études de virtuosité
|Contents:||4 studies for harp (see "contents" for details)|
|Size:||230 x 305mm|
|Pages of music:||19|
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|Other music by Benoît Wery|
Etude No 1 - Mouvement perpétuel
Etude No 2 - Liberté, égalité ... des doigts
Etude No 3 - Souvenir d'opéra
Etude No 4 - Escapade alpestre
These studies have been written particularly for harp ists who area already at an advanced level and wish to develop and consolidate their technical skills. Each study is centred round one or more technical aspects, enabling the performer to tackle one or more difficulties at a time, such as the descending right-hand arpeggios that form the basis of the first study.
It could be argued that instrumental technical work on its own is not a valid concept. In the present instance, it would be correct to take the word “technique” to mean preparing your fin- gers to play a motif a passage or a whole work, so that technical work becomes indispensable. It remains undeniable, however, that such work must take place within a well-defined musical context, namely that of the composer and his or her work that the harpist will be playing by feeling it as well as following the written music.
With this in mind, I would encourage the harpist to try to free him or herself from the technical aspects and from the outset work on the study from a musical standpoint (the phrasing, breathing and timbre), even when it involves practising the hands separately. Technique is, after all, only the means of achieving musical ends.
I also advise you to practise the physical exercise that follows. It is not a course in physiotherapy (although some instrumentalists with longstanding muscular problems may have to call on the help of a physiotherapist at some point), but simply an aid to finding a position where you and your instrument are in equilibrium, based on a sound physical and mental foundation, and all the positive results that will flow from it, namely:
— increased concentration
— and aid to mernorisation
— decreased anxiety concerning one’s ability in front of an audience.
Benoît Wery (Translated by Mary Criswick)