THE

HISTORY OF MUSIC LIBRARY

CHAPTER XIV

INVENTION OF THE PEDAL HARP

 

We have seen, in a previous chapter, that the system of hooks or crooks, defective as it was, suggested further improvements in the mechanism of the harp. The most serious defect arose from the fact that, whenever a semitone had to be formed, the left hand was temporarily lost to the performer when engaged on turning the hooks. However, the first decade of the eighteenth century passed over without any change. At length, about the year 1720, it fell to the lot of Herr Hochbrucker, a native of Danauworth, in Bavaria, to invent the pedal harp. brucker "

At once it was evident that this mechanical device was a vast improvement on the hooks. The pedal, acting mechanically through the pedestal of the harp, regulated the "stopping", each note being affected in all its octaves, and the player was enabled to raise the pitch of each string a semitone, an advantage of the utmost importance, as the hands were given full play. By means of Hochbrucker's invention, it became possible to play in eight major scales and five minor scales complete, and the harp was tuned in the key of E flat.

However, there was one weak spot in the new invention—and that a very serious defect. This was the disarranging of the fingering, as well as an unpleasant jarring sound, whenever a string, acted on by the pedal, was removed by the crook from the plane of the open strings. The crooks, of course, were made to grip the strings by the pedal, thus obviating the necessity for using the left hand, as had previously been done.

Another fault was owing to the fact that the mechanism was adjusted to the wooden neck, which did not permit of a proper curvature.

At length, about the year 1752, two French harpers named Cousineau, father and son, improved Hochbrucker's invention. The Cousineaus dispensing with the old-fashioned crooks devised a plan of passing string between two small plates of metal (béquilles), placed under the bridge-pin. By the action of the pedal these metal plates were made to grip the string, thus shortening it for the required interval. They also invented a slide, by means of which the bridge-pin could be raised or lowered, thus regulating the length of the string.

Finally, in 1780, the Cousineaus doubled the pedals, and the mechanism connected therewith, the pedals being arranged in two rows—thus originating the idea of the modern double-action harp. They also altered the tuning of the harp from E flat to C flat, and it became possible to play in fifteen keys, as previously only eight major scales could be compassed.

It must be added that, in 1760, P. Meyer, of Strasburg, suggested some improvements in Hochbrucker's pedal harp. This occurred during his stay in Paris, and his suggestions were adopted by Naderman père.

But so little was really thought of Hochbrucker's and Cousineau's improvements as far as Great Britain and Ireland were concerned, that we find Burney writing as follows :—"The pedal harp is a modern improvement of the Continent by Simon, a man who resided about sixty years ago at Brussels. It contains thirty-three strings,and the natural notes are in the diatoned scale; the rest are made by the feet; its compass is from double B flat to F in alto."

Prince Michael Casimir Oginski, about the year 1762, is said to have added pedals to the harp, anticipating the improvements subsequently effected by Cousineau. He was a very distinguished amateur musician, and kept an orchestra of his own at Slonim, in Lithuania. In 1764 he resided for a time in St. Petersburg, where he astonished all by his performances on the clarinet.He wrote the article Harpe in the first French Encyclopaedia, and thus eulogises the Irish harpers: "Les Irlandais sont entre tous les peuples ceux qui passent pour jouer le mieux de cet instrument." His death took place at Warsaw, in 1803.

 

CHAPTER XV

THE HARP AS AN ORCHESTRAL INSTRUMENT

 

All along through the ages the harp has been associated with the human voice as an accompaniment, but it was not untillight the year 1719 that it began to be seriously considered in the of an orchestral instrument. Of course, as has been mentioned in a previous chapter, Monteverde, in his Orfeo, produced in 1608, employed a double harp, whilst the Portuguese Band that came with Catherine of Braganza to London, in 1662, consisted of pipes and harps.

Early in the eighteenth century, we read of the harp being employed as a chamber instrument, as distinct from an accompaniment to the voice. Such a thing as an independent part for the harp was as yet undreamed of, as the instrument merely played in unison with the singer, just as in the case of the violin. Imperfect as was the invention of hooks or crooks, it certainly opened up immense possibilities for the harp, and so, from the year 1701 attempts were made by various composers to elevate this instrument to the dignity of an honoured place in the orchestra.

Among the great masters of the first half of the eighteenth century, Handel deserves the gratitude of all harpists for the introduction of the harp into his orchestra scores. In his great oratorio of Esther, produced at Canons for the Duke of Chandos, in 1720, and performed in public, with stage accessories, at the Haymarket, on May 2nd, 1732, Handel employs the harp with much effect. A glance at the score reveals the fact that the composer uses the harp in combination with the theorbo-lute, as an accompaniment to the song : "Breathe soft, ye winds.''

