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2: 2 edits
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Measure 9: The original version, which was already rhythmically complex, involved additionally a series of rather fast placements. The edited version eliminated some of the complexity so that the performer can focus on the placing issues. Also, in the edited version, the final note of the glissando is not determined. This allows the harpist a bit more flexibility.


Measure 12: The grace notes are not viable since it is not possible to place them plus the ensuing chord. This gesture was replaced with a 4 note rolled chord that generated a similar effect. Beats 3 and 4 were simplified in the edited version for the sake of fluency of performance.


Measure 14: It is not necessary to use staccato indications here since they are essentially irrelevant and also the triplet figure should just be 8th notes without rests in between.




Measure 18-20: I think it is safe to say that the original version is next to, if not totally, unplayable as written due largely to the wide leaps that cannot be placed. Since this passage moves at a relatively fast pace, notes were left out in the edited version for the sake of fluency. In the final measure (20), there were 2 quintuplets that could not be placed since a harpist only uses 4 fingers each hand. These gestures were transformed into 4 note chords with an indication to roll them downward. These notational changes created a similar effect to the original but the passage was now in a playable construction. In the edited version, the final glissando was removed so that the harpist could more easily place the chord in the ensuing measure (21).


Measure 21-22: In the edited version, many notes were left out since the original version would be awkward to perform due to placing issues. Before a harpist can pull the strings, it is necessary that the fingers have a secure grasp. In the original version, there is not adequate time to reliably make such contact before pulling.