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Those 100’s seem irresistable! A friend of mine has one, and all the rest of us in the studio are jealous because of the amazing sound it has. I wish I had the money to buy that harp, especially since I kind of prefer semi-grands (being 5’4″). They’re easier to move around, too. Wow, I’m a whole foot shorter than you, Brook!
Briggsie = June Z.? I can’t quite remember, either. And Rosemary, you should add a picture of you, too! You’re one of the only regulars here that we haven’t seen! And your 17 looks lovely. I love when they get older and turn that nice dark color. 🙂 Excited for you!
VinceI guess I don’t have to send you ours, after all! I love the 17, and the one we have at school has a huge sound and a very full, rich tone.
Carl, you have a good point. Xavier de Maistre is an amazing player, and mostly because he has technique and agility but is also highly expressive.
Diane – This is such an interesting post. I have to admit that at times, I am much like your student. For me it is no issue of interest, desire or (can I say?) talent. I am a senior music major (I study clarinet) and have been learning harp for two years. The problem for me is finding time, focusing, and remaining focused during a practice session. I also find it difficult to take apart a piece slowly and work deliberately, especially if I know the piece very well. The thing that helps me the most is when I have a specific performance goal in mind. I am learning the harp so people can hear me play it, and the pressure and excitement of an impending performance motivates me very much. I am someone who focuses on the end result and has a hard time understanding or following the process. My teacher writes in a notebook for every lesson we have. We go through excercises and music and she writes each item down along with tempi and important notes for me to focus on. She does this with all her students, regardless of level. This is extremely helpful for me. She does not dictate every second of my practice routine, but gives specific information for practicing. She does not tell me how long to practice anything (except for glissandos, so I don’t get blisters). And the fact that it is neatly written in an orderly manner and in a notebook with all my lesson notes helps me a great deal, as I like to have things very very organized and neatly arranged. But outside of lessons it is up to me to sit down at the harp and concentrate and focus only on the specific goals for that week, and maybe do a little bit of playing for my own enjoyment. I think you are going even beyond what is asked of a teacher. I think that, honestly, is what makes a great teacher. Perhaps specific and more short-term goals will help her, as well as setting very specific guidelines (but not timetables) and holding her accountable (as in, ‘do this if you want me to keep teaching you’). I don’t know if I’ve said anything different from everyone else, or that my input is of any greater value, but I thought you might like to hear it from a student’s perspective. I hope things work out better when she returns.
Vince
You’re in San Antonio? I was there last weekend! I was really hoping to find a harp/harps to play while I was there. I’ll have to look around the Venus site more. And wow, I can’t imagine a black Salzedo! And silver action, I didn’t know that was possible. So many options…
Actually, I really like the soundboard design on the Salzedo, but whenever I get one (!) I want to ask LH about customizing the colors of the stripes (red, black, and gold).
The Venus Criterion is nice, although I wish I could see it in a finish other than natural, since that is all they have on their website.
The Aquilan/Concert is rather nice, and I’ve seen one recently with very subtle and classy gold (not gilding) on it. I still don’t like the idea of playing an instrument that has flowers on it. (I am a clarinetist as well, and our instruments are just plain black!)
I do agree about the capital on the Bauhaus. I like a harp with a narrow column and a significant capital or crown.
I have thought a lot about designing a unique soundboard decoration. I love the idea of decorating the soundboard of a modern-looking harp with a Frank Lloyd Wright stained glass design. There is an amazing harp that H. Bryan company custom designed that is black with a 24K gold image on the soundboard. It’s beautiful.
I think you can find it here:
http://www.hbryan.com/newharps/pedalgallery.htmlI have to admit, though – I love the European flair Salvi harps have.
I love the Thurau Bauhaus model, although I may be one of few who do. I really like modern, simple designs.
Where did you find the picture of the 26 in natural? If you could e-mail it to me, that would be great!
I never dreamed I would make a post that one of the Does would respond to…I’m kind of embarrassed now! haha
Aaron, I hope you understand that I am in no way worried about gender stereotypes! I wouldn’t be playing the harp if I were. But I do appreciate that you answered the topic. And I have to admit, it is kind of fun to play a gold harp. I’m just trying to decide which harp I will one day get, and I was interested to hear others’ perspectives.
I’m amazed at the response to this thread! I do agree that there is a harp to suit every individual. I personally love the LH 23 and 17, and really the 23 isn’t all that feminine, but it does have flowers on the top. I kind of like the Gothic style harps, like the LH 26. It reminds me of the Erard Gothic, which is a beautiful instrument. The LH 3 is also very nice and stately. And I do think gold can still be ‘manly’ but for me it has to be limited. I think I might just have to go with the 100, especially since the one my friend has sounds amazing.
Oh, and he’s most likely foreign…judging from the aforementioned grammar issue. Perhaps I should respond to his posts in French, and then what? Besides, I like Salvi harps just as much as LH! Crazy man.