Passing over some minor composers who scored for the harp towards the middle of the eighteenth century, Florian Leopold Gassman (born in 1723), chapel-master at Vienna, must not be forgotten. Gassman was a good harpist, and composed some works of more than average merit for his instrument. Becoming proficient on the pedal harp, he wrote some music for it (and also four instrumental quartets) in which the harp passages are skilfully treated. He is best known as the teacher of Salieri, and died at Vienna in 1774.

J. B. Krumpholz, of Prague, the friend of Haydn and Beethoven, was not only a remarkable Hungarian harpist, but was also a harp-maker and composer for his instrument. His improvements in the harp were very considerable, and, in 1785, he designed a harp for Naderman the elder, at Paris. His efforts to improve the harp culminated in a new form of instrument with swell pedal, which was approved of by the Academie, in 1787. He taught at Paris from 1769 to 1773, and was in much request as a teacher. His death occurred in 1790, the unfortunate man having drowned himself in the Seine, driven to madness by the infidelity of his wife.

However, it is as a writer for his instrument that we wish to arrest the reader's attention. Gerber gives a long list of his compositions, some of which are still occasionally heard. They comprise six grand concertos, thirty-two sonatas with violin accompaniment, duets for two harps, a quartet for harp and strings, and symphonies for harp and small orchestra—also harp variations on an andante by Haydn.

Louis Adam (born in Alsace, December 3rd, 1758) electrified Paris in 1776 by his two symphonies—concertantes for the harp, piano, and violin—the first of their kind that had appeared. These compositions were given at the Concerts Spirituels, and were marvellous for a boy of seventeen. Adam may be said to have given the harp an assured place in the orchestra by these two symphonies. After many years of teaching and composing, he was appointed professor at the Conservatoire, in 1797; and he was also a most successful teacher of the piano.

His pupils included Kalkbrenner, De la Moine, Herold père et fils, Chaulien, etc.; and in 1802 he published an excellent Méthode Nouvelle pour le Piano. After forty-six years as professor, he retired in 1843, and died in Paris, on April 11th, 1848, leaving a son, Adolphe Charles (1803-56), who was even more famous—best remembered as the composer of the rollicking opera Le Postilion de Longjumeau.

The great Mozart recognised the value of the harp as a factor in the orchestra. In May 1778 he composed a Concerto for Flute and Harp, specially written for the Duc de Guisnes and his daughter, the former being "a respectable player on the flute," as Mozart himself wrote, and his daughter a splendid harpist. This Concerto is only of moderate difficulty, but is sparkling, and might well be revived by some of our musical societies.

Dussek's compositions for the harp derive an added interest from the fact that he played the harp very well. Curiously enough, he scored for the Harmonica (a form of musical glasses invented by an Irishman, Richard Pockrich), as did also Mozart. However, unlike Mozart, he loved the harp, and taught it to his wife, Sophia Corri. He came to London in 1790, and settled down as a teacher and composer.

Among his many compositions for the harp are numerous sonatas and sonatinas, many of them being set with violin and violoncello accompaniment. He also wrote several harp duets as well as duets for harp and pianoforte.

Although P. Meyer of Strasburg (born in 1737) is principally remembered for his improvements in the harp, as previously alluded to, he also composed for the instrument. From his close study of the capabilities of the pedal harp, he was able to further its development by some clever compositions. He was one of the earliest to publish the first principles of the instrument, in his Méthode de la Harpe, a work which held its ground for over half a century—based as it was on scientific rules. His sonatas for the harp are of more than average merit, whilst his concertos are also well written. He was the first to write fugues for the harp—anticipating De Marin.

Urged by some English acquaintances,, in Paris to visit London, he came over to England in 1771, and was in such demand as a teacher of the pedal harp—an instrument not long introduced to London society—that he settled down there for five years. Owing to the American War he returned to Paris, but found himself eclipsed by Krumpholz. He then turned his attention to composing operas, but with indifferent success, and he returned to London in 1784. Having given up the role of virtuoso on the harp, he established a good teaching connection, and died in London in 1819, aged eighty-two. His two sons, Philippe and Frederick, were also skilled performers on the harp, and composed much ephemeral music for that instrument.

Steibelt composed some acceptable sonatas and duos for the harp, and a Turkish rondo for harp, with violin and tambourine ad lib. He was in London from December 1796 to 1799, and died at St. Petersburg, in September 1823. His Grand Concerto for the Harp, with orchestral accompaniment, was once very popular.

