"Les
Mademoiselles d'Orléans"
Jean-Antoine-Theodore Giroust (1753 - 1817)
Harps
from the Age of Enlightenment and
Romanticism
"Everything
that is tender and speaks from the heart may now float away
in gentle shower of ideas, may fade away in sounds of a
placid melancholy, may rage through the strings in a
turbulent passion of sound in ardent devotion, now in a
restless struggle of all the emotions, now in savage
despair, easy pleasantry is not out of question; it may now
tease playfully with fairy-like steps, now romp briskly
with rustic delight."
Definition of the harp by Therese aus dem Winkel
(1784-1867) harpist, writer, painter
The Single-action Harp was introduced in France around
1740. It soon became a fashionable and one of the most
enchanting instruments in France through the Age of
Enlightenment and Romanticism. It was loved and played by
ladies of the aristocracy such as Mme. Pompadour,
Marie-Antoinette and the Empress Josephine of France.
For the harp, this period is one of the richest and most
remarkable periods. Harps had never been received with such
enthusiasm in the salons and courts of France. The best
skilled artisans were commissioned to do the refined
decorations adorning these harps. Sixteen harp builders and
fifty-eight harp teachers worked in Paris alone during this
period. With so much competition, new inventions and
techniques were constantly introduced. Naderman, Cousineau
and Erard were among these builders.
Single-action Harps are lightly strung and have a sweet
melancholic yet powerful silvery resonance. A wider dynamic
range gave greater possibility as a solo instrument. The
Single-action Harp brings out the delicate flavours of
compositions from this period as well as giving them an
added brilliance.
Important repertoire for the Single-action Harp includes
Flute and Harp concerto K.299 by W.A.Mozart, Harp concerto
by F.A. Boieldieu, and Concertante Nr.1 & 2 for Harp
and Violin by L. Spohr. In addition, an immense quantity of
solo pieces and ensemble pieces were composed for this type
of harp. It was also quite customary to share keyboard
music in this period. Most of the time it required
acrobatic playing by the harpist, since harps still had
limitations in certain tonalities. Although many of these
pieces were forgotten for a long time, recent interest in
period instruments has allowed a revival of this charming
repertoire.
In 1810, Sebastian Erard presented his new "Double-action
Harp" in London. This harp was able to achieve all
tonalities. This mechanism remains in use today. The
stringing became heavier and the structure of the harps
became more solid. Although the Single-action Harp was
still played for a while, its use was gradually taken over
by the Double-action Harp. The demands on the instrument
and the taste in sound had changed, and a new period for
the harp and its audience was beginning.
left:
Wolters, Paris 1785 right: Beat Wolf, Schaffhausen 1995