Harp Column Blogs: Kimberly RoweArchive

OK, I'm sure this is not the first, nor will it be the last, rant you will read about composers writing new music for the harp. But since I spent a good portion of my weekend re-writing a new part, please indulge me....

Why is it that some composers insist on writing parts with lots of double sharps, double flats, and chromatics for the harp? Where do they learn that this is a good idea? Why must I get out manuscript paper and a bottle of white out every time I sit down to play one of these new pieces?

I guess I should look on the bright side. It turns out the piece in question is playable, now that I've re-written half of the first movement from a sharp key to a flat one. And even though my part now looks like a map of the Everglades and I need magnifying glasses to read it, it actually sounds pretty good.

I am thankful for composers who write new music for the harp. Really and truly I am. I just wish for once I'd get a part that doesn't require 10 hours of preparation before I can actually sit down and play it. Is that so much to ask?