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I forgot to say in my other comment: but I know the Atlantic Harp Duo does travel with two harps in a van. They are not stacked, but placed side-by-side with base to crown. I’m not sure exactly how they maneuver them in to begin with, but I’ve seen the finished product. You could probably contact them, they are very nice — http://www.atlanticharpduo.com/contact
Hi Saul,
As an avid column loader I am curious about your comment. In my situation, a Ford FreeStar with two captains chairs, and a flip-fold rear bench, the harp is positioned between the two seats, with thin bolster pillows against each arm-rest which lie along the body of the harp. In this way, the harp is suspended from turning, sliding, etc. There is also a pillow between the crown and the center console. Because the harp is evenly padded between the seats, the harp never moves. Thus no pressure is on the neck, but evenly distributed on the column/base. I have found my harp stays in tune very well, even on long trips.
I feel that side-loading may be more dangerous in case of an accident — if you are hit from the side or rear the harp could be jarred by the impact in such a way to cause serious structural damage. While column-loading protects the knee block at least. Obviously being in a car accident with your harp could be very bad, no matter how you load it.
That would be a really interesting HarpColumn article… I know of one person who was in a bad car accident with harp in car, and the harp came out with only one scratch. Things you could do to minimize damage? A worst-case scenario article?
Just my two cents! That’s very interesting, sitting beneath the harp to load it. Could be great suggestion for someone not strong or tall enough to lift a harp in.
If you click on “web store” and then “harp accessories” it’s at the very bottom. They are $7 for a set. 🙂
I think it does depend on the harp also, my harp has the same felts since 2 years ago, and they are a little packed down but otherwise in great condition (yes, I know, I should change them…). I practice 2-3 hours a day at home. A couple of the harps here at school, even though they are played 4-6 hours a day, go through felts in 2 months.
It’s the same felt, so I can only assume the player and the harp contribute to the wear the most.
Vanderbilt carries their own felts. I use them on the school harps (here at IU) and I really like them. I’ve been told that they are the old kind that LH used. The main difference is that the Vanderbilt are more “fuzzy” and slightly thicker, while the LH are more dense.
I’m curious how fast you wear through them, they should last a year or less if you play very often.
I believe that Karen Gottlieb is the guild member in the SF bay area, and generally the west coast.
GOTTLIEB, KAREN
Tel: (415) 386 0702
Areas of service/travel:
United States (San Franciso Bay Area, limited West Coast)
http://www.lyonhealy.com/techguild.htm
She’s really, really nice to work with 🙂
Good luck!
Katherine
I play weekly at a community church, and I do a little of everything.
A solo the 1st sunday of every month, in addition to a solo/improv during silent meditation and communion. I trade off with the organist for pre/postlude. I accompany the hymns as well, adding filigree on the last verse or two.
I have a friend who plays his Silhouette with a praise band, and he loves it. He also does some improv. acting as a keyboard or guitar.
Watch for a CPO (certified pre-owned) deal — sometimes they have really fantastic ‘discounts’. Also, the classifieds section of this website has some discounted harps as well.
It was played here recently (IU) and I subbed for it one day — very, very fun to play. It lays well in the hands, and you need to have a good internal pulse.
I really like your reply!
Another suggestion could be to keep the thickest covers you have (blue mitten cover…) on at night when the temperature drops. This could hopefully prevent some breakage.
I think they are Theodore Presser or from the composer, http://www.garyschocker.com
My information on Bow Brand vs. Burgundy is that they are the same string, the latter of which did not pass the final phase of inspection (a visual check). That’s why they’re cheaper, but have the same sound/guaging, etc. They are imported from the UK.
Vanderbilt Classic gut is no longer available, as the manufacturer went out of business. I’ve heard that they are really nice, and a richer sound than the bow brand.
Bowbrand Concedo has extra varnish, which is why they are opaque and good for use in orchestra. They are more expensive because of the extra varnishing process.
I don’t know if you use nylon in the 1st octave, but depending on your climate and your harp, putting gut in the 1st octave can be really nice.
I saw the thread where Emily Mitchel mentioned she’s using Pirastro harp strings, and said they sounded great (but were expensive).
I really like the peice by Kati Agocs “Terry Riley”, which has been made popular by Juilliard harpists — Heidi Van Hoesen Gorton, and I believe it was originally written for Bridget Kibby? I heard it this past summer in Tacoma, and it was very effective.
“Up next was a modern take on an old theme: Kati Agocs’ “John Riley,” the first movement from ‘Every Lover Is A Warrior.’ Agocs is a modern classical composer and fellow Juilliard grad, who has taken the traditional Appalachian folk ballad “John Riley” and adapted it for harp. Ms. Van Hoesen Gorton allowed the listeners to appreciate the bluegrass feel of “John Riley” while yet maintaining its classically lyrical line.”
From a review — here
Hi!
In the AHJ, Vol. 13, No. 1. Summer 1991 there is an article by Kathy Bundock Moore, Marcel Grandjany: A Centennial Biography. This includes a short analysis of his composition style, grouping the solo pieces as his early period of composition. She lists Rhapsodie, Op. 10 as 1921. Significant events would include him giving up the harp during WWI (1914-1918), “He was disappointed at his inability to serve on active duty and stopped playing the harp out of respect for those fellow musicians who had been called to the front lines–the list of those who died or were maimed is long indeed.” (p. 5) He was then married to Georgette Boulanger in 1919. It appears that otherwise he was teaching, and “In 1921, he was asked to begin a harp class at the opening season of the Conservatoire Americain at Fontainebleau (a tremendous honor for him), joining such well-known instructors as Nadia Boulanger, Paul Vidal…, and organist/composer Charles-Marie Widor.”
