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There was a collection published about 20 years ago with arrangements by Eleanor Fell, Ray Pool and other well-known players published by Warner, I think. I don’t recall a particular name for it, but it had a brown cover with a photo of a hand on the strings, I think. Vanderbilt should have it.
If you learn some physics, you will find there is no malarky in raising whatsoever. But maybe you referred to something else. Ever see a pitcher throw a curve ball? Or see Rubinstein and
Raising is not mere psychology, it does actually physically influence the tone you produce, and if you do it the right way, it will completely change your tone quality. It also helps avoid that awkward moment of, “okay I just played the note, now what do I do until the next one?” scene. Raising also affects the way you begin the next note, adding to its influence.
Not to poke fun, but I can only imagine that a Russian 46-pedal harp was created for a harp collective to perform on.
Plastic materials such as carbon fiber have a bright sound. Plastic recorders are much brighter than wooden ones. They also have a shrill quality that is hard to avoid.
Ray Pool played the original on tour, and beautifully. A lot of harp, but a lot of repeated patterns.
The pedal errors are obvious, and will not be a major surprise. Note changes will. I recently reworked the whole piece with a new interpretive approach and would not be happy to have to re-learn it again.
I find it much harder to play piano after harp because the spacing is so much wider. Harpsichord, on the other hand, is about the same as the harp, so the keys are very comfortable to play. I think the degree of difficulty in switching from piano to harp probably depends on the type of piano technique you were taught. But I do notice a lot of harpists who are excellent pianists have the habit of not closing their fingers, which is to me an impedance.
This harp is smaller than a semi-grand so that cuts its value down. It would be worth something less than a style 17 of similar vintage.
If you are seeking a wooden shipping crate, there are lots of harpists who want to get rid of theirs. There is also a crate maker in California called Jan-Al who has made well-padded harp crates.
I know a harpist who has both Venus and Lyon & Healy harps, and he has noticed a difference in sound due to the string angle. If a string comes out at too steep of an angle from the sounding board, I think it’s capacity to vibrate will be limited by too much contact with that edge of the board.
You cannot use Endust, it is full of citrus oils! Use only the Lyon & Healy polish. An 80s Salzedo has a lacquer finish, not polyurethane. Use a little dampness on the cloth to clean dirt, then polish and then buff it. You can use, I believe, a tiny bit of detergent such as Ivory, a mild one, to help get grease off. Nothing else!
