FALL 2019 • VOLUME XIII, NO. 5 World congress

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Camac Centre Paris Workshop & Offices 92, rue Petit La Richerais BP15 75019 Paris, 44850 Mouzeil, France www.camac-.com WORLD HARP CONGRESS, INC. Founder: Phia Berghout, The

The World Harp Congress was established in 1981 and incorporated in 1982. It originated from the Harpweeks in The Netherlands, organized by Phia Berghout and Maria Korchinska, that first met in 1960. The WHC is held every three years around the world and seeks to promote the exchange of ideas, stimulate contact, and encourage the composition of new music for the harp. Phia Berghout 1983 Maastricht, The Netherlands 2002 Geneva, Switzerland 1985 Jerusalem, Israel 2005 , 1987 Vienna, Austria 2008 , The Netherlands 1990 Paris/Sèvres, France 2011 Vancouver, British Columbia, Canada 1993 , Denmark 2014 Sydney, Australia 1996 Tacoma/Seattle, Washington, USA 2017 Hong Kong, China 1999 , The 2020 Cardiff, ,

WORLD HARP CONGRESS, INC. MEMBERS OF THE CORPORATION Founder: Phia Berghout, The Netherlands Daphne Boden, United Kingdom Founding Chair: Ann Stockton, USA Alexandre Bonnet, The Netherlands Founding Artistic Director: Susann McDonald, USA Clíona Doris, Ireland Founding WHC Review Editor: Linda Wood Rollo, USA Mario Falcao, /USA Chair Emerita: Patricia Wooster, USA Mercedes Gómez, Kumiko Inoue, Founding Committee Mieko Inoue, Japan Phia Berghout, The Netherlands Kathy Kienzle, USA Mario Falcao, Portugal/USA Sheila Larchet Cuthbert, Ireland Kumiko Inoue, Japan Susann McDonald, USA Marcela Kozikova, Czechoslovakia Isabelle Perrin, /France Susann McDonald, USA Lieve Robbroeckx, Belgium Sylvia Meyer, USA Natalia Shameyeva, Robert A. Ouimette, USA Ernestine Stoop, The Netherlands Lucile Rosenbloom, USA Helga Storck, Deane Sherman, USA Karen Vaughan, United Kingdom Ann Stockton, USA Linda Wood Rollo, USA Patricia Wooster, USA Elena Zaniboni,

BOARD OF DIRECTORS Chair: Kathy Kienzle, USA Clíona Doris, Ireland Artistic Director: Isabelle Perrin, Norway/France Mario Falcao, Portugal/USA Associate Artistic Director: Karen Vaughan, Lucrecia Jancsa, Argentina United Kingdom Jung Kwak, Korea Vice-President: Alexandre Bonnet, The Netherlands Marcela Méndez, Argentina Vice-President: Mieko Inoue, Japan Kaori Otake, Japan/Canada Vice-President: Mercedes Gómez, Mexico ¸ Secretary: Lieve Robbroeckx, Belgium Nicoletta Sanzin, Italy Treasurer: Jaymee Haefner, USA SirinErnestine Pancaro˘glu, Stoop, TurkeyThe Netherlands Editor, WHC Review: Isabel Moretón Achsel, Germany Helga Storck, Germany Caryl Thomas, Wales, United Kingdom Milda Agazarian, Russia Guan Wang, China Kirsten Agresta Copely, USA Patricia Wooster, USA Ann Benjamin, USA Angela Yau, China Maria Cristina de Carvalho, Ann Yeung, USA Dan Yu, China

HONORARY BOARD OF DIRECTORS Bernard Andrès, France Sergiu Natra, Israel Pierre Bartholomée, Belgium Paul Patterson, United Kingdom Marco Betta, Italy Libor Pesek, Czech Republic Robert Freeman, USA R. Murray Schafer, Canada Pierick Houdy, France David del Tredici, USA FALL 2019 • VOLUME XIII, NO. 5 World Harp congress

eviewTHE OFFICIAL PUBLICATION OF THE WORLD HARP CONGRESS, INC.

CONTENTS FALL 2019 • VOLUME XIII • NO. 5

3 WORLD HARP CONGRESS NEWS ON THE COVER: See page 37 for details. Letter from the Chair – Kathy Kienzle Greetings from the Artistic Director – Cover design by Petra Bryan. Isabelle Perrin Preliminary Program Highlights of the Fourteenth World Harp Congress in Cardiff 2020

7 PEOPLE Edward Witsenburg: About Rosa Spier, Grandjany and Harnoncourt – Kerstin Scholten EDITOR Isabel Moretón Achsel 12 HARP HISTORY ADVERTISING MANAGER Mirella Vita (1919-2012) – Marcela Mendez Sydney Campen GRAPHIC DESIGN/LAYOUT Petra Bryan 14 SPOTLIGHT The Ginastera Harp Concerto op. 25 – The World Harp Congress Review is pub­ Sidsel Walstad lished biannually in November and May and is distributed to over 50 countries. The ideas and opinions expressed in this 15 IN MEMORIAM publication are those of the writers and not Libuše Váchalová – Ivana Dohnalová necessarily those of the World Harp Congress, Inc. Nathalie Brooke-Benckendorff – Karen Vaughan Memberships to the World Harp Congress, address changes, and other 16 INTERNATIONAL FESTIVALS AND COMPETITIONS business matters should be directed to: Leanna Johnson, Membership Chair Edinburgh International Harp Festival – Elinor Evans 14501 Montfort Drive, #1625 Pratté International Harp Festival and Competition Dallas TX 75254, USA – Delphine Constantin-Reznik Email: [email protected] The WHC Review is included in membership USA International Harp Competition – Isabel Moreton dues. Suoni d’arpa – Nicoletta Sanzin Advertising in the WHC Review is open to International Harp Competitions At-A-Glance all harp-related businesses and events as well as schools and conservatories. Dead­ lines for ad copy are September 1 and 23 NEW MUSIC March 1. Advertising copy, payment and inquiries should be directed to: Wim Henderickx: Harp Concertino Sydney Campen Recent Premieres and Publications 4612 S. Tewkesbury Ct. Mapleton, IL 61547, USA Email: [email protected] 25 NATIONAL NEWS News items should be directed to the ­official correspondents of each country. 37 MEET THE CORRESPONDENTS Editorial letters and photos must be re­ceived by 15 August (Fall issue) and Thailand 15 February (Spring issue). Articles must Austria be submitt­ ed by 1 June (Fall issue) and 1 December (Spring issue). Please direct all material to: 38 WORLD HARP CONGRESS CORRESPONDENTS Isabel Moretón Achsel, Editor Lange-Hop-Strasse 76 30559 Hannover, Germany Email: [email protected] 38 INDEX OF ADVERTISERS to the World Harp Congress Review ISSN 1542-9415 www.worldharpcongress.org 39 NATIONAL HARP ASSOCIATIONS OF THE WORLD © 2019 World Harp Congress, Inc. All rights reserved. printed on recycled paper Become a member of the World Harp Congress Be part of the worldwide harp community and support the only international organization that hosts a full week harp congress in a different country every three years.

Membership bene�its include : • Subscription to our biennial WHC Review, which includes world-wide harp news, interviews, harp history, new music, and international festivals • Eligibility for discounted harp insurance through Anderson Harp Insurance Group

• Opportunities for professionals to perform or present at Congresses • OpportunitiesTimely/Speci�ic for Information students to about apply upcoming for Focus onCongresses Youth, masterclasses, mock audition, and workshops at Congresses • Online membership directory • Access to International Harp Archives, Audio and Video Lending Libraries, Radio Interviews and much more Please visit the website to become a member: www.worldharpcongress.com/membership Is it time to renew your membership? Please visit the website to renew you membership: www.worldharpcongress.com/membership

for download on the website to send to the Membership Chair at If you cannot [email protected]. your membership online, you will �ind a registration form If you wish to pay in Euros please contact Alexandre Bonnet at [email protected]. WORLD HARP CONGRESS NEWS Letter from Greetings from the the Chair Artistic Director

Dear Friends, Dear Friends and Colleagues, We are now less than a year away from our first Congress in We are now less than a year away from our next World Harp in twelve years! It is so exciting to return to the conti- Congress, to be held in Cardiff 24-30 July 2020, back in Europe nent of our origin, and to go to a country which has such a long after visiting North America, Oceania and Asia. history with the harp. By the time you read this, most of the This past summer, we, the Board of Directors of the WHC programming will be listed on the website, whc2020.wales. met to organize the last details of our 14th WHC to make your The Board of Directors of the World Harp Congress recently experience in Cardiff unique. The local team is already expert held our annual summer meetings. Eighteen Board members in organizing all kinds of harp events and no doubt this one will travelled to France at their own expense, and four more attend- be as successful as all the others. ed the meetings online. I feel honored to be working with such And now, as you are reading these lines, most of our program a dedicated group. is put together and the greatest names and talents will come One of the items the WHC Board is working on is a new Vision and join us in Cardiff to make those days truly unforgettable. and Mission statement for the World Harp Congress. We are The artistic committee, among them my dearest friends Caryl lucky to have working with us several of the founding commit- Thomas, Chairman, and Catrin Finch, Artistic Director, have tee members; Mario Falcao, Kumiko Inoue, Susann McDonald, received and been through nearly five hundred very interesting and the Founding WHC Review editor, Linda Wood Rollo. With proposals. Needless to say it has been difficult to make choices their help we are updating our Vision and Mission statements and leave out so many wonderful talents and ideas - we really to bring us into the 21st century, while still honoring the Vision wish we could have had concerts and lectures 24 hours a day to and Mission of our founders, especially Phia Berghout. It was be able to include all the many talents we have in the harp world! her vision that created the Harpweeks in The Netherlands, Now everything is in place and we just need YOU, our audi- which led directly to the founding of the World Harp Congress. ence, to make it the greatest possible success. Wales is a most Another subject the Board discusses at every one of our meet- beautiful place to visit and we encourage you to take a vacation ings is where we might hold future Congresses. If you think your before or after the congress. From the WHC2020 website you city and country might be a potential host for a future Congress, will know everything about the program, the stars coming, the feel free to contact me for additional information about the beautiful concerts and great lectures, the lodging and sightsee- requirements for hosting a Congress, [email protected]. ing possibilities. So, make your reservation and bring your friends and family along, they will love it as well!! I hope to see lots of you in Cardiff. This is going to be a very exciting and inspiring Congress! With my warmest regards,

Kathy Kienzle, Chair Isabelle Perrin, Artistic Director WHC Board of Directors WHC Board of Directors ISABEL MORETON

Board of Directors meeting in France, July 2019. Row 1: L to R: Pat Wooster (US), Isabelle Perrin (FR/NO), Lieve Robbroeckx (BE), Nicoletta Sanzin (IT), Kaori Otake (JP/CA), Mario Falcao (via video, PT/USA), Angela Yau (HK), Karen Vaughan (GB), Mercedez Gómez (MX). Row 2: L to R: Guan Wang (CN), Ann Yeung (US), Clíona Doris (IE), Caryl Thomas (UK), Lucrecia Jancsa (AR), Kathy Kienzle (US), Daphne Boden (UK), Ernestine Stoop (NL), Isabel Moreton (DE).

Review • Fall 2019 3 Back to the Table of Contents WORLD HARP CONGRESS NEWS

WORLD HARP CONGRESS 2020

CARDIFF | WALES

24-30 JULY 2020

With less than a year to go, the Artistic Committee is excited The programme has been specially chosen to enrich, enlight- to share with you some of the programme highlights of the 14th en and entertain, and together with the numerous opportuni- World Harp Congress in Cardiff. So many of the world’s greatest ties to perform and participate throughout the week, every harpists will be performing, representing all musical genres and delegate will also have the chance to visit the extensive harp all manner of different harps. With recitals, masterclasses, lectures, exhibition, explore a living folk museum, and experience the workshops, orchestral concerts, celebrity interviews, chamber delight of the Cardiff shopping and dining scene. This is defi- ensembles, discussions, parties, jazz, , historical harps, nitely a Congress not to be missed! contemporary music, a wellness programme, the Focus on Youth Here is the Evening Concerts Programme, and as an added programme, orchestral auditions, harp ensembles, this Congress bonus, every concert will feature pre and post folk and jazz will be a full six day extravaganza that is a must for any harp lover. performances at the same venue.

PRELIMINARY PROGRAM

Saturday, 25th July

Opening Party for Delegates at Cardiff City Hall With a dazzling display of virtuosic artistry exploring contemporary styles and innovative ideas, and pushing back musical boundaries, Remy van Kesteren, Gwyneth Wentink and Nikolaz Cadoret open the Congress in their own unique way. Come and join the party as we welcome you all to Cardiff, a chance to meet old and new friends and to celebrate in style in a magnificent Edwardian building.

Remy van Kesteren Nikolaz Cadoret Cardiff City Hall

Gwyneth Wentink Sunday, 26th July

A World of Harps at the A global concert celebrating the diversity and ingenuity of harps from across the world and a chance to visit Cardiff’s iconic House; featuring the from Western , the Koto from Japan, the Qanun from Syria, as well as ancestral and traditional Columbian, Paraguayan, Triple and Celtic harps.

Sixto Corbolan Wales Millennium Center

Seckou Keita

4 Review • Fall 2019 Back to the Table of Contents WORLD HARP CONGRESS NEWS

Monday, 27th July

Concerto Evening at St David’s Hall Our very own Artistic Director, Catrin Finch, will take centre stage tonight as she premieres Sally Beamish’s Concerto for Harp and Orchestra with the BBC National Orchestra of Wales. Also on the programme, one of the most popular harp concertos ever to have been written, the Reinhold Glière Concerto featuring Anneleen Lenearts as soloist.

Anneleen Lenearts St Davids Hall

Catrin Finch

Tuesday 28th July

Double Concertos at St David’s Hall What could be better than a harp concerto? Well, we would say a double harp concerto of course! Tonight’s concert is an opportunity to hear four double concertos featuring harpists from Russia, China, Europe and . Parish ’ perennial favourite will be played by Sofia Kiprskaya and Yuying Chen, ’ Over the Stone by Jana Bouskova and Ieuan Jones, Mexican Gerardo Tamez’s Dos Dalios by Mercedes Gomez and Lucretia Jancsa as soloists, and another opportunity to hear one of Sally Beamish’s works, her Seavaigers Concerto for and Scottish played by Catriona McKay and Chris Stout. Sinfonia Cymru will accompany under the baton of Fabrice Pierre. Jazz Spectacular at the Royal Welsh College The same evening will see a jazz extravaganza at the main Congress venue featuring Park Stickney and other amazing jazz geniuses.

Sofia Kiprskaya Jana Bouskova Yuying Chen Mercedes Gomez Catriona McKay Park Stickney

14TH WHC IN CARDIFF | 24 TO 30 JULY 2020 WEBSITE: WHC2020.WALES TWITTER: @WHC2020 FACEBOOK: WORLD HARP CONGRESS 2020

Review • Fall 2019 5 Back to the Table of Contents WORLD HARP CONGRESS NEWS

WORLD HARP CONGRESS 2020

CARDIFF | WALES

24-30 JULY 2020

Wednesday, 29th July

Celtic Connections at St Fagans National Museum of History – winner of the Art Fund UK Museum of the Year 2019 It would be remiss of us not to share with you our wonderful Welsh heritage, so tonight we shall take you to the outskirts of Cardiff to visit an open-air museum that will be alive with traditional music and dance. As you walk around the beautiful

grounds, pop in and listen to a triple harpist in the tiny chapel, a penillion singer in the farmhouse,Login Register Cymraeg a storyteller in the cock-fighting pit, a folk duo in the schoolhouse, join the traditional dancers outside the Gwalia stores, and feast on good old

fashioned fare at the market square. The evening will end with a or ceilidhCorwen gorsedd before(1895) returning by bus to Cardiff. (All transport and food included in the delegate ticket.)

Abernodwydd Farmhouse Llys Llywelyn Celtic village at St Fagans Corwen Goresedd (1895) National Museum of History. Description A harpist and his harp, surrounded by a large crowd in the street.

http://cat.llgc.org.uk/cgi-bin/gw/chameleon?host=localhost%209901%20DEFAULT&sear...

Thursday, 30th July

The Harp in Opera, Gala Finale at St David’s Hall Opera star Sir joins Alexander Boldachev and five Royal Harpists in a celebration of the harp in opera. The evening will showcase famous arias, well-known singers and dancers, as well as an extra special ensemble of fifteen harpists conducted by the one and only Sylvain Blassel. The evening will end with a closing party at the Royal Welsh College; a chance to say hwyl fawr, bon voyage and à bientôt, to the rhythm of a jazz-harp band. We will be updating our website regularly with news of concerts and artists, so do visit us at www.whc2020.wales We will be featuring some of our esteemed soloists - Leticia Belmondo, Sylvain Blassel, Emmanuel Ceysson, Sivan Magen, Maria Luisa Rayan and Naoko Yoshino, as well as putting the spotlight on jazz, world and lever harpists, and highlighting historical harps and contemporary music. Delegate tickets are now available through the website, so get yours soon.

