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Clark Irish Harp
 Pulling
Strings
The Legacy of
Melville A. Clark

L I N DA P E M B RO K E K A I S E R
With a Foreword by Dennis Connors

S Y R ACUSE U N I V ER SI T Y PR E S S
Copyright © 2010 by Syracuse University Press
Syracuse, New York 13244-5290

All Rights Reserved

First Edition 2010

10 11 12 13 14 15 6 5 4 3 2 1

Illustrations are from the collection of the author unless otherwise noted.

∞ The paper used in this publication meets the minimum requirements

of the American National Standard for Information Sciences—Permanence
of Paper for Printed Library Materials, ANSI Z39.48-1992.

For a listing of books published and distributed by Syracuse University Press,

visit our Web site at SyracuseUniversityPress.syr.edu.

ISBN: 978-0-8156-0950-6

Library of Congress Cataloging-in-Publication Data

Kaiser, Linda P.
Pulling strings : the legacy of Melville A. Clark / Linda Pembroke Kaiser ;
with a foreword by Dennis Connors. — 1st ed.
p. cm.
Includes bibliographical references and index.
ISBN 978-0-8156-0950-6 (cloth : alk. paper)
1. Clark, Melville. 2. Harp makers—United States—Biography.
3. Harpists—United States—Biography. 4. Celtic harp—United States—
History. 5. Inventors—United States—Biography. I. Title.
ML424.C55K37 2010
780.92—dc22
[B] 2010005643

Manufactured in the United States of America

Whatsoever thy hand findeth to do,
do it with all thy might;
for there is no work, nor device,
nor knowledge, nor wisdom,
in the grave, whither thou goest.
—Ecclesiastes 9:10
L I N DA PE M BROK E K A ISER is a musician who performs on the
harp, piano, and guitar. She has published articles in the Inter-
national Folk Harp Journal and an album of harp music, Lulla-
bies for Earth Children, for two harps. She lives in Syracuse, New
York, and near Mount Dora, Florida.
 Contents

List of Illustrations ix
Foreword, D E N N I S CON NOR S xiii
Preface xvii
Acknowledgments xix
Clark Family Tree xxi

1. Melville Clark: The Man and His Family 1

2. The House That Clark Built 14
3. The Clark Irish Harp 29
4. Birth of the Nylon Harp String 54
5. Inventions and Ideas 62
6. The First Syracuse Symphony Orchestra 75
7. Singing Troops and War Balloons 96
8. White House Connections 105
9. The Collections 113
Final Note 137

A P P E N DI X A . Publications by Melville A. Clark 141

A P P E N DI X B . Serial Numbers and Manufacture Dates
for Clark Irish Harps 143
A P P E N DI X C . Cost of Manufacture of the Clark Irish Harp 145
Notes 163
Selected Bibliography 179
Index 181
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 Illustrations

Color Plates

Following page 74
Uncle Melville Clark
Melville Clark on the cover of Piano Trade Magazine
Elaine Vito, NBC harpist, playing the harp underwater
Sales tag for the Clark Fruit Picker
Publicity for Prokofieff’s concert
Cover of souvenir program from the Song and Light Festival
Stamps from many countries
Cover of Schirmer-Clark catalog

Figures

Father and mother of Melville A. Clark 2

Clark family 3
Clark children at harps 4
Melville Clark with an Erard harp 6
Harp ensemble at the Twelfth Annual National Harp Festival 7
Travelers’ and Drovers’ Tavern 9
Clark family trailer trip to Cape Cod, Massachusetts 10
Clarks at home at Travelers’ and Drovers’ Tavern 11
Melville Clark with Prescott cello 12
Clark Music storefront, shared with Krause Jewelry 16
George W. Clark with an Erard harp 18
Clark’s piano- and harp-moving wagon 19
Clark’s six-story music store 20
Apollo Recital Hall program 22
ix
x | Illustrations

