Malvern and Aldeburgh Harp Testimonials:

Professor David Watkins
David Watkins stated that the Aldeburgh is at least the equal of its sister harp the Malvern, which he described as:
Beautifully made, as all the original instruments designed by Pilgrim Harps, it is the finest pedal harp that has ever been made in Britain.
It is much lighter than most concert harps and, this combined with an original body construction, has a range of sonority and dynamic that is quite remarkable.  It ‘sings’ in a way that cannot be achieved on any contemporary instrument and its range makes it suitable for all styles of music.  It’s wonderful to have at last, an instrument that is easy to play, has a smooth pedal action and is light to transport.  All professional harpists should consider it as a second instrument, however I have a feeling that it could well become their FIRST! 
David Watkins is a highly acclaimed international harpist, composer and recitalist.  He has been harpist with many organisations including the Royal Opera House Covent Garden, the London Philharmonic Orchestra, professor of Harp at the Guildhall School of Music and Drama, and the Royal Northern College of Music.  Among many compositions are "The Complete Method for Harp" and “Petite Suite”.

Danielle Perrett
The Aldeburgh is a superb new harp! The bottom of the soundboard extension is an innovative new idea and there is generous hand room at the top of this instrument
Danielle Perrett  is one of the UK's leading harpists. Well known as a recitalist, she also presents masterclasses around the world and is an acknowledged expert on the single action harp.

Sioned Williams
I recently had the pleasure of trying out the new Malvern harp in peace and quiet (very important when really assessing an instrument), and was really delighted.  I did not have to compromise when I played this instrument.  It has a rich, full sound and is a joy to play.  The price is incredibly competitive and I would recommend this harp as an excellent buy for any harpist. 
Sioned Williams is Principal Harpist at BBC Symphony Orchestra.
Senior Fellow in Harp Studies, Trinity College of Music, London.
President of the United Kingdom Harpists Association.

Aileen MacArdle
A little note to thank you for the happy evening we spent meeting the newest arrival in the harp world and to thank you for your generous hospitality.  It was a very happy occasion and as each new harpist arrived she/he was keen to try out the Malvern so it was possible for us to hear many people try it out and form our own judgment of its qualities.  The sound is clean and clear from top to bottom with the bass warm and resonant while the treble sound is without brittleness, full and resonant. It also seems remarkably light and will be so easy to move around; I envy the young harpists of today.  My big query is how did you achieve this and still charge such a small amount - I'm tempted to ask is it legal?  Congratulations, and best wishes for continuing success in the future.
Aileen MacArdle was Principal Harp with the Bournemouth Symphony Orchestra for 18 years. She has worked with all of the major London orchestras and has taught throughout her career. Firstly, in the Welsh College of Music and Drama (Head of Harp), then Limerick University (Head Of Harp). Currently she teaches privately, adjudicates and leads masterclasses.

Gabriella Dall’Olio
An instrument with a rich sound, comfortable and light, ideal to accompany harpists through their studies & concerts. 
Gabriella Dall’Olio studied harp in Italy, Germany &. She performs solo recitals and chamber music concerts throughout the world. Her highly acclaimed recordings include solos, ensembles and concertos with some of the world’s finest conductors and orchestras. Gabriella is Head of Harp at Trinity College of Music.

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.