Johan Georg Nageli (1768-1836) arranged many of his popular songs for harp and harpsichord—including the well-known "Life let us cherish", published at Zurich in 1794.

 

CHAPTER XVI

IRISH HARPERS IN THE MID-EIGHTEENTH CENTURY.

Some years before the death of O'Carolan, bardic conventions were held, due to the patriotic zeal of the Rev. Charles Bunworth, previously alluded to. Though partaking more of the nature of a literary than a musical assembly, these "bardic sessions" were attended by a number of harpers. Meetings were held at Charleville, Co. Cork, at the house of John claragh MacDonnell, the Irish poet, but the principal place of meeting was at Bruree, Co. Limerick. These conventions of bardic minstrelsy served to keep alive the language and music of ancient Ireland.

Early in the eighteenth century, an Irish harper named Maguire, of Co. Fermanagh, settled in London, and, like his contemporary Heffernan, kept a tavern. From 1725 to 1756 Maguire's tavern was most popular, and was the rendezvous of many of the Ministry, including the Duke of Newcastle. Finding himself neglected in 1756, owing to his patriotic views, he died broken­hearted a short time afterwards. A brother-harper had the following distich engraven on Maguire's harp:

"Cur Lyra funestas edit percussa sonores?

Sicut omissun sors Diadema gemit!"

About the same time, or a little later, flourished Hugh Kelly, a yeoman-harper, who, though blind, was a splendid player. Being related to Count Taaffe, he was treated more as a friend and companion than as a professional visitor by the nobility of Connacht. Among his many pupils, Arthur O'Neill may be numbered. He died of fever, whilst still in the prime of life, and, at his own request, was buried in the tomb of O'Carolan.

Jerome Duigenan, born in 1715, was a native of Leitrim, and was not only an accomplished performer on the harp, but also a good classical scholar. His patron, Colonel Jones, M.P., in 1740, backed him for a trial of skill against a Welsh harper on their respective instruments. This harp contest came off on the floor of the Irish House of Commons, in Dublin, and the decision was unanimously given in favour of Duigenan, who accordingly was handed over the stakes. He died in 1775.

Dominick Mongan, like Hugh O'Neill, was a "gentleman harper", and was blind from his infancy. Born in County Tyrone in 1715, he was not only an able performer on the harp, but an all-round musician, being thoroughly conversant with the works of Corelli, Handel, Geminiani, and other masters. Some of his melodies are sung to the present day. His son, Charles Mongan, became Protestant Dean of Clonmacnoise, and subsequently Bishop of Limerick, but changed his name to Warburton.

More remarkable than any of these was Denis O'Hampsey, who lived to be an ultra-centenarian. Born near Garvagh, Co. Derry, in 1697, he studied the harp under Bridget O'Cahan, John C. Garragher, Loughlin Fanning, and Patrick O'Connor. During ten years, commencing in 1715 (when he was presented with a valuable harp, made by Cormac O'Kelly in 1702), O'Hampsey travelled through Ireland and Scotland. In 1745 he made a second journey to Scotland, and played at Edinburgh for Prince Charlie. During his many years' residence in that country, he popularised many Irish airs, which were subsequently claimed as Scotch, notably "Robin Adair." He played at the Belfast Harp Festival in 1792, and Bunting tells us that the aged minstrel plucked the strings of his harp in the old style, with long nails, and that his rapid execution was unapproached. He died in 1807, aged 110. The foregoing illustration is that of his "travelling" harp, as O'Hampsey reserved his O'Kelly harp for special occasions. It is copied from the engraving which appears as the frontispiece of Bunting's second volume, published in 1809.

Charles Byrne and Daniel Black were also famous harpers in 1750, and both appeared at the Belfast Harp Meeting in 1792. Patrick Quin was of a slightly later date, and his favourite harp—known as the "Castle Otway " harp—is still preserved.

As was to be expected, the Jacobite period furnished hundreds of harp tunes, set to songs in praise of the Old and the Young Pretenders. "The-Blackbird" is still very popular, the name symbolising James III, and so are "Roisin dubh," "Graine Maol," "Caitilin ni hualhuallachain", "Druimfhionn donn dilis." Of the seven men of Moidart, four of the seven were Irish. It was only in 1765, when James Charles died in Rome, that the Stuart cause was regarded as hopeless, and the end came in January 1788, with the death of Prince Charlie.

