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Stephanie Curcio, who shares my love of this arrangement tried asking Osian Ellis without success. There is apparently an early documentary reference to concerto for harp and lute and all the repetition suddenly makes (more) sense!
To listen to my favourite by a very long mile, as I think I have said before, is the recording with Osian Ellis playing it as a concerto for harp and lute- arranged by Thurston Dart.
I don’t think Briggsie was bothered that you didn’t share her taste-
just bemusement (which I share) at your choice of the term ridiculously baroque for every other choice on the market!Over here none of the harp companies have ever tried advising me to change gut strings every year or so.
Think about the difference between raising pitch by tuning a violin string up (vibrating length stays much the same, tension increases) and raising the pitch by stopping it with a finger (vibrating length is shortened, tension remains much the same).
One of the early steps in physics experimentation is working out very clear-headedly how to alter as few variables as possible at a time and trying to detangling all those which can be detangled.
What I hope you are trying to express is that the boundary conditions for the string, which are assumed by simple theory to be perfectly rigid end points, cannot be so in practice (as the soundboard is moving or there would be no sound) and therefore objects beyond the main vibrating length of the string can have an effect on the vibration.
The tension is governed by the vibrating length of the string, which ends where the string enters the hole in the soundboard so string rib thickness should not affect the tension.
I do everything possible to explain the crucial factor of consistent fingers,
but if they don’t want to believe it, or do it, then I give up.
