Book Description

In the 1920s the role of the harp in America was in transition. Although the double action harp had significantly improved the instrument, its place had not been fully established. The dominant harpist of the era was Carlos Salzedo. His development of new harp techniques, his leadership in organizing a harpist association, his compositions of new music and transcriptions of existing music, and his teaching methods did much to gain recognition for the harp. The National Association of Harpists brought together harpist on a national scale. Its publication, the Eolus, was the first American magazine for the harp and it became the means of communication among harpists. The optimism of these musicians was slowed by the Depression of the 1930s and World War II reduced the job market for harpists. The Northern California Harp Association through its Harp News provided a cohesive factor for the mid-century harpists. Events in the 1960s led to the founding of the American Harp Society under the guidance of virtuoso and teacher, Marcel Grandjany. Universities, conservatories, and specialized programs provided improved training of harpists. Because much of the harp music played before this period failed to meet the requirements of better trained harpists, composers began to create new music for symphony, opera, radio, television, and popular entertainment, using new sounds and techniques. Gradually these have been accepted by the instrumentalists and the public. Technical improvements in the harp, its strings, and manufacturing methods have made harps capable of being played around the world. However, as significant as new techniques and developments have been, advancement in harp playing and harp music has been dependent upon the individual: performer, teacher, composer, and one skilled in technical equipment for harpists.