 

CHAPTER XVII

SOME OLD-TIME VIRTUOSI

 

Madame Krumpholz, wife of Johann Baptist Krumpholz, was a most distinguished harpist, even excelling her husband. Born at Metz, about the year 1755, she became a pupil of her future husband, whom she married in 1780. However, in 1788, she eloped with another man to London, where she made her début, at Hanover Square Rooms, on June 2nd, 1788, afterwards appearing at various concerts, including Haydn's benefit, and at Drury Lane. Her execution on the harp was surprising, and it is said that "she made the instrument sound almost like an Aeolian harp." From 1790 to 1800 she was in much request at concerts, and often performed with Dussek his beautiful duos concertantes for harp and pianoforte. She retired in 1803.

Louis Cardon, born at Paris in 1747, was an esteemed harpist, and published a method for the harp in 1785. He settled down to teaching in 1786, but, on the outbreak of the French Revolution, fled to Russia. His Art de jouer la Harpe appeared in 1805, and he died the following year.

Marie Martin Martel, Viscomte de Marin, born at St. Jean de Luz, near Bayonne, in 1768, studied music under his father, and had violin lessons from Nardini. His harp-master was Hochbrucker, but he very soon surpassed that ingenious harpist. At Rome, in 1783, he astonished all by his fugue extempore playing, and by performing Bach's and Jommelli's fugues at first sight on the harp. Although he entered the army in 1784, he quitted it two years later as captain of dragoons. In London, for many seasons between the years 1790 and 1805, his harp performances were much esteemed, and Clementi arranged some of his solos for the pianoforte.

Madame Dussek (Sophia Corri) was born at Edinburgh, in 1775, and made her ddbut as a vocalist in London in 1788. In 1792, she married J. L. Dussek, who taught her the harp and piano. From 1795 to 1800 she performed with her husband at the principal music meetings. After her husband's death, in 1812, she took unto herself a second husband, John Alvis Moralt, and devoted herself mainly to teaching, appearing occasionally as a harpist. Madame Dussek-Moralt composed some agreeable pieces for the harp, which at one time had a certain vogue. One of her best-known pupils was her daughter, Olivia Dussek (born in London, in 1797), who was alike a good executant on pianoforte and harp—making her first appearance at the Argyle Rooms in 1809, at the age of twelve. She also wrote a few pieces for harp and piano, as well as some songs. After her marriage to Mr. Buckley, she was appointed organist of Kensington Parish Church, and died in 1847.

Guillaume Pierre Antoine Gatayes was born at Paris, in 1774, and was a distinguished harpist as well as composer. His playing was of a high order of merit, and his harp studies and fantasies (1799-1826) were once popular. He died at Paris in 1846.

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Hereditary genius was manifest in the case of Naderman fils, who was born at Paris, in 1780. Likehis father, he early evinced an interest in the harp, and in time became a skilled harpist. He composed numerous concertos, duos, and fantasies for the harp, including a very popular Trio for three harps, or two harps and piano, op. 57. His younger brother, Henri, was also a harpist, and composed some music for his instrument. F. J. Naderman fils died in 1835.

Among English harpists of this epoch, Thomas Billington held a high place. Born at Exeter, in 1754, he studied the harp and piano with such success that in 1780 he entered on the musical profession in London. As early as 1778 he published some pieces for the harp and piano, but was seen to better advantage in his songs and ballads. He died at Tunis, in 1832.

Jean Elouis was much in evidence as a virtuoso on the harp between the years 1790-1812. He belonged to the French school, and published many pieces for his instrument. In 1808 he came to London, and toured a great deal in the provinces, exhibiting the powers of Erard's grand double-action harp. One of his pupils was Henri Horn, who accompanied him to Scotland and Ireland. On June 29th, 1810, Elouis scored a great success in Dublin, being assisted by Paul Alday, Dr. Cogan, Spray, Logier, and Willman. He settled as harp teacher in Edinburgh. Kirchoff enjoyed much popularity at this epoch in Denmark and Russia. Other artists were Petouart, David, Budd, Vernier, Ragan, Steil, Seybold, Labarre, the Misses Ashe, and the Misses Sharp.

 

 

CHAPTER XVIII.

WELSH HARPERS OF THE EIGHTEENTH CENTURY

David Owen (Davydd y Gareg-wen). John Parry of Ruabon. Evans the harper. Edward Jones of Llanderfel. Thomas Jones. John Randies. Revival of the Eisteddfod. Richard Roberts. John Parry of Denbigh.

 

Welsh writers tell of the fame of David Owen (Davydd y Gareg-wen), who was highly esteemed as a harper and composer in the years 1720-52. The popular air "The Rising of the Lark" is attributed to him.

Among the Welsh harpers of the mid-eighteenth century, John Parry of Ruabon was a typical specimen of the old school. He was bard to Sir Watkin W. Wynne, of Wynnstay, and in addition to being an excellent performer, was a composer and a collector of old airs. It is said that Handel admired his playing very much, and that his appearance in London suggested to Gray the finale of his poem "The Bard."

