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Yes, that looks like mine, but with different soundboard decoration. One thing to keep in mind is that Lindeman harps should be strung at lower tension, with “Lever Harp Gauge” strings.
Hi Phoebe
I apologize for answering your question with a question, to some degree, but I’m interested in something of which I see quite a bit in the harp world. If you’re interested in some degree of historicism, which is most laudable, and is indicated by your post, I’m wondering why you’re looking at transcriptions of keyboard music rather than compositions originally for harp? The sonatas of Hochbrucker or Meyer, while of a slightly later date than Scarlatti, carry much of the same character as some of the Scarlatti sonatas, and some similar technical challenges. The music is available from Fuzeau and Ut Orpheus, but few harpists are familiar with this repertory for our instrument. I’ve never understood why….
Thanks,
PaulIt’s hard to predict how lower-tension strings would work with a new harp because many new harps have thicker soundboards than were ever used in the past. It would be interesting to experiment with some “test strings” on different registers of the harp to get an idea of how it would feel and sound.
Harps can’t be damaged by lowering the tension on them. They can be strung as light as you like, until the strings become so slack that the tone is unsatisfactory. Switching from “Standard Concert Gauge” to “Lever Harp Gauge” usually gives a more brilliant tone, with noticeably more sustain in the upper registers, and more volume overall as the soundboard is able to move more freely. It also can make harmonics easier and louder, and drastically reduces string breakage.
If the harp is an 80 year old Russian instrument, chances are good it was modeled after either an early Lyon & Healy or a French Erard Gothic. The early L & Hs were designed for the strings schedule devised by Erard in 1829. This string schedule is very close to the Bow Brand “Lever Harp Gauge”. The later French Erards were designed for strings about two note’s worth heavier than that, but still lighter than modern strings.
So, by stringing with a lighter string set, the harp will be closer to its original design. It should be easier to play and last longer, as well as producing the kind of tone Rozelle is looking for.
You can also try restringing your Russian harp with “Lever Harp Gauge” strings. It will be easier to play under lower tension, and most harps’ sound opens up a bit when the soundboard isn’t under so much pressure.
Thank you for sending the link. The museum website is a great resource. I had it bookmarked on my old computer, but it somehow got lost when I moved to the new computer and I hadn’t been able to find the site again. It’s good that the harp still has the swell pedal intact. Most 19th century harps were built with a swell pedal, but the shutters and pedals have been removed from many of them.
This is, as Tayce correctly identified it, a cheville mechanism harp from ca. 1790 – 1800. There was a maker in Sweden producing these, and there are several in the collection of the Musik Museet in Stockholm. The price seems reasonable if the harp is in as good condition as it appears to be in the photos. That’s about what unrestored early pedal harps usually sell for at auction here in the U.S. Depending on where you are located, Mike Parfett, Beat Wolf or Rainer Thurau would all be good resources for restoration.
Hi Lisa
You can leave out the lower note in the left hand if you want, since it’s doubled by the ‘cellos with sustained chords. I’ve had conductors suddenly speed up there, in performance, so I left out the last note of the right hand figure in every measure and just kept up with the downbeat. It kind of messed up the meter but the music was flying by so fast, I don’t think anyone noticed!
PaulOK, the center section of the back has been filled in with a solid piece at some point. BTW, it’s best to leave the pedals in the flat (highest) position when the harp isn’t being played.
The bass wires for a Grecian should have only fiber as the core, wound round with fine wire to add mass. This type of bass string will not have a pre-made knot. I either thread the strings through from the front and out the swell door, tie the knot and pull the string back so the knot is against the soundboard, or, with earlier harps with a solid staved back, lay the harp down, take the base off, thread the strings through from the front and fish them out the bottom opening in the body using a hook made from a bent wire coat hanger and continue as above. I’m not describing the procedure particularly well, so let me know if you have any questions!
I’m wondering who made the harp? The inner string beam looks like it’s similar in principle to the one that Wurlitzer tried in their harps. Interesting.
Look inside at the back of the bottom of the soundboard. Some lever harps have one or two bolts there, with nuts and washers. Sometimes the washers can pick up sympathetic vibrations. Try holding them while playing the notes in question, and see if they’re the culprits.
Leon, I would start by contacting Michael Parfett in London. He will be able to give you much more information, and may have parts for sale. Salopian Strings will also have information on the stringing schedules for your harps. In general, though, the Morley should be strung with “Lever Harp Gauge” strings, and the Grecian should be strung one octave lighter than modern standard (i.e. the strings would be put on the harp one octave lower than they are labeled on the package.)
