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Yes, that is interesting, and makes sense of the design. The overall harmony must come from the single creator of it. And it is a tour-de-force.
As for Salzedos, for the record, Lucile Lawrence never approved of any alteration of the design of the Salzedo model, design maven that she was, and I have to say that as interesting as the variations may be, they don’t make the statement the original does and was designed to do. What would be nice is to have them made in the original specifications, with an extra-wide sounding board and wide-spaced strings.
There is one with Stokowski and His Symphony Orchestra featuring Lucile Lawrence in the Salzedo cadenza if you can find it. You can also listen to any of the Philadelphia Orchestra recordings. I haven’t made a point of collecting that piece. I also have a complete ballet recorded by Ansermet, and I think I could hear the harp. The first one I ever got was a seven-record set of ballets on London, with the Paris Conservatoire Orchestre under Cluytens, I think, with someone on a straight-sounding board harp.
Don’t bother. I don’t want to know such a fool, who deserves to have bad and smelly harp. If it has been a joke to you, it has been a failure.
I think the 24 is much more beautiful than the 26, though it has been a while since I have seen one. The elements of the column design are so harmonious and beautifully proportioned. I also prefer the 3 to the 26. I have never taken to the Gothic style on harps, too cold. I don’t think ornament or decoration should be thought of as not being masculine, I think that is a mistake. And, curiously, I’m pretty sure all the harps have been designed by men. It’s what you do with it and bring to it. 23s have always reminded me of an English manor home, with wainscoting and heraldry like a fancy dining room. If only I could get hold of my ancient heraldry, I could have a harp designed with it.
The double safety loop is simply another loop after you have tied the knot, and it secures the knot and the string piece so it doesn’t fall out. Just make a loop, slip it over the piece and the knot and pull it tight.
I have had some luck with stern lectures, followed by gentle coaxing, but the string has to really, really want to change.
It sounds like she needs to be given privacy by her family: that can be a serious problem. I would try to address that. In my experience, theory skills don’t help if the desire to use them isn’t there. I wonder if she will be different if she is away from home for camp.
Manly Harps, didn’t he used to cut my hair?
I agree on the Salzedo model, but I think the 23 and 3 are also manly, even the 26 and 11.
Hmm, an interesting deduction. It would explain somethings. He did mention getting a teaching position in the Damascus Conservatory, on a dirty harp, maybe it was smelly, too. That doesn’t make it him, but I am intrigued by your theory.
I’ve seen quite a few professionals or conservatory students who do this, and think it looks expressive, but I also find it makes me feel kind of sick. I’m not sure how to stop it except to spend a lesson holding the harp still. She can move all she wants if the harp stays still. She ought to realize how it feels then. Does she have it resting on her knees? That may be the problem. If it is on the knees and not primarily on the shoulder, then you can move your body without moving the harp.