Clark Music Company broadcast over WSYR 23

Newsletter, Hall O’Harps Monthly 25
Melville Clark playing an early model of his harp 33
Clark Irish Harp patent drawing 35
Jobber’s Agreement to sell the Clark Irish Harp 38
Professor Van Veachton Rogers 40
Clark’s sketch of Timothy Clark Plastic (Fiberglass) Harp 45
Melville Clark on Mount Wilson, California 46
Postcard from C. E. Rofgren from Antarctica 47
Letter from Dr. F. Dana Coman from Antarctica 48
Ship photos of Dr. Coman 49
Citation from Rear Adm. Richard E. Byrd 50
Clark playing a concert harp strung with nylon strings 55
String-gauge list from R. H. Carter, du Pont 57
Melville Clark with four harps strung with nylon strings 58
Clark demonstrates the imperviousness of nylon strings to water 60
Clark Nylon Harp String packet 61
Letterhead of Melville Clark’s “Ideas” stationery 63
Patent for Clark Fruit Picker invention 64
Patent drawing of the Clark Fruit Picker 65
Clark Music Co. letterhead used to promote sales of the
Clark Fruit Picker 66
Telegram to Clark from Leopold Stokowski 70
Melville Clark with tone amplifier 71
First Syracuse Symphony Orchestra board officers 77
D. T. Brennan, Music Committee member 78
Syracuse Symphony Orchestra stationery, 1923–24 79
The Syracuse Symphony Orchestra with Dr. William Berwald,
conductor 81
B. F. Keith Theatre interior 82
Tina Lerner, pianist 83
Vladimir Shavitch, conductor 84
Symphony’s Watertown, New York, concert 89
Victor Miller, director 91
Professor André Polah, conductor 92
 Illustrations | xi

Conductor Nicholas Gualillo 93

Postcard of Syracuse Recruitment Camp 97
Margaret Wilson and Melville Clark at Camp May, New Jersey 98
British soldiers with propaganda balloons 104
Luncheon party at the 500 Club 107
Wilson party at the door of the auditorium 109
Margaret Wilson at Cornish, New Hampshire 110
White House Musicale program 112
Walter Welch and Melville Clark 115
List of discs for the music box 117
Letter from Buckingham Palace 118
Clark with Regina music box, cabinet, and discs 119
Clark amuses the plane crew en route to London 121
Clark arriving at Buckingham Palace 121
Lap piano 126
Clark playing a lap organ 127
Clark presenting a French harp to Henry Ford 130
Clark with the Cleopatra harp 131
Tiny Manchurian dove harp 133
Clark holding the musical bow with gourd resonator 134
Ethiopian harp made from wood and twigs 135
Tortoise shell strung with metal harp strings 136

Tables

1. Clark Irish Harp and taborette patents 53

2. Children’s assembly plan 171
 Foreword
DEN N IS CON NOR S

TODAY WE ARE I N U N DAT ED with images from television. The

medium enters our homes twenty-four hours a day, seven days a week.
And the channel options presented by cable are staggering. There are
probably people who have so many cable TV stations available on their
sets that they haven’t even found them all yet and perhaps never will.
With that current reality and the passing of years, the number
of people who can remember a time when there was no television is
shrinking daily. So it is hard for many to conjure up the anticipation,
excitement, and wonder that the arrival of television broadcasting
brought to America in the late 1940s.
In the case of the upstate New York municipality of Syracuse, with
a population of nearly 220,000 at the time, that day came on Decem-
ber 1, 1948. And the fi rst images that those Central New Yorkers saw,
as few as they might have been given the limited number of televi-
sions, was, of all things, a man playing a harp. For those who knew
Melville Clark, it probably was no surprise at all.
Clark was local, and that WHEN broadcast originated in its pioneer
studio on the city’s North Side. But Clark was also a consummate pro-
moter, both of his trade in the business of musical instruments and in
his love for one in particular—the harp. That he would be playing his
harp in that first fuzzy but historic television broadcast in Syracuse is
just another captivating chapter in the saga of this fascinating figure.
Portions of Clark’s busy, wide-ranging, and colorful life have been
reported in past articles and brief mentions in musical histories. Until
xiii
xiv | Foreword

now, though, there has not been a thorough exploration of his career.
This book by Linda Kaiser corrects that omission with a wonderful,
well-researched narrative that explores his numerous contributions to
American musical history. She has mined a rich cache of Clark fam-
ily papers, one group in private hands and another within the Special
Collections division of Syracuse University’s Library. And these hold-
ings include a wealth of photographs and graphic materials of high
quality that add significant visual interest to the story.
Clark was born in Syracuse in 1883 and spent his life in Central
New York. His family business grew to be one of the nation’s largest
music stores, retailing a wide variety of instruments from its down-
town location. The building was a well-known local landmark until
its demolition in 1967. His business activities, civic involvement, and
concert promotions in Syracuse were numerous and could fi ll a good-
sized book on their own. But he also was a nationally recognized harp-
ist, with a concert résumé that grew to thousands of performances,
including several presidential recitals at the White House.
And yet one might argue that his most notable claim to fame was
as the inventor and creative marketer of a distinctive small, easily por-
table and playable harp called the Clark Irish harp, manufactured in
his hometown. This beautiful instrument, no longer well known by
the average Syracusan, deserves to reside in the same historic “hall of
fame” of Syracuse-made products as the Dietz lantern, the Franklin
automobile, the Marsellus casket, the Syracuse Chilled Plow, and the
Stearns bicycle.
Syracuse, still known today as the Salt City, has long carried that
nickname, bestowed in memory of its founding industry. As salt
manufacturing waned in the late nineteenth century, some citizens
strongly suggested that a new industry—typewriter manufacturing—
should supersede the white mineral and that the town be reclassi-
fied as “Typewriter City.” After reading this story, however, one could
make a good case that Melville Clark almost singlehandedly built a
reputation centered in Syracuse that warranted this town be honored
as the “Harp City.”
 Foreword | xv