Sylvain Blassel Alexander Boldachev

14TH WHC IN CARDIFF | 24 TO 30 JULY 2020 WEBSITE: WHC2020.WALES TWITTER: @WHC2020 FACEBOOK: WORLD HARP CONGRESS 2020

6 Review • Fall 2019 Back to the Table of Contents PEOPLE Edward Witsenburg: About Rosa Spier, Grandjany and Harnoncourt by Kerstin Scholten For the Dutch Harp Magazine, translated by Brenda Dor-Groot Edward Witsenburg: That would be this: I would most like to and reprinted with permission. talk about Rosa Spier, Grandjany and Harnoncourt! EMANUEL FRIMOUT KS: Could you start by telling us how you started to play the harp? I found an article in the first ever Dutch Harp Bulletin, written by your mother, Mrs. E. Witsenburg-Horsman, in which she describes her ‘harp house‘. EW: Yes, I do remember that. What a lovely thing for you to uncover. My mother has been a journalist her entire life. KS: Did you come from a musical family? EW: Yes, my mother played the and the harpsichord, and a lot of music was made at our house. We always sang at the piano too. The harp was what you could call pure coincidence. I was fifteen years old and I had played the piano since I was Celebration of Edward Witsenburg’s 85 Birthday on 8 September 2019 in Laren, The Netherlands. L to R: Eduard van Regteren Altena, Eva Curth, Jenny van seven. My parents thought it would be a good idea if I would pick Tol, Abbie de Quant (), Ernestine Stoop, Edward Witsenburg, Rachel Ann up a second instrument, so that I could participate in the school Morgan, Astrid Haring, Carla Bos, Alexandre Bonnet, Manja Smits, and Renske de Leuw. Second row: Inge Hey-Frimout and Harrie Starreveld. orchestra. To this end, I was taken to concerts everywhere. We lived in Amstelveen, which is close to Amsterdam where there In September 2019, Edward Witsenburg will turn 85, an excellent was always something on. One time, there was a recital in the reason for an interview. Bachzaal by Haakon Stotijn (solo oboist of the Concertgebouw On Monday the 4th of June, 2019, I find myself travelling the Orchestra at the time) and Rosa Spier. I fell for the harp with a familiar journey to his home in , The Netherlands. great blow, there was something about it... I was just completely The student concerts always enchanted. That is how it started. My parents laughed terribly; took place at Edward’s house they said, “Who on earth would play the harp?”. But they did and I am one of many students support me and found an instrument for me: an old, gritty for whom Edward’s harp Erard. I received it as a gift for my sixteenth birthday. The most room is a cherished place. The precious birthday present I have ever received! Later on, my most beautiful harps from a brother Chris played everything along on the harp, it just came diversity of centuries and to him so easily. countries have a home here. KS: And then, did you immediately call someone for lessons? Upon my arrival, while Edward EW: Yes, my father happened to be in rather close touch with is putting the kettle on, I am Rosa Spier; he occasionally chauffeured her with the harp if she allowed to look around, and did not feel like driving herself. Rosa actually didn’t have the I am reassured: nothing has energy to teach anymore, but she thought I should have a good changed. The collection of teacher, and that Phia Berghout was the one to turn to. instruments is beautifully maintained as always, and the KS: So Phia Berghout taught you a few years before you went to paintings of Rosa Spier and the conservatory of music? Edward Witsenburg Marcel Grandjany are still in EW: Yes, I studied privately with her for three years. And after the same place! I graduated grammar school, I went to the Conservatory of In preparation for this conversation with Edward Witsenburg, I Amsterdam where Phia Berghout was teaching. I completed dived into my old editions of the Dutch Harp Bulletin, and relived my Bachelor studies in two years, graduating in 1956. thirty years of harp society history. I came across a multitude of KS: I read that you succeeded Rosa Spier as professor of harp articles written by Edward, about Phia Berghout, Toos Stotijn, at the Conservatory of The Hague in 1956, after six years of Ank van Campen, Mary Ragetli, Margot Flipse, and others, harp lessons. You were also the solo harpist of the Residentie but also about harp maintenance, baroque interpretation and Orchestra. That must have been a very intensive time! correct harp posture. I also found an interview from 2002, which It was indeed! I was young and enthusiastic of course, I wrote together with Pien Tieman. EW: I thought I knew how to do it all. And the older you get, the Kerstin Scholten: After almost seventy years of playing the more you think: “I know nothing at all.” I started at the Royal harp, what do you personally consider the most important Conservatory in The Hague with one student and gradually subjects that we should address? built up a class. I ended up staying on for forty years!

Review • Fall 2019 7 Back to the Table of Contents PEOPLE

Rosa Spier (1891-1967) tolerate any contradiction. I remember, I was in possession of a recording of Lily Laskine - at that time there were almost no KS: I have heard you are working on a book about Rosa Spier! recordings, Zabaleta made many recordings, and Lily Laskine. Laskine had recorded Fauré’s Impromptu and I had it on an EW: Rosa Spier has influenced my entire old 78-rpm record. I was so proud and really enjoyed it. I was life! I am indeed working hard on a book visiting Mrs. Spier and played the record for her. Well, the first about her at the moment. I have one phrase wasn’t over yet when she said, “That woman doesn’t more chapter to write, but it is quite a understand the piece at all.” She sat down at the harp furiously job altogether. and played it the way she thought it should be done. And for KS: You studied with her for a short example the Hindemith Sonata, she changed all kinds of things Rosa Spier (1891-1967) while, didn’t you? about it. She said: “That sounds better if you play it like this” or “a bass should be added here”. Later on, I had to unlearn all that EW: Yes, when Phia Berghout was touring America with again. It was her generation that did these things, she wasn’t the Concertgebouw Orchestra, Rosa temporarily took on the alone in that. She had a unique position of course: before her, lessons. the harp world in The Netherlands was a void. KS: And that is when you absorbed everything she did? KS: Then whom did Rosa Spier study with herself? EW: Yes, she had a certain technique for example; when I EW: At that time, there was a mediocre teacher at the brought a piece... I still remember, it was the second study by conservatory of The Hague. Rosa wanted to study with Otto Dizi. I played it and she said, “That doesn’t sound like anything, Müller, the harpist of the Berliner Philharmoniker. During the you have to play it much more beautifully and romantic.” The Summer he would be in the Netherlands and Rosa would go next lesson I played it differently, and she would ask: to him. She also took lessons from him in Berlin, and that is “What is the matter with you, are you in love? You have to play how she built up her entire technique. Rosa Spier has taught it exact and rhythmical, and make a good sound.” The next les- at the conservatory of The Hague herself for more than forty son I played it more strict and rhythmical, and then she asked: years, and she passed on her tone to all her students. Famous “Are you in a bad mood? No? Then play it differently: tender!” students of hers are Phia Berghout, Mary Ragetli, Ellen Stotijn This took two months and I became quite desperate. I never and Toos Stotijn. seemed to do it right, and every lesson something else was wrong. After those two months, ten bars in, she said: “Right, you KS: Was she a strict teacher? know it by now”, and I have never played the piece again. EW: She was indeed. The class immediately after the war, her It wasn’t until later that I understood her intention, the idea last three students, always came out crying, even though they behind which is of course incredibly good. To explore the music agreed with each other: “We are not going to cry.” You have from all perspectives, like a photographer who illuminates his to understand, Rosa had been held in a concentration camp, subject in many different ways. Theresienstadt. She had a very tough life. It is understandable KS: What else did you learn from Rosa Spier? that this hardened her personality a great deal. She was no longer patient, she had been through too much. Previously, EW: Her tone! She was so much in search of that sound! She before the war, she did have patience. But afterwards she could had a technique, for example: plucking the string at the top, be quite short-tempered and moody. Two of her three students then all the way down, and up again, closely listening. And then could not cope and dropped out. Inez Kraker is the only one she’d say: “There! There! That’s where the tone is that you’re who stayed on, and she continued her studies with me when I looking for.” That cultivation of sound was incomparable. She took over the harp class in 1956. also used to say: “You must be able to play beautifully and well on a bad harp too.” It is very good to not blame the harp! She KS: Did Rosa Spier have a sense of humour? had techniques for that as well. Sometimes she didn’t have the EW: Very much so, she absolutely loved to crack Jewish jokes. right strings and put on a string that was an octave thinner, She exchanged them with my father. He wasn’t Jewish himself, and one wasn‘t allowed to let that be audible. I’m actually still but he knew a lot about it. working on it every day. I have a portrait of her on the wall in the room downstairs, and I will look at it and ask: “Am I doing KS: So she had a special relationship with your father? well, Rosa?” EW: Yes, she did. My father has been very much into harp maintenance. KS: Did she do compliments? Yes, that’s how I remember Rosa: on the couch at our home in EW: No, not directly. She was an honorary guest at that first Amstelveen, howling with laughter - “do you know this one yet?“. competition in Israel in 1959 (this will also appear in my Fortunately she did indeed have an amazing sense of humour! book). She wrote a diary there in which she was actually very appreciative, about me as well. But she could also write about someone: “Not a nice harp, and she has no connection with that piece.” Bam! She was an indomitable one! She also did not

8 Review • Fall 2019 Back to the Table of Contents PEOPLE

Marcel Grandjany (1891-1975) to reduce it to the smallest element, locate the difficulty.” You keep reducing the passage before KS: Grandjany, was he present at the harp competition in 1959 in Israel? Is and after, until you reach the section of which that where you met him? you can say, “Look, there it is, that is what I have to tackle with exercises.” Afterwards, you EW: Certainly, he was on the jury. I expand it again with a measure before and after, spoke with him after the competition, and another measure, and that works perfectly. and that is when he offered me to • Mute the strings in such a way that the harmo- come and complete my studies with nies don’t ring through one another. Marcel Grandjany (1891-1975) him in New York. I immediately had a good connection with him. With the KS: And the studying backwards you taught us, was that also help of Phia Berghout, I received a state grant for travel and one of his methods? accommodation. I was able stay for a whole season. It was not EW: It certainly was. Putting a sheet of paper over your music, at the Juilliard School, but privately with him, although I was and start with the last note of a passage. Then shift the sheet allowed to attend all the classes, and I went to all the concerts. forward little by little to uncover more of the passage and extend it. KS: So not only did you learn to play from him, but you also learned how he taught. He really taught me how to practice. He was all about very strict technical control. He said that we must demand the same EW: That’s right. As a result, I became stricter in my teaching. of ourselves as pianists and violinists. Don’t think: “A harp is a He was a very mild man, but high demands were made. For difficult instrument.” Essentially, you just need to have enough example, I made a pedal mistake during my first lesson. He reserve on a stage, that is the main objective. said, “No, no, no pedal errors are made during my lessons, Another aspect he was very strict about was being able to that is a lack of discipline.” Well, I hardly dared to go to class make a legato melody. Tone control was very important to him. anymore! And if it happened again later, it would be analyzed, He used to say: “We can try to make it sound even better.” you had to say it out loud. You had to switch pedals exactly on a rhythmically correct moment in the bar, and shortly before KS: Was this a French approach or did he develop it all himself? the change, so that it would still be fresh on your mind. These EW: He started with the French approach, as he was a student are all important things, you had to consciously raise your foot, of Henriette Renié. He started private lessons with her at a very that is how it was really trained, so errors would indeed no young age. His parents died when he was three years old and longer occur. I learned so much that way. I have to say it was he has been raised by an older cousin of his. She was a friend quite a shock at first, but later on I thought: “Obviously, the man of Henriette Renié, and Renié took him under her wings. He is absolutely right.” has always kept in touch with her. But yes, we also develop by ourselves, and form our own ideas. He switched to the American KS: Could you give a summary of the key points of his technique teachings? harps, he was a Wurlitzer fan, a lovely thing to note. Just like Rosa Spier in a way, he was searching for a distinctly warm sound. When EW: Yes I can. I wrote it down, as this is very important for Wurlitzer ceased business, at the start of the war, he immediately everyone. bought a golden Lyon & Healy style 23. A magnificent harp, which Firstly, raising the pace of your basic technique. Grandjany we were allowed to play on a few occasions. considered my technique to be too slow. I hadn’t specifically worked on that before, and that’s when you get stuck at a cer- KS: Is there anything else you would like to tell about Grandjany? tain point. He gave the Mozart concerto as an example: if your You said he was a lovable man. scales technique is slower than the technique needed for the EW: In the , his students absolutely loved him. Mr. G. concerto, you will have no reserve and that can’t be. So, sup- is what they called him. He had a very large following of students. pose you play the first part at 112 on the crotchet, you have to That is what he originally went to the USA for. Grandjany already make sure you can perform your basic technique at 120, so you had many American students in France at the American School will have a run-out. He taught me how to do that, the proper in Fontainebleau, near Paris. American girls were introduced use of a metronome. Not to run wild after a wildly-ticking met- to French culture there. These students suggested: “Maître, you ronome. He said: start with a pace that is high, but that you can should go on tour in the United States” and that is what he did. handle very well. Keep practising that for a few weeks and at He suffered greatly during the First World War, he did not touch a certain point you will notice it has become easier. That is the a harp between 1914-1918 at all. He was organist and choir- moment to speed up to the next line, and this is how you grow master of the Sacré-Coeur in Paris at the time, being an excellent your technique. piano player as well. When the Second World War was about to Other methods were: happen, he felt he couldn’t go through that again. He emigrated to • Doubling hands, e.g. the left hand plays along America with his wife and young son in the late 1930s, before the with the right hand, which is also very good for war began in Europe. It didn’t take long until he was appointed as the development of the left hand. a teacher at the Juilliard School in New York. He was an authority • Practicing with rhythmic variations. and that was immediately recognized. • Lifting out difficult passages. He said: “You have

Review • Fall 2019 9 Back to the Table of Contents PEOPLE

By the way, Grandjany argued that you should not practice more than four hours a day, he thought that was the absolute maximum. He said: “It is a heavy instru- ment, both physically and mentally, and if you practice longer you will do more harm than good.” Exclusive handcrafted Grandjany was also very religious, you received life lessons from him: “Human wooden music stands fame is only very short, it will be over Edward Witsenburg quickly, and then you will be forgotten. You make music ‘pour la gloire de Dieu’.” That was quite moving, I thought, yes, he clearly understands what it is about. This perfecting of technique. He used to say: “If you empha- size technique so much, people may think you are only con- cerned with technique itself, but the opposite is true. Our tech- nique is the foundation that enables us to musically express anything we want. But first you have to master that technique, it should not be an obstacle.” One more thing about Grandjany: ‘jalousie de métier‘ is something he could not understand. It only takes energy. That was of course also a good example for me. Made in France www.clavelmusic.com Nicolaus Harnoncourt (1929-2016) KS: How did you get to know Harnoncourt? EW: In the early 1970s, he was teaching a course at the conservatory of The Hague about Monteverdi. I knew nothing about Monteverdi. Well, it was a revelation, such fascinating, fantastic music! I went to all of his lectures. They performed the Orfeo under his direction, and I played the harp part myself, alternating with students. Later on, when Monteverdi was programmed for the Holland Festival, Harnoncourt asked me to play the harp part. Not with a , that was not done. I borrowed a Briggs harp from the Gemeentemuseum (municipal museum) and played the part on that. In 1975, I started playing at the Zurich opera under the direction of Harnoncourt. I stayed on for a number of years, during which they performed three Monteverdi . For two out of these three operas, L’incoronazione and Il ritorno, Harnoncourt wrote a second harp part. He was very fond of the harp, we were placed directly to his right. As seen from the audience, the lutes were on the left and the harps were on the right. Whenever he gave an introduction to the audience about the instruments, he would say: “The most extraordinary instrument is the harp.” He thought the timbre of the harp was exceptional. Once, while working on the opera L’incoronazione di Poppea, Harnoncourt said to me: “I don’t think the lutes are strong enough in this aria, could you please write a harp to add to that?” I said, “I don’t know if I can do that.” “Of course you can,” he said, “just write it down, come an hour early for the rehears- al tomorrow, and we will go over it.” He gave instructions such as: “Put that voice one octave up”, “a little more bass there”, and “you can add another chord there”, “no arpeggio here, play an arpeggio there”. It was ready in no time, and I had an additional harp part! He knew exactly what he wanted.

10 Review • Fall 2019 Back to the Table of Contents PEOPLE

KS: Which aria was that? harp. Eventually it ended up with Mercedes herself and when I was visiting her with Willem and Chris, I really wanted them to EW: It was the aria at the death of Seneca the philosopher, who is forced to commit suicide. hear that harp. She still had it, it was taken out - the cover was still on it - and then she said, “I would like to give it to you as a KS: What were his innovations in the performance practice of gift.” I was speechless... It is living here now! That was actually this music? the third Celtic harp I have ever seen. EW: He tried to go back as far as possible, he was incredibly And then gradually the celtic harp arrived in our country. Ank well-read. He visited museums everywhere to see what he van Campen has greatly contributed to that. It was difficult to could learn from that time about interpretation. He was also get instruments, but gradually more harp builders emerged in a fantastic musician. He really lived an opera. He experienced Ireland, and Wales. every word. At some point, I was able to buy a single action Erard, they were not expensive at all at the time, because nobody was KS: So you played these operas on a small harp. interested in it. Nowadays those old instruments cost a fortune! EW: Indeed. And then I became very interested in old KS: And so the collection expanded. instruments with lighter string tension, thinner soundboards and so on, which provide a very transparent sound. Tim EW: It did indeed. I had a Pleyel harp for a while, but it Hampson built a harp for me especially on my instructions and didn’t suit me, I wasn’t taken by the sound either. A colleague I was extremely pleased with it. Harnoncourt was too, he said, eventually bought it from me. Because I thought, if I don‘t play “Du has aber eine tolle Harfe!” (You have an excellent harp). I it, it won’t be of any use. once performed Mozart’s Flute and Harp concerto with him, KS: So all the harps in the room downstairs and that was an exceptional experience. are actually being played on? They are not I remember when I first worked in Salzburg, and I would be museum pieces? invited home by colleagues. Whenever I dropped Harnoncourt’s name, everyone would freeze and shout “Musikmord!” (Music EW: Yes, they are living instruments, murder!) they are being played everywhere. At first, I was quite shocked by that, later on I started to like it, a They are not wasting away like in the little bit of pushing around. He eventually received the appreciation Gemeentemuseum. It saddens me, that he deserved there as well. He was a celebrity, a world class artist. collection is just standing there, doing Collection of historical harps nothing, with all the strings breaking. Each of my harps has its own story. For Edward Witsenburg KS: Your interest has always gone beyond the pedal harp alone example, I have that famous harp from EW: Yes, when I started playing the harp, the Celtic harp had Rosa Spier, which survived the war. It is here in my study, I have virtually no existence in The Netherlands. I went to see harps in had it for almost fifty years now. the Gemeentemuseum with my parents and brother, and that’s Now that I am writing the story about Rosa Spier, I look at where I saw a Briggs harp for the first time. I was still in school, that harp with different eyes. The instrument has been through and there was a singer there, Luc Montigny, who played a clarsach, so much, and it was one of her three most beloved harps. There a small Celtic harp. I had also met an Irish harp player, Mercedes are a few years during the war of which nobody knows what Garvey, who had played here in The Hague. And she advised me happened to that harp. to visit Ireland. In 1958 I went to Ireland, I even stayed overnight I got to know the “” in Wales, and it took some time, with her parents. Her mother said, “I have always collected harps, but eventually I started playing that too. Now I think it’s becom- but when the children leave the house they get a harp to take ing too heavy, also in terms of concentration. So I have lent it to a along, so I haven’t got many harps left.” We went to the salon former student of mine, who is greatly enjoying playing on it. The and there were ten harps there of all sorts and sizes! After that, I soundboard broke, so it is being restored at the moment. ordered a Briggs harp and it must have been 1960 when I got it. With all those harps, I thought: “I want to be able to play that too!” KS: So the Briggs has been the first harp of the collection? KS: How do you keep carrying on, maintaining instruments all EW: Yes, that was the first harp. And I was pretty much the first to your life and always practicing? Is that an inner force? do this. There was no deployment at all for other harps than the usual pedal harp in the past. Nowadays it is regularly accepted, EW: Yes it is. And I like to practice, that certainly makes a but when I started with that Celtic harp, no one else was playing difference! Yet the interest in the instrument itself is the most it. It may be hard to imagine now, but was really groundbreaking important aspect: it is almost a living thing, and you have to at the time. Sometimes colleagues didn’t get it at all, “We have bring it to life! such a beautiful modern harp, what would you do with those old KS: Do you have good advice for the harpists, students and instruments?” They couldn’t be convinced, they did not like the teachers who are reading this at the end of this interview? tone either. It is a very different sound, much lighter. It is such a challenge too, you discover that sound more and more. EW: Keep learning all your life! I think it is important that There was a beautiful Briggs by the way, at Mercedes harpists also pick up learnings from other harp schools. Take Garvey’s mother’s house, and I was completely in love with that note of everything and think: “How can I use this?” More often than not, it will be educational and enriching.

