A discussion about the provenance of the Rose Mooney or Carolan harp which is owned by the National Museum of Ireland, prompted some thoughts about the decorative finial on the tops of the forepillars of the old Irish harps. I thought it might be interesting to line them all up to see if there were patterns or groups.
Usually, the classical Anglo-European pedal harp is framed as the exact opposite of the Irish harp. But my recent visits to Hospitalfield house to see their 1830s Erard pedal harp have got me thinking about how these instruments fit in to the native traditions.
It is a common trope in the world of historical Gaelic harp studies that the tradition was “broken” in the 19th century, that the revivers of the harp of Ireland and Scotland had no contact with the last of the old tradition-bearers. But yesterday, Sylvia asked me if I was sure that this was true, and so I started to wonder.
Earlier this year the Historical Harp Society of Ireland acquired an interesting harp, made by James McFall in Belfast.
I don’t know the exact date of manufacture, but it must be between about 1900 and 1950. We know that McFall adverised the availability of harps withe wire strings as well as the more usual gut-strung revival instruments.