning to read music is to get over the

>fear of learning to read music !!!

I couldn't have said this better! If you believe that it is too difficult

to learn, then you have instantly created a barrier in yourself, even

before you tried! Keep an open mind. Truly, it's not that difficult!

Best Wishes,

Debbie (theharper) Temple

Robert Bonfiglio: Advice on sight reading

From: bon@i-2000.com (Robert Bonfiglio)

Date: Fri, 26 Feb 1999 13:51:19 -0700

Subject: Re: How to read music (Was Re: WHO PLAYS CONCERTOS??

Dear List,

Sight-reading is a combination of everything. One should first learn to

clap and sing quarter notes on the word la. The 8th's, 16th's and

triplets. Rhythm training is the key to sight-reading; if you can read

rhythms, you are never lost. "Robert Starr" has a good rhythm book which

envolves clapping and singing.

Next, music is made of scales and arpeggios; knowing them helps identify

patterns - hills and valleys of notes. If you start a scale on this note

and it is in 8th notes, it must end on this other note, so you stop reading

all the notes, except the start of the scale. Sometimes harmonica patterns

will jump out at you, i.e., blow-draw button, down one hole to, blow draw

button,down one hole to, blow draw button.

Next, harmony helps identify chords and you will know the notes in them

without playing. Dictation helps you hear notes in your head.

Sight-singing and solfeggio help with the general reading without using the

harmonica.

Finally you need to practice sight-reading about an hour a day. First

pieces that are solid quarter notes, or simple tunes. There are tons of

little exercise books for beginners; read them all in both treble and bass

clefs. Read everything you can get your hands on.

Metronomes are good to keep even rhythm and for scales; and for clapping

and singing. I use them for "BONA" rhythm training, sight-singing and to

hear how a piece should sound in exact time. In the end for performance,

the metronome is put away; this way you know what "in time" is so you can

play out of time better for expression.

WHEN SIGHT-READING, DON'T STOP! Even if you make mistakes, keep plowing

ahead as if the band were playing on.

If you follow this advise, you are on your way. The key is that

sight-reading is fun. It enables you to play pieces you've never heard

immediately and therefore you can cover tons of material quickly.

Harmonically yours,

BONFIGLIO

Robert Starr - Rhythmical Training for Musicians

Bona - Rhythmal Articulation

Lau Chun Bong: Experience in learning classical harmonica

From: "Lau Chun Bong" <cblau@netvigator.com>

Date: Fri, 26 Feb 1999 23:03:30 +0800

Subject: Nourishing classical harmonica

Hi list,

This is my first post, although I have been subscribing to the list for some

time. I am a member of the King's Harmonica Quintet

http://home.netvigator.com/~cblau/khq/ ) from Hong Kong. The recent

classical harmonica discussion is the most interesting one I have seen on

the list, and the warm response is the most satisfying, somewhat out of my

expectation...

Douglas Tate writes about his experience in promoting harmonica in schools.

This stirs my mind, and recalls my experience (and also of my other

harmonica comrades here) in picking up this instrument (20 years ago) and

playing it in a way, which I later find out, is so much different from the

rest of the world. I hope to share it with the list.

When I entered the high school, the harmonica was an attractive option if

you have some interest in music. It cost you only about a buck to buy a

China-made tremolo harmonica and you can learn to play with some fifty

schoolmates in a 3-month course, taught by senior. After the course, you

could play some simple light classical tunes (believe it or not, I played

Tchaikovsky's Andante Cantabile then, just the 8 bars or so in the middle

section, just to practise triplet:).

The more potential pupils then joined the harmonica band which was as big as

40 members playing in 4 major sections (just like the 1st, 2nd violin, viola

and cello of an orchestra), with a small wind section playing the melodica

and pipe harmonica. The challenge each year is for the harmonica band to

compete in the inter-school music festival. The festival has all categories

that you can imagine, and there are about 10 categories for harmonica -

band, ensemble, duo and solos of various grades. One typically joins 3 or 4

categories - band, ensemble, duo and solo. So everybody has a clear goal

every year and has to equip oneself accordingly. The learning process was

basically mentoring and self-taught. Every senior member and ex-member in

the harmonica band can be the mentor.

The music we played was essentially classical. Music written for harmonica

was unheard of (except perhaps Gordon Jacob's Five Pieces). Thus, we had

always played transcriptions, especially for the ensemble and band playing.

The transcriptions were done by the more enthusiastic and talented members.

The ultimate goal of transcription has always been to achieve the same

orchestral effects of the original composition with a harmonica band. It

has come close a couple of times in the past 20 to 30 years, whenever there

was a boom in harmonica learning, generating a bunch of good harmonica

players.

It has never been easy to maintain a big harmonica orchestra as strong

leadership and musicianship is required. Alternatively, we, the King's

Harmonica Quintet, over the past 10 years, have developed harmonica ensemble

playing which, through peer support, effectively sustains one's interest in

playing harmonica and develops one's skills and musicianship.

I would be delighted to learn about the experience of classical harmonica

development in other regions of the world.

Regards,

Lau Chun Bong

King's Harmonica Quintet

http://home.netvigator.com/~cblau/khq/

Robert Bonfiglio: Inspiration of Segovia

From: bon@i-2000.com (Robert Bonfiglio)

Date: Sat, 27 Feb 1999 20:24:42 -0700

Subject: Starting young and amateurs

Dear List,

I thoguht I would print that Segovia page that John Sawyer suggested:

Andr=E8s Segovia was the seminal force in the development of the guitar as a

concert instrument in the twentieth century. He

made his public debut in Granada in 1909, at the age of sixteen, and

established his reputation in his native country with

appearances in Madrid, Barcelona, and other leading centers of Spanish

music during the next several years. His tour of South

Americain 1919 created a sensation, as did his debuts in Paris (1924),

Moscow (1926), and New York (1928). Segovia's aims for

the guitar, however, extended far beyond merely establishing a career for

himself as a virtuoso. "From my youthful years," he

wrote, "I dreamed of raising the guitar from the sad artistic level in

which it lay.

Since then, I have dedicated my life to four essential tasks.Thefirst: to

separate the guitar from mindless folklore-type entertainment. My second

purpose: to make the beauty

of the guitar known to the public of the entire world. The third task: that

of influencing the authorities at conservatories,

academies, and universities to include the guitar in their instruction

programs on the same basis as the violin, cello, piano, etc.

And my fourth item of labor: to endow it with a repertory of high quality,

made up of works possessing intrinsic musical value,

from the pens of composers accustomed to writing for orchestra, piano,

violin, etc. The first symphonic composer to heed my

request, offering to collaborate with me, was Federico More=F1o Torroba."

So, if he made his debut at 16, he was already good by then. The

harmonica, fortunately, has a lot more room for later development because

no finger motion is envolved except the right index which is already the

strongest.

I think it is possible to start late in life and acheive success; the

hardest part is not learning to play the instrument - it is committing your

whole life to it. Unless you have independent wealth, to stick around when

there is no work and practice all day is not easy. The committment is

easier when you are young and with your parents - that's all I meant. Most

people are not willing to do all the work to becaome a classical harmonica

player and then end up with no playing opportunities.

As for amateurs and mindless folklore-type entertainment, I am not like

Segovia - I love the harmonica in any style and I like harmonica players of

all levels.

I do want (like Segovia) to raise the artistic level of the harmonica.

Harmonically yours,

BONFIGLIO