Clearly, Clark’s devotion to the harp, as musician, inventor, manu-

facturer, and marketer, makes his story appealing to anyone with affec-
tion for that evocative but somewhat mysterious instrument. Clark’s
persistent activity in bringing harp playing to an audience beyond the
classical concertgoer is one to be admired. Playing the instrument in
an early TV broadcast was one way, but he didn’t begin or end there.
His creative imagination had him plucking strings in 1918 on the
top of Mount Wilson in Southern California, on an airplane fl ight
across the Atlantic in 1948, and in a submerged submarine the follow-
ing year. In promoting his invention of nylon strings for the instru-
ment, which were resistant to the vagaries of changing humidity, a
long-standing annoyance to players, he arranged to have a female harp-
ist play a few notes while completely immersed in a tank of water. That
particular gig earned a color photograph in the December 13, 1948,
edition of Life magazine. In his day, no one seems to have approached
Clark in making the harp accessible to the average American, except
perhaps, the man who once bore its name—Harpo Marx.
So we have in this work a series of wonderful tales of a talented,
energetic man and his ever more intriguing ventures in promoting harp
music to the masses. But there is embodied here an equally important
documentation of the life of a local businessman and engaged citizen
in an average American city during the fi rst half of the twentieth cen-
tury. This volume becomes, therefore, an important contribution to
the study of the particular history of Syracuse, New York.
Modest-size American cities like Syracuse contain a wealth of his-
torical materials that document their residents and the development and
evolution of their communities. Local historical agencies and libraries
are fi lled with the stuff, which is too often overlooked by academic
historians. While certainly narratives that draw on these sources today
may be of immediate interest to the locals, these stories are also rich
examples of the American experience that can and should appeal to
wider audiences. And Clark’s life beyond harps was certainly one worth
bringing to light. These include his “main street” commercial activi-
ties, his efforts to create a civic symphony for Syracuse, his business
xvi | Foreword

enterprises outside the musical world, and, interestingly, his own great
appreciation for the preservation of history. Clark amassed a world-
class collection of historic musical instruments and chose to renovate
an early-nineteenth-century tavern outside of Syracuse as his home.
In older northeastern cities like Syracuse, ones that have faced eco-
nomic challenges for a half century, there is an effort underway to
attract what has been nicknamed the “creative class.” This group is
seen as one that will have the vision to uncover the new technologies
and harness the needed entrepreneurship that will drive the engines
of future economic health. It is a class that is drawn to and thrives
in an urban environment with a good balance of culture, aesthetics,
energetic lifestyles, and intellectual stimulation.
A century ago, Melville Clark was such a man, who both thrived
in Syracuse and contributed greatly to its quality of life. For Central
New Yorkers, harp enthusiasts, musical historians, or students of the
American experience, Ms. Kaiser has offered a stimulating journey
through the extraordinary life of one of our own.
 Preface

O N A S U M M E R’S E V E N I N G in 1891, a young lad, his father, and a

harp arrived at the stage door of the Old Bastable Theatre in upstate New
York. It was amateur night. The youngster was seven and could barely
reach the strings, but by standing on his tiptoes he was able to pluck the
high notes. His solo debut was a huge success. He won first prize and
three dollars. The son and his father were surprised and happy.
The boy was Melville A. Clark, and from that evening on he con-
tinued to make beautiful music for presidents and royalty, children and
discerning audiences, in small parlors, large concert halls, churches,
and military camps. Clark also became a pioneer in the musical and
cultural life of Syracuse and beyond.
Among his most notable achievements, he was president and man-
ager of the Clark Music Company, once the largest musical estab-
lishment in central New York. He was founder, in 1921, of the fi rst
Syracuse Symphony Orchestra and—perhaps his greatest claim to
fame—designer of a portable Celtic-style harp.
Clark always made his home in upstate New York. He was born
fewer than twenty years after the Civil War and lived through World
Wars I and II. Though his formal education was fragmented, his fam-
ily provided him with educational experiences in England, France,
and Ireland to enhance his harp playing and harp building.
This study began as a lecture describing an early Irish harp builder
in Syracuse, where I reside. However, as I learned more about Melville
Clark, I began to write short stand-alone pieces about the various
facets of his professional life. Combined here as a book, they portray a
sparkling personage in three dimensions.
xvii
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