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Thanks for that Andy. You are so right. That might be part of what the problem has been with these pupils I have been coming across lately. I will definitely insist on seeing them on their harps with their chairs as well. I have always insisted that they bring their harps occassionally for me to check
Thanks for that. I have to say I agree in most every way, and it does help alot of clarify my attitude to this. And
Hi John,
This is an old thread, but as so many people still ponder this issue i think it very relevant that you have resurrected this question. Do you own a Camac? What model do you own, or have you played? How do you find it?
I’ve been confused about the carbon fibre issue. As some Camac’s seem to have it and others do not. I hear that the Altlantide Prestige model does not have carbon fibre anymore for instance. But I’m unsure.
I also do not believe that there is such thing as a cheap harp. You get what you pay for. And the cheaper models can end up costing you a fortune in lost work and in repairs if you are not very very careful. As I’m sure everyone has experienced at one time or another in their lives!
Does anyone think that in some circumstances you should not change technique? Even if you are having difficulties, injuries etc? Would it be better to maybe just change teachers and stay within the same school, but go back in grades a little to fix your problems?
I’m talking of advanced students, that have already begun professional work – as I have heard it said that you can be “too old” to change and will just destabilise your technique even more.
I’m not expressing a personal
And rightly so! Scars or “Patina” – that increases the value you know with antiques..
I’d keep that harp if I was you, it is so unique and has so much history, both yours and its own! And you probably would never get another one. And a student would be likely to thrash it, and it not stand up to all that use….
In Sebelius, and I think in Fanali, you can play the notes on a keyboard to enter them into the computer, but you need a keyboard and cable to the computer.
Now, if you had been exceedingly clever and devious Elizabeth, you would have convinced the “student of few lessons”, that she was now exceedingly brilliant and had outgrown this “old” 22, and it was holding her back…and that you would help her by taking it off her hands (and kindly pay her the price she paid you)….sneaky sneaky sneaky…
But seriously, those old 22’s were gorgeous, I’ve tried several times to get the conservatorium where I studied to sell me their old one, as it is very neglected and not even in use…think it’s in a storage cupboard.
I also played a really beautiful old Wurtlitzer, circa 1930’s – original board, neck, everything, not too badly warped, action a little loose but no major buzzes, clicks or clacks. The most incredible and gorgeous tone. It also has curly maple on the back of the soundbox that
Actually, that last post is not quite right, I have a little light strung lever harp – made by Kim Webby in New Zealand…I was thinking pedal harps that I’m performing on. But lever harps are harps and I’m glad that I can keep my fingers going and have something I can teach on. It is made from New Zealand red beech, a goldy red colour – with figured wavy wood in the back that really shines. The trim is inlay of Rosewood (I’m a sucker for Rosewood) and it has an Alaskan spruce soundboard with the most lovely shimmery veneer on it.
It has a quirky little sound, and is great for Irish or early music. So, I suppose rather than a “clunker”, it is a “quirky” that I own and love! And it is a harp! Just not a pedal harp for most of the sorts of work I do – orchestra, chamber ensembles, choirs etc. But it is more than some people have, much more!
Hi Vince,
Yes, aren’t old 17’s lovely. I taught in a convent school, that had a very beautiful old gold 17 from I think 1930 – and it was just gorgeous. Actually, it was not a clunker, absolutley in mint condition, board had not bowed a millimetre, neck completely straight, and action in perfect slick condition….
I did play an old style 22 in university – I think it as circa 1915.
My student ended up visiting Shenandoah last weekend, and absolutely fell in love with everything about it… the music department, the faculty, the music therapy program, the size of the school and the town, and of course the beautiful setting.
