The Harp Legacy Project - Call for Works
Sponsored by Shirley Meyer Blankenship
For those of you who are interested in having me edit your harp scores or work with you as a consultant on new pieces, I will be most happy to collaborate with you in our mutual mission to produce innovative and accessible harp scores.!
You can send scores to me via DropBox or email them to: firstname.lastname@example.org
You are invited to participate in The Harp Legacy Project!
For more information go to: http://www.theharplegacyproject.com
As many of you may know, in 2011 I initiated The Harp Legacy Project in order to assist composers with the creation of viable, idiomatic and possibly even new notation for the harp. I am happy to announce that another harp score has been edited and will be donated to the Sousa Archives where my life and works are being preserved. Congratulations to Timothy Lee Miller who now has 2
works in this collection: Shadows for flute, clarinet (or viola) and harp and his new work, Almost Home, for trumpet, jazz quartet and orchestra!
On The Harp Legacy Project website you will find a listing of all the works that have been edited to date. There are excerpts from some of the works with “before and after” pages including commentary pertaining to the performance/notational issues involved. All 48 pages of the monumental work, Progeny for cello and harp by Matthew H. Fields, are presented in the “before and after” format. Additionally you will find testimonials from the composers with whom I have collaborated and the beginnings of a list of harpists as potential performers of new works. Please let me know if you know of any harpist who is interested in being included on my website along with
his/her contact information.
New to the site is a link to a recent interview (May 26th 2013) on WILL radio during the show Keepin' The Faith hosted by Steve Shoemaker. The topic was: The Harp Legacy Project. With me was composer Mark Enslin from the School for Designing a Society in Urbana, Illinois. Mark and I are in discussions pertaining to a new harp work that will likely involve some very unique notational designs.
For the past few years, I have been working on the preservation of my scores and recordings (some of which date back to 1953). Many of my earlier compositions remain in manuscript form and need to be upgraded into Finale. Just this past week, my avant garde (for want of a better description)
harp solo, Metaphysical Waltz, has been updated after recent performances at the School for Designing a Society and at the Windsor of Savoy in Champaign, Illinois. Another score currently being engraved into Finale is my Duo for Violin and Cello originally recorded live by Richard Fuchs, violin, and Allen
Nisbet, cello in 1974.
During this past month, I have been contacted by Victoria Jordanova from Arpaviva. This recording company is interested in recording (and publishing) all of my works for harp and those that include the harp. I am in the process of getting the scores involved into suitable form and either enhancing the quality of previous recordings or producing new ones. In regard to this process, I would like to acknowledge my engraver, composer Michael Miller, and my audio/video technician, Paul Weston for their generous contributions of time and expertise.
I have found it both effective and efficient to work via Skype where the editing process is as close as possible to being instantaneous. Michael Miller is able to put my scores up on Skype so that I can see him work as we speak.