Review • Fall 2019 11 Back to the Table of Contents HARP HISTORY Mirella Vita (1919-2012) by Marcela Mendez

“L’ avenir des gens d’exception sera confié à la vigilance de leur cal experience!” Nazarena Recchia2 A. Tubeuf1 disciple” “Mirella did not accept compromises. She hated transcriptions “The recipe to be a harpist is: a pinch of madness, the courage written after a composer’s death. The performances had to be Mirella Vita of going upstream and the ability to face life with joy.” always supported by a magnificent and full sound. She could not In 2003 I had the fortune of meeting Mirella Vita in Milano, bear uninteresting or out of style embellishments, or notes that Italy. She was 84 years old at that time and despite our age dif- lacked weight on the fingers. Her musical rigor reflected an inner ference, a deep relationship was born between us. I remained moral, rigor that did not admit disrespect of any kind, much in Italy for several months, and during that time I went to her less among colleagues. She compared the relationships between house every day to col- share with her our leagues with a mar- passion: the harp riage in which trust and research. I and mutual respect am really honored must prevail. Her to say that I was brain was a dia- her last student: mond with a thou- together with her sand facets and her I made a reflec- intellectual curios- tion about my harp ity a fire that infect- technique, my aims ed those around as a researcher, her. Her passion for and my life. Mirella Mirella Vita in 1984. Nazarena Recchia and Mirella Vita. harp, music and the Vita was like a magician who awakened in others the most world in all its cul- insightful emotions. tural and human expressions made her unique. Her teaching Mirella Vita had a distinctive personality, she was unique, a was a real school of life, no theme was taboo and her mission as woman in a hundred. She made an enormous contribution to a teacher was to foster each student to the utmost intellectually the harp repertoire. She was a passionate teacher, an exquisite and spiritually.” Consuelo Giulianelli harpist, a curious researcher, and a passionate writer. “I will always carry Mirella in my 3heart. Her wish to “live my On 22 February of this year we celebrated the 100th anni- way”, as written in the form of a dedication on the front page of versary of Mirella Vita’s birthday. Nazarena Recchia, a for- one of her most cherished books, accompanies me in the memory mer student of Mirella and the current harp teacher at the of who was the most important teacher of my life, for the values Verona Conservatory, where Mirella Vita taught more than two that she has trans- decades, organized a beautiful homage. mitted to me and A book about her life and work was written by me and will for having posi- be launched in the next months by the music publishing firm Ut tively marked my located at Bologna (Italy). Orpheus Edizioni path by tracing All those who had the privilege of approaching Mirella Vita the direction of a discovered her amazing personality behind the great musician . musical and human For Mirella’s 100th birthday, her students and colleagues route lived with payed tribute to her, sharing insights of her life and precious awareness. memories of her teaching and work: Reflecting on the “During her lessons she always told anecdotes, curiosities, and auspicious mean- biographical information on the we were playing at ing of the name that time, and she always tried to transmit to us the passion of Mirella, I remember Mirella Vita and Marcela Mendez in Milan in 2008. historical research in libraries. my harp teacher as I remember the first time I went to her house in Milan. She shared one ‘who will be worthy of admiration’!” Marina Bonetti4 her treasure with me with great pride: she opened the doors of a pier glass in which several green, blue, yellow, and red colored metal con- “Thanks to the meticulous work of Mirella, who has truly tainers were lined up. Inside were thousands of cards in alphabetical dedicated her life to researching and restoring totally unknown 5 order; each card was dedicated to a harpist or harp music composer. works, that we can all be proud of our repertoire.” Anna Loro Thousands of names, thousands of cards, the result of her tireless “Unforgettable, generous, always interesting, with an uncom- research in libraries around the world. An incredible life’s work! mon pioneering spirit: read her books.” Emanuela Degli Esposti6 We played as a duo for ten years: a beautiful human and musi-

12 Review • Fall 2019 Back to the Table of Contents HARP HISTORY

Endnotes Revisions and editions of original music for harp 1. “The future of exceptional people will be entrusted to the vigilance Bach, Carl Phillip Emanuel-La battaglia di per arpa. Edizioni of their disciple.” A. Tubeuf. Suvini Zerboni, Milano, 1970. 2. Disciple of Mirella Vita. Nazarena Recchia is the harp teacher at Boieldieu, F.A.-Sonate pour harpe avec violon obligé. Salvi Publications, Verona’s Conservatory. 1984. 3. Consuelo was a disciple of Mirella Vita; her last student at the Clementi, Muzio-Andante con variazioni. Edizioni Suvini Zerboni, Verona Conservatory. 1968. 4. Marina Bonetti studied classical harp at the Verona Conservatory De Cabezón, Antonio-Canción glosada per arpa. Pizzicato Verlag with Mirella Vita. Afterwards she studied baroque harp. Helvetia, PVH 1495. 5. Anna Loro was also a disciple of Mirella Vita. At present she is the Desderi, Ettore-Ninna nanna, per arpa. Edizioni Musicali, La harp teacher of the Brescia Conservatory and pursues a career as Palmierana K07. soloist. 6. Harp teacher at the Parma Conservatory, President of the Amedea Redditi-Tapella. 1988. “Associazione Italiana dell’ Arpa” since 2014. Donizetti, Gaetano-Larghetto e Allegro per violino e arpa. Edizioni Musicali Sangallo, Milano, 1960. Dizi, Francois-Tema e variazioni per arpa. Moscow Music, 1966. Krumpholtz, G.B.-Romanza per arpa. Edizioni Musicali Sangallo, Milano, 1960. List of books by Mirella Vita Lo Vetere, Italo-Miraggio per flauto e arpa. Salvi Publications, 1984. Lo Vetere, Italo-12 piccoli canoni senza pedali per arpa. Edizioni Curci, Mirella Vita-La musica italiana per arpa, Edizioni Bongiovanni, Milano,1979. Bologna, Italy (1989) Mendelssohn Bartholdy, Felix-The Evening Bell per arpa e pianoforte. ___L’arpa, profilo storico e repertorio Pizzicato Edizioni Musicali, Udine, Pizzicato Edizioni Musicale, 2001. Italy (1991) O’Carolan, Turlough-Sette pezzi per arpa. Edizioni Suvini Zerboni, ___La musica svizzera per arpa Pizzicato Edizioni Musicali, Udine, Italy 1970. (1993) Pratesi, Mira-I canti della speranza; I canti di nozze per arpa. Edizioni ___Piccolo dizionario dell’arpa Pizzicato Edizioni Musicali, Udine, Italy Musicali La Palmierana K06. (1995) Pollini, Francesco-Tema e variazioni per arpa. Edizioni Suvini Zerboni, ___Un secolo di arpe d’oro Pizzicato Edizioni Musicali, Udine, Italy Milano,1968. (1995) Pollini, Francesco-Capriccio per arpa e flauto. Edizioni Musicali La ___Piccole cronache del secolo XX Pizzicato Edizioni Musicali, Udine, Palmierana K05, 1983. Italy (1999) Rolla, Alessandro-Preludio, Tema e variazioni per arpa e violino. ___Dutch harp music Ut Orpheus Edizioni, Bologna, Italy (2001) (Also Pizzicato Edizioni Musicale N. 267, 1994. available in Italian) Rossini, Gioacchino-Allegretto. Edizioni Suvini Zerboni. 1968 Mirella Vita and Yvette Colignon, La musique Belge de Harpe Pizzicato Edizioni Musicali, Udine, Italy (2004) Sandelewski, Wiaroslaw-Duo concertante per flauto e arpa. (Dedicated to Mirella Vita). Edizioni Musicali La Palmierana K01, 1982. ___Il guardaroba del concertista (The performers wardrobe), Pizzicato Edizioni Musicali, Udine, Italy (2006) (Bilingual edition italian- english) ___Arpeggi Storie della Storia dell’Arpa Pizzicato Edizioni Musicali, Udine, Italy (2007) Marcela Méndez was born in Argentina. She studied with Elena ___La música d’arpa nelle Biblioteche dei Conservatori d’ Italia, Pizzicato Carfi and Oscar Rodriguez Do Campo. In 1998-1999 she studied with Edizioni Musicali, Udine, Italy (2011) Marielle Nordmann in Paris, and in 2003 with Mirella Vita in Italy. ___Glissandi: Altre storie della Storia dell’Arpa, Pizzicato Edizioni She has devoted herself to study and rescue the history and music Musicali, Udine, Italy (2012) of Argentinian and Latin American composers. At present, she is principal harp with the Symphony of Entre Ríos and Santa Fe. She serves on the faculty of the Universidad Autónoma de Entre Ríos, where she also resides. Marcela Méndez has published four books: Historia del arpa en Argentina (2004); Celia Torrá, ensayo sobre su vida y su obra en su tiempo (2013); Orquestra Sinfónica de Entre Ríos (2013), and recently with Ut Orpheus Mirella Vita – The indefatigable seeker (2019).

NOTICE The Membership Directory is available on the website. Please check and correct your personal data. A selection of books by Mirella Vita www.worldharpcongress.com

Review • Fall 2019 13 Back to the Table of Contents SPOTLIGHT The Ginastera Harp Concerto op. 25 My journey and research by Sidsel Walstad In the process of learning the Ginastera Harp Concerto op. 25, to find out more about the cooperation between Alberto I would like to share with you my story and journey. Ginastera and Nicanor Zabaleta. – How was the process of composing the harp concerto? Background information: I am currently the solo harpist in the Norwegian Radio – Did Zabaleta and Ginastera work close together? Orchestra, a position I have held for more than sixteen years. I heard about the “Nicanor Zabaleta” collection. All of Zabaleta’s Peruvian Maestro Miguel Harth-Bedoya has been our wonderful personal harp parts and music have been presented to the Royal chief conductor for the past six years. In October 2016, to cel- College of Music Library in London by his widow. The rules are ebrate the Norwegian Radio Orchestra’s 70th anniversary, a cel- strict there, so I had to visit and look at it in person. No photos ebration concert was planned and as part of this concert, Maestro were allowed. I went there during the summer of 2016, and I Harth-Bedoya asked me if I would like to learn and play the found interesting scores and with several markings. By reading through the scores and early sketches of the Ginastera Harp concerto with the Orchestra. I of course said yes. The concert was prestigious and it also coincided perfectly with Concerto, with handwritten markings in pencil and red mark- the celebration of the 100 year anniversary of Ginastera’s birth. ings, I found it clear: Ginastera and Zabaleta must have worked While practicing and learning the music, I discovered a num- closely in the whole process. Ginastera’s “main”/first ideas of ber of challenges. As most of you know, several bars are tricky motifs and themes are there as well, and the revised changes and inconvenient as several are written in the scores. patterns are not so idiom- If I have been told correctly: Zabaleta didn’t have many stu- atically written for the harp. dents himself, so unfortunately no-one is able to tell us what Also, I reacted to one specif- happened and how things were at that time. Some harpists ic place in the score where told me that Zabaleta “did his own thing” all the time, and for I thought there was a bar sure “just” played what ever he liked, which meant whatever missing. It would make the was best for the harp and himself, without listening to others, phrase much more natural including composers. I am not sure if that is the case here; After and more logical to add an looking into the Zabaleta´s score and notes, I am convinced extra bar: in movement 1: Ginastera was involved in the changes, in the whole process bars 283-285, the same and that the composer approved and listened to Zabaleta’s sug- Alberto Ginastera (1916-1983) pattern is played 3 times. gestions. It was a cooperation, all the way, between the two of Playing it 4 times would make “the whole period” correct, i.e. them, Zabaleta and Ginastera. to add one more pattern an octave higher, and at the same time, I believe, the very last changes were never corrected in the reach the top bisbigliando in a more natural way. printed version. Unfortunately, this also happens a lot today. For advice, I contacted several harp professor friends and col- In August 2017 I went to look at Ginasteras’ material in the Paul Sacher Stiftung in Basel, Switzerland. The revised version leges around the world who know and play the Ginastera Concerto. This didn’t help much, so I kept on digging and did more research. score in Basel is not complete, compared to what the scores in I found an old LP recording in the Norwegian Radio Archive London show and to the Zabaleta recording. with harpist Nicanor Zabaleta (1907-1993) and the Orchestre To make the revised changes more clear: I have written down ORTF Paris, conducted by Jean Martinon. On the cover it states: all the changed/revised Ginastera-Zabaleta version from the “Revised version from 1968”. recording. There are ten pages all together that show only the The radio archive helped me to convert the LP into a digital bars that have been revised or changed, compared to the Boosey recording, and after listening to this recording, I was relieved. & Hawkes harp part. I would like to share this with you, for those Zabaleta plays a revised version, which is a better and more who are interested. Please contact me on [email protected]. idiomatic harp part, compared to the the printed Boosey & I hope this can be of great help for harpists who play this Hawkes harp score we are using today. Even the missing bar Concerto or for those who want to learn it in the future. was included. Zabaleta’s recording of the concerto is not easy I would like to emphasize: This might not be “news” for to get hold of, since it is not published digitally. I highly recom- everyone. I know Ursula Holliger was in touch with the Sacher mend you to look out for it and listen to it. Foundation several years ago and spoke to them about it, too. In my daily work with the Norwegian Radio Orchestra, I I am open to other news, stories and discussions pertaining cooperate closely with composers and arrangers who write to the Concerto. Please get in touch with me if you have some for the orchestra. As part of my job, I frequently help them to information regarding Zabaleta/Ginastera that could be useful understand more clearly the complexities of writing for the and interesting to know. harp. For the future of harp music, I find this extremely impor- I have been in touch with Boosey & Hawkes, so that they are tant and interesting to do. This is also the reason why I wanted aware of the Zabaleta scores. At the moment they say they are

14 Review • Fall 2019 Back to the Table of Contents SPOTLIGHT focusing on printing and publishing Ginastera Sonatina for solo harp. (YES, it is soon to be published!). Hopefully, after that, After graduating from her studies in , Indiana, and Copenhagen they can have a closer look into the Zabaleta /Ginastera scores Sidsel Walstad is a highly sought-after musician, both as a soloist with her own exiting projects and as a chamber musician. She is the and notes. solo harpist in The Norwegian Radio Orchestra, a position she A new recording of the concerto based on the revised version previously held in the Norwegian National Opera Orchestra. will be released this autumn, featuring the Norwegian Radio One of the most thrilling characteristics of Sidsel’s artistic life is her Orchestra, Maestro Harth-Bedoya and myself as soloist. I hope ability to cross genres and to transcend and expand the traditional you will enjoy! definition of harp music. In her use of electrical harps she has been a pioneer, exploring new musical terrain where fuzz and funky rhythms are musical elements in extraordinary interaction with the traditional harp sound. This musical versatility is evident in her extensive collaboration with leading artists like: Karpe, Ne-Yo, Sissel Kyrkjebø, Solveig Kringleborn, Secret Garden and many others. In 2018 she released her debut album References “sidsel”, an album with the electric harp in focus. The album was very well The RCM holdings: manuscript number RCM MS 15680 [Zabaleta received among national broadcasters, newspapers and live audiences. Collection, Orchestra sequence], and Scores from Sacher Sidsel is also well known for her ice-harp that she makes in cooperation Foundations, Basel, Switzerland with renowned “ice-musician” Terje Isungset.

