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There is always Rutter’s Dancing Day (the set, not just the one piece) too- the vocal parts don’t seem that hard, the harp part would hopefully have enough challenges for you and an interlude for just harp.
Do I understand the US system correctly that the instrumental instruction being discussed is similar to an orchestral/band/whatever rehearsal where the conductor is simultaneously trying to teach everyone how to play their instruments?
I think it works both ways- trying to persuade my little fingers that they were to make themselves useful and play notes on the piano took quite some time!
A quick dive into the catalogue of the Salvi collection to get some evidence turns up an 1875 Paris Erard with doors and an 1897 Paris Erard without (and I am not going to conclude they were put on all harps up to some date between these two and on none afterwards, I refuse!)
You can, of course, also excite the 4th harmonic (2 octaves and a major 3rd above the fundamental) by playing 2/5 of the way along the string…
Tuning is a drag for a young harpist, and to me the most important thing is that she practices on an in tune harp.
I have played the slow movement of the C minor sonata on lever harp with lots of fast lever changes.
I am very fond of Pilgrim’s various harps- which they rent and are super for serious learners, also light weight and near indestructible; they seem to be the harp of choice for the Clarsach Society’s rental stable.
I guess the problem is not just recruiting students, but recruiting the right students for the teacher.
