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That is not a very long string life! Make sure you have it tuned to the standard for instrument tuning. It is now A=440. If you happen to have it, or
all of them, tuned a step or so higher, that will put undue pressure on the strings and they will break.If it were an expensive string, I’d contact the seller and talk about getting a replacement, as that is a very very short string life. Gut strings, at least a year or so is to be expected.
I doubt Lyon & Healy is still doing the retail value trade-in. I recently asked for an insurance appraisal on my 17 and was told they recommend replacement value for a new model, since it is now virtually impossible to get a used harp in good condition. So I doubt they’d take a used one in as new, either.
Your height won’t make much if any difference between getting a semi-grand or a grand. They are both big enough for a tall person. I have both sizes, am also tall and there is no difference in playing either one.
The consideration for grand vs semi-grand is determined by how loud you need it to be. The 17 is a bit softer, having one less bass wire. The width of the soundboard also figures in. If you’re playing in a loud orchestra or opera, as Emmanuel Ceysson does, or a big noisy restaurant, a soundboard the width of the Salzedo is necessary. In any orchestra, you’d better have a concert grand in order to be heard. However, in quiet settings or chamber music, I’ve found my semi-grand 17 is just fine.
Bear in mind, buying a grand just in order to get a taller harp, you will be spending several thousand dollars more than for a semi-grand.
I’ve been impressed by the new “Chicago series” by Lyon & Healy and they are reasonably priced. On the 17, 23, etc. you do pay extra for all the carving. It is all done by hand.
I don’t see age as determining so much. There are many harpists still playing strong into their 80s. Alice Chalifoux played and taught, retiring at age 90. And we all know young harpists getting injuries early. So age, dexterity, injuries are an individual thing.
How did you like Portland Harptacular? Isn’t Sasha Boldachev amazing?!
As the above posters have suggested, the care, maintenance, your geographic location, amount of moving and how can exert a bigger influence than the number of years old.
I have a L&H 17 built around the same time. It is in superb condition. And I take care to keep the humidity constant using a dehumidifier in the summer and humidifier in the winter between 45-55%, rarely move it, and maintain it.
Soundboard is not pulled up one bit nor neck bent.
This is not usual for used harps. Moving and humidity seem to be the biggest culprits. Ask about these two, such as ask exactly what kind of humidifier or dehumidifier they use. If they don’t use either and it is in a climate that needs one or both – that could spell trouble.
I own a Wurlitzer that has serial number 1234.
It was built sometime around when Mr. Grandjany emigrated to the U.S., around the time of WW II. Mine has been rebuilt twice, once by Lyon & Healy and most recently by Munson & Harbour. It needed regilding when I bought it and still does. Just can’t afford it yet.
Otherwise, it has a phenomenal sound. Once I start, can barely stop playing it. Mine is a Starke Orchestral Grand tho.