IN MEMORIUM

Libuše Váchalová (1932-2019) are successful harpists in orchestras, chamber music or as teachers. Jana Boušková, acclaimed soloist; soloist of the Czech by Ivana Dohnalová Philharmonic Orchestra; Professor at the Academy of Music in FACEBOOK Not only Czech harpists and Prague; Professor of the Koninklijk Conservatorium in Brussels musicians will miss an amazing and and Professor at the Royal College of Music in London studied extraordinary person, Professor with her beloved mother Libuše Váchalová. Libuše Váchalová, mother of famous Professor Váchalová was a very important person in the Czech harpist Jana Boušková. She was development of the Czech harp school. She strived to play the an inspiration for several generations harp with energy and colour and she worked in great detail. of harp players, not only but mainly in She loved her family, her work, her harp. She had a wonderful the Czech Republic, an unforgettable life, and as she said “I did not live unnecessarily”. Libuše Váchalová (1932-2019) soloist and distinguished teacher. Libuše Váchalová was a kind-hearted person whom we will with her daughter Jana Boušková. Libuše Váchalová studied the harp miss very much. age of fourteen and later at the Prague Conservatory with Prof. Marie Zunová. After her studieswith sheBedřich was Dobrodinskýemployed as afrom harpist the Nathalie Brooke-Benckendorff (1923-2019) and also as a piano accompanist in the City Theater in Prague. by Karen Vaughan Five years later started her career in the Symphony Nathalie Brooke-Benckendorff was born in Moscow in 1923. The following year her parents, Count Constantine Benckendorff and Maria Korchinska, settled in , where wasOrchestra soloist (FiSyO). of the ChamberShe performed Orchestra with “Sebastian”,flutists Václav established Žilka and his father had been the last Ambassador to Tsar Nicholas ll. byJiří Boušekconductor and Liborformed Pešek. a duo withLibuše oboist Váchalová František founded Hanták. Shethe Nathalie worked as a translator during the second World War quintet “Lyra Nova” for harp, flute and string trio. and married Lt. Col. Humphrey Brooke, who became Secretary Her recording of Emile Deltour’s Concertino in Jazz gained of the Royal Academy of Art and an expert on roses. It was great recognition. a great sadness to her that she outlived her three children. Libuše Váchalová fought for the harp as a solo instrument. She Although she didn’t play an instrument herself she was keenly inspired many Czech composers to write for the harp and pre- interested in music and theatre, being a frequent visitor to the miered around sixty pieces written for her by renowned compos- Aldeburgh and Edinburgh International Festivals. Readers may ers such as Jan F. Fisher, P. Eben, I. Loudová, K. Reiner, and I. Hurník. remember her wit and sense of humour when she attended the Thanks to her solo career with the Chamber Orchestra World Harp Congresses in Geneva, Dublin and Amsterdam. She “Sebastian” she was offered the positions of harpist in the Tokyo died in London the week after her 96th birthday. Philharmonic Orchestra and Professor of Harp at the Conservatory in Tokyo. However, as family came always first in her life, she decided to reject these offers and stay in the Czech Republic. Samuel Milligan (1932-2019) Besides her own family she had another one: her students Samuel Milligan (1932-2019) has died on 27 August 2019. A at the Prague Conservatory. Two generations of Czech harpists tribute will appear in the Spring 2020 issue of the WHC Review. studied in the class of Professor Váchalová and many of them

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Edinburgh International Harp Festival 2019 by Elinor Evans I am lucky to live in Edinburgh and have been going to various courses and concerts at the Edinburgh International Harp Festival for the past 14 years initially as a student but more recently as a teacher and performer. This year the 5th- 10th April 2019 marked the 38th Edinburgh International Harp Festival. Over the 5 days there was an amazing array of activities with music from Scotland, Wales, Denmark, , and Ireland. There were ten inspiring concerts featuring artists from all over the world such as The Corbalan Brothers from Paraguay, Eira Lynn Jones from Wales, and Grainne Hambly and William Jackson from Ireland to name a few, and also a good old Scottish Performing Parish Alvars’ Concertino with the Camerata Ostrogothia. Shown in ceilidh. There were twenty creative and inspiring workshops the picture are Catherine Michel, Delphine Constantin-Reznik, and Roman Reznik. and over 40 varied courses for all levels from complete begin- ners to more advanced players. Something for everyone with principal harpist of the Norrköping Symphony Orchestra more at least one course, and sometimes 2 or 3 that people wanted than a decade ago, I have been eager to contribute in some way to try. Private lessons with some of the world’s leading harpists to the harp world with inspiration from Scandinavian culture. were also possible for those wishing to hone techniques or to Happily a few years ago I totally by chance came across the try something new. I myself taught the children’s beginners name of “Pratté” and suddenly I realized I had found an exciting courses (ages 5-14). I love seeing them trying out and getting way to make my contribution. to know such a great instrument! I was invited to play in a Anton Edvard Pratté (1797-1875) was a prolific harpist and concert this year which was a great experience though it can composer from the 19th century who was born in Bohemia but be daunting playing in front of so many harpists! Clearly, they actually spent much of his life in the very town (Norrköping) enjoyed it judging by the applause and kind words from people and region (Östergotland) where I was currently active. afterwards. I also listened to many amazing harpists in other Pratté had during his life enjoyed a very successful inter- concerts; the festival offers such a unique opportunity to hear national career as a harp virtuoso, alongside other illustrious loads of different music in one setting. harpists such as Bochsa and Parish Alvars. His artistry was People from all over the world gather to attend our wonder- highly appreciated in both Scandinavia and central Europe ful harp festival, from Australia to Paraguay and America to where he received praise from a number of his contemporaries Israel and everywhere in between, with harps of all shapes including composer Jacob Meyerbeer and the most famous and sizes - Paraguayan, lever, pedal and many others. Despite viennese critic of that period, Eduard Hanslick! Of special inter- people speaking different languages everyone gathers to play est to me was also that Pratté had held the position of chief together at the nightly sessions in the Festival bar. Music conductor of what was the predecessor of my very orchestra for this is provided beforehand so that all levels can join in. in Norrköping. Imagine as a young player how it must feel to play alongside After a period of intensive and fascinating research I had some of the famous performers and teachers at the festival. uncovered many manuscripts of Pratté ´s wonderful music, Differences go out the window in this setting and everyone is that had seemingly not been played since his death in 1875! united in a common aim of sharing their music. It’s wonderful The high quality of the music was immediately obvious to me and truly shows the power of music to unite people. and I became impatient to share this amazing discovery with It’s always a sad night when, after the last concert and the the harp world. The idea of organizing a festival dedicated to final hugs and “see you next year,” all that is left to do is the Pratté took form and I began actively to seek the necessary clearing - and there is a lot of that to be done! funding to finance such a project. The dates for the 2020 EIHF are already announced,3 to 8 My goal with the festival was to give the possibility for harp- April 2020. It really is not to be missed so put the dates in your ists from around the world to discover the great music of Anton diary and I look forward to seeing you there! Pratté. Apart from that I also hoped to create an opportunity for cultural and generational exchange for harpists by organiz- ing an international competition for young talents, program- Pratté International Harp Festival and ming a series of concerts around Norrköping and planning Competition masterclasses. by Delphine Constantin-Reznik The international competition jury that I had the honor to preside over was composed of Catherine Michel, Sandrine The 1st Pratté International Harp Festival and Competition, Chatron (Nederlands Philharmonisch Orkest), Sophia Steckeler which took place in May 2019 in DeGeer concert hall in (Monte-Carlo Philharmonic) as well as of the principal harpists Norrköping, , was the result of a longtime dream. of Oslo and Stockholm Philharmonic orchestras, Birgitte Volan Ever since I moved to Scandinavia to take on my position as Håvik and Laura Stephenson.

16 Review • Fall 2019 Back to the Table of Contents INTERNATIONAL FESTIVALS AND COMPETITIONS

16 candidates from for two Harps and Orchestra, featuring myself and Catherine 15 different countries Michel, who also delighted the audience with her performance were performing at of Bochsa´s Harp Concerto. the competition. Naturally a space was given to the performance of nordic In the first round and nordic-inspired music thanks to Laura Stephenson, who that took place on May performed exciting Swedish contemporary compositions for 10th, each contestant harp written by J. Westman, Anders Hillborg and Ivo Nilsson, had to play a balanced and to Birgitte Volan-Håvik, who chose to play an Elisabeta solo recital of 20 to 25 Walter-Kühne Fantasy inspired by a Edward Grieg melody minutes composed of as well as the great ”footsteps in an empty room”, written by L to R: Laura Stephenson, Sandrine Chatron, Sophia Steckeler, Birgitte Volan-Håvik three pieces: one from composer-in-residence of the 2019 USAIHC, the Norwegian the 18th century, one Uno Alexander Vesje. written after 1950, and, to correspond to the festival concept, It was an amazing week in many regards and none of this one written by a harpist-composer between 1800 and 1950. The would ever have been possible without the generous support of general level of the contestants was excellent, and the jury chose our sponsors, including Norrköping municipality, Norrköping six finalists to perform concertante pieces (Händel, Debussy, Symphony Orchestra, local companies, and private donors. Ravel) the next day with the chamber orchestra Camerata I would like to warmly thank Salvi and Lyon and Healy Harps Ostrogothia, under the baton of Roman Reznik. for coming all the way from Germany with a truck-load of great All the finalists received prizes. These are the results: instruments which were used through-out the festival! I wish First Prize: Iván Bragado Poveda, to applaud the generosity of dozens of Norrköping families Second Prize: Claudia Lucia Lamanna, Italy who hosted and took care of our contestants during the festival, Third Prize: Janice Hur, South Korea and I would like to say a special thanks to my organization team Juri Saito, Japan from the friends of the Orchestra Association who worked Audience Prize: Claudia Lucia Lamanna, Italy untiringly during the weeks leading up to the festival to ensure it all happened. So, my sincere and deep gratitude to everyone Young Promising Talent Prize: Janice Hur, South Korea who contributed to make the First Pratté International Festival Special Prize for the best interpretation of the and Competition a great success! harpist-composer piece: Juliusz Wesolowski, Poland We are planning a second festival to take place in 2022 and Special Encouraging Prize to the youngest contestant in the meantime, I will continue my recording and publishing for outstanding playing: Haley Wong, Hong of the works of this unique and fascinating harpist composer! www.pratteharpfestival.se Text edition: Laura Stephenson Iván Bragado Poveda started to play the harp at the age of 8 and during his first years of studies he won four editions of Spanish Harp Competition for students “ArpaPlus”. Later, he continued studying at the Conservatorio Superior de Música de Castilla y León with Marianne Ten Voorde before moving to Helsinki to study in Sibelius Academy with Päivi Severeide. L to R: Iván Bragado Poveda, Juri Saito, Juliusz Wesolowski, Haley Wong, Iván has been principal harp in many youth orchestras, such Claudia Lucia Lamanna, Janice Hur. as the Youth Spanish Philharmonic Orchestra (JONDE) or the Galician Youth Symphony Orchestra, where he met one of his At the festival’s opening night, I performed Pratté’s wonder- most inspiring teachers, french harpist Céline Landelle. In May ful Harp Concerto in g-minor together with the Norrköping 2019 he won the position of the Estonian National Symphony. Symphony Orchestra, conducted by Rumon Gamba. I also Iván has travelled around the world played a number of concerts which focused on some of Pratté’s playing in the most renown venues, such solo and chamber music works. Pratté’s music got a warm the Berliner and Kölner Philarmonie, response from the international audience and it was a very Berliner Konzerthaus, The Royal strong and touching experience to participate in its revival, Concertgebouw Amsterdam, The Royal after almost 150 years of silence! The various performances of Albert Hall or the Alice Tully Hall in Pratté’s works were recorded during the Festival and can now New York. In the Spring 2018 he joined be found on YouTube. the Finnish Radio Symphony Symphony Apart from opening a window to Pratté´s music, the daily Orchestra in a Tour to Germany. concerts portrayed harp music written by several of his con- Prior of winning the First Pratté Competition winner Iván temporaries: Sandrine Chatron and Sophia Steckeler played competition in 2019, he won the First Bragado Poveda receiving his solo and duo pieces by Charles Oberthür, Louis Spohr and award from the Norrköping International Harp Competition in municipality leading figure, Ann-Marie Steckler-Krumpholtz, while the festival´s closing Porto in 2017. Lars Stjernkvist. concert on May 12 included Elias Parish Alvars’ Concertino

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INTERNATIONAL FESTIVALS AND COMPETITIONS

11th USA International Harp Competition The jury consisted of (Jury president, United Kingdom), Milda Agazarian (Russia), Sylvain Blassel (France), by Isabel Moreton Jana Bouskova (Czech Republic), Mario Falcao (US/Portugal), The 11th USA International Harp Competition took place in Anneleen Lenaerts (Belgium/Austria), and Dan Yu (China). Bloomington, Indiana, 3 to 13 July 2019. The following prizes were awarded: Forty contestants from seventeen countries were admit- First Prize: Melanie Laurent, France ted to the competition, which has been founded by Susann Second Prize: Valerio Lisci, Italy, McDonald in 1989. Third Prize: Mathilde Wauters, Belgium JAMES BROSHER The program included Fourth Prize: Se Hee Hwang, South Korea laureate recitals by Katherine Fifth Prize: Woojin Lee, South Korea Siochi, 2016 Gold Medalist, Sixth Prize: Miriam Ruf, Germany Remy van Kesteren, 2013 Gold Seventh Prize: Myriam Blardone, Canada Medalist, and Lenka Petrovic, Eighth Prize: Marika Cecilia Riedl, Germany 2018 Gold Medalist of the Israel Best Concerto International Harp Contest. It Performance Prize: Mathilde Wauters also included a composition Best 6th Composition Contest forum, featuring its winner, Uno Performance Prize: Valerio Lisci L to R: Founder of the USA IHC, Alexander Vesje from Norway,

Susann McDonald, Mathilde JAMES BROSHER Wauters, Melanie Laurant, and as well as excerpts from the Valerio Lisci. 2018 6th Composition Contest’s finalists and semifinalists, performed by the Peabody Harp Department. It was announced that the Composition Contest is renamed “Ruth Inglefield” Composition Contest in honor of the founder of the USAICS Composition Contest, Ruth Inglefield. Other highlights were the “Stars of Tomorrow Concert” fea- turing young prize winners of national and international harp Prizewinners of the 11th USA IHC: L to R: Valerio Lisci, Mathilde Wauters, competitions, and a panel discussion on competition prepara- Melandie Laurant, Woojin Lee, Marika Riedl, Se Hee Hwang, Miriam Ruf, and tion with an international panel. Myriam Blardone.

JAMES BROSHER Melanie Laurent was born in 1996 in Toulouse, France. She grew up in a family of professional musicians who passed on her the pleasure of being on stage. She fell in love with the harp and started learning Melanie Laurent it at the age of six at the Conservatoire de Toulouse with Dominique Piussan, her godmother. And in Stars of Tomorrow: Renée Murphy, Hanjiao Zou, Annette Lee, Yuet Kan, Xinyue the meantime, she was playing chamber music at home every Zhang, and Valerie Sim. day. She left her hometown at the age of 17 to study in Paris, The excellent organization was in the hands of Erin Brooker- first with Ghislaine Petit and then with Isabelle Moretti at the Miller, who did a marvelous job with her team. Conservatoire National Supérieur de Musique et de Danse de

JAMES BROSHER JAMES BROSHER Paris. She got her Bachelor degree in 2018, with honors. Now, she continues in master in the same institution. Mélanie Laurent thrives in a multidisciplinary life: she teach- es a lot and studies to get a teaching degree, she performs solo recitals and substitutes frequently within many orchestras such as Orchestre de l’Opera National de Paris, Orchestre National de France, Orchestre Lamoureux, Orchestre Philharmonique du Maroc. As an orchestral musician, she performed in venues such as Berlin Konzerthaus, Philharmonie de Paris, Opera Bastille, Opera Garnier, Théâtre des Champs-Elysées. Sonja Inglefield presenting the Erin Brooker-Miller, Executive Composition Contest finalists. Director of the USA IHC, and Melanie Laurent is Goldmedalist of USA International Harp Linda Wood Rollo. Competition 2019 and she won First Prize of the Bellan JAMES BROSHER International Competition in 2017. She is supported by two organizations which gave her grants: Tarrazi and Meyer Fondations.

Panel discussion on preparing for competitions: L to R: Elzbieta Szmyt, Susann McDonald, Linda Wood Rollo, Isabel Moreton, Jung Kwak, and Kaori Otake.

20 Review • Fall 2019 Back to the Table of Contents INTERNATIONAL FESTIVALS AND COMPETITIONS

9th International Harp Contest “Suoni The winners are: d’Arpa” in Saluzzo, Italy Catergory A: Lever and pedal harp (up to 15 years) First Prize: Eve Lung, China by Nicoletta Sanzin Second Prize: Viktoria Marcova, Bulgaria Third Prize: Yu Fung, Cina “Mirella Vita Prize”: Martin Sadilek, Czech Republic Honorable Mentions: Zulaykha Kadieva, Russia, Margerita Spicci, Italy Category B: pedal harp (up to 20 years) Prize winners and Jury. First Prize: Claire Thai, USA Second Prize: Martina Ninfatani, Italy Third Prize: Yelyzaveta Rakovska, Ucraina Special Prize: Daria Cristina Vacaroiu, Romania Category C: pedal harp (up to 30 years) First Prize: not awarded Second Prize: Aleksandra Rzhavtseva, Russia

Members of the Jury. Andela Stankovic, Serbia Third Prize: Manuela Margherita Colella, Italy The 9th International Harp Competition and Festival “Suoni Prize Association Centro Rodari per la Musica: D’’Arpa” took place in Saluzzo from 30 August to 4 September Aleksandra Rzhavtseva, Russia 2019 under the artistic direction of Emanuela Degli Esposti Category D: Duo with harp (no age limits) and Lorenzo Montenz. First Prize: Agnese Contadini, harp The jury included Gabriella Bosio, Ieuan Jones, Lorenzo Jessica Gabriele, flauto, Italy Montenz, Edith Pun, Irina Zingg, Ivano Scavino, Johannes Second Prize: Hitomi Ishimaru, harp Willemze, and the President of the Jury Emanuela Degli Esposti. Kanaki Sada, Japanese flute, Japan The festival was opened by a concert by three young talents Third Prize: Darta Tisenkopfa, harp from Hong Kong Harps Talent Centre: Eve Lung, 12 years, Haley Mikus Abaronins, tenor, Wong, 12 years and Jay Yu, 11 years. The 10th edition of International Festival and Competition Other concerts featured Johannes Willemze, Maximilian “Suoni d’arpa” will take place in Saluzzo, from 31 August 2020 Ehrhardt, BeatHarp Trio, Ismael Ledesma, and Ieuan Jones. to 5 September 2020. Special thanks to Salvi Harps Italia who provided all instru- ments and a strong technical support, and to the Fondazione Scuola di Alto Perfezionamento Musicale of Saluzzo for logistic and organizational support.

