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Quick clarification: I mention Walton’s because that got specified as a brand name even though, strictly speaking, they were sellers rather than makers. But that “Brian Boru” model rings a faint memory bell. I still think McFall is the most likely candidate –
It could have been a “Walton’s” harp – ? I write the name in quotes because Walton’s is actually a music shop in Dublin (still going) rather than harpmakers per se, and they handle a lot of other instruments, in addition to sheet music & accessories. Not sure who made the ones they sold in the 70s, or if they were even always by the same maker. I don’t remember theirs being particularly ornate, though. Walton’s may have sold McFalls in addition to the other ones, but I have a feeing that McFall was no longer manufacturing by the 70s. (I could be wrong, though.) These days they import Camacs, possibly Aoyamas too.
With any small harps from this period, prepare yourself for the above complaints of unsatisfactory semitone blades and thin nylon strings. You’d certainly want to try one out before buying. If you’re interested in one for playing, you’re probably better off to get a more recent instrument. They have improved hugely in the intervening years.
Bear in mind that the ones Karin is referring to above will be wire-strung, and I don’t believe they were available that many years ago.
How long ago was this, Saul? Any idea where in Ireland? If it was Belfast, it could have been a McFall harp. There were other makes from elsewhere, but that was the most ornate. This was years ago, however, and I don’t think McFalls are being made now. (Also they had hopeless semitone systems, and you would probably not like the thin-gauge nylon strings.) “Brian Boru” sounds like a model name rather than a brand name, but it’s a pretty popular one – a time perspective will help.
Just thought of this – trying asking Michael Hambly himself (webmaster) if he knows of any harp rentals. At least two of his daughters play harp, and if he’s administering a website like that he’s bound to know a lot of info. He’s also extremely nice (as far as the small experience I’ve had in dealing with him goes) so it’s worth asking. Paddy Cafferky is a lovely man too, and if he has no hire stock be sure and ask him if he can direct you anywhere. He’s lived in the area for decades, and harp people tend to get to know each other pretty quickly. He may be able to point you to some private harpists who have a spare instrument and would like to make a few bob by hiring it out. Worth a shot –
I share your enthusiasm for it, Carl – I’ve been a fan of this piece for years, ever since I heard it on an old (now unavailable) recording made in Ireland by Sebastien Lipman. I don’t know why it isn’t played more often.
One thing, though: Would you really classify it as “low intermediate”? The earlier variations, yes – but it at least sounds as though it gets beyond intermediate level in its later stages. As you say, however, one great thing about themes-&-variations is that you can pick and choose which ones you play.
How did you discover this piece? I only came across it because I happen to know the niece (also a harpist) of the recording engineer in Limerick who worked on SL’s CD, and she brought it to my attention. So I suppose I found it by accident too.
The written score seems to be available – so WHY is this gem so under-played? The standards of harp repertoire become familiar pretty fast, so it’s not as though we’re exactly drowning in good new material. (Have to re-define my interpretation of “low intermediate” though…
)Try posting a request in http://www.harp.net/ which is an Irish-based trad harp umbrella website (maintained by Michael Hambly in Co. Mayo – he’s the father of Grainne). You should get some sort of response, and more of the relevent people will probably see your request there. Also trawl through the adverts on the site to find out who’s offering what services. And try the harpmaker Paddy Cafferky, just in case he maintains some stock for hire: Paddy Cafferky (Lisduff, Craughwell, County Galway), or else he may be able to suggest a source. Enjoy your trip!
This is actually a link for the Sacramento chapter of the Scottish Dance Society webpage, but if you click on the link for Janet Kurnick (who handles Membership and also Archives) she may be able to help you because she plays harp and is based in the area. (She can remember Joanna Newsom as a student.)
Best of luck – go for it. And remind your hubby that a decent-quality secondhand harp will always SELL if it doesn’t work out.
Another thought is to buy some CD’s – both flute/wind-instrument & harp, and also harp solo – and play them around the house. The exposure to its music will undoubtedly help your wife to focus on the actual sound of the instrument, and realise whether it lures her or not. It would also be a lovely influence for the little girl, who may want to play herself when she gets older.
You can make wonderful music on a harp without its having to be difficult, which is one of the rewarding joys of playing. As has already been clarified, “simple” doesn’t in any way mean shoddy. I think the two of you could do some very productive playing together which would be rewarding for both yourselves and your listeners, so don’t abandon the idea. Do keep in touch with the scene via websites, downloads, recordings etc. Maybe eventually the three of you can play as a trio!
To be honest, you probably need to be more technically advanced, beyond the beginner stage, and have some of the standard repertoire under your belt before you should consider taking it to the higher education stage.
Would it be possible to start a new thread on the latest question, with a more neutral heading, and transfer/copy the above December posts into it?
I have to agree with Tony & Hannah – for me it has been pretty much an unalloyed advantage (and I played piano for 20 years, including conservatory study, before taking up harp).
I’ve just been corrected by my partner (a harpmaker) who happened to see my post above. He says my antique harp definitely DID have the doors at one time, and then proceeded to show me. I have to admit I’d only taken a glance at it and just assumed – from what looks to me like a smooth back-of-pedal box etc – that they had never been there. So they WERE still featured on 1837 English-made Grecians. *red face*
I made a small error in my post above: The Dublin-born Grecian I spoke of was actually made in 1835, not 1837. It’s my own Grecian, an English Erard, which is dated 1837.
I mention this because my harp does not have the swell-doors and never did. Obviously Pierre Erard (nephew of Sébastien, who had died in 1831) did not feel the necessity to continue putting them on his instruments.
Egan used them too. I played an Egan Grecian (made in 1837 at 30 Dawson Street, Dublin) which was beautifully restored, including the functioning swell doors (whose hinges were bits of – ?? – vellum, or some similar material). It was a lovely instrument with a particularly full resonant bass (for a Grecian) and excellently-behaved pedals.
Apart from the historical interest & fun in trying out this feature, I discovered that it didn’t add much in the way of tonal colour, and was fairly ineffective. It certainly didn’t “swell” in the sense that one understands the term, and I soon abandoned it altogether and just left them open. I had public performances to prepare on this instrument and the music was pretty pedally, and I found that the little eighth pedal, situated as it was in the middle, made it more diffiult to distinguish the other seven, which means increased risk of – everyone’s worst nightmare – pedalling boo-boos.
The man who restored it said the door feature was just one more thing that could potentially go wrong, rattle, get stuck etc, and he wasn’t surprised that it had become obsolete. File this one under one-of-those-great-ideas-that-doesn’t-quite-work.
