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The only harp that doesn’t exist in a museum

The 6/6 chromatic harp by Jean Henri Pape is the only existing harp that is not present in a museum. For this reason I often call it a modern chromatic harp because all the quotations from the historical books present are suppositions but are not based on the realistic and technical concept because this instrument has only been built for 25 years even if the idea is 150 years ago.
Why am I talking and will talk about this topic many times?
Because all the quotes I have read in these years of research are neither reliable nor truthful, they are simply phrases like.

“Gustave Lyon discovered that someone before him patented a chromatic harp with a cross-string arrangement of hextonal strings.”
The idea is interesting, but it is easy to imagine the difficulty posed to the harpists, who had to alternate between the two scales. (FAKE NEWS)
But instead of imagining why not ask the teacher what the advantages and difficulties are?
I mention only two sentences but you can imagine the others, superficial and repetitive on a topic that everyone is talking about but no one asks those directly involved like us who teach this musical instrument and its real evaluations.

International conferences could be created to understand the value of something you do not yet know, to integrate this new complex discipline but which has the same progression of study and commitment to the pedal harp within the conservatories.
ahh …. but the harp is not in a museum, so it cannot be evaluated in the historical context.

Sorry but the controversial article is something I have been thinking about for 15 years now, as a teacher of this instrument I have been teaching outside the Conservatories for years and my students travel many kilometers to come to me and learn the technique, you read me and follow me from every part of the world. So I wonder how long this cultural denial will last? Until the founders die like this will it become history?

Soon there will be an International festival that has invited me to teach chromatic harp 6/6 and I thank all the enlightened people who have made this instrument evolve a little more even in the pandemic.

All these renewing energies, however, I want to emphasize, come from outside, not from the historical musical academies or conservatories and therefore do not preserve, but from very competent people who invent, produce, research, progress, without citations and biographies, with present and important actions.

I would like the academic system to rejuvenate, you must not stand still until the world is revolutionized outside, you can be part of it, but I always hope with respect towards those who are doing their best for musical research.

Not all music comes from museums.
Fortunately, the 6/6 chromatic harp is still free from neologisms and citations. This harp lives in the present.
In a month I will tell you where there will be an international 6/6 chromatic harp seminar.

With cordial hope that someone wakes up
I’m waiting for some constructive feedback via email to organize new opportunities for growth, music and much more for this wonderful harp.

Vanessa D’Aversa
Professor of Chromatic Harp 6/6 and Jazz Composition

Birds born in a cage think flying is a disease. Alejandro Jodorowsky

The only harp that doesn’t exist in a museum

The 6/6 chromatic harp by Jean Henri Pape is the only existing harp that is not present in a museum. For this reason I often call it a modern chromatic harp because all the quotations from the historical books present are suppositions but are not based on the realistic and technical concept because this instrument has only been built for 25 years even if the idea is 150 years ago.
Why am I talking and will talk about this topic many times?
Because all the quotes I have read in these years of research are neither reliable nor truthful, they are simply phrases like.

“Gustave Lyon discovered that someone before him patented a chromatic harp with a cross-string arrangement of hextonal strings.”
The idea is interesting, but it is easy to imagine the difficulty posed to the harpists, who had to alternate between the two scales. (FAKE NEWS)
But instead of imagining why not ask the teacher what the advantages and difficulties are?
I mention only two sentences but you can imagine the others, superficial and repetitive on a topic that everyone is talking about but no one asks those directly involved like us who teach this musical instrument and its real evaluations.

International conferences could be created to understand the value of something you do not yet know, to integrate this new complex discipline but which has the same progression of study and commitment to the pedal harp within the conservatories.
ahh …. but the harp is not in a museum, so it cannot be evaluated in the historical context.

Sorry but the controversial article is something I have been thinking about for 15 years now, as a teacher of this instrument I have been teaching outside the Conservatories for years and my students travel many kilometers to come to me and learn the technique, you read me and follow me from every part of the world. So I wonder how long this cultural denial will last? Until the founders die like this will it become history?

Soon there will be an International festival that has invited me to teach chromatic harp 6/6 and I thank all the enlightened people who have made this instrument evolve a little more even in the pandemic.

All these renewing energies, however, I want to emphasize, come from outside, not from the historical musical academies or conservatories and therefore do not preserve, but from very competent people who invent, produce, research, progress, without citations and biographies, with present and important actions.

I would like the academic system to rejuvenate, you must not stand still until the world is revolutionized outside, you can be part of it, but I always hope with respect towards those who are doing their best for musical research.

Not all music comes from museums.
Fortunately, the 6/6 chromatic harp is still free from neologisms and citations. This harp lives in the present.
In a month I will tell you where there will be an international 6/6 chromatic harp seminar.

With cordial hope that someone wakes up
I’m waiting for some constructive feedback via email to organize new opportunities for growth, music and much more for this wonderful harp.

Vanessa D’Aversa
Professor of Chromatic Harp 6/6 and Jazz Composition

Birds born in a cage think flying is a disease. Alejandro Jodorowsky

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