2 4 — 30 J U L Y 202 0

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AT-A-GLANCE International Harp Competitions and Master classes 5th International Harp Competition in 10th International Harp Contest “Suoni d’Arpa” in Szeged, Hungary Saluzzo, Italy 27 November to 1 December 2019 31 August to 5 September 2020 Application deadline: 20 September 2019 Application deadline: TBA Website: szegedharpcompetition.com Website: associazioneitalianarpa.it Helsinki Harp Competition in the Helsinki Music Centre, 4th Golden Harp International Competition in St. Petersburg, Russia 14 February 2019 12 to 20 September 2020 Application deadline: 11 November 2019 Open to harpists of any nationality aged between 16 and 32. Information: Iván Bragado Poveda, [email protected] Application: 30 June 2019 to 30 May 2020 Website: uniarts.fi/HelsinkiHarpFestival Website: alexanderboldachev.com 11th French Harp Competition in Limoges, France 21st International Harp Contest in Israel 28 February to 1 March 2020 4 to 14 October 2021 Website: sites.google.com/site/concoursfrancaisdelaharpe/ Application deadline: TBA Website: harpcontest-israel.org.il Edinburgh Harp Festival, Scotland 3 to 8 April 2020 Masterclasses Website: harpfestival.co.uk Marcella Carboni will give an annual course in jazz harp in Rome, Accademia AIMART. 14 lessons from October 2019 to 5th Korea Harp Festival in Seoul, South Korea 12 to 18 April 2020 June 2020. Info: [email protected] Application: between 1 January and 15 February 2020 The Third Scandinavian Harp Course will take place 5 to 9 Email: [email protected] April 2020 at Konserthuset Gothenburg with Isabelle Perrin Website: kihc.net and Erik Groenestein-Hendriks, harp, and Stephen Parker, Alexander-Technique. Dutch Harp Festival and World Harp Competition in Website: scandinavianharpcourse.com , The Netherlands 9 to 10 May 2020 “Jazzharp” will take place 30 August to 1 September 2019 in Regional Rounds in January and February 2020 in New York, Stockholm, Sweden. Hong Kong, and Utrecht. Workshops and concerts by Stina Hellberg and Tara Minton harp. Website: harpfestival.nl

r One membership fee for a harpist with the inability to pay – $65 r A “Focus on Youth” candidate who cannot afford to attend – $500 r I am enclosing a check or money order made payable to the World Harp Congress. If you live outside of the United States, please enclose an international money order or bank draft drawn on a US bank. Many professional harpists and gifted students cannot r I have made a credit card payment through the secure attend international events nor pay professional website. We are happy to accept your payment by credit membership dues because of the extreme inequity of their card through our secure website, www.worldharpcongress. com/membership. For the security of our members, we country’s economy. Global understanding and interchange no longer accept credit card numbers by mail or email. has great value to all of us musically, culturally and If you have any questions, please feel free to contact the philosophically. Thus we have decided to appeal to the Membership Chair at [email protected] or the Treasurer at [email protected]. generosity of those who are more fortunate to join the Thank you! Board of Directors in a campaign to help harpists become members of the World Harp Congress. Name: ______

Address: ______

Send your donation to: World Harp Congress help harpists communicate c/o Jaymee Haefner, Treasurer with each other worldwide 2216 Acorn Bend Denton, TX 76210 USA Email: [email protected]

22 Review • Fall 2019 Back to the Table of Contents NEW MUSIC Wim Henderickx: Harp Concertino by Astrid Desantoine and Pwyl ap Sion

Agnès Clément played the première of the diverse mix of Eastern and Western timbres with which the Harp Concertino (...after a soft Silence, an enor- harp is sometimes associated, from Japanese koto and Chinese mous Thunder...) in C Major for harp and orches- guzheng to the Arabic quanun. Subtitled “…after a soft Silence, tra (ca. 15’) by Wim Henderickx in Brussels, an enormous Thunder…”, the second movement in particular Belgium, on 17 February 2019 with La Monaie sets up a dynamic rhythmic dialogue between harp and a large Orchestra and Alain Altinoglu as conductor. battery of percussion instruments that included everything Wim Henderickx Henderickx was tasked with the challenge from thunder sheet to crotales. of composing a new Concertino for harp and The concerto has been published at Norsk Musikforlag A/S, orchestra which incorporated elements from both Beethoven’s Oslo.: musikforlagene.no Fifth and Sixth symphonies. After all, Beethoven’s music has been both a blessing and a curse for composers over the years: a blessing in providing inspiration, of course, but also a curse for those unable to extricate themselves from his overbear- ing influence. Not so in Henderickx’s case. His concertino is a compact, focussed, highly-charged but subtly-nuanced two- movement work (I Lento Misterioso, II Allegro) that plays on the more pastoral qualities of Beethoven’s sixth in the first, before bursting into life during the second. The writing for solo harp drawes on a wide range of techniques – pedal glissandos, près de la table, fingernail clusters, resonating harmonics and buzzing bass notes – to great effect, evoking along the way a Agnès Clement premiering the Harp Concertino by Wim Henderickx.

Recent Premieres and Publications Ed. – In general, the composer’s country of origin is indicated by the two-letter Internet country code. Please refer to the list of World Harp Congress Correspondents.

SOLO FAURÉ, Gabriel/ed. SWANSON, Carl-Two Masterpieces for solo Large Ensemble harp. SCHUMAN, Ellis- Preface, Impromptu, Op. 86 and Une châtelaine en sa tour... , Op. 110. Psalm 121 Carl Fischer, 2019. 27 pages. (US) for Mixed Chorus and Harp. LHS 709160-500. (US) HAKIM, Naji-Sonate pour harpe Harp Ensemble Dur: 10’, dedicated to and premiered by Raphaelle Denis, harp. FREUND, Don- for harp sextet Schott. (FR/DE) Song in the Waves Dur: 6’. Dedicated to Jung Kwak and the Harpyday Ensemble; World INGLEFIELD, Sonja-Solos by Sonja premiere: Harpyday Ensemble; 25 April 2019, Lincoln Center New Lyon & Healy Publications. (US) York. Freundworks Publishing 2017, 13 p. Bloomington. (US) VESJE, Uno Alexander-BØNN. JAMIESON, Julia Kay-bug portraits for four lever or pedal harps or Dur: 4’. Solo work for acoustic harp. World premiere: Uno Vesje, 24 more. March 2019, Kulturkirken Jakob, Norway. (NO) Dur: 7’30”.I - bombus (bumblebees). II - arabesque orb spinner (spider). III. - globe spinner (dragonfly).World premiere: Illinois CHAMBER Summer Harp Class Harp Jam, Ann Yeung, director; 8 June 2019, Duo Urbana, Illinois. (US)

HAKIM, Naji-Gavotte pour basson et harpe CONCERTO dedicated to Roman Reznik, basson, and Delphine Constantine, harp. Future first performance 26 November 2019. Jönköping Harfenianna – Concertino for Harp and Strings op. 55 Concert Hall. (SE) Karnetová, artistic director; 20 May 2019, Prague. (CZ) REHMANN, Chad-La Maison ensorcelée for basson and harp KUKAL, Ondřej- World premiere: Harpoon Duet (Isabella Coty, harp). (US) WIELEMANS,World premiere: René- KateřinaConcerto Englichová, in C Major forharp, Harp Ensemble and String 18+, Orchestra Blanka Belgian composer René Wielemans was born in Maurage (Belgium) WENNÄKOSKI, Lotta-Tocca for Harp and Violin (2019) in 1943. He studied at the Royal Conservatoire in Mons in René Dur: 6’. Commissioned by Korsholm Music Festival. World Defossez ‘s class. Astrid Desantoine performed the premier in premiere: Stephen Fitzpatrick and Cecilia Zilliacus, violin, 31 July October 2019 with the Hainaut-Picardie Orchestra conducted by 2019 in Vaasa City Church, Sweden. (FI/SE) Michel Van den Bossche. (BE)

Review • Fall 2019 23 Back to the Table of Contents NEW MUSIC

YABUTA, Shoichi-Harp Concerto Inori no Ki (Tree of Prayer)(2019) NEW BOOKS Instrumentation: Harp, Flute, Oboe, Clarinet B , Bassoon, 2 Horns AUBAT-ANDRIEU, Mathilde/BANCAUD, Laurence/BARBÉ, Aurélie/ in F, Trumpet in B Trombone, Strings. BRESCHAND, Hélène-Guide to the Contemporary Harp. Dur: 15’, commissioned by Izumi Sinfonietta Osaka.i World premiere: Translated by Lilian Rossi and Jean Rossi. English translation of SHINOZAKI Kazuko,i Harp, and MITSUHASHI Keiko, Conductor and the 2013 Éditions Minerve book La harpe aux XXe et XXIe siècles. Izumi Sinfonietta Osaka; 6 July 2019, Izumi Hall, Osaka Parts on rental, ZEN-ON Music Company LTD. Full score 69 pages, Harp part 24 pages. (JP) HURRELL, Nancy-The John Egan Harps ISBN:Indiana 978-1-84682-759-4 University Press, 2019. Four Paperback. Courts Press, 201+ 2019, pages. 302 (US) pages. ARRANGEMENTS (IE) BACH, Johann Sebastian, Thomas, Katherine (arr.)-48 Preludes and MÉNDEZ, Marcela-Mirella Vita. Fugues BWV 846-869 Ut Orpheus, 2019. (IT/AG) Book 1 (1-24), Alaw Music. Book 2 to be released later in 2019. PARKER, Mike-A Very Imperfect Instrument (UK) A practical approach to playing the historical single-action harp, CARAMIELLO, G./BOVIO, M.E.-Scelta di pezzi classici per lo studio in its many forms. dell’arpa Sylvilagus, Paperback. (Lulu 195983) (UK) Pieces by B. Galuppi, G. F. Rameau, G. F. Kirnberger, G. C. F. Bach, C. E. Graun, L. Cherubini. (IT) NEW RECORDINGS MAHLER, G./PLANK, E.-Adagietto (from Symphony no. 5) for solo AGRESTA COPELY, Kirsten-The Covers Album harp Universal Edition. (AT) Twelve hit singles, spanning the decades from Classic Rock to Top 40, including artists from Tom Petty and Fleetwood Mac to TEDESCHI, L. M/Bovio M. E-Etude Impromptu op. 37 e Anacreontica Rihanna, Radiohead and Lady Gaga. (US) op. 44 (IT) BURANI, D./DOMENÉ, J. A.-Aires de España Music for two harps by L. Boccherini, A. Soler, P. J. Blanco, I. Albeniz, VARIOUS, HEULYN, Meinir (arr.)- Famous Music for the Harp E. Granados, J. Turina, J. Thomas, and M. de Falla. SMC records. (IT) Vol. 8, Alaw Music. (UK) HAEFNER, Jaymee-Renderings. A Musical Landscape for Violin and WITH ELECTRONICS Harp The Crimson Duo (Matt Milewski, violin; Jaymee Haefner, harp) VESJE, Uno Alexander-POLAR FERD Dur: 6’. Solo work for acoustic harp and electronic elements made perform pieces by H. Renié, G. Schocker, N. Rota, K. Soriano by recordings of the arctic wind. Broberg, and P. da Silva. MSR Classics. MS 1607. (US) World premiere: Uno Vesje, 19 March 2019, Caféteateret in Oslo, HELLBERG, Stina-Quiet now Norway. (NO) With Swedish jazz harp player Stina Hellberg Agback and jazz guitarist Jonas Isaksson. Do Music Records. DMRCD 072. (SE) HUANG, CHEN-YU-First Impression Formosa Trio (Chen-Yu Huang, harp; Pei-San Chiu, flute; Tze-Ying Wu, viola) perform pieces by L. Rohozinski, G. Fauré, Cl. Debussy, A. Bax, J. Ibert, and M. Ravel. AM recording. Available on iTune, Spotify and Amazon. (TW) MEIJER, Lavinia-The Glass Effect The music of Philip Glass and others. Sony Classical. (NL) MORETTI, Raoul-IsolaMenti-for Electroharp and Electronics. Music by Raoul Moretti feat. Julia Kent-cello, Michele Gazich-viola, Beppe Dettori-voice, Marco Bianchi-vibes & marimba, Giuseppe Murgia- sax. FonoBisanzio. IRD international Distribution. RM01CD (IT) PLANK, Elisabeth-1825-Echoes of Vienna on Historical Harp Includes works by E. Parish Alvars, N. C. Bochsa, L. Spohr, G. Rossini and world premiere recordings of pieces by F. Lachner, I. Pleyel, E. Parish Alvars & L. van Beethoven played on an historical harp. Gramola 99168. (AT) VAN KESTEREN, Remy-Shadows iTune, Spotify and Amazon. (NL) VESJE, Uno Alexander-Håpet er ei stjerne Henning Sommerro (church organ), Ådne Stålsett (bassoon), Sigurd Greve (oboe) and Uno Vesje (harp). Norwegian folk tunes arranged by Henning Sommerro and original composition by Uno Vesje and Henning Sommerro. Label: Kirkelig Kulturverksted. (NO) ZIVERI, Alessandra-La Promenade des Dames French women composers and Harp music. Harp music by G. Tailleferre, L. Charpentier and Renée Hansen-Jamet. Da Vinci Classics C00168. (IT)

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AUSTRIA BELGIUM Tribute Achievements JAMES BROSHER On Saturday 25 May 2019 Austrian harpist Professor Josef Mathilde Wauters from Belgium Molnar (1929-2018) was laid to rest in the presence of his received third prize at the USA relatives and friends at the Grazer central cemetery. This is a International Harp Competition as continuation of his farewell in Tokyo last November. well as the Willy Postma Concerto He was one of the most prominent Austrian harp figures. Prize for the best performance After being a member of the Vienna Philharmonic, he devoted of Joaquín Rodrigo’s Concierto de his life to building Japanese harp culture. Aranjuez. See also “International Mathilde Wauters of Belgium performs with the Indiana We would like to extend our condolences to his family and Festivals & Competitions” section University Summer Philharmonic friends in Austria and Japan. in this volume. Orchestra during the 11th USA International Harp Competition. Events The second edition of the “Vienna Harp Days” took place from BRAZIL 22 to 26 July 2019 in Vienna at the Musikgymnasium Wien. This News program offers daily masterclasses as well as additional special- Gianetta Baril, harp teacher at the Mount Royal University ized courses on specific topics that are open to all interested lis- Conservatory, Canada, gave lessons and masterclasses in Rio de teners. Thirteen students from Austria and Europe were taught Janeiro and Belo Horizonte, on April, 2019. by visiting professor Oscar Rodriguez Do Campo from Buenos Sasha Boldachev performed and gave a masterclass at the Aires and the founder and artistic director of the “Vienna Harp Festival de Maio on May 2019, in Belo Horizonte. He also played Days”, Elisabeth Plank. Exhibitions of harps (single & double- the Zabel Concerto in Belem, northern Brazil. action), scores and strings of harp and violin builder Franziska Aricia Ferigato, doctoral harp student at the Universidade Kolb and Musikhaus Kerschbaum coupleted the experience. Federal de Minas Gerais, was appointed Substitute Professor of Harp at the Universidade Federal do Rio de Janeiro, on July 2019.

CANADA Events The annual festival dedicated entirely to the music of Turlough O’Carolan (1670-1738) was held in Worchester, VT. Website: carolanfestvt.com

CHINA Events On 8 August 2019 the Closing Concert of the Harp Summer Camp was held at the Forbidden City Concert Hall (FCCH), Beijing. Sixty young musicians aged from 4 to 17, showcased Masterclass participants with Elisabeth Plank and Oscar Rodriguez Do Campo. what they had learned for the past four days, performing

THERESA PEWAL pieces of harp solos, duos, harp with voices and with other instruments. There were, among them, beginners of the harp, as well as ones who have learned harp for years. They made considerable progress during the four days and enjoyed themselves, sharing music and experience on the FCCH stage.

Harp Summer Camp in the Forbidden City, Beijing.

Single-action harps by Harp and Violin builder Franziska Kolb. The Harp Summer Camp is now in its eighth year, created by the artistic director Guan Wang, harp professor of the Central Conservatory of Music (CCOM) Beijing, in collaboration with the Gateway to Music Summer Festival, a well-established edu- cational art festival presented by the FCCH founded in 1995. The first Harp Summer Camp attracted around 20 participants,

Review • Fall 2019 25 Back to the Table of Contents NATIONAL NEWS all beginners. This year in 2019, there are quite several young HUNGARY ones who have attended the summer camp in previous years. Events Guan has led a successful team of her students from the CCOM The 21st International Harp Festival at the Royal Castle of in promotion and education of the art of harp in China. Performers were Andrea Vigh, Fira Farkas, Elizabeth Jenei, Sara Goda,Gödöllő Joel took van place Lerber, under and theMaria artistic Graf. direction of Andrea Vigh. EGYPT In Memoriam Nahid Zikry, first Egyptian harpist and founder of the harp ITALY department at the Cairo Conservatory, died in Cairo at the age Competitions of 87. Most of the Egyptian harpists studied with her, and she At the XIX Concorso Giovani interpreti Città di Torino thefirst was an idol not only for harpists, but for all whom worked in absolute prize was awarded to Mata Brezzo, as was the special teaching music in general. She dedicated her life to the harp Rotary Prize and her students, and was like a mother to every student of her. At the X International Competition Città di Treviso first Despite her painful health problems she did not stop teaching, prizes were awarded to Iris Fioretti (Category C), Emma and will be missed by the harp community in Egypt. Castellano (Category D), and Virginia Pestugia and Tosca Tavaniello (Category E; ex aequo) At the 2nd National Music Competition Città di Belluno Appointments Miriam Pipitone was awarded a first prize and honor mention Iván Bragado Poveda won the audition for principal harp (Category D), and Cecilia Amelie Toffoli a First Prize and hon- with the Estonian National Symphony. our mention (Category B). A First Prize and Diapason were given to Olivia Bigai (Category FINLAND A), Adrian Ignjatovic (Category B), Jernej Misic (Category Events C9, and Ester Ban (Category D) at the 5th International The Helsinki Harp Festival will be held 13-16 February 2020 Competition Diapason d’oro Pordenone. in the Helsinki Music Centre. The program includes concerts, Francesca Marini, student of the G. Verdi Conservatory in masterclasses and workshops. The Helsinki Harp Festival Milan, won the XIV Premio Nazionale delle Arti. also includes a contest for harpists born after 1994. The fes- tival is organized by the Finnish Harp Society and the Sibelius Miriam Pipitone, won the first prize at the 23 International Academy University of Arts. Competition for Young Musicians Povoletto. Featured harpists: (list will be updated) Reija Bister, Gabriella Diletta Capua, student at the Conservatorio Tartini di Trieste, Bosio, Iván Bragado Poveda, Delphine Constantin Reznik, won a second prize at the Concorso Internazionale Città di Airola. Johanna Engedal, Erik Groenestein-Hendriks, Laura Hynninen, Pauliina Kallio, Anni Kuusimäki, Sivan Magen, Saara Olarte, Events Isabelle Perrin, Lily-Marlene Puusepp, Päivi Severeide (artistic The 3rd Festival “Magie d’estate” took place from 1 to 5 director), Laura Stephenson, Liis Viira, and Birgitte Volan. July 2019 in Selargius, Sardinia. Its goal is to bring together Website: uniarts.fi/en/HelsinkiHarpFestival little harpists, having masterclasses with different teachers and finally playing a joint concert at the end. Under the artistic direction of Tiziana Loi, more than 30 FRANCE small harpists from different parts of Italy (Torino, Como, Achievements Firenze and ) worked under the directon of Gabriella Anaïs Gaudemard was nominated by the Philharmonie de Paris Bosio (Suzuki teacher trainer), Ester Gattoni, Emiliana Sessa (France) and the Calouste Gulbenkian Foundation (Portugal) to and of course Tiziana Loi. become “ECHO RISING STAR” for the Season 2018/2019. This All harpists were trained in the Suzuki method, which distinction gives the opportunity to these young “rising stars” allowed millions of children around the world to approach to occur in prestigious European concert halls. The tour is orga- music and play a . Salvi Harps generously nized by the European Concert Hall Organization (ECHO). offered several harps for this event.

