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I did check the legs, and they seemed fine. I would think it was the string ends if it wasn’t so pitch specific.
A Prelude is certainly of a superior quality, and has a bigger range for more music. If you cannot handle it, then you should get a Troubador, as they are better than Ogdens.
If those are your goals, then you absolutely must have a strong technical foundation, and you have no time to lose. If you can find a teacher who will develop that as well as the repertoire you need, then you must change teachers, politely. It sounds like the teacher you have is not suitable, unless they are willing to focus on technique and corrections. You cannot just learn repertoire. But, you can make up for that if you go to the right teacher for your schooling. However, time spent repairing technique is time lost for other things, and leaves you at a great competitive disadvantage. The alternative is to go to a summer program where you can concentrate on technical development, but it is too late for that this year. The question is, is there another teacher in your area who can give you a strong technical foundation? If you contact me, perhaps I can recommend someone. But playing the harp is far more than just learning technique and repertoire. You must find the best teachers you can, and choose wisely and carefully. They may not be in the most obvious places.
He did not compose those, they were transcriptions he made by writing on the scores. They have not been published. His transcription of Debussy’s Children’s Corner Suite has been published. There are other trios published as well, such as a wonderful one by Boris Koutzen.
Those harps were made with marvelous wood and skill, and have aged very well. Harp #299 has the bust of Wagner and is a Style 22. It belonged to France Miller.
I believe you can look up the patent information for Wurlitzer harps, which is very similar to Lyon & Healy’s early models. The Style 11 used to have different proportions from the 23s, as did the Style 30. Any difference in column or base or box or neck, it all affects the sound, every facet of the harp affects the sound.
You may be looking for Three Fantasiestucke by Schumann, which I believe have some history of being played with a harpist, or his three Biblical Songs of Byron which are written for harp and voice. There are pieces by Bochsa for harp and clarinet, and one by Damase.
You can double harp parts so they can both play. I think you could add a harp part to Fingal’s Cave by Mendelssohn. His Overture to Athalia has a nice harp part. All harp parts are difficult for first-year orchestra players. I would not recommend ones with long periods of rests, and cadenzas. The Poet and Peasant Overture is good. Faure’s Pelleas et Melisande is great.
If you live anywhere near a harp music dealer, such as Holywell, or Lyon & Healy West, go there and browse. There is nothing you can do online that is comparable to browsing through sheet music yourself. You can also do that at harp conferences. There are tons and tons of pieces. If you look at the classical era, and the modern era, you will find plenty that is not clichéd. But in the 19th century, you will find most of it clichéd. The difference is primarily whether the music is by a harpist or by a “real” composer in that period. It is heartening that you want something more substantial.
Dewey Owens published a masterpiece of a transcription with the Bach Chaconne. There are two editions, Lyra and a Lyon & Healy edition, I believe. I prefer the first, with slight modifications that are obvious to anyone who learns it. Lucile Lawrence embraced it and taught it to many of her students. I would not even consider any other edition. Dewey was an expert in writing for the harp, and as an organist, certainly had a good understanding of Bach. For someone who wants an impressive Bach solo to play in a recital, this is it.
