Dolmestch harps - legacy
The Dolmetsch harps and recordings had a number of interesting influences on later developments in the harp scene. Also, the Dolmetsch company continued to make harps for sale up to the 1970s.
Heloise Russell-Fergusson had a huge effect in raising awareness of the harp in Brittany when she toured there in 1934. Gildas Jaffrennou started his harpmaking career by measuring her harp:
“ En 1935, Gildas Jaffrennou prit les mesures de la harpe de Heloise Russel-Fergusson et en construisit une premiere dans son atelier de Carhaix. Cette harpe ne sonnait pas bien car les cordes etaient mal adaptees et elle fut abandonnee. „
I was told by Jean-Noël Verdier that the harp made by Gildas in 1936 was copied from Heloise’s Dolmetsch harp. On the other hand, the video of Heloise at the Gorsedd at Roscoff in 19342 shows her with her Clarke harp. Did she also take the Dolmetsch “first clarsach” with her on this trip?
Gildas’s first harp was a failure but in 1947 he made a second successful instrument “under the guidance of Mrs. Arnold Dolmetsch”3. The following year, Gildas was asked by Jord Cochevelou for information about harp construction. Jord made a harp in 1951, following Gildas’s instructions. He had intended it for his wife, but instead his son Alan became besotted with it and played it. Alan later took the stage name Stivell and became world-famous as a Breton harper.
The first harp that Jord Cochevelou made for Alan was fitted with gut strings; it was not until 1964 that Alan got a harp with wire strings. Gildas Jaffrennou’s 1973 book includes instructions for making gut- or nylon-strung “Celtic” harps (styled after the Clarke Irish harp) as well as wire-strung “bardic” harps; I don’t yet understand the exact connections between the different harp designs of Stivell or Jaffrennou, and the Dolmetsch instruments.
Alan Stivell used the 1964 wire-strung harp to play the Dolmetsch arrangements of the medieval Welsh music on his LP Renaissance of the Celtic Harp. This record was hugely influential internationally in raising awareness of Celtic harp music.
Of course Heloise Russell-Fergusson was based in Scotland but I don't know how much she used her Dolmetsch harp there, if at all.
In the 1950s, Edith Taylor was a harpist who played a Dolmetsch clarsach with wire strings4. I don’t know if this would have been one of the original 1930s ones, or a later instrument made by the workshop after Arnold Dolmetsch died.
“ Miss Edith Taylor, the first honorary secretary of Comunn na Clàrsaich, has one of these on which she once played for the writer at a BBC ‘Country Magazine’ programme from Lochaline, Morvern „
I think that this would be the programme broadcast on the Home Service on Saturday 5th July 19526
However, Edith Taylor was very unusual and I don’t think there was any continuing legacy of playing on clarsachs with wire strings - when the well-established Scottish clarsach player Alison Kinnaird got an instrument with wire strings in the late 80s /early 90s she could not find anyone with any knowledge of playing technique until she met Ann Heymann visiting from America.
Gráinne Yeats had a copy of the Mabel Dolmetsch gramophone record and the notated score. However I am not sure how much that fed into the revivial of early Irish harp - I think Gráinne considered this stuff Welsh and so only of peripheral relevance.
The American harpist Rosalyn Rensch ordered a wire-strung harp from the Dolmetsch company in 19567.
1. [Francois Hascoet], ‘Gildas Jaffernnou, luthier’, Telennourien Vreizh - Harpistes de Bretagne, No.5, Autumn 1984, p. 15-16 ^
3. Gildas Jaffrennou, Folk Harps, MAP 1973, Also Francois Hascoet, L’interet pour la harpe celtique, Revue TV-HdeB, no5, p. 15-16 (Autumn 1984) ^
4. Luc Montigny (1951) "A Dutchwoman and the Gaelic", Scots Magazine new series vol LV no. 4 July 1951 p.301^
5. Collinson, Frances (1966) The Traditional and National Music of Scotland. Routledge and Kegan Paul, London, 1966. ^
6. G.M.L. ‘A Radio Commentary’, The Glasgow Herald, 11th July 1952 ^