GERMANY Appointments Emily Hoile got the position of solo harp at the WCR orches- tra in Cologne. The position of second harp at the Opera in Hannover was won by Silvia Podrecca from Italy. Awards Isabel Moreton was awarded the prestigious “Hamburger Lehrpreis” for excellence in teaching. L to R: G. Bosio, T. Loi, E. Sessa, and E. Gattoni.

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The Harp gathering Arpissima will continue during Fall 2019 LIECHTENSTEIN with other two events: Salerno (25 to 27 October 2019), with Events guest S. Tavormina, and Firenze (29 November to 1 December) The annual WalHaTa (Walch Harp Day) took place in the with guest Cristina Bianchi. home of Ernst Walch in Liechtenstein for the 25th time on 1 September 2019. 22 harpists and 80 other musicians and par- Salvi Harps hosted the sixth Meeting for Members of the Lyon ents from the region gathered for a fun evening. & Healy/Salvi Technicians Guild in Piasco, Italy, in late March, ERNST WALCH 2019, where members met for ongoing education, the exchange of ideas and to meet with management from both brands.

JAPAN Appointments New teachers at the Harp Department of the Tokyo University of the Arts are Mai Fukui and Reine Takano. Events Tokyo University of the Arts invited Isabelle Moretti as a 22 harpists assembling WalHaTa in Liechtenstein. during the WalHaTa at the Guest Professor. In July 2019, she gave lessons to eight students home of Ernst Walch. as well as a public masterclass. ©TOKYO-GEIDAI MALTA Events On the 27 April 2019, harpist Britt Arend and soprano Gillian Zammit gave a voice and harp recital at the National Museum of Archaeology, Valletta as part of the 13th edition of the International Spring Orchestra Festival. They performed works by Barber, Berlioz, Capulet, Debussy, Saint Saens and L to R: Reine Takano, Kazuki Sawa (University Director), Isabelle Moretti, and Vella Gregory. Mai Fukui. On 7 March 2019, harpist Anne Marie Camilleri Podesta and ©TOKYO-GEIDAI flutist Fiorella Camilleri gave a recital at the Anglican Cathedral, Valletta where they performed works by Vivaldi, Mouquet, Gluck, Ibert, Piazzolla, and Chopin. Jacob Portelli released a music video https://youtu.be/ FSbvEKmlBH4.

MEXICO Events Every year the Orchestra of the Americas auditions young musicians from the Americas to participate in their summer Back row, L to R: Seri Amano, Nonoko Seki, Reine Takano, Isabelle Moretti, Mai Fukui, Hana Asano, Sonoka Shida, Hana Hrachovinova. residency and tour. This year the “Crescendo Tour 2019” took place in Mexico and young musicians from over Competitions The 31th Nippon Harp Competition in Professional divisions 25 countries were selected. will be held 13-17, November 2019 in Soka City. Details were in The harpists who won the the Spring 2019 issue. Website: harp-japan.com audition were Alexis Colner from the USA and Sarah Veber 20th OSAKA International Music Competition including the from Canada. During the resi- Matsuc prize in the harp section will be held in October. dency in Puebla, Janet Paulus Festival was the harp coach along The 31th Soka International Harp Festival 2019 will take with teachers from the Royal place 16 and 17 November 2019 at Soka City Culture Hall. Concertgebouw Orchestra, the Brussels Philharmonic, Artists and Jury will include Naoko Yoshino, Chantal Mathieu, L to R: Alondra Máynez, Alexis Colner, Ieuan Jones, and the 31th Nippon Harp Competition winner. Mercedes Gómez, Emanuel Lara Soto, the Metropolitan Opera Saraí Córdova & Keila Lara Soto. Orchestra, the Philharmonic, the National Symphony Orchestra of Costa Rica, the Marinsky Theatre Orchestra, the Rome Opera House Orchestra as well as other noted professors.

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The programs the Orchestra Achievements of the Americas played on Dutch harpist Joost Willemze won the first prize at the 8th their month long tour includ- Suoni d’Arpa International Harp Contest in Italy. ed many works with harp: Miriam Ruf, student of Erika Waardenburg and Sandrine Manuel de Falla Nights in the Chatron at the Conservatorium van Amsterdam won the 6th Gardens of Spain, Sombrero prize at the 11th USA International Harp Competition. de Tres Picos (complete bal- let), Intermezzo from La Vida New music Breve, Enrique Granados Amsterdam based harpist Miriam Overlach will perform a Intermezzo, John Rutter Gloria, new arrangement of the harp concerto Spelingen by Wilbert Modest Mussorgsky Pictures Bulsink on November 9th with Asko|Schönberg during the fes- at an Exhibition, José Pablo tival November Music in Den Bosch, the Netherlands. Moncayo Huapango as well as two contemporary pieces NORWAY by Mexican composers Maria L to R: Sarah Veber, News Janet Paulus, Alexis Colner. Granillo and Gabriela Ortiz. Norway means mountains and fjords to most people, not During their stay in Mexico harps. Here, the harp is listed as an endangered instrument. City, Alexis Colner gave a masterclass at the National Music In 2016, Instruments in Focus was formed, to promote these Conservatory. endangered instruments: harp, oboe, bassoon, church organ and double bass. Their goal is to increase the number to stu- THE NETHERLANDS dents learning, studying, professionally playing or becoming Appointments life-long hobby musicians. Lauriane Chenais has been appointed principal harpist of the North Netherlands Symphony Orchestra, based in Groningen, the Netherlands. During the 2018-2019 season Lauriane was taking part in the Royal Concertgebouw Orchestra Academy in Amsterdam. Dutch harpist Gwyneth Wentink is appointed as new mem- ber of the prestigious Society of Arts. Members of the Society of Arts include leading artists from the full spectrum of the arts. They are chosen on the basis of nominations. Other new members are Krisztina de Châtel and Anthony Heidweiller amongst others. First meeting of the Norwegian Harp Association. Competitions Instruments in Focus cooperates closely with experts, depend- On January 25th and 26th 2020 the fifth Rosa Spier Harp ing on them to arrange classes and courses. This past winter, Competition will take place in Tilburg, the Netherlands. This Isabelle Perrin, Harp Professor at the Norwegian Academy of competition is open for all Dutch harpists or harpists study- Music and Artistic Director to the World Harp Congress, arranged ing and/or living in the Netherlands. There are different cat- a Harp Symposium in Oslo, Norway. On a very snowy weekend, 54 egories, depending on age and education. The competitions is harpists gathered to meet and celebrate their instrument – teach- open for folk harp and concertharp players. ers, harpists of all ages, both folk and classical and players alike. Website: harpvereniging.nl During the symposium, the international group brain- The Dutch Harp Festival and World Harp Competition is back stormed ways to help the harp base grow in Norway. Using in 2020 for its sixth edition. Regional rounds will take place their combined knowledge, the participants outlined the needs in Hong Kong, New York and Utrecht in January and February of harpists in Norway and the best way to support them. Now 2020. Six finalists will be invited to perform at the Dutch Harp Norsk Harpeforening (Norwegian Harp Association), has just Festival on 9 and 10 May 2020 in Utrecht, the Netherlands, officially been formed and will soon start to support teachers all expenses are paid. Have a look at harpfestival.nl for more and students throughout Norway. Hopefully in another genera- information! tion, harps will no longer be endangered here. Special thanks to: Sparebankstiftelsen Dextra Musica for Events founding and funding Instruments in Focus and to both On 8 September 2019 we will celebrate the 85th birthday Voksenaasen and Isabelle Perrin for arranging the Harp of Edward Witsenburg in the Rosa Spier Huis in Laren, The Symposium. Already there is a dedicated group of the harpists Netherlands. During a special concert Edward Witsenburg will in Norway – too many to list here – who work to promote both present his new book about famous harpist Rosa Spier. (See classical and folk harp, you are all harp heroes! interview with Edward Witsenburg in this volume). Contact: Rebecca Harrisson Email: [email protected]

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The founding members of the association are: Prize for the best presentation of polish work: Chairman: Elisabeth Soenstevold Vice-Chairman: Rebecca Harrisson Jeu-Parti) Hanna Węgrzynowska, Tymon Janusiewicz (Marta Secretary/Treasurer: Ann Margret Hauknes Prize for the best presentation of contemporary work: Ptaszyńska: Communication chair: Birgitte Volan Havik Wojciech Trefon, Maria Gmyrek (Ida Gotkovsky: Eolienne) Artistic advisor: Isabelle Perrin Category II (students until 16 years) Appointments First Prize: Zofia Janiak, Kacper Malinowski Dutch harpist Giselle Boeters has been appointed principal harpist with the Stavanger Symphony Orchestra, Norway.

SUNNIVA RØDLAND Second Prize: Natalia Skonieczna, Małgorzata Bobińska Events Category III (students until 19 years) Third Prize: Maja Miśta, Emilia Jastrząb Sunniva Rødland has toured First Prize: Wojciech Trefon, Maria Gmyrek Norway with her version of John Cage’s Postcards from Heaven. Category IV (students until 26 years) She has travelled from north to FirstSecond Prize: Prize: AngelaHanna Węgrzynowska,Rief, Fabian Kohring Tymon Janusiewicz south, with performances in the Second Prize: Ewa Bemowska, Wojciech Sojka Northern Lights Cathedral (), Third Prize: Fanni Nizalowski, Maria Korzeniowska the Arctic Cathedral (Tromsø) and Amelia Tokarska, Jesse Reis in the ruins of the medieval Category V (competition with works composed after 2017) Cathedral. Next performances will First Prize: Ewa Bemowska, Wojciech Sojka be in Oslo and Stavanger. Xavier de Maistre and Diana Third Prize: Wojciech Trefon, Maria Gmyrek Damrau performed harp and Second Prize: Noemi Hańczyk, Weronika Ogonowska GRAND PRIX soprano duets at the main Ruins of Hamar Cathedral.

GUDMUND NESE – Wojciech Trefon, Maria Gmyrek stage at the Norwegian Opera & – Ewa Bemowska, Wojciech Sojka Ballet, 12 May 2019. Prizes for composers of new works composed after 2017: Sidsel Walstad performed First Prize: Wojciech Sojka: Introduction et Dance by Introduction and Allegro Metamorphoses, Ovid’s Maurice Ravel at the opening request concert at the Vinterfestspill, 14 Mateusz Winsław: Flashback for flute and March 2019 in Røros Church, harp Norway. Second Prize: AgnieszJan Pawełka Przegendza:Grela-Fedkowicz: Reminiscencje Uno Vesje performed his own Third Prize: Eduardo Frigatti: Armorial harp concerto, Bragi’s Harp, Prize of honor for composer-student: arranged for concert band at the Wojciech Trefon: Rollercoaster Red cross charity concert with At the II National Competition for piano and harp Youngs Tønsberg musikkorps av 1919, Uno Vesje. Talents for students of primary school 26 to 27 April 2019 in 6 January 2019 at Oseberg kulturhus, Tønsberg. Szczecin the following prizes were awarded: Category O (students of 1st class of primary ) POLAND First Prize: Maria Jaworska Events Second Prize: Emma Grygier Third Prize: Weronika Depta Autumn in Poznan Concerts,8-10 November lectures 2019 andPoznań workshops – Academy leadof Music by IIIPaulina Harp’s Category I (students of 2nd-3rd class of primary music school) Maciaszczyk and Carlos Pena Montoya First Prize: Zuzanna Górecka Competitions The International Duo Competition for students of primary, Second Prize: Sonia Ługawska, Zarina Zaradna Category II (students of 4th class of primary music school) secondary and university schools with harp took place 5-7 Third Prize: Lilina Cieślar First Prize: Antonina Wieczorek April 2019 in Cieszyn. The winners are: Third Prize: Hanna Sprawka Second Prize: Magda Niedźwiecka Category I (students until 13 years) Category III (students of 5th class of primary music school) First Prize: Anastazja Kacprzak, Klara Tarnowska Second Prize: Klara Tarnowska, Helena Korniluk Second Prize: Kaja Kieferling First Prize: Anastazja Kacprzak, Magda Niedźwiecka Third Prize: Magdalena Gogolin, Oliwia Miazga

Third Prize: Dominika Głowacka, Lidia Dombrowicz

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Category IV (students of 6th class of primary music school) PUERTO RICO First Prize: Kalina Nowaczek Events The II String Festival took place in Puerto Rico Conservatory The winners of the II Groll National Competition for Harp in of Music Anthony Junior Soto Hall. A Masterclass was given by Warszawa (24 to 26 June 2019) are: Lillian Lau. IVONNE ESCUDERO Category I (students of 1-3 class of primary music school) MARÍA TORRES

FirstThird Prize: Prize: Zofia Młodawska,Szkudlarczyk Anna Spóz-Parol Second Prize: Amelia Grzywińska Oliwia Wójtowicz Awards: HSoniaanna Ługowska Gorgol Category II (students of 4-6 class of primary music school) First Prize: Ligia Nowak II String Festival: Isabel Laboy, María Luisa Rayan and Elisa Torres. Isabel Laboy, Andrea Rivera, Third Prize: Antonina Wieczorek Jonathán Schneider, Ana Pilar Second Prize: Magda Niedźwiecka Escudero, Lillian Lau, Elisa Torres, Awards: Oliwia Miazga and Velmary Trinidad. Witold Pojawa Category III (students of 1-3 class of secondary music school) First Prize: Kalina Nowaczek Awards: Natalia Skonieczna Category IV (students of 4-6 class of secondary music school) Second Prize: Rozalia Dmochowska Third Prize: Aniela Rybak Awards: Zuzanna Pierzak

The V National Competition „Miniature for lever harp” for Laura Jurčova children up to the age of 12 will take place 25 to 26 October

2019 in Łódź. Obligatory pieces: new works special composed forEvents this competition by Kamil Cieślik and Zuzanna Niedzielak. The IX International Harp Festival in Katowice took place 30 Workshop at the Puerto Rico Music Concervatory with María Luisa Rayan. May to 2 June 2019 at the Academy of Music. The program included a workshop on Jazz improvisation by A. Glissando 2019 took place 29 May to 1 June 2019 at the Bzhezhinska, a masterclass of Early Music for the harp by J. Seitz Puerto Rico Music Conservatory. and an inauguration concert at the Concert Hall of the Academy Glissando was the first harp camp organized in Puerto Rico. of Music, dedicated to Helga Storck, artistic director of the festi- Eleven harpists from all ages and levels participated in this 4-day val. Other concerts included special guest Isabelle Moretti, the intensive harp workshop, ending with a Harp Ensemble Concert Alina Bzezhinska Jazz Quartet, the Duo Milonga (Aneta Salvinska and featuring guess harpist, María Luisa Rayan. This event was and Konrad Salvinski), Dorota Szyszkowska and the Wiktroska made possible by a grant from the American Harp Society. Harp Open, directed by Anna Sikorzak Olek, and Mareelina Dabek, Ligia Nowak, Paulina and Agata Pospieszny. ROMANIA AND MOLDAVIA Events PORTUGAL 14 March 2019 - Harpist Viktor Hartobanu performed Events Zabel’s Concerto op. 35 (first audition). The concert took place Maria Sá e Silva gave a solo recital at the Church of Our Lady in Oradea, with the State Philarmonic of Oradea, conductor of Fatima in Porto on 26 June 2019. Maria studies with Irina Sabin Pautza. Zingg in Milan, Italy. 12 April 2019 - Harpist Maria Bîldea, principal harpist at Frederica Campos gave a solo recital at the Theater “Campo the National Radio Orchestra and member of the Romanian Alegre” in Porto on 16 July 2019. Frederica studies with Harpists Association, performed Ginastera’s Harp Concerto Daphne Boden at the Royal College of Music in London. with the National Radio Orchestra, conductor Anastasios Symeonidis.

performed Mozart’s Harp and Flute Concerto with the Engineering Orchestra23 April „Petru 2019 -Ghenghea“, Harpist Ionela conductor Brădean Andrei and flutistIliescu. Ioana Bălașa

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26 to 28 April 2019 - The festival „Arpissima“ promoted by Events Salvi Harps, took place in Bucharest at „Sutu Palace“. Special Ingrid Janse van Rensburg organized the 5th National Harp guests harpists were: Catherine Michel, Delphine Constantin- Festival in Johannesburg hosted by Harp Society of South Africa Reznik and Viktor Hartobanu. Harp students had the opportu- beginning of September. We were privileged to have had Eira nity to take masterclasses free of charge. Lynn Jones head of harp at the Royal Northern College of Music, 26 July 2019 - Maria Bîldea performed a recital of classi- Manchester, UK as our adjudicator. cal masterpieces during the 6th International Summer Harp Eira was in Johannesburg for 12 days and during that time Academy in Sofia. The recital took place in „St. Joseph“ Catholic she gave private lessons, a solo concert, a lever harp workshop, Church in Sofia and included pieces by Bach, Rameau, Chopin. a pedal harp workshop, and a performance class.

RUSSIA Announcement - Misprint There was a misprint in the article of the events in Russia in the Spring 2019 volume: The 110 anniversary of Vera Dulova’s birthday was on 27 January 2019, (not in December 2018).

SOUTH AFRICA News Christy-Lyn from South Africa is currently on a 2-month Harp Expedition to National Harp Festival in Johannesburg with Eira Lynn Jones. the USA to film harp makers No prizes are awarded at the Harp Festival as we believe it and their workshops. That way, to be a day of celebrating the harp and music and the prog- even those who can’t travel can ress of our students. Most promising harpist diplomas were ‘meet’ the person who made awarded to Lilly Weissenberg (Junior Category), Alayna Kuzel their harp and learn about the (Intermediate I), Marlise Janse van Rensburg (Intermediate II) harp making process! and Nicole Weir. She is also filming fascinat- At Stoney End Harps: Christy-Lyn interviewed Eve and Gary Stone ing videos about harp thera- and toured their huge barn-turned- SPAIN py, double strung harps and workshop. Courses interviewing famous harpists to feature on her YouTube chan- “27th Curs d’estiu d’arpa: West Harp Story” at the Escola nel, ‘Learning the Harp’. Municipal de Música de l’Eixample, in Barcelona, 25 to 29 June 2019. This summer course focused on the music of West Side Competitions The SASMT National Ensemble Competition took place in Story by L. Bernstein. The Cor jove de l’Orfeó Atlàntida (youth Eduplex School Pretoria, 30 August to 1 September 2019. The choir) collaborated with harpists from all over Catalonia and Jury consisted of Thinus Botha, Clorinda Panebianco, and Zanta also from Valencia and was organized by the Catalan Harp Hofmeyer. association. Salvi Harps and Euromusica displayed a harp and accessories stand. OPEN Category First Prize: Les Trois (Piano/Violin/Cello ) Second Prize: Joie de Vivre (Vivienne Janse van Rensburg, harp, Jonathan Mayer, violin) JOHAN SPIES PHOTOGRAPHY

Summer course in Barcelona.

