The Story of the Harp
Although the Harp, mainly by reason of the introduction of the pianoforte, has not maintained its prestige in the salons of the great, yet it still holds an honoured place in the orchestra, and claims many amateur votaries. Of course there is a professorship of the harp in the principal musical conservatoires; and all the big European and American festivals requisition the instrument either for solo or concerted work. The chief object of this title is to present in a popular form the various evolutions of the harp until its final development by Erard, at the commencement of the nineteenth century, and to furnish a readable account of the leading harpists from mediæval days to our own times; as also to point out the bearing of the harp in the orchestra, and its introduction into the scores of such giants as Wagner, Berlioz, Meyerbeer, and Gounod.
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accompaniment Æolian harp airs ancient Arthur O’Neill band of harps Band of Musick bard Belfast Belfast Harp Society Bochsa born Brian Boru Caerwys Cambrensis century CHAPTER Charles Charles Oberthür Citole composed concert Cousineaus cruit crwth Dalway death died Dizi Donogh double harp doubleaction harp Dublin Edward Egyptian Eisteddfod English Erard form of harp Giraldus Giraldus Cambrensis Gothic Harp harp—The harpers harpist harpmaker harpmelody Henry History Hochbrucker’s improvements Ireland Irish harp Irish Music John Kildare King James kinnor known Krumpholz London lute lyre Madame mediæval melodies method of tuning minstrels Museum Musicians Naderman national instrument O’Carolan O’Daly Oberthür octaves Opera orchestra ornamented Paris Parry pedal harp père performer piano pianoforte Planxty played popular Prince psaltery published Queen Robert Rory Royal scored Scotland Seal Sebastian Erard songs soundboard Telyn Thomas Thomond threestringed timpan triple harp twentyfour Vincenzo Galilei violin virtuosi Wales Welsh harp Welsh triple harp whilst