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TWO EVIL STEPSISTERS (OF A SORT)
Many harpists are unaware that the Gabriel Pierne Impromptu-caprice used to be available in two versions--the original "concert" edition and a somewhat simpler "salon" edition which made the piece available to the less advanced player.
(It should be noted that the salon edition was done by Pierne himself, and is not a simplification by someone else.)
I recall going to a recital in the late 1950's where a young lady played the salon version and played it quite beautifully. For what I heard was a harpist presenting a piece within her capabilities, and playing it exquisitely, rather than plowing through the concert version and possibly making a hash of it. So I got in line after the recital in order to thank her for her performance.
As it happened, just in front of me in the receiving line were two whispering harpists who were snottily putting down the recitalist for having played what they snidely called the "baby" version. Of course this did not stop them from effusively congatulating the recitalist a few moments later--"So beautiful, my dear," and " I did so love the Pierne!"
Their smiling hypocrisy was so appalling that I could have fallen through the floor in embarassment and shame. Especially since the recitalist was so appreciative of their compliments.
The experience taught me two things. First, I learned that a piece is not increased in value by being more difficult. In fact, clarity and elegance are often easier to achieve when the music is uncomplicated. (Ravel's Pavane de la Belle au bois dormant is a fine example of this.)
Secondly, I learned that some people are not to be trusted. If someone constantly indulges in mean-spirited gossip, I can pretty well be certain that as soon as I am absent, I will probably be the next victim in line for a hatchet job.
Now this doesn't mean that we should not comment on a program at all. But the criticism should be constructive, not venomous. And above all, I must remember that my own playing is not made better by a vicious put-down of your playing, and may be, in fact, thinly disguised jealousy on my part.
I have no idea whatever happened to the young lady who presented the recital after she left New York. But as to the other two, after years of letting everyone within earshot know what rising supernovae they were in the harpistic firmament, they amounted to nothing in the end. Perhaps they were so busy being destructive that they didn't have time to practice enough.
And as we all know, it's very difficult to set the world on fire if your matches are damp.
10:53 PM, 20 Jan 2007 by Samuel Milligan | Permalink
A matter of Purpose
Thank you, Sam, for that insightful commentary. It is unfortunate that the technical aspect of playing the harp allows for differences in skill that can be classified as superior or inferior by those who choose to take that approach. Your article encourages us to question our purpose in engaging music, whether as a performer or as a member of the audience: Do we do it to share the beauty of the music, or do we abuse it for destructive purposes? We would all do well to remember that without the aesthetic and artistic side, music would be nothing--the technical is subservient to the aesthetic. Let us enjoy this wonderful gift of music while being supportive of one another.
by Victor Ortega on 01/22/07
A very belated thank you......
Driving home from work today with my wife, I was listening to a light classical work on my overloaded iPod which featured a clever harp part. I found myself chuckling quietly to myself. Julee asked why, and I told her a long rambling story about a terrific fellow who tried in vain to teach me how to play the harp about 40 years ago named Samuel Milligan. It lives in my memory how he tried with such industry to coax good playing out of me. Sadly, my skills never developed beyond "beginner" status. It certainly wasn't for lack of effort on my instructor's part, but entirely due to my focus on other aspects of the music world that made me a poor harp student, and that is a charitable characterization of my final level of expertise. But what really sticks in my mind is the kindness and gentle spirit Mr. Milligan exhibited during the entire time I knew him. He opened up a true appreciation for the harp and a genuine interest in that field of music that survives in my world today, four decades later. Mr. Milligan not only opened up his studio, but his own home to his students, and my memories of dignified evenings sitting around playing examples from his voluminous collection of LP's and just discussing life in general still inspire a feeling of warmth and happy times. Sometimes when I start to get frustrated with my own students today, he still stands as a perfect example of how to conduct myself with a measure of dignity and kindness, though I doubt I will ever achieve his standard. It occurred to me that I never took a moment to say thank you. So to Samuel Milligan, forgive the slight delay of 40 years, and please accept my heartfelt best wishes and sincere thanks for your friendship and support. You are a dear sweet man, and my life is richer today for having known you so long ago. I hope you continue to play and compose and write for another 40 years. Steve Holder, NBCT
by Steven Holder on 08/06/09