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Working on Angi Bemiss’ arrangement of the Schumann “Traumerei” to play at Harp Journeys in September. I just put that issue of Folk Harp Journal in the recycling bin the other day. Darn in! 🙂
I bought an old used Troubadour I a year or so ago that had been retrofitted with Loveland levers. Also, the dealer had restrung the entire harp with new nylons, new gut strings in the third octave down, and new wires. The harp has an amazing sound and has turned out to be one of the best harps I’ve ever owned.
I have owned a Chicago 40, and it was a great-sounding harp. Unfortunately, my experience with the larger Chicago harps was much different. I love L&H harps, but if you like warmth and resonance, I’d recommend something in the 85 series. If you’re ok with just 40 strings, the Chicago 40 would be great. You may want to check out their CPO website. They usually have a nice pedal harp selection to choose from.
Hi Ellen, I’ve played both of these models (when you say L&H Petite, I’m assuming your talking about the Chicago 40). The sound of the Chicago 40 was very nice–warm, deep, and rich. I owned one for a while but sold it because of the pedal spacing. Definitely check them out if possible when you go to LA.
Hi Jerusha,
I’m working on some pieces from Kim Robertson’s Book “Windshadows II.” I believe this book was recently re-released after being out of print. “My Thousand Treasures” is what I’m currently working on. It’s a beautiful piece, although I take it at a much slower pace than the tempo marking. I’m also working on Rhett Barnwell’s “How Great Thou Art.” As with all his pieces, it’s very well written and falls under the fingers well. The Braveheart theme is from one of Angi Bemiss’ theater books. There are some other great pieces in there as well.
If it’s 90-something when your performance occurs, it’s likely that the organ will be sharp (pipes go sharp in warm weather, flat in cold), and the amount of sharpness can vary greatly based on many factors (how close the organ chambers are to the outside, the temperature of the air going into the pipes, etc.).
I had a different experience than Tony’s (and not suggesting that he is wrong–just telling you about my experience).
A few years ago, one of the finalists in the Van Cliburn International Piano Competition chose and played as one of her pieces a transcription of Bach’s “Sheep May Safely Graze.”
I’ve never played a Venus Seraphim, so I can’t comment on that model, but I can say that the two Chicago 40’s I’ve played have both been excellent harps.
