Testimonial by Mike Parker
A few days back, I took a visiting student down to Pilgrim Harps. I made the acquaintance of ‘The Malvern’.
On a previous visit, I had seen a partial body and what looked as if it would become a very elegant pillar, but I was not prepared for the harp that I finally put my hands on.

It is elegant to the point of sleekness, with a minimalist design relieved only by partial fluting on the pillar. The soundboard is extended, but in such a way that it flares down to the bass, and makes only a very slight return, so the arms are not encumbered by a wide body. The extended section of the board is not a small adjunct to a straight board. The front feet continue the edge of the extended board, running in line with the soundboard, in the manner of a late Welsh triple. The elegant lines and un-fussy design would be presentable anywhere. Also it possesses very few edges to dent.

Sizewise, it is a very practical harp. A full 47-string range with a total height of 178cm and a weight of 31kg, it is eminently maneuverable BUT, the superb design of the layout means that it is supremely comfortable to sit at. It is a very ‘upright’ instrument, so the shoulder is nicely positioned. It feels much like playing a large English Gothic: the harp sits to you with a beautiful, effortless balance, the string disposition is comfortable throughout the range, and none of the feeling that half of the harp is behind your ear.  

What I was not prepared for is the sound. The tone is beautiful, deep and strong with rich resonances and a wide variety of timbres easily available (it is one of the few concert harps I have played that Angelique works on!). The sheer volume came as a bit of a shock; it felt immediately as if I had been playing it for a lifetime, and a found a dynamics of astounding range. Even with my full back weight behind it, I couldn’t overpluck, and yet playing at extreme pianissimo, no tone was lost and I felt the sound would carry beautifully in a large venue.

I played some of my 18th century repertoire on it, and found, to my amazement, none of the muddiness in the tenor that I usually expect from extended soundboards.  Krumpholtz and Dussek really sang on this harp. Switching to standards, I had my second major surprise. The pedals are a joy. Being used to the light, subtle pedals of single action harps and Grecians, I usually expect to have to fight a little with concert harps. Again, none of it. Easy, gentle, but smooth and rapid pedal response made consecutive semitones not only possible, but seriously fun to play. 

All in all, I have not found a harp of this nature with so many positive attributes, the Malvern is a practical working harp with a sound quality and playability that would make it a match for any artist’s solo instrument, and with a price tag under £10,000, it is certainly far above any harp in its class.  
Mike Parker is a professional harpist, harp musicologist and author.
He also teaches at the London College of Music & Media.

    
 
Sioned Williams


Mike Parker