Pedal Harp Camac Atlanatide Prestige 47 strings
New soundboard, new soundbox, new varnish
Serial N° B203, year of manufacture 2001
Price: €17 000
We have just uploaded a large number of great second-hand harps to our online listings. Discover them here!
We're excited about going to Lima next week, November 21st - 24th, for the Primer Encuentro Latinoamericano de Arpistas Clásicos y Folclóricos del Perú. We will be at the Lima Ministerio de Cultura, as part of the 75th anniversary celebrations of the Orquesta Sinfónica Nacional. There will be a fine range of concerts and masterclasses, including a lecture on the relationship of classical and traditional music in Peru, and a closing concert together with musicians from the Orquesta Nacional. Throughout the festival, there will be an exhibition of our concert, lever, electric and llanera harps, with Jakez on hand to answer all your questions about our harps and their manufacture. Jakez will also give a regulation workshop.
Particular thanks to Clelia Mertens and the Opus Peru Ars foundation for their valuable collaboration, making this event happen!
There is a recent development in Camac’s manufacture that is particularly exciting for us – our Latin American llanera harps. We have now have two models available in this range: the acoustic llanera (the ECL, Edmar Castaneda Llanera, with 35 strings), and the electric llanera (EL, 37 strings).
We're very proud to announce the launch of a new addition to our lever harp range - the Isolde. It has been designed to be perfect for both traditional and classical repertoire, with an extended range of 38 strings. These strings are also fluorocarbon folk gauge, with the light touch loved by folk harpists, and the round sound and concert tension of the concert harp.
What better name for such a harp than Isolde? It is inspired both by the Tristan and Isolde legend, an ancient love story Celtic in origin, and by Wagner's opera.
For more information, please contact email@example.com!
In 2000, Jakez reworked our lever harp catalogue to make it clearer, particularly with regard to the names of the harps. Models before this time can still be a source of confusion. The harps were worked on a lot, which resulted better harps, but also in a rather complicated list of models often with the same strings and ranges, yet different.
To help with any confusion particularly regarding second-hand models from our earlier ranges, David Rescher of the Harfengalerie Camac Berlin has written a German-language explanation of the background to the present-day Mélusine and Korrigan, plus a summary of our current range, in response to questions on the German harp site harfenforum.de. I've made an English version for Harpblog. Never do any work someone else has already done, better than you would.
The Morgane, with its thirty-four strings, was the first larger lever harp made by Camac, in the 1970s (prior to this, we manufactured a leverless Bardic harp with a four-cornered soundboard and in quasi-Guinness style. It was also available in kit form, and very popular throughout the 1970s). The Morgane was built to be strung in nylon (A01 – D26), with bass wires (C27 – C34), offered with a choice of flat feet or taller legs, and a four-cornered soundbox. The Morgane remained in production until 2001.
At the end of the 1970s, Camac added their Mélusine model to their range. This harp had 36 strings, 2 more than the Morgane, in the bass (H35 and A36). It was also strung with nylon and wires and had a similar four-cornered soundbox. The Mélusine came into being following requests from Breton harpers, who wanted a greater bass range.
The Mélusine de Concert, developed in the 1980s, had a round and bigger soundbox, and a correspondingly bigger sound. The first Concert Mélusines still had a carbon fibre soundboard, with which Camac’s founder, Joël Garnier, had been experimenting in this decade.
Jakez just sent me these photos from the Shanghai Music Fair, where Camac are currently exhibiting. It is great to be among the French instrument makers at the biggest exhibition held by the country who, in themselves, make more instruments than anywhere else in the world!
We're all heading to Geneva at the end of this week for our annual Camac Festival!
The advance information about the festival has not changed so, rather than repeat myself, you can read it here. In a nutshell, this annual event aims to present some of the brightest stars of the harp's different styles and genres (a range so diverse that it never fails to amaze and delight us), highlight the work of local harp scenes (which is why we choose a different venue every year), and offer the best commercial opportunity possible (the largest exhibition of Camac instruments you will ever find in one place). It is also an ideal opportunity to have your harp regulated (please reserve an appointment in advance for this).
The wonderful artists performing for us this year deserve a paragraph of thanks containing no parentheses at all. There will be four fabulous duos: Isabelle Moretti and Magali Mosnier, Ghislaine Petit-Volta and Jean-Marc Volta, Sophie and Marie Hallynck, and Sileas - Mary Macmaster and Patsy Seddon. We're also delighted to welcome Petra van der Heide, Tara Minton and her trio, Bernard Andrès, and the harp professors and students in and around Geneva. A huge thank you to them all!
If you haven't yet reserved your tickets - which are free - call +33 (0) 2 40 97 24 97, or email firstname.lastname@example.org!
Harpblog is also looking forward to the chocolate