New-York tribune., 1918-10-20
NEW YORK TRIBUNE SUNDAY, OCTOBER 90 1918
The Harp Accompanied the
Wanderings Of the Ancients

of which no other instrument is
capable, and is the only means of pro-
longing tn" tore and of giving it
singing quality. Sustained tones. such
as are produced uLon piano. are i'm
possible for the harp. Here, then, is
one of the best of reasons for leaving
piano literature to the piano. The
harp's normal key is C fat All the
naturals and sharps are made through
with disks containing little studs or
nibs which. at each depression of the
pedal. turn and pinch the string rails
ing it half tone. This pinehing Of
the string causes, no matter how
cleverly manipu' ated. a stopping Of the
tone, which lessons the brilIiapey and
carrying quality Of the harp. Another
reason for making q perfect interprc
tation of piano music impossible.
Debussy's piano solos and those of
many other composers are quite ruined
when played upon the harp. and are
often not recognizable, even when
played by the best harpists.
Why, then, use them?
When the harp bears such a lovely
individuality of tone, why will harpists
try to convert it into a piano or iken
it to such? The flute and violin each
have their distinctive characteristics.
IJkeWtSc the NCrH ana ceHO. w nat
would an orchestra that harmonious
family Of instruments-be like if each
instrument could be charactered alike?
In an orchestra no instrument can
supplant another; each has its place,
with room for all, as there is room for
every artist in the musical world. To
say that "the harp will one day sup
Plant the piano" is ridiculous. Moth
ing will ever supp'ant the piano. the
only instrument other than the organ
which is so complete in itself as to
uphold all other instruments. The eff
feet of the harp in an orchestra is
unparalleled; its lower tones, mellow,
rich, yelled and mysterious-its upper
octaves fresh, sweet and bell-like.
There is a magic in their Crystalline
clearness as they ripple through an
orchestra, 81 murmuring utterance to
the sweetest secrets of smiling melody.
Naturally, such coloring would attract
the masters Of Instrumentation.
In the church service these veiled,
mysterious and celestial qualities. com
bined with it's great volume. should
make it invaluable; but the harp has
ever been a victim of prejudice. the
one wicked fairy at it's birth. Although
nearly every clergyman in the coun-
try, and nearly every member Of
congregation, long for the harp. it is
at present struggling for existence in
the choir. which unlike the ancients
who made it most important feature
in religious service, and from whom
we have much to learn, does not yet ap
preciate it's worth.
Nothing but the organ can support a
church service WITH effortless strength
and sustained serenity that. without
distracting, assists the mind to the
highest and most exalted feelings which
are most conductive to the proper praise
and worship of God. Only one member
of the orchestra is able to vary and
even to add to the ecclesiastical char
service seem performance" and that
instrument is the harp when judi
ciously used
The harp, although charming solo
instrument, standing alone in its exclu-
sinveness, yet blending harmoniously
all instruments. and is a charming ac-
compartment for the voice.
In the home, however, the harp finds
its true place. Here it creates an at
mospheTe OF refinement, it's strings
vibrating pure and clear to the touch of
gentle woman and even to that of little
maid Here quaint songs, old ballads
of past days, charm away the twilight
hours, bringing comfort and peace into
our restless lives. The harp is now so
universally played that it might justly
be called a patriotic instrument.
No music is as we'll suited to it as
are our old ballads, folksongs, the
songs Of the Allies and their national
hymns.
There is soul in every note respon-
sive to our own. Faithful harp! The
worlds freedom won, hyn'n~ of 10Y
proclaim! Then, in ringing tones,
sound forth triumphant Soui Onr c,rr
beloved anthem!