Need info about Salzedo model

[julianna-kocher]

I am looking for information on Lyon & Healy’s “Salzedo” harp…

How does it differ from other models (for example, the Style 23)?

What is different about playing it?

Any other info you can give me???

Thank you!

Julianna

[rosalind-beck]

Julianna, I am on my second Salzedo, purchased in 2004.

[vincent-pierce]

Julianna,
I own a Salzedo as well, and I LOVE my harp. It has a huge, clear, bright sound, a very resonant bass and a lot of sustain. In fact, I have to be very conscious of muffling when I’m playing in orchestra. I would say the 23 has a bit darker sound, maybe more mellow, if that helps. The Salzedo projects very well and is perfectly suited to modern music. It also has a slightly wider spacing in the lower octaves, which I think is really nice. It’s also taller than just about any other harp (I think), so I have to watch the tops of doorways and such when I’m moving it, and since I’m only 5’4″ I have to sit on a pretty tall bench. I completely agree with Rosalind’s comparison of the Salzedo model to a Steinway piano – spot on. I just love my harp!
Vince

[diane-michaels]

Another Salzedo model owner here, deeply in love with it! This is purely unscientific, but I have a theory about the projection and clear bass sound. It seems that the widest part of the soundboard sits just a bit lower than on a 23. I noticed this visually, too, with Salvi Apollo’s, which to my ears, provide the same wonderful projection and, shall I say, oomph. Like Vince, I do have to sit rather high to play it, but I don’t feel overwhelmed or overpowered by it.

[laura-smithburg-byrne]

I have a Salzedo model that I LOVE!

I use it for most of my orchestral playing because it has a huge beautiful sound that projects easily and with clarity, especially in the bass.

I am petite in height 5′ 2” and a smaller size harp would have been physically easier for me to play.

However, because I am smaller, I wanted a harp that would give me everything I asked of it and not limit me in any way.

Since I bought it in 1985, I have become quite strong and my harp has opened up beautifully.

The 5th octave and neck are not wide spaced like some, but it suits my small hands and I am happy with it.

My harp has some scratches and dings because it has been moved so much and has weathered the pit wars, but after all these years it still has a beautiful resonance that is distinctively Salzedo.

I LOVE the POWER of my harp, it’s depth and range of color give me freedom as a performer.

I raise my bench and strap on my heels and am never disappointed regardless of the venue.

Often I do not need a “mic” in big productions because I project so well with my Salzedo that I don’t need one.

I have heard from fellow musicians that they recognized my harps’ beautiful sound before they saw me on stage, and that they could finally hear the harp part.

I also own an old L&H 11 that has that beautiful “old gold” sound. I use it for chamber music and solo performances and it is also quite beautiful. It has a thinner board and is very responsive even with a lighter touch, but it doesn’t have the powerful impact of my Salzedo in a larger orchestra.

I have heard other Salzedo’s that also have a terrific sound, and their owners are equally thrilled. It really depends on your professional requirements and personal taste in sound. I would play a lot of harps until I knew the sound I liked best.

Regardless of make and model, you have to have a great instrument and you will know it when you find it; but ultimately it is the power and the touch of the performer that brings the instrument to life.

Good luck in your Salzedo quest!

[Jan Jennings]

I think it is difficult to generalize about harp models.

[laura-smithburg-byrne]

I completely agree with you that every harp is unique and it is important to try as many different harps as possible before making a decision. I have heard raves from 26 owners and I have also heard of some disappointments.

I have played a spectacular gorgeous 23 that was a truly sublime instrument, a tribute to its famous owner.

It was effortless to play and after two hours I still wasn’t tired.

I have to agree my Salzedo is not the lightest harp to move, but I have owned a heavier harp that was a dud, and I have moved many that were much heavier.

I also own a Camac Clio that I use for my hospital playing and it is light as a feather and easy to move.

I know several Camac owners who love their harps for their brighter tone and lighter weight on the shoulder.

I have heard some great 85CG’s that impressed me with their full tone and projection.

I heard a student audition on an amazing 100 that had a huge tone, it really impressed me for a smaller size harp.

She was thrilled to have found “her instrument”.

I have been fortunate to have a great Salzedo harp and I have been really happy with it.

I love the sound of it, how it projects so easily, and I love how it feels to play it.

Again, I really believe it is important to consider your professional needs and requirements for sound, and then try as many harps as possible until you find the one you really love. : )

[Saul Davis Zlatkovski]

The Salzedo model was designed by artist Witold Gordon, upon ideas or sketches by Carlos Salzedo. The harp suits his esthetic and embrace of art deco/moderne principles of streamlining, classical proportion and elegance with fine craftsmanship. The Salzedo model was only designed to be made in natural finish. The original design, especially in comparison to other contemporary models, had the widest sounding board at the bass, and with its straightened sides, had great projection. It actually combined the qualities of a traditional French straight-sounding board harp with the width of the lovely pear-shaped 23 and its pear-shaped tones.

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