The beautiful instrument which we illustrate to-day is the invention
of M. Dietz, of Brussels. His grandfather was one of the first
manufacturers of upright pianos, and being struck with the
difficulties and defects of the harp, constructed, in 1810, an
instrument _à cordes pincées à clavier_--the strings connected with a
keyboard.
Many improvements have from time to time been made on this model,
which at last arrived at the perfection exhibited in the newly
patented clavi harp. The difficulty of learning to play the ordinary
harp, and the inherent inconveniences of the instrument, limit its
use. It is furnished with catgut strings, which are affected by all
the influences of temperature, and require to be frequently tuned. The
necessity of playing the strings with the fingers renders it difficult
to obtain equality in the sounds. It gives only the natural sounds of
the diatonic gamut, and in order to obtain changes of modulation, the
pedals must be employed. Harmonics and shakes are very difficult to
execute on the harp, and--last, but not least--it is not provided with
dampers. The external form of the clavi harp resembles that of the
harp, and all the cords, or strings, are visible. The mechanism which
produces the sound is put into motion directly a key is depressed, and
acts in a similar manner to the fingers of a harpist; the strings
being pulled, not struck. The clavi harp is free from all the
objections inherent in the ordinary harp. The strings are of a
peculiar metal, covered with an insulating material, which has for its
object the production of sounds similar to that obtained from catgut
strings, and to prevent the strings from falling out of tune. The
keyboard, exactly like that of a piano, permits of playing in all
keys, without the employment of pedals. The clavi harp has two pedals.
The first, connected with the dampers, permits the playing of
sustained sounds, or damping them instantaneously. The second pedal
divides certain strings into two equal parts, to give the harmonic
octaves; by the aid of this pedal the performer can produce ten
harmonic sounds simultaneously; on the ordinary harp only four
simultaneous harmonics are possible. An ordinary keyboard being the
intermediary between the performer and the movement of the mechanical
"fingers" which pluck the strings, perfect equality of manipulation is
secured. The mechanical "fingers" instantaneously quit the strings on
which they operate, and are ready for further action. The "fingers"
are covered with suitable material, so that their contact with the
strings takes place with the softness necessary to obtain the most
beautiful tones possible.
[Illustration: THE CLAVI HARP.]
The clavi harp is much lighter than the piano--so that it can easily
be moved from room to room, or taken into an orchestra, by one or two
persons--and is of an elegant form, favorable to artistic decoration.
Sufficient will have been said to give a general idea of the new
instrument.
It is undeniable that at the present day that beautiful instrument,
the harp, is seldom played; still seldomer well played. This is
attributable to the difficulties it presents to pupils. Its seven
pedals must be employed in different ways when notes are to be raised
or lowered a semitone; chromatic passages easy of execution on the
piano are almost impracticable on the harp. The same may be said of
the shake; and it is only after long and exclusive devotion to its
study that the harp can become endurable in the hands of an amateur,
or the means of furnishing a professional harpist with a moderate
income. It is needless to point out how far, in these respects, the
harp is surpassed by the clavi harp.
Vocalists who accompany themselves on the harp are forced, by the
extension of their arms to reach the lower strings, and by frequent
employment of their feet on the pedals, into postures and movements
unfavorable to voice production; but they can accompany themselves
with ease on the clavi harp.
Composers are restricted in the introduction of harp passages in their
orchestral scores, owing to the paucity of harpists. In some cases,
composers have written harp passages beyond the possibility of
execution by a single harpist, and the difficulty and cost of
providing two harpists have been inevitable. These difficulties will
disappear, and composers may give full play to their inspirations,
when the harp is displaced by the clavi harp.--_Building News._
* * * * *