“To instruments so constructed was given the name of double-action harps. This is of what it consists and wherefore it allows the harp—if not to play chromatic successions—at least to play in all keys and to strike, or arpeggio, all chords. The double-action harp is tuned in C-flat; and its compass is six octaves and a quarter.
“The seven pedals with which it is furnished are made so that the player may, by means of each of them, raise at option each string a tone, or a semitone, only. By taking in succession the seven semitone pedals, the harp in C-flat can therefore be set in G-flat, in D-flat, in A-flat, in E-flat, in B-flat, in F and in C-natural.
“The nature of the instrument having been explained, we proceed now to the fingering, which many composers confound with that of the pianoforte, which it nowise resembles. With each hand chords of four notes may be struck, of which the two extreme notes do not extend beyond an octave. Also, by a great stretch of the thumb and little finger, chords of a tenth may be reached, but this position is less convenient, less natural, and, therefore, less sonorous, since none of the fingers can attack the string with as much force as in the ordinary position.
“The successive execution of the notes of a chord, either ascending, or descending, is perfectly in the character of the harp. It is even after its Italian name, arpa, that these passages have received the name of arpeggios. The shake exists for the harp, but it is only tolerable on the high notes.
“The effect of harps is in proportion better as they are in greater number. The notes, the chords, or the arpeggios which they throw out amidst the Orchestra are of extreme splendor. Nothing can be more in keeping with the ideas of poetic festivities, or religious rites, than the sound of a large body of harps ingeniously introduced. Alone, in groups of two, three, or four, they have also a most happy effect, either uniting with the orchestra, or serving to accompany voices and solo instruments. Of all known qualities of tone it is singular that the quality of horns, of trombones, and, generally, of brass instruments mingles best with theirs. The lower strings (exclusive of the soft and dull strings of the extreme depth), the sound of which is so veiled, so mysterious, and so fine, have scarcely ever been employed except for bass accompaniments of the left hand; and the more the pity! It is true that harp-players care little to play long pieces among those octaves so far removed from the body of the performer that he must lean forward with his arms at full length, maintaining this awkward posture for more or less time; but this motive can have had but little weight with composers. The fact is they have not thought to avail themselves of this especial quality in tone.
MINSTRELS PLAYING HARP, FLUTE, AND PIPE AND TABOR
Fifteenth Century
“The strings of the last upper octave have a delicate, crystalline sound of voluptuous freshness, which renders them fit for the expression of graceful, fairy-like ideas and for giving murmuring utterance to the sweetest secrets of smiling melodies, on condition, nevertheless, of their never being attacked with violence by the performer, as in this case they yield a dry, hard sound, similar to that of broken glass—disagreeable and snapping.
“The harmonics of the harp—particularly of many harps in unison—are still more magical. Solo players frequently employ them in the pedal-points and cadences of their fantasias, variations, and concertos. But nothing comes near the sonorousness of these mysterious notes, when united to chords from flutes and clarinets playing in the medium register.