The harp has an illustrious history. From the ancient Egyptian bow harp (called a “benet”) to the lap harps of Mesopotamia, the image of gleaming silver strings strung on a polished wooden frame has become synonymous with elegance and beauty.
Now, the modern harp has become a staple of the symphony orchestra, playing a crucial role in the symphonic repertoire. However, despite its orchestral success, the development of the harp as a virtuosic solo instrument was complicated. At one point, the harp seemed destined to be no more than an orchestral texture, or an accompanist at best. However, Felix Godefroid and his support of the double-action harp changed everything.
The Harp Virtuoso Godefroid
Felix Godefroid (1818–1897) was perhaps the most influential harp player of the 19th century. The composer Hector Berlioz said of the virtuoso, “Monsieur Godefroid, absolute master of his instrument, is of such power that he needs not fear any competition.” Godefroid’s skill as a player translated into his prowess as a composer, as the Belgian virtuoso wrote many solo harp masterworks,including the popular “La danse des Sylphes” and “La harpe éolienne.” These works pushed the technical possibilities of the instrument in fresh and previously unimagined ways.
George Cai
Author
George Cai, a cellist and an enthusiast of classical music, has toured the globe from Carnegie Hall to the Deutsche Oper Berlin. He resides in New York.
