The harp evolved from a simple medieval stringed instrument with only a few strings into the modern double-action pedal harp, which impresses with its five-and-a-half-octave range, increased volume, and technological advancements. Modern harps feature a sophisticated mechanism that can change the pitch of individual strings, distinguishing them from Baroque harps as clearly as the piano differs from the harpsichord.
In the 16th century, the so-called "Gothic" harp with additional strings gained importance, as it enabled fully chromatic playing for the first time. The double harp, called "arpa doppia," was already known and described for its pronounced chromatic range before the introduction of pedals. At that time, pieces were usually played in close keys, with the main row of strings encompassing most of the required notes.
Like the lute, the harp was adapted for basso continuo playing in the early Baroque period to accommodate its growing role as an accompanying instrument. Virtuosos like Giovanni Trabaci and Orazio Michi, through their exceptional technique and musicality, fostered the international recognition of the instrument. Despite these developments, the harp was less popular among amateur musicians in the 17th century than other instruments.
The harp was often associated with love songs or dances, and the artists of that time were known for their artful transcriptions. Composers utilized the harp's tonal and chromatic possibilities, employing effects such as arpeggios, trills, and echoes with purpose. Neapolitan music, in particular, shaped the harp tradition of that era.
Most of the repertoire from this period originated in Naples, underscoring the city's importance as a center of harp playing in Italy. Works by composers such as Ascanio Mayone and Giovanni Trabaci demonstrate the diversity and virtuosic potential of harp music. In addition to original compositions, numerous arrangements were created, demonstrating the broad spectrum of this music.
Thus, Mayone's "Toccata Prima," with its extreme contrasts, illustrates the characteristic Neapolitan style, while pieces like "La Barriera" showcase the dance-like side in choreographic form. Transcriptions of well-known works, such as Bartolomeo Tromboncino's "Vergine Bella," demonstrate the versatility and expressiveness of harp music of that era.