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The harp part is the same for both versions.
I’m possibly going to be controversial here! I loathe the SATB version. A few years ago I made the decision to turn it down if I’m asked to do it. I don’t regret it. It isn’t what Britten intended and for me the balance is all wrong. The best performance I ever did was with just 6 women – although nothing really beats an all boy choir if I’m honest. The clarity of the harp is lost against the full forces of a huge, amateur choral society, which is what I am usually asked to accompany. I got tired of being asked to play the whole thing basically at double forte so the harp could be heard.It’s a massive problem for many musicians. I struggle with near vision after surgery to correct my short sightedness many years ago. I was very interested to discover that this optician is really making an effort to address the issue. At the moment I can see OK without glasses but the top strings are getting very blurred. I will be contacting them to investigate the harpist lenses in the future I suspect.
I always warm up away from the harp. Yoga stretches mainly. I have a book and picked the ones that seem most suitable for me. Back, neck, shoulders, arms, fingers etc.They became even more important after I broke my wrist. I still do the exercises I was given for that by my occupational therapist. I then do a minimum of 10 minutes warm up at the harp too before even starting on pieces.
The Angelus bell is still broadcast daily on Irish TV and radio. On TV it is just before the 6pm news. On radio it is twice a day.
I love these three pieces. I seem to remember recording the Danse D’Autrefois a thousand years ago!
It’s great you can visit the Camac shop. The bardic harp is a good harp to start on if you can’t stretch financially to a 34 string model. There are lots of pieces written than work well on it. Check out Lauren Scott on YouTube. The comments on this video might be of interest to you.
If the teacher plays with Latin American technique then that is quite different and may not be what you are looking for. It would possibly require a different type of harp altogether, although There are certainly harpists who play both styles so she may be one of them.
I can recommend a very good online course which might be a good way to start. It is run by Shelley Fairplay who is a Welsh harpist. I’m not sure when the next session starts but Shelley is lovely and I’m sure if you contacted her she would be happy to help. More information here. https://harpwales.com/start-harp/
There is also a quite long video about the course here.
Interesting thoughts Saul. Yes, that’s how I feel about the sound differences. I don’t have any experience of using nylon strings on anything but the top octave.
Weight-wise I was always taught that if the harp is balanced correctly there should be no weight on the shoulder at all. It is just sits lightly in the knees and you can move back away from the harp without it moving with you. That way keeps the arms very free and the shoulder relaxed. Maybe that’s a European method? Because of that, my concerns with the weight are purely regarding moving them around – especially loading and unloading and going up and down stairs. UK venues can often be 100s of years old with tricky access!! My first concert harp was a Salvi Diana and when I changed to a LH 17 it felt light as a feather!! Salvis are cheaper here – although not by as much as they used to be.Balfour, you are so kind. I have some videos on YouTube (nothing special!!) but I’m not in Sivan’s league. He was absolutely incredible. x
Gretchen, I played one of Kim Webby’s harps at the WHC in Sydney. It was the most amazing harp I have ever played. Just stunning. If money were no object it would be worth every penny…….and worth the many years you would have to wait for it to be made. Even the travelling box is a work of art.
Salvi changed their soundboard design a few years back it certainly changed the sound. I can’t remember exactly what they did but that’s probably what you are noticing.
I choose harps mostly based on sound – and that’s a personal thing, you either like it or you don’t. Generally I don’t like the sound of Salvis and I also find them too heavy. That said, I’ve played some gorgeous ones on occasion. One Minerva about 30 years ago and an Iris at the Dublin WHC I woukd definately not have minded owning and would have put up with the extra pounds!
So looks wise, I really don’t like the 23 that much! I don’t like the carving at the base of the pillar – too geometric. And I prefer a round base at the front. That little point at the front of the 23 is just asking to get chipped. The 11 is beautiful. I love the organic nature of the floral design. Not over keen on the domed crown though. Iris – the bottom of it is beautiful but those roses at the top of the pillar are a bit OTT for my taste. Soundboard decoration on the Salvis is beautiful. I also like the design on the 11. Really lovely. The 23 is just meh!!!! It’s just a bit heavy. I prefer the 23 in natural and the iris in gold. The 11 is lovely either way.
But like I said, that’s all just totally subjective and based on looks. I’m a sound girl. Which is why I sold my beautiful gold 11 and now play……you guessed it…..a 23 (ebony and bronze. And I LOVE him!!) I got lucky enough to lend him to Sivan Magan a few weeks ago and it was so lovely to hear him played by such an amazing harpist.
Congratulations. Remember, the correct number of harps is “just one more”! ( My current tally is 11…..)
I’ve have literally been feeling the same thing this week. I’m seeing my chiropractor this afternoon so I’m going to run it by her. I’ll keep you posted. Mine isn’t too bad playing but I can’t hold a pen comfortably to write. All my joints seem to be giving up on me at the moment! The fingers I (we think probably) broke in my wrist smash incident are very unhappy plus my right knee and hip are also giving me trouble. I think I’m wearing out!! 😂
I used to own one of the old 46 string ones when they were gold. It was a beautiful harp. The size was great and it had a gorgeous, rich tone. It just wasn’t quite loud enough for the kind of work I was doing so I swapped it for an 11. I actually miss it now that amplification has improved as I could just have boosted the volume easily now. I did try the new ones at the WHC in Sydney but I was very disappointed with the sound. They just didn’t seem to have the richness of tone that I remember. To be honest I was surprised that I didn’t like any inf the Lyons on display there. None compared favourably to my style 23 or 11. Not sure why. It wasn’t the acoustic as other makes sounded fine!! (The Kim Webby harp was to DIE for!)
Balfour, I’ve certainly never seen one with the mechanism on the lowest strings. Nearly all modern LH concert harps have the full mechanism going right up to the top now though. There is much more space for your hand too. I seem to remember being told that LH re-designed the top of the mechanism in order to do this.
I’m not sure Gretchen. The composer’s contact page via her website is here. https://www.ailierobertson.com/hire-us/ It might be worth dropping her a message to see if is available. The harpist is Eleanor Turner. I might be seeing her tomorrow so if I get the chance I will ask her.
I was introduced to these two by the harpist Eleanor Turner. Rise by Ben Rimmer and Haven by Alie Robertson…
https://soundcloud.com/benjaminrimmer/rise-string-quartet-and-harp
