Yes, a couple, I believe.
Did that person use a replica
>of an "period" harp?
Not necessarily. The average harp competitor has only one or two
harps, I would guess, and they tend to be the ones that are readily
available. Some people get into the history later, but the ones that
go into harp _because_ of history are the minority, I think. Knowing
about and buying a period harp takes a lot of knowledge.
How well was this repetoire recieved by
>the judges?
As one of the judges, I like to hear a variety of tunes and styles.
I welcome the early music, but think it is hard to judge. What is
appropriate accompaniment, and in whose opinion? Should it be played
dry and unemotional, or with passion and expression? No matter how
much I learn, there is always so much more that I don't know.
How much leeway is given in what is acceptable as
>an "Air" since the modern distinctions of Airs, reels,
>strathspeys hadn't been invented yet?
Lots of leeway. We simply want to hear you play a slow piece, to
check out your tone and control and expression. Of course, I am only
one judge and can't speak for the others. This is also a vehicle to
give you a chance to get used to the stage before you have to do a
fast piece. Some people played the fast one first to get it over
with.
>
>I'm hoping to get back to harp in the next year or so when I
>finish this damn dissertation, and I'm trying to figure out
>where to concentrate among the different styles of harp music
>that I love.
>
>Julie
We'll look for you soon!
Sue Richards