L to R: Vivienne Janse van Rensburg, Jonathan Mayer, Aimee Blom, Simon du Cristina Montes gave a masterclass 1 to 5 July 2019 during Toit, and Ronald Davey. the festival “ la Vilavella”. Gabriella Dall’Olio gave a masterclass 19 to 25 August 2019 at the Curso international de música de Vitoria-Gasteiz.

Review • Fall 2019 31 Back to the Table of Contents NATIONAL NEWS

Festivals and seminars Competitions The Festival Internacional d’arpa de Sentmenat took place The Concurso ibèrico de música de cámara con arpa 5 to 7 July 2019 and featured artists such as Edmar Castañeda (Chamber music with harp contest) will take place in Madrid, playing jazz on the llanera harp with Gregoire Maret (har- Conservatorio professional Arturo Soria, 29 November to monica); Catrin Finch, harp and electronics with Lee House; 1 December 2019. The contest is open to harpists up to 35 Tara Minton (harp and voice) and Ed Babar (double –bass); years. All kind of repertoire for harp and other instruments is Sasha Boldachev; Ana Crisman, flamenco harp, with Rossi allowed. For more information: concursoibericov.wixsite.com Navarro (singer); Beatriz Rivero (dance); Daniel Jordan, play- Events ing on the concert harp, latino american music with llanera and The Loss is a conceptual composition by Claus Vega origi- Paraguayan technics. nally written for Loom Festival Barcelona 2019’s yearly topic: The VI Jornadas de arpa at the Real Conservatorio de Madrid Synesthesia and was premiered on 4 May 2019. Claus Vega is a German-Chilean video and music producer, composer and live performer based in Barcelona and Berlin. His music is inspired by various genres and combines both German perfectionism and Latin flow. He modifies recordings of classical instruments and nature to create unusual electronic soundscapes. The players were Laura Boschetti (harp), Jaume Ana Crisman, flamenco harp. Sasha Boldachev Sancho (clarinet) and Andrew was organized by AEDA (Spanish Harpists Association). Codd (double bass Concerts were given by Anneleen Lenaerts, Whiteveil, Julitette The Loss is written for Harp, Comeaux, Noelia Cotuna, Alicia Griffiths, and other harpists. An Doublebass and Clarinett and improvisation workshop was given by Camille Levecque. is carried by Electronic Live Music, combining diverse genres and technics, such as techno, house, trip hop,trap, salsa, cumbia, classi- Laura Boschetti performing The Loss. cal romance, jazz, modern experimental and more. The Piece is designed to be performed live in festivals, dance clubs, or classical music events, indoors and outdoors. The whole Piece lasts around 60min and is divided into 5 musical Movements: Overture – The Loss Of Agency – The Loss Of Familiarity – The Loss Of Time – Finale.

SWEDEN Competitions For a report on the First Pratté competition for harp which took place in May 2019 in Norrköping, see “Pratté International Harp Competition” by Delphine Constantin-Reznik on page 16. Courses The Third Scandinavian Harp Course will take place 5 to 9 April 2020 at Konserthuset Gothenburg with Isabelle Perrin and Erik Groenestein-Hendriks, harp, and Stephen Parker, Alexander-Technique. Website: scandinavianharpcourse.com A jazz and Harp festival will take place 8 June 2019 in Stockholm. Justyna Krzyzanowska, Ismahni Björkman, and Stina Hellberg Agback, harp, will be performing. “Jazzharp” will take place 30 August to 1 September 2019 in Stockholm. Workshops and concerts with Stina Hellberg Agback and Tara Minton. In Memoriam Basel William Sara (1975-2019), a Syrian harpist living in Sweden sadly passed away in June in Örebro. Our thoughts and empathy goes to his family.

32 Review • Fall 2019 Back to the Table of Contents NATIONAL NEWS

TAIWAN UNITED KINGDOM Events Achievements The second Taiwan International Harp Festival “Harp Rise II” Claudia Lucia Lamanna is the top winner at Camac Harps in took place in the last week of June with six successful concerts London competition held 5-6 May 2019. in succession. In the last concert given by Isabelle Moretti, the encore piece played by the surprising guest Emmanuel Ceysson Events and Isabelle marked the perfect ending to the festival. Also in the In May 2019, Sioned Williams, Principal Harpist of the BBC same week, the second Camac Prize Taiwan was held. Winners Symphony Orchestra, performed on the novel “Soveida harp”, an included harpists from Taiwan, Hong Kong, China, and USA. amazing, quite mind-boggling instrument, with 20 (!) ‘tubular tenta- cles extending into tombak-like conches’, creating ‘shadow sounds’.

Emmanuel Ceysson and Harp Rise II Isabelle Moretti

Sioned Williams performing on the Soveida harp. The “Harp on Wight Festival” will take place 25 to 29 October 2019 at Ryde, Isle of Wight. A wonderful collection of concerts and workshops, including a performance by the RNCM Harp ensemble, a workshop on Scottish Tunes by Ailie Robertson and a chance to build your own harp! Participants and winners of the second Camac Prize Taiwan. “Gwyl ” will take place 9 November 2019 at Furnace Theatre, Llanelli, Wales. THAILAND A competitive festival celebrating a mix of Welsh tradi- Events tional performances, from folk dancing to poetry. The harp is Students of Lisa Gracia Supadi a big feature, not only in the solo and ensemble competitions, at Tamnak Prathom Harp Center, but also in the traditional pennillion singing with prizes for Panitsa Tunchumrus and Luke Sirawit both the singer and the accompanist. Adjudicators are Elinor Sumpatchalit, were invited to perform in the ABRSM High Scorer’s Concert at Bangkok Arts and Culture Centre on BennettCompetitions and Gwenllian Llŷr. Closing date: 1 October 2019. Mared Pugh-Evans won the Nansi Richards Scholarship 30 March 2019. L to R: Panitsa Tumchumrus, Lisa Gracia Supadi, Luke Competition on 17 April 2019. Ten harp students of Ema Mitarai and Sirawit Sumpatchalit. Dharavadee Kanothai from the Royal The North London Festival, Harp competition took place 5-6 Bangkok Symphony Music School performed as an ensemble May 2019 in London. along with violin, cello and guitar ensembles at the RBSS Winners were: Showcase concert at Thailand Cultural Centre on 23 June 2019. First Prize: Claudia Lamanna Second Prize: Mared Pugh-Evans Third Prize: Lise Vandersmissen JOHN NEED The Princes Margaret of the Isles Memorial Prize for Senior Clarsach was awarded to Elinor Evans on 8 June 2019.

Elinor Evans. L to R: Students of Dharavadee Kanothai and Ema Mitarai at RBSS.

Review • Fall 2019 33 Back to the Table of Contents NATIONAL NEWS

At the “ Genedlaethol 2019”, which took place 3 to Griffiths. The composer himself even came to watch us perform 10 August 2019 prizes were awarded to: his piece for the first time! The ensemble did not just consist of Solo harp under 16: Aisha Palmer harps; some multi-talented members accompanied the pieces Heledd Wynn Newton with the flute, violin, cello, piano, drums and a few even sang Alaw Grug Evans some of the pieces. But of course, none of our concerts would Solo harp 16-19: Anwen Mai Thomas have been complete without Claire Jones herself performing Rhys Whatty alongside us during The Four Seasons, and her husband Chris Cerys Eleri Rees Marshall playing his drums whilst simultaneously! Solo harp over 19: Glain Dafydd We all felt extremely honoured and privileged to have had Elin Kelly, Mari Kelly this amazing opportunity to display our versatility and talent Rhiain Awel Dyer touring across Wales for the very first time. Our concert tour has transformed us harpists into something new and exciting News for our friends, families and future audiences to see. This expe- Young Welsh harpist, Alis Huws, has recently been appointed rience has really helped to improve our career prospects by the Official Harpist to HRH the Prince of Wales. A graduate of giving us some valuable exposure and promotion. Our ensemble the Royal Welsh College of Music and is truly special, and we are all so full of gratitude for Claire and Drama, Ms Huws is a freelance soloist Chris for bringing us all together to become what we are now. based in the UK. She won numerous They have tirelessly supported us every step of the way and we awards during her studies at RWCMD couldn’t have achieved so much without them. with Caryl Thomas, including the We are beginning preparations for our upcoming London Midori Matsui Prize for music, the Royal debut tour in 2020, as well as a performance at the 14th World Welch Fusiliers Harp Prize and the Harp Congress in Cardiff, so plenty of opportunities for you to McGrennery Chamber Music Prize. come to enjoy a performance soon! Ms Huws is the sixth harpist to be — Charlotte Rhodes Alis Huws, Official Harpist appointed to the role since it was to HRH the Prince of Wales. reinstated by Prince Charles in 2000. As part of her role as Royal Harpist, Ms USA Huws will work with the charity Live Music Now delivering Appointments high quality performances in the community, including at Katherine Siochi has been appointed principal harpist with schools, hospitals and care homes. She will also perform for the the Kansas City Symphony. royal family in official events, including a recent performance Ellie Kirk has been appointed principal harpist with the for Prince Charles and Camilla at their Welsh residence at Illinois Symphony Orchestra. Llwynywermod in Llanymddyfri during the celebrations of the Haley Rhodeside has been appointed principal harpist with prince’s 50th anniversary of his investiture. the Orlando Philharmonic. Speaking about her appointment, Ms Huws said: “I am pas- sionate about my Welsh heritage and I would hope to use this Molly Langr has won a one-year appointment as principal platform to be an ambassador for our language, music and cul- harpist with the Boise Philharmonic. ture, whilst raising the profile of the harp in Wales and further Matthew Tutsky has been appointed principal harpist with afield. I’ve seen first-hand how uplifting music can be and I am the New Mexico Philharmonic. committed to furthering my work in this field.” Laura Sherman has been appointed to the faculty of the Frost Ms Huws is the Youth Co-Ordinator for the next World Harp School of Music at the University of Miami in Florida. Congress taking place in Cardiff in 2020. Heaven Fan has been appointed to the faculties of the Review University of Notre Dame and Saint Mary’s College. The Claire Jones Concert Ensemble Tour performed from 27 to 29 July 2019. Mary Bircher has been appointed to the faculty of the Glenn The Claire Jones Concert Ensemble consists of former Royal Korff School of Music, University of Nebraska – Lincoln. Harpist Claire Jones, percussionist/composer Chris Marshall Rachel Brandwein has been appointed to the faculty of St. and 20 of the UK’s finest up-and-coming harpists. Throughout Olaf College in Northfield, MN. this past summer, we have had our debut concert tour across Wales; performing at the Welsh Proms at St. David’s Hall, Cardiff, Events Brangwyn Hall in Swansea and the Aberystwyth Arts Centre as 20-22 March 2020 Virginia Harp Center Festival; Arlington, VA part of the 2019 Aberystwyth International MusicFest. 21-24 June 2020 44th American Harp Society, Inc. National We performed an array of pieces arranged by Chris Marshall, Conference; Orlando, Florida including classical such as Vivaldi’s Four Seasons, pop, film num- 4-18 July 2020 Young Artist’s Harp Seminar; Gambier, OH; bers by John Williams, and jazz pieces by Gershwin. We even www.harpseminar.com premiered a new harp concerto called Brasluniau o’r Ddinas Brysur (Sketches of the Busy City) composed by Eilir Owen 5-12 July 2020 Young Artist’s Harp Seminar Preparatory Division; Gambier, OH

34 Review • Fall 2019 Back to the Table of Contents NATIONAL NEWS

News be of equal or greater difficulty Kim Robertson has been selected as recipient of the 2019 than the pieces listed in the A and Somerset Folk Harp Festival Lifetime Achievement Award. B categories for each division. Only Abigail Kent won Silver Medal in the 2019 Medallion one work may be chosen in the International Concerto Competition in Atlanta, GA. She will free choice category; one or more movements of a multi-movement perform a concerto with the Orchestra Noir in their 2019-2020 Caroline Wilkins is the new season. American Harp Society Concert work may be performed, provided Artist. the total timing does not exceed Rachel Lee Hall won the 2019 Houston Symphony Ima Hogg the limit for the division. Free choice selections must be for Concerto Competition. Chloe Tula won third prize. solo harp: do no choose a piece that requires accompaniment. The Chapter of the American Harp Society has been AHS National Competition Winners: named 2019 Chapter of the Year. Young Professional Division (max. age 30) Aaron David Miller was selected as winner of the 2019 First Prize: Caroline Wilkins Weiger Lepke-Sims Sacred Music Award. Second Prize: Hannah Cope Third Prize (tie): Adam Phan National Competitions Juan Riveros Young Artist’s Harp Competition 2020 Fourth Prize: Noël Wan 30 June to 3 July 2020, Kenyon College, Gambier, OH Fifth Prize: Chelsea Lane Preliminary video deadline: 1 May 2020 Sixth Prize (tie): Anna Ellsworth Program: Hope Wilk Preparatory Division (Maximum age 11) Honorable mention: Haley Rhodeside Play each of the following: Advanced Division (max. age 21) Tournier, M.-Berceuse First Prize (tie): Claire Thai Couperin, F.-Soeur Monique (any edition) Morgan Short Salzedo, C. -Quietude Second Prize: Kaila Geisinger (Note: the Preparatory Division repertoire is set, and does Third Prize: Caroline Mellott not include a free choice selection.) Fourth Prize: Clara Warfod New Artist Division (maximum age 14 ) Intermediate II Division (max. age 18) (A) Choose one of the following: First Prize: Annette Lee Bull/Grandjany-King’s Hunt Second Prize (tie): Priyanka Gohal Francisque/Grandjany-Pavane et Bransle Shaylen Joos (B) Choose any one of the following Images by Marcel Third Prize: Danielle Nam Tournier: Fourth Prize: Amanda Kengor Les Ânesses Grises sur la Route d’El-Azib Fifth Prize: Lily Primus Lolita la Danseuse Sixth Prize (tie): Julia Johnson La Volière Magique Erika Rosen Soir de Fête à Sedjenane Honorable mention: Beth Henson (C) F ree choice selection of the contestant’s choosing (time limit, 10 minutes) Free choice composer cannot be the Intermediate I Division (max. age 15) same as A or B choice. (see below) First Prize: Kathleen Hopkins Second Prize: Eunice Park Emerging Artist Division (maximum age 19) Third Prize: Isabel Cardenes (A) Choose one of the following: Fourth Prize: Sophia Jho Handel/Salzedo-Harmonious Blacksmith Fifth Prize: Ava Crook Bach/Renié-Pièce en Sol Sixth Prize: Jadelyn Ding One or two sonatas by Scarlatti totaling between 3–5 Honorable mentions: Judy Liu minutes (any edition) Elizabeth Johnson (B) Choose one of the following: Skyler Moon Godefroid/Grandjany-Etude de Concert Belle Divine Piazzolla/Rayan-Libertango Any number of movements totaling between 3–5 min- Junior Division (max. age 12) utes from Birds in Winter, by Michael Mauldin First Prize: Olivia Lee (C) F ree choice selection of the contestant’s choosing (time Second Prize: Erin Choi limit, 12 minutes) Free choice composer cannot be the Third Prize: Kaila Blodgett same as A or B choice. Fourth Prize (tie): Grace Hong *Free choice selections should be taken from the standard Tessa Jackson solo classical harp repertoire (i.e., no pop or jazz) and should Fifth Prize (tie): Sophia Love Aaron Stewart

Review • Fall 2019 35 Back to the Table of Contents NATIONAL NEWS

Sixth Prize (tie): Calene Lee condolences and announced that his government “will pay trib- Sarah Smith ute, remembrance and recognition to Juan Vicente Torrealba.” Megan Williams Born on 20 February 1917 in a populated neighborhood of 2018 Young Artist’s Harp Competition Results downtown Caracas and raised since eight months in the plains of the central state of Guárico, Torrealba recorded 130 albums Emerging Artist Division First Prize: Claire Thai, USA and composed more than 300 songs such as La fillo zaina and Second Prize: Renee Murphy, USA Solito con the stars. Third Prize: Janice Hur, Korea He learned to play the guitar, the Venezuelan cuatro and the Fourth Prize: Danielle Nam, USA harp, an instrument that was his partner since he was 16 and whose natural virtuosity perfected with degrees in Mexico New Artist Division and Paraguay. First Prize: Yuet Kan, China “I slept with the sound of the harp, in the herd there was a Second Prize: Aimee Hang Yu Lam, China pawn that played and they always made partying llaneras,” he Third Prize: Isabella McCormick, USA recalled in an interview with The Associated Press made in Preparatory Division November 2014. First Prize (tie): Lydia Kessler, USA The experimentation was his personal brand. Pieces like Goldie Woods, USA Concierto en la Llanura demonstrated the possibilities of tra- Second Prize: Olivia Lee, USA ditional Venezuelan rhythms to mix with other sounds and Third Prize: Zulaykha Kadieva, Russia instruments, such as keyboards, without losing their character. The inclusion of the double bass as part of the format of the group was another of his contributions. Nowadays all llanera music ensembles have bass. “That if it was very difficult for people to accept it, they said it was ending with folklore,” Torrealba told AP. “At the beginning I did not know much, but over time I realized that it was neces- sary to make a llanera music that could reach more people. I did it my way, but in the end that was what succeeded. “ In 1947 he founded the group “Los Torrealberos” with his brother Arturo and his son Santana, playing with passion and rich nuances the traditional music of the plains, which is Emerging Artist Division distinguished by feeding on the experiences of the peasants, the cattle-raising tasks, the singing of the birds, the melody of the rivers and the trot of the horses. The following year he launched his solo career and performed before crowds in Latin In Memoriam America, Europe and the United States. Juan Vicente Torrealba, harpist and composer whose distinc- In 1971, the recording of the album Rhapsody Llanera was tive sound gave traditional Venezuelan llanera music a stylized key in his career, in which his group was accompanied by a symphonic touch that influenced generations of folklorists, died symphony orchestra. Since then the incorporation of the most on 2 May 2019, his relatives announced. He was 102 years old. varied instruments and technical elements was a constant and turned his group into a kind of chamber orchestra. Among his other compositions are Sinfonía en el palmar, Mujer Guayanesa and Barquisimeto. La fillo zaina - created in honor of his wife Mirta Pantoja - inspired and gave musical framework to one of the most success- ful telenovelas in , in 1993, written by Bernardo Romero Pereiro and starring Aura Cristina Geithner and Miguel Varoni. Pantoja, who died in April 2017 at age 76, was 18 when she met Torrealba, then 42. They were married for 58 years.

