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RCM 295 Welsh Triple Harp Bassett Jones, Cardiff, 1838 Inscriptions Engraved on brass plate on neck: Rif 4 Cymreigyddion y Fenni/ I JOHN THOMAS yn Unarddeg Oed/Am Ragori ar y Delyn./ HYDREF 1838/Bassett Jones/Gwneuthurwr/Caerdydd/Rif 115 [No. 4. Abergavenny Welsh Gathering. To John Thomas, aged eleven, for excellence on the harp. October 1838. Bassett Jones, maker, Cardiff. No. 115.] Brief description Welsh triple harp, designed to be played on the right shoulder Dimensions : 2035 : 1895 : 1150 : 1055 : at top 120, at bottom 485 : at top 80, at bottom 335 : (the row of longer diatonic strings: see Description) f2
1
1535 B1
14 821 a
26 337
2
1506 C
15 766 b
27 315 g2
3
1475 D
16 792 c1
28 292 a2
4
1435 E
17 660 d1
29 272 b2
5
1388 F
18 612 e1
30 255 c3
6
1331 G
19 565 f 1
31 240 d3
7
1274 A
20 523 g1
32 225 e3
8
1207 B
21 485 a1
33 214
9
1141 c
22 451 b1
34 202 g3
10
1074 d
23 420 c2
35 192 a3
11
1007 e
24 390 d2
36 175 b3
12
943 f
25 364 e2
37 154 c4
f3
13 882 g Description Three rows of strings: two outer diatonic rows, one of 37 strings, the other of 30 beginning at B, and a central chromatic row of 32, beginning at F♯. There are eight plugged unused holes on the bridge-strip at the lower end of the shorter diatonic row. Soundboard cross-grained, framed with thin painted black lines: bridge-strip and edges moulded and gilded. Back of nine staves. Neck and pillar of ?beech, also with thin black outlining. Pillar with carved and gilded volutes and acanthus at top and bottom. Carved and gilded acorns and oak leaves along top of neck and across lower end of soundboard. Soundbox has turned and scalloped top-block forming junction to neck. Semi-opaque reddish varnish. Commentary This harp is unusual in having been designed to be played on the right shoulder. Bassett Jones worked in Smith Street, Cardiff. 38
The triple harp originated in Italy in the late 16th century; although superseded elsewhere by the pedal harp at the end of the 18th century, it survived in Wales, thereby also preserving elements of baroque harp performance practice. The outer rows of strings were tuned as unisons, which enabled very rapid playing of repeated notes.
John Thomas (1826–1913), harpist and composer (Bergamasco, St. Petersburg). © Royal Society of Musicians
Provenance Gift of General Sir Gwilym Ivor Thomas, 1957; the harp was won by his father, John Thomas (1826–1913), harpist and composer, at the age of twelve (not eleven as stated in the inscription). After studying at the Royal Academy of Music, where he had to change to the pedal harp, he was appointed professor there and at the RCM, also Harpist to Queen Victoria, then to King Edward VII. Besides performing for some sixty years in London (for example at the Royal Italian Opera), and making successful concert tours abroad 1852–62 (impressing Berlioz), he published arrangements and his own compositions and promoted Welsh music (see Oxford DNB 2004; also Rensch 1989, pp.208–10). His son also presented a marble bust of John Thomas, by William Davies, 1863, his harp platform and stool (now lost), manuscripts of his compositions and photographs. See also Harp RCM 260. References Griffith 1896, p.149 Baines 1966, p.65 & ill. Rensch 1969, pl.33b Wells 1984, p.14 Rensch 1989, pp.134, 208 Droysen-Reber 1999, pp.34, 304 Oxford DNB 2004, v.54, p.350