The Music
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The Music |
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The
Baroque Cello – Kara has a modern Cello rebuilt
and played in the style of the Baroque Cello. (Pictured is a Ceske Decorated Baroque Cello, available through The
Early Music Shop.) Baroque Cellos were the transitional instrument between the
Viol de Gamba (leg violin) and the modern Violoncello or 'Cello. Baroque Cellos were played (early 1500s to late 1600s)
in several manners. Most common is for player to be seated, with Cello resting on the legs, or Cello standing on
the floor and/or a cushion (much the same as the Viol de Gamba was played). Less common, but seen in drawings of the
time, is for the player to stand, with the instrument on a stool, creating an effect similar to the Stringed Bass Viol
of today. Kara's cello is sometimes dressed in ribbons. As the Cello developed and deviated from the (then more common) Viol de Gamba, flat ribbons were one of the transitional
things tried in place of the frets as the Cello gained in popularity. Viols de Gamba were from a different instrument
family and had frets tied with the same gut string used for the strings. While
useful for fingering, the frets inhibit the ability to do glissades. Aside from being ornamental, ribbons provide placement markers, but allow glissades.
Listeners frequently comment on the full rich sound of this instrument. After playing her own composition, "Wandering
In The Desert" (a mournful piece), an audience member commented that she had never really liked the cello before, but Kara
could make the the cello "cry," and that it was beautiful and moving.
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The Pedal Harp/Chamber Harp - Kara
has a Venus "Prodigy" Chamber Harp ( pictured at left). Venus Harps are recognized for thier personalized craftsmanship,
as they still make each Harp by hand, without mass production. This Chamber Harp is about 6 inches smaller
than a Grand Concert Harp, with three less strings. The smaller size is barely noticiable, as the instrument has
size and presence, and maintains the large, full, warm "Harp" sound one wants.
Chamber Harps were
common during the Baroque period up through the Edwardian era when music was played in large parlours and small
theatre settings. As music moved into the Concert Hall (everything got bigger in the Victorian era!), instruments changed
to accomodate the larger accoustic needs of the huge halls, Harps also got larger. Still today, internal accoustics
continue to evolve, even including electronic amplification in some Harps.
Kara's is
a traditional, accoustic, wood Chamber Harp with an extended soundboard, perfect for receptions, memorials, services and weddings,
all styles of traditional and classic Harp music.
The Lever Harp/Lap Harp - Kara
has a (large, 36") 22 string Lap Harp. It
is a modern version of the type of Harp that was most common in the 1500s to the 1700s.
This type of Harp is a Lever Harp (uses levers to sharp or flat each string) and it can be called a Lap Harp, Folk Harp or Celtic Harp. Lever harps come in an incredible variety of sizes and shapes, usually from 7 to 38 strings. The taller/larger Harps were fairly rare before the 1700s when various methods were developed to provide sharps and flats: Hook Harps, Double Strung and Triple Strung Harps, and “Single Action” Pedal Harps. The Double Action Pedal Harp (Concert Harp) of today was not invented until the early 1800s. Kara's Lap Harp has a sound similar to a very full-sounding lute. Celtic songs, medieval and folk music, Bluegrass Gospel, and Ancient Asian melodies fit this instrument's sweet, smaller sound.
The Harp Zither (aka McArthur Harp) - The Harp Zither was a popular home parlour instrument at the turn of the 1900s, so popular that by 1910 it was even sold in the Sears catalogue. It's small size, portability and unique pleasing shape made it a favorite. Zithers were very popular instruments and styles changed rapidly. There were more than 300 different types of zithers. This is one of the most simple. The most difficult and complex zither is the Concert Zither which Anton Karas made famous when he recorded the music for THE THIRD MAN, a film with Joseph Cotton, Alida Valli, and Orson Welles. The theme song became an international hit. Most Harp Zithers gathered dust in Attics, but Margaret McArthur kept it alive, and was one of the few musicians who continued to play, perform, and most importantly - teach and write instruction books on this rare little instrument. The Harp Zither has a homespun sound, which some may find thin or tinny, strange to today's ears. The sound is similar to a mandolin or banjo, and historically perfect for Bluegrass Gospel, turn of the century and Civil War era tunes.
The Recorder/Fipple Flute/Flauto Dulce - Kara picked up the recorder to augment her early music work. Alto and Tenor recorder are her focus, they have a deeper range and a rich sound. The recorder is a simple wood flute common in Medieval music. While it is a common early instrument for children, it can be played with great precision and expressiveness. It is featured in the soundtrack/music of the brilliant French film trilogy Blue, White and Red. It is, of course, especially suited to native american music and traditional Asian flute music. |
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