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characteristic of the French composer. Changes occur from a mood of dreamlike meditation to the sprightly devilish antics of a frightened faun, with a suddenness that is breathtaking. The "Danse Sacree" was beautiful in its delicate solemnity, typifying the ancient Greek form of dance in procession through a lofty and majestic cathedral, and suggesting the refrain of chimes in the distance.
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assurance that be-tokened an unusual mastery of the dynamics of her instrument. The ensemble numbers evidenced her intelligent and sympathetic understanding of orchestral effects, which charmed the appreciative audience. The grace and beauty of her performance was enhanced by the use of lovely gestures, an innovation in harp playing which added a pleasing symmetry to the entire effect.
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Lawrence. It is worth noting that in that year, Salzedo had twelve students and Miss
Lawrence had another six, including Alice Chalifoux. In following years the studio maintained ten to twelve students, in contrast to the total of four enrolled in more–recent years at Curtis and several other American conservatories.
268:, ample volume and a fluent technique, which the work demands, as it nearly exhausts the possibilities of the harp. The audience tried hard for an encore number but was disappointed." Following the text is a list of all the performances in which she appeared as soloist with the Philadelphia Orchestra.
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anything. She performed as a member of the orchestra from 1930 to 1946, with
Marjorie Tyre as second harpist. Miss Phillips was the first woman in the orchestra, and as a newspaper headline noted, she "added a feminine touch to the right hand front of the ensemble." (Stokowski generally preferred to
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She was married in 1933 to Sam
Rosenbaum, a prominent attorney and board member of the Philadelphia Orchestra, and had a family of two children and two stepchildren. She was survived by her son Hugh Rosenbaum of London, her daughter Joan Solaun of Illinois, two grandchildren (Emma Cristina Solaun,
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for which she served as president and board member (a community/pre-college conservatory). She also founded the
Philadelphia chapter of an important organization, Young Audiences, which presents concerts to children. She was active in Philadelphia's Musical Fund Society, a social and philanthropic
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Miss
Phillips began teaching in 1932 at the Philadelphia Conservatory of Music, remaining there until 1972. When Carlos Salzedo died in 1961, she was offered his position at Curtis, but turned it down in favor of Marilyn Costello, her successor in the Philadelphia Orchestra. She taught and coached
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in
Philadelphia, was dedicated in large part to the legacy and memory of Edna Phillips. From her commissioned works, the following were performed: The Concerto by Alberto Ginastera (Yolanda Kondonassis), Eclogue "La Nouvelle Heloise" by Alexei Haieff (Sophie Bruno), Suite "From Childhood" by Harl
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Two
Debussy numbers, "Danse Sacree" and "Danse Profane," were played by Miss Phillips, harpist. Accompanied by a string ensemble from the orchestra, the dances were played with rare skill and interpretation. Typical of Debussy's style, especially the "Danse Profane," the nuances of the latter are
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Edna auditioned for study at Curtis, playing the harp and the piano, and was accepted by Mr. Salzedo, partly on the strength of her piano playing, and she enrolled in the fall of 1927. As a first-year student, she had her private lessons with
Salzedo's newly appointed Associate Instructor, Lucile
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As a member of the
Philadelphia Orchestra, Miss Phillips was thrown into a grueling schedule of performing and recording, everything from Bach to Schoenberg, many in Stokowski's orchestrations, which he would revise on the spot in rehearsals, as well as the latest contemporary scores. She had to
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Many of the commissions have been published and are easily available. Many are still in manuscript. Isadore Freed dedicated his harp solo
Promenade to Edna, though it is not known to be a commission. Numerous recordings by Miss Phillips with the Philadelphia Orchestra can be found on the Cala,
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Miss Phillips was enthusiastically recalled for an encore and played "The Whirlwind," by Carlos Salzedo. The piece is characteristic of its name, and suggests a tornado, sweeping chaos and turmoil in its path. Technically a difficult composition, it was played by the harpist with a poise and
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In the fall of 1928, Edna began her private lessons with Salzedo. Her summers were spent in Maine where his harp colony was located; first in Seal Harbor and then in Camden, where it remained until its closure in 2002. With Edna's strong piano background and innate musicality, she made swift
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houses the Edna Phillips Music Collection, 1930–1970. It consists of published and unpublished music, much of which was commissioned by Phillips, and many of the pieces bear her hand-written annotations. The collection also includes sound recording of "Sea Chanty" with Phillips on harp.
