Re: [Harp-L] Grapes of Wrath



Dear Noah,

I meant no offense; I was just assuming.

I made that assumption only on the basis of looking at the score and noticing there are no open solos for the harmonica; every other instrument has solos all over the place, but not the harmonica. The harmonica mostly plays from middle C to the C an octave up, the first 4 holes on the 12 hole chromatic, or ALL in the low register while being doubled at the unison by a trumpet, or horns, or clarinets or alto sax and all plus strings. The harmonica will never be heard even with an amp.

There are no solos for the harmonica, NOTHING is exposed. There is nothing technically challenging for the harmonica; it's like count for 40 measures and play a half note C doubled by six other players. And this piece is begging for some nice harmonica solos. After all, the book, Grapes of Wrath, had that wonderful quote about the harmonica.

I am a classically trained harmonica player. I've been the soloist with your Minnesota Orchestra for a Concerto. However, if given the percussion part for Grapes of Wrath, I could read it and if you doubled everything I played and made it simple, I could get through okay if I practiced for a few weeks. But I would never do it because I would not feel qualified.
Every other musician in the MNO trained on their instrument at the conservatory. The harmonica on the other hand........ The composer should have known more about the instrument and the possibilities. If this Opera were written 40 years ago, Richard Hayman probably would have played the part and we would have something. As it is, if this were to go on tour or to Broadway, they sure as hell won't need a harmonica player.


Harmonically yours,

Robert Bonfiglio
http://www.robertbonfiglio.com


On Mar 9, 2010, at 1:46 PM, Noah Hoehn wrote:


I happen to know the original player who played the world premiere with The Minnesota Opera and is on the PS Classics recording. I happen to know that he worked very hard on his parts because he is... me! It was a challenge for me to learn the music and it took me a few weeks to hone the parts. During the first rehearsal Ricky Ian Gordon (for harp-l he's the composer) pulled me aside and was made it clear that he was very happy with my playing and admitted that he was relieved that the harmonica player MNO hired could play the part. He also asked that I be amplified from that point forward to be heard.

All in all it was a wonderful experience to play with the orchestra. It was music that stretched me and I worked at it. By the time rehearsals began I was marking notes in my music about tone, dynamics and phrasing because as you mentioned, most of the parts are doubled.

The reaction from Ricky, Eric (the director) the opera staff and the players around me was all positive and I'm curious to know why you assumed the "original player probably couldn't read"? I'm a classically trained percussionist, I did read all 58 pages of the music, and I did play mostly chromatic and switched to diatonic where necessary. I also have listened to and played enough classical music to know that my playing probably is around a C+ at best so I'm not asking the question to be defensive. I would honestly like to know and I think the list might learn something from your answer.

Thanks!
Noah



> From: bon@xxxxxxxxxx
> To: harp-l@xxxxxxxxxx
> Date: Tue, 9 Mar 2010 12:09:31 -0500
> Subject: [Harp-L] Grapes of Wrath
>
> I will be playing in the pit orchestra Grapes of Wrath at Carnegie
> Hall at March 22nd at 8:00 PM. Chromatic, Diatonic and Bass Harmonica
> - mostly doubled and covered by other winds and brass so not
> featured. Whoever was the original player probably couldn't read so
> they covered all his parts with a double - pity!! Needs some nice
> harmonica solos.
>
> And BTW Danny, I can read bass clef just fine, but I am by no means a
> real bass harmonica player!! Like blowing into the Holland Tunnel to
> play bass.
>
> Harmonically yours,
>
> Robert
> http://www.robertbonfiglio.com
>
>
>


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