Juan Vicente Torrealba (1917-2019) Juan Vicente Torrealba (1917-2019) “On behalf of the Torrealba family, we fulfill the painful duty of informing you of the death of Maestro Don Juan Vicente Torrealba, surrounded by his children and grandchildren in the peace of his beautiful home,” said his family members through the musician’s Twitter account, without giving other details. Shortly afterwards in an act of government broadcast on the radio and television, President Nicolás Maduro expressed his

36 Review • Fall 2019 Back to the Table of Contents WORLD HARP CONGRESS CORRESPONDENTS Meet the Correspondents

Judith Utley, Thailand Julia Christine Lukan, Austria Judith Utley, an American harpist who has lived for over 35 My name is Julia Christine Lukan and after having the plea- years in Thailand, received her Bachelor of Music degree from The sure of joining the correspondents two years ago I would like to University of Northern Colorado where she studied with Suzann take this opportunity and write a few words about me.

Young Davids. She earned her Master After being born into a Viennese music EDITH WALZL of Music degree from The Cleveland family I had the chance to learn a few Institute of Music under the tutelage of instruments but early on I knew the Alice Chalifoux. She also did post gradu- harp was for me. At the age of nine I ate study with Susann McDonald. started playing the harp with a private While touring with a music ensemble harp teacher and soon got the chance of in the early 1980’s, she met her husband, studying at the University of Music and Correspondent for Thailand: Judith Utley a career missionary, in the Philippines. Performing Arts Vienna. During my six Correspondent for Austria: They relocated to Bangkok as newly- years studying with Xavier de Maistre I Julia Christine Lukan weds in 1983. Another expatriate harpist from Belgium, Lieve lived in Hamburg, Germany, and didn’t Robbroeckx, was also living in Bangkok at that time. Together, get to experience everything that happened in Austria. But many they did their best to promote the harp and each played with local of my former colleges are now active harpists in and around orchestras and ensembles as well as collaborating in recitals with Vienna and I am happy to now reconnect with many of them. primarily expat students. There were a few Thai harpists who had Since coming back to Vienna I have had the chance to play studied abroad, but the harp was not well known at that time. with several Austrian Orchestras and to get to know so many The climate began to change with the establishment of Tamnak great harpists who shape the musical landscape in Austria. Prathom Harp Centre in 2002. Sunida Kitiyakara, who founded I am happy to be part of this great community and to be able TPHC, was inspired by her grandfather, the late Prince Chudadhuj, to share what Austria has to offer the harp world. an avid musician who brought the first Western pedal harp back to Thailand in 1916 after his studies at Cambridge. Sunida had this historic instrument restored, and also imported many other harps from major manufacturers. She has presented many world class performers in public concerts in Thailand, and was the driving force behind the 3 International Harp Festivals and youth ANNOUNCEMENT competitions that have been held in Bangkok since 2009. Now several Universities own harps and offer Thai music stu- dents the opportunity to study harp. A growing number of fine The WHC Endowment Fund young Thai harpists are frequently performing in various settings. Judith currently teaches at Payap University in the Northern Thai To provide a long-term and resilient financial city of Chiangmai. She is also a frequent jury member for exams and framework to support the vision, goals music competitions. She has been thrilled to see the harp become and activities of the World Harp Congress, Inc. more widely known and enjoyed in the Kingdom of Thailand. a World Harp Congress Endowment Fund has been established. You can donate though an Endowment Fund gift, online at ON THE COVER https://www.paypal.me/WorldHarpCongress, or by contacting the treasurer: FALL 2019 • VOLUME XIII, NO. 5 Clockwise: Cardiff City Hall; World Harp congress [email protected] Edward Witsenburg; eviewTHE OFFICIAL PUBLICATION OF THE WORLD HARP CONGRESS, INC. Cardiff Castle; Mirella Vita; Merchant Seaman’s These portions of the regular membership fees are bestowed automatically to the endowment fund: Memorial. Regular member: $5 Patron member: $50 3-year member: $15 Lifetime silver: $500 Lifetime gold: $2000 Lifetime platinium: $4000

Review • Fall 2019 37 Back to the Table of Contents Index of Advertisers WORLD HARP CONGRESS CORRESPONDENTS Harp Manufacturers ARGENTINA (AR) HONG KONG (HK) PUERTO RICO (PR) Oscar Rodríguez Do Campo Amy Tam Elisa Torres Aoyama Harp Co. . .(center) [email protected] [email protected] [email protected]

Camac Productions . . . . .iii AUSTRALIA (AU) HUNGARY (HU) ROMANIA/MOLDAVIA Verna Lee Anastasia Razvalyaeva (RO/MD) Lyon & Healy, Salvi Harps [email protected] [email protected] Roxana Moisanu ...... ii [email protected] AUSTRIA (AT) Deborah Sipkay [email protected] Lyon & Healy, Salvi Harps Julia Lukan RUSSIA (RU) ...... back cover [email protected] ICELAND (IS) Natalia Shameyeva [email protected] BELGIUM (BE) Elísabet Waage [email protected] Irina Zingg Harps/Harp–related Astrid Desantoine [email protected] Products [email protected] INDONESIA (ID) SERBIA (RS) BRAZIL (BR) Heidi Awuy Aoyama Harp Co. . .(center) [email protected] Marcelo Penido F. Da Silva [email protected] Camac Productions . . . . .iii [email protected] IRELAND (IE) Milena Stanišić SINGAPORE/MALAYSIA Lyon & Healy, Salvi Harps CANADA (CA) Clare McCague [email protected] (SG/MY) Stana Bunea ...... ii Katryna Tan [email protected] ITALY (IT) [email protected] Lyon & Healy, Salvi Harps CHINA, PRC (CN) Nicoletta Sanzin ...... back cover [email protected] SLOVENIA (SI) Jason [email protected] JAPAN (JP) [email protected] Harp Music/Publications Guan Wang Yo Saito Tea Plesničar Fatrock Ink ...... 32 [email protected] [email protected] SOUTH AFRICA (ZA) Christy-Lyn Marais Lyon & Healy, Salvi Harps CZECH REPUBLIC LEBANON [email protected] Ivana Dohnalová Alice Edde ...... ii [email protected] [email protected] SOUTH KOREA (KR) Jeong-eun Kil Lyon & Healy, Salvi Harps COLOMBIA (CO) LIECHTENSTEIN (LI) [email protected] ...... back cover Bibiana Ordóñez Velandia Ernst Walch Ah-Rim Kim [email protected] [email protected] Music Works ...... 10 [email protected] COSTA RICA (CR) (LT) SPAIN (ES) Music Works ...... 24 Priscila Steller Joana Daunyte Margarita Arnal [email protected] [email protected] Clavel Music Enterprise . .10 [email protected] CROATIA (HR) MACEDONIA (MK) SWEDEN (SE) Mersiha Shukri Lena Petersson [email protected] [email protected] [email protected] Biserka Krˇceli´c CZECH REPUBLIC (CZ) MALTA (MT) SWITZERLAND (CH) Ivana Dohnalová Anne Marie Camilleri Podestà Sarah O’Brien [email protected] [email protected] [email protected] DENMARK (DK) MEXICO (MX) TAIWAN, ROC (TW) Tine Rehling Janet Paulus Shu-Hsin Chen [email protected] [email protected] [email protected] EGYPT THE NETHERLANDS (NL) THAILAND (TH) Manal Mohei El Din Jaike Bakker Judith Utley [email protected] [email protected] [email protected] Advertising in the WHC FINLAND (FI) NEW ZEALAND (NZ) TURKEY (TR) Review is open to all harp- Katri Tikka Anna Dunwoodie Meriç Dönük [email protected] [email protected] related businesses and [email protected] events as well as schools FRANCE (FR) NORWAY (NO) UNITED KINGDOM (UK) Isabelle Marie Uno Alexander Vesje and conservatories. Dead­ Gwenllian Llyr [email protected] [email protected] lines for ad copy are [email protected] September 1 and March 1. GERMANY (DE) PARAGUAY (PY) Ann Griffiths Isabel Moretón Achsel Alfredo Rolando Ortiz [email protected] Adver­tising copy, payment [email protected] [email protected] and inquiries should be USA (US) (GR) POLAND (PL) Sonja Inglefield directed to: Katerina Gima Ilina Sawicka [email protected] [email protected] [email protected] Sydney Campen VENEZUELA (VE) PORTUGAL (PT) Anna De Rogatis Advertising Manager Áurea Guerner [email protected] 4612 S. Tewkesbury Ct. [email protected] Mapleton, IL 61547-9532 USA Email: [email protected]

Please send news about new music premieres and publications, festivals, competitions, and other events to your WHC Correspondents no later than August 15 (Fall)/February 15 (Spring).

38 Review • Fall 2019 Back to the Table of Contents NATIONAL HARP ASSOCIATIONS

ARGENTINA HUNGARY PORTUGAL SWITZERLAND Asociación Civil Amigos del Arpa Hungarian Harp Society Associação Portuguesa de Harpa (APH) Swiss Harp Association President: Marcela Méndez Contact: Nora Mercz, Artistic Director Founder and President : Áurea Guerner Founders: Emmy Hürlimann and Rudolf Frick Email: [email protected] Latabar v. 7, H-1041, Budapest Contact: [email protected] Co-Presidents: Esther Sévérac and Conservatório de Música do Porto Alexandra Horat AUSTRALIA Praça Pedro Nunes Contact: Swiss Harp Association Harp Society of New South Wales IRELANDTel: +36-1-1938586 4050 - 466 Porto c/o Consuelo Giulianelli c/o Rhonda Taylor, 17 Old Beecroft Road Cairde na Cruite www.apharpa.pt Sierenzerstrasse 14, CH-4055 Basel Cheltenham, NSW 2119 www.cairdenacruite.com Email: [email protected] Email: [email protected] [email protected] ROMANIA Email: [email protected] www.harpsocietyofnsw.org.au www.swissharp.org The Historical Society of Ireland Romanian Harpists Association https://asociatiaharpistilordinromania.ro Harp Society of Queensland www.irishharp.org c/o Jill Atkinson, 9 Duranta St. [email protected] Email: [email protected] TAIWAN Bellbowrie Qld 4070 Taipei Harpists Association Harp Ireland www.harpsocietyqld.org.au RUSSIA Contact: Grace Shu-Men Chang www.harpireland.ie Association of Russian Harp Teachers 5F, #7, A-20, Lane 142, Roosevelt Rd., Harp Society of South Australia International (ARHTI) Sect. 6, Taipei Gillian Weiss, 53 Old Mount Barker Rd. ISRAEL Founder and President: Milda Agazarian Stirling, South Australia, 5152 The Harp & Zimriya Society Contact: ARHTI Email: [email protected] Email: [email protected] Chairperson: Colette Avital Leningradskoe shosse, 33-36, Moscow 125 212 Fax: +886-2-2930-8834 www.harpsocietysa.blogspot.com.au 16 Hanaziv Street, Tel Aviv 67018 THAILAND Harp Society of Tasmania Tamnak Prathom Harp Society President: Emily Sanzaro Tel:Email: +7(499)-156-62-26 [email protected] Contact: M.R. Sunida Kitiyakara Tel: +972-3-6041808 PO Box 936, Launceston, Tasmania 7250 RussianFax: +7(903)129-45-98 Harp Society 16 Sukumvit soi 43, Bangkok 10110 Email: [email protected] ITALYFax: +972-3-6041688 President: Valery Kikta www.harpsocietytasmania.org National Harp Associations Italy: Director: Natalia Shameyeva Associazione Italiana dell’Arpa Liapidevskogo 14-68, Moscow 125581 Tel:Email: +66-2-261-4778-9 [email protected] Harp Society of Vicoria, Inc. President: Emanuela Degli Esposti c/o Elsa Clifford, 121 Chadstone Rd. Email: [email protected] SiamFax: +66-2-258 Harp Society 7308 Vice-President: Lorenzo Montenz East Malvern, Victoria 3148 Contact: Pasatorn Stienti Correspondent: Nicoletta Sanzin SCOTLAND Email: [email protected] Email: [email protected] BELGIUM www.associazioneitalianarpa.it The Clarsach Society Harpe Diem (Flemish community) Michelle Kelly, Administrator Tel: +668-6393-7900 President: Lieve Robbroeckx Association of Harpists (EUA) Studio G43 TURKEY Sint-Lambertusstraat 3 President: Federico Fait Out of the Blue Drill Hall Arp Sanati Derneği (Association for B-3001 Heverlee via F. Patetta 79, 00167 Rome 36 Dalmeny Street the Art of Harp) www.harpediem.be Gruppo Amici dell’Arpa Edinburgh, EH6 8RG President: Meriç Dönük President and Founder: Irene Rossi Email: [email protected] Mecidiye Mahallesi Ambarlidere Yolu Les Amis de la Harpe Mosane www.clarsachsociety.co.uk Sokak No:5 (French community) via Vochieri 122, 15100 Alessandria President: Sophie Hallynck Email: [email protected] Allée des Renards, 33 SERBIA Email: [email protected] B-5170 Profondeville JAPAN Udruzenje harfista i prijatelja harfe Srbije Beşiktaş / İstanbul www.arpsanatidernegi.com www.harpemosane.be Nippon (Japan) Harp Association (Harp Association of Serbia) Tel: +90-545-258-1310 Founder and Eternal honorary President: Terazije 26/I 11000 Belgrade Harppunt Josef Molnar Email: [email protected] UNITED KINGDOM Flemish Harp Association www.harfa.rs United Kingdom Harp Association (UKHA) email: [email protected] Contact: Nippon Harp Association Studio D, 3-6-8 President: Sioned Williams Nishi-shinagawa, Shinagawa-ku, SINGAPORE Chair: Helen Sharp [email protected] CHINA (PRC) Tokyo 141-0033 The Harp Association (Singapore) 60 Friern Mount Drive, Whetstone, London Chinese Harpists Association under the UEN: T19SS0141H N209DL leadership of the Chinese Musicians 73 Ubi Road 1, #10-63 Association E-mail: [email protected] Singapore 408733 Email: [email protected] President: Wei Linlin Tel +81-3-6426-8876 Faxwww.harp-japan.com +81-3-6426-8071 Email: [email protected] Tel.Admin: +44(0)7810648658 [email protected] Contact: Gan Peixue, Anhua Li, Section 3 www.theharpassociation.org 9-2-901, District Chaoyang, Beijing 100101 UNITED STATES OF Email: [email protected]. LITHUANIA Lithuanian Harp Society SLOVENIA AMERICA Drustvo Harfistov Slovenije American Harp Society, Inc. (AHS) ENGLAND President: Daiva Slyziene Aguonu Gatve 20-65 (Slovene Harp Society) Founder: Marcel Grandjany The Clarsach Society London and South-East LT-2006 Vilnius President: Lynn Aspnes Branch Glavni trg 24, 2000 Maribor Kathryn McManus, Executive Director Anne Chorley Email: [email protected] President: Dalibor Bernatović 624 Crystal Avenue 5 Church Walk [email protected] Findlay, OH 45840 Sudbury THE NETHERLANDS Tel: +386-4-164-2297 Suffolk, CO10 1HJ Harp Vereniging Nederland www.harpverenigingnederland.nl SOUTH AFRICA Email: [email protected] Email: [email protected] Tel:www.harpsociety.org +805-410-4277 www.clarsachsoclondon.co.uk The Harp Society of South Africa NEW ZEALAND Founder: Kathleen Alister Historical Harp Society (HHS) Chairman: Ingrid Janse van Rensburg FINLAND The Harp Society of New Zealand President: Jennifer Sayre President: Carolyn Mills Contact: Ingrid van Rensburg Email: [email protected] Suomen Harpistit ry (Finnish Harp Society) PO Box 15, Pinegowrie 2123 President: Hanna Rantalaiho Contact: Anna Dunwoodie www.historicalharpsociety.org Vapaalantie 33 D 122 Lynbrooke Ave. International Society of Folk Harpers and 01650 Vantaa Blockhouse Bay, Auckland 0600 Fax:Email: +27-11-787-5757 [email protected] Craftsmen (ISFHC) www.harpistit.wordpress.com www.nzharpsociety.org President: David Kolacny Tel: +27-82-494-1538 Contact: Alice Williams SPAIN FRANCE NORWAY 1614 Pittman Drive Norsk Harpeforening Associació Catalana d’Arpistes Missoula, Montana 59803, USA Association Internationale des Harpistes et (Catalan Harpists Association) Chairman: Elisabeth Soenstevold Email: [email protected] Amis de la Harpe (AIH) Founder: Rosa Balcells Vice-Chairman: Rebecca Harrisson www.folkharpsociety.org Founder: Pierre Jamet Contact: Conservatori Superior de Musica de President: Anne Ricquebourg Secretary & Treasurer: Ann Margret Hauknes Email: [email protected] Barcelona, Bruch 110-112, 08010 Barcelona 15 rue d’Indépendance, 93270 Sevran www.acarpistes.blogspot.com Email: [email protected] [email protected] POLAND www.aiharpe.org Polskie Towarzystwo Harfowe Asociación Española de Arpistas (AEDA) Tel/Fax: +31-(0)1-43-84-68-16. (The Harp Society of Poland) Email: [email protected] GERMANY www.asociaciondearpistas.org Verband der Harfenisten in Deutschland e.V. Rynek 12, 43-400 Cieszyn Asociación Arpista Ludovico President: Isabel Moreton President:Email: [email protected] Ewa Jaślar Founder and President: Lange-Hop-Str. 76, 30559 Hannover www.harfa.pl María Calvo-Manzano Contact: Asociación Arpista Ludovico Please send updated contact information [email protected] Paseo Pintor Rosales 42, 28008 Madrid for associations to: Jennifer Betzer, www.harfe-vdh.de Tel: +49-511-527031 www.arlu.org National Harp Associations Liaison, Email: [email protected].

Review • Fall 2019 39 Back to the Table of Contents We care about your sound.

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