books,;the;struggles;and;evolution;of;the
harp were far from over. Folk music was
practically the only genre that the clarsach could play because folk music rarely
has accidentals or key changes. The lever
harp,;while;much;more;advanced;than
the;bow;harp,;was;still;an;underdevel-oped harp. It just couldn’t handle the
many accidentals and key changes that
occurred in the popular Baroque pieces
of the era. Harpers of prominent musical countries knew one thing; if they
couldn’t find some way to create a harp
that could play all musical keys quickly
and;efficiently,;then;the;harp;would;be
lost in history. Somehow a new type of
harp;had;to;be;invented,;one;that;could
keep abreast with the musical developments of composition. During the 1700s
many attempts were made to answer the
harp’s needs. Many types of odd harps
were;invented;during;this;time,;such;as
the;cross-strung;harp;and;double;harp,
but none of these designs solved the
problem.
In;1810,;a;double-action;pedal;harp
was invented by Sebastian Erard. This
harp had seven pedals and discs instead
of hooks. To learn more about how the
pedal;and;lever;harp;works,;check;out
the video button below.
For the first time in the history of the
harp,;all;musical;keys;could;be;played.
This was also the point in history where
the;term;“harpist”;came;into;use,;denot-
ing someone who played a pedal harp.
With;the;new;double-action;pedal;harp,
harpists were ready to get back into the
spotlight of modern music. The popu-
lar music of the early 19th century in
Europe;was;Classical;music,;specifically
orchestral music. Before the invention of
the;pedal;harp,;composers;would;forgo
the;use;of;harp;in;their;orchestral;works,
but now harpists had a chance. Howev-
er,;most;harpists;couldn’t;afford;a;pedal
harp so they would have to rent or bor-
row;one,;and;learn;quickly;how;to;oper-
ate it. When harpists were lucky enough
to;book;a;recital,;it;was;more;than;prob-
able that a composer would either come
to watch or read the reviews. If the harp-
ist didn’t execute the pieces flawlessly,
then the composer wouldn’t be inspired
to use the harp in their orchestral works.
Finally,;in;1830,;composer;Hector;Ber-
lioz;used;the;harp;for;his;“Symphonie
Fantastique”.;This;was;the;first;orchestral
work;composed;for;harp,;but;it;wouldn’t
be the last. Orchestral works for the harp
began to increase in countries such as
France and Russia. This was because in
those countries there were many skilled
harpists who had access to a pedal harp.
From the primitive bow harp to the
modern;pedal;harp,;the;harp;has;come
a;long;way.;With;each;new;generation,
the music of the harp has broadened and
taken on a whole new dimension. Now
harpists can play whatever they desire;
classical,;jazz,;pop,;you;name;it;;the;harp
can play it. The harp is no longer considered just an ornamental instrument;
rather,;it;is;coming;into;its;own;as;a;ver-satile and glorious instrument. It can
now stand on the world stage as a modern and noteworthy instrument.
Growing up in a musical “Von Trapp style”
household in California, Emily couldn’t
help but develop a passion for music. She
has played the harp for 10 years. She has
played with the Folsom Symphony, Auburn Symphony and was one of three
harpists who played for the world premiere
musical, “A Little Princess”. Emily has also
competed in various harp competitions,
both regional & international, but enjoys
performing for the glory of her Creator
best. When Emily is not practicing harp,
she enjoys making music with her family.
Endnotes:
1.;http://oi.uchicago.edu/collections/highlights/
highlights-collection-music
2.;http://hipharp.com/stories_essays/harp_history
_NTH.html
www.TheOldSchoolhouse.com
The;harp;is;no;longer;considered;just;an;ornamental;instrument;;rather,;it;is
coming into its own as a versatile and glorious instrument.