Parry's local fame was very great, and he roamed about a good deal in search of old Welsh airs. His first publication was entitled, Ancient British Music, which appeared in 1741. He subsequently issued some music for the harpsichord. However, his best-known work is British Harmony: being a Collection of Antient Welsh Airs, published in 1781. He died at Ruabon, October 7th, 1782.

A contemporary of Parry's was Evans the harper, as he was generally known. It is worthy of note that Nancy Storace's first appearance was at a concert given by Evans, at the Haymarket Theatre, on April 15th, 1774, she being then but eight years of age.

Edward Jones was even more celebrated than Parry or Evans. He was of a bardic family, and was born at Llanderfel, Merionethshire, on Easter Sunday of the year 1752. Having studied the harp under his father, he came to London in 1775, and was appointed chief bard to the Prince of Wales in 1783. His performance on the Welsh harp was in the traditional style, and, like Parry, he determined to rescue from oblivion many of the folk-melodies of Wales. Accordingly, his Musical and Poetical Relics of the Welsh Bards was published in two parts in 1784 and 1789, of which improved versions appeared in 1794; and in 1802 a new edition was published, under the title of The Bardic Museum. His Musical Trifles, for the harp, attained considerable popularity; and he also published a collection of Cheshire melodies in 1803. His death occurred at London on April 18th, 1824.

Another harper of the Jones family—Thomas Jones, was a harpist and composer. He was generally known as "Jones of Gaddesdon," and, in 1788, published Ten New Country Dances for the Harp, followed by other ephemeral pieces for the Welsh harp at intervals between the years 1790 and 1802.

John Randies, the blind harper and organist, was born in 1760, and studied under John Parry of Ruabon. His fame was very great throughout North Wales, and he is mentioned in Miss Seward's poem of "Llangollen Vale." He is best remembered, however, as the father of Elizabeth Randies, the "Cambrian Prodigy," who performed a duet with her father at the age of four, before King George III. Between the years 1805 and 1808, Randies and his daughter and John Parry made a tour of the provinces. He died in the autumn of 1823, and his daughter survived him only a few years.

Meantime, a movement had been initiated to foster the language and music of Wales. This was the Gwyneddigion, a society founded in London, in 1771, which promoted, or rather revived, the ancient Eisteddfod. This was inaugurated at Corwen, in 1789; followed by another Eisteddfod at St. Asaph, in 1790; and at Caerwys, in 1798. At length, through the efforts of the Cambrian Society, an epoch-making Eisteddfod was held at Carmarthen, under the presidency of the Bishop of St. David's in 1819. In the following year, on September 13th and 14th, an equally successful Eisteddfod took place at Wrexham, when Richard Roberts, of Carnarvon, who was both blind and lame, won the silver harp. This Roberts, popularly known as the "blind minstrel of Carnarvon," was an excellent performer on the harp, and made many profitable concert tours. He resided for a time in Dublin, where he published, in 1829, a work entitled Cambrian Harmony, a collection of Welsh, airs. In 1832 he played the harp for the late Queen (then Princess) Victoria, at Beaumaris; and he died in June 1855.

John Parry of Denbigh, "Bardd Alaw," was born at Denbigh, February 18th, 1776, and was band-master of the Denbigh Militia from 1797­1807. He published sonatas for the harp, as well as An Account of the Rise and Progress of the Harp, and a collection of Welsh airs for the harp; and was alike a master of the harp, violin, piano, clarinet, and double flageolet. In 1820 he conducted the Eisteddfod held at Wrexham; and in 1821 at a Gorsedd, he was given the degree of Bardd Alaw, or Master of Melody. At Brecon, in 1822, he was responsible for the musical arrangements, and the Cambrian Society accorded him a benefit concert at Freemasons' Hall, London, on May 14th, 1826. He conducted the Eisteddfod held at Denbigh in 1828, at which the Duke of Sussex was present; and, in 1831, was appointed Treasurer of the Royal Society of Musicians. At his farewell concert, given in June 1837, he sang his own song, "Jenny Jones" (introduced to the public a year previously by Charles Mathews), accompanied on the harp by his son, John Orlando Parry. His Welsh Harper was issued in two volumes (1839-48), being a revised and enlarged edition of Jones's Relics. Parry died April 8th, 1851.

Since the year 1858 the Eisteddfodau are an annual institution in Wales, and admirably serve to keep alive Welsh music, although their distinctive national character has for some years past been more or less obsessed by the commercial spirit pervading the choral competitions, and by the selection of works that cannot be classed as Welsh.