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Edna performed that year as soloist with the Reading Symphony Orchestra, on February 23, 1930. She played the Debussy Deux Danses: Sacree et Profane and, as an encore, Carlos Salzedo's virtuoso piece Whirlwind. In the newspaper the
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place the harp at the front of the stage, near the double-basses, or sometimes on the left.) In 1937, one of many times Miss Phillips performed as soloist with the Philadelphia Orchestra, she played the Chorale et Variations by
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In the next year Edna would record the Debussy with Stokowski, with only two days' notice to prepare. (This recording has been re-released on the Biddulph label Stokowski Conducts French Orchestral Favorites, Volume Three.)
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students privately, and helped develop many of Philadelphia's harpists, notably including Karin Fuller. When she left the Philadelphia Orchestra, she plunged into community work. She founded the Germantown Branch of the
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to play in their orchestra, she took Edna along to be her second harpist. However, Edna grew so uncomfortable with the racy theatrical atmosphere and the routine music that she returned to Philadelphia after six weeks.
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as well. When Edna moved to Philadelphia two years later, she continued her private lessons with Miss Wightman, and audited lessons and harp classes at Curtis. When Miss Wightman was hired by Manhattan's famous
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an attorney in Miami, Florida and the daughter of Joan and Mauricio Solaun, and Arwen Cecilia Rosenbaum, the daughter of Hugh and Rowena Rosenbaum), and her stepdaughter
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conducting. After 1946, she often returned to the orchestra to substitute and help out, and is quite possibly the harpist on the soundtrack of the renowned film
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264:. The Philadelphia Ledger recorded on March 16, that she "played superbly Widor's beautiful Chorale and Variations for harp and orchestra. She showed beautiful
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in 1941–42, and Lynne Wainwright (Palmer) and Reba Robinson filled in. During her year off, Edna concertized and gave the world premiere of her commission
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Miss Phillips commissioned many works for harp, the complete number not yet established. Her most famous commission is the
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486:(1940). She also appeared on television with the flutist Samuel Baron. Her harp and music are now in the collection of
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Author Mary Sue Welsh has completed and published a biography of Edna Phillips with the University of Illinois Press.
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615:, University of Illinois Press, 2013, pp. 183–92; see also APPENDIX The Edna Phillips Harp Commissions (pp. 211-220)
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626:"Finding Aid for Edna Phillips Papers, 1930-1970 - The Sousa Archives and Center for American Music"
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Claude Debussy, Maurice Ravel, Leopold Stokowski – Conduct French Music Vol.3
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Appearances by EDNA PHILLIPS AS SOLOIST with the PHILADELPHIA ORCHESTRA
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This article is about the harpist. For the British murder victim, see
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One Woman in a Hundred: Edna Phillips and the Philadelphia Orchestra
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One Woman in a Hundred: Edna Phillips and the Philadelphia Orchestra
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Webster, Daniel: FOREWORD, (pp. xi-xii) in WELSH, MARY SUE,
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Biddulph and Andante labels. She is featured prominently in
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Breaking the gender barrier inside a world-class orchestra
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1937 11/20,21,30 Mozart: Concerto for Flute and Harp, with
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1941 1/17–5/5, 12/7/42 McDonald: Suite "From Childhood
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527:1944 1/17 Debussy: Danses Sacree et Profane
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558:Reading Eagle - Google News Archive Search
116:Learn how and when to remove this message
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515:1937 3/15 Widor: Chorale et Variations
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536:1945 4/21, 10/30 White: Sea Chanty
533:1945 1/26–2/5 Berezowsky: Concerto
337:Philadelphia Chamber Music Society
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276:She took a
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547:References
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369:Sea Chanty
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