Two harp positioning in orchestra

[Mel Sandberg]

“conductor’s left (the 2

[Tacye]

When the harpists are to the conductor’s left and the harpist is facing
the conductor the harp if facing the audience.

[tony-morosco]

I’m a bit confused by your description of the harp’s position.

The way I understand it and from my experience attending various symphony’s that from the conductors perspective (facing the orchestra with his back to the audience) the harps are to the conductor’s left.

The reason I was told long ago is that once upon a time (and still depending on who you are talking to) the harp was considered a percussion instrument and so the harp is traditionally positioned close to the percussion section. Most often in front of the percussion and behind the second violin section.

Today the harp tends to be classified as a “plucked stringed” instrument, which is the classification the Harvard Dictionary of Music gives to it.

Of course there are variations with different orchestras based on the conductor’s and Music Director’s preference, and sometimes individual pieces of music make having the instruments in different positions preferable. But the above positioning seems to be the general standard. As for the reasoning, this is what I was told but I can’t say for sure how accurate that is. But it does makes sense. I recall seeing it listed in several references as a part of the percussion section.

Another rational I have heard for the positioning of the harp rather far back near the percussion is that the harp is supposed to normally blend in with the music and typically not take a central stage except when soloing or playing a cadenza. Interestingly I recall reading that other than the concert master the harpist it typically the most likely to be called upon to play solos or cadenzas, which is why the harpist is considered a principle player.

[Saul Davis Zlatkovski]

I recommend reading the History of Orchestration by Adam Carse, which tells when and how the harp (re) entered orchestras. In Berlioz’s Memoirs, he describes his frustration with the lack of harps and/or harpists in Germany. It would be relevant to know if French conductors placed harps differently than Germans, who like to stick us as far back as possible (so as not to be bothered, I think). It seems to me I’ve seen old photos of the Conservatoire Concerts orchestra with the harps to the side, maybe.

The conception of the harp you describe, Tony, to me is a strictly Germanic view which has dominated classical music for 150 years or so. Stokowski, well-known to have the best ears of any conductor, mostly placed the harps at his right, between the cellos and basses and the audience. It depends a lot on the acoustics of the hall and how much the conductor likes the harp.

[Elizabeth Volpé Bligh]

The harpist is usually placed to the conductor’s left side because (a) it is easiest to hear the cues which are written into the harp part, and (b) it is near the violinists, who play the detailed melodic figures that we accompany. When I have been placed on the opposite side, I can’t hear those figures at all if the brass are playing, and it becomes difficult to achieve the tight ensemble that is easy when I am near the violins. Also, being on that side forces me to keep an eye on the baton constantly because I can’t hear as well. That can make an erstwhile easy part into a difficult one. Also, the soloist is usually to the conductor’s left, so that is another reason why it is best to be on that side as well, for ease of accompaniment.

[David Ice]

I just happened to find this on YouTube.

[Fearghal McCartan]

Now that does sound fun! The strangest I have had to do was when we were playing the Rachmaninov Variations on a Theme of Paganini. I was set in the middle of the stage, directly in front of the conductor and doing a wonderful job of blocking most of the woodwind and brass’ view of the conductor! The only reason for this that I can think of was that the harp has a goodly amount of chords with the solo piano and often has to cue from the piano so the conductor wanted us both to be as together as possible.

Normally I sit between/behind last desk of 1st and 2nd violins but in the last concert I ended up on the other side of the stage, on the 1st raiser right beside trumpets as sound wasn’t carrying through the bass and cello section. Being on the raiser allowed the sound to carry over them.

I know that Stéphane Denève always sets the harps over by the cellos and this does seem to work rather well in terms of projection but until then I have always been used to harps behind the violins.

[Saul Davis Zlatkovski]

The left side also places you closer to the flute, which is sometimes doubled by the harp.

[Fearghal McCartan]

True, but in the Faure Requiem, it is good being

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