What strikes me most about this issue—and every issue—is how closely our triumphs and struggles as harpists mirror one another, regardless of background or geography.

There are nearly 80 harpists mentioned in this issue of Harp Column—80 artists creating new music, winning awards, pushing boundaries, teaching the next generation, and taking the harp to places it hasn’t been before. Some are household names, like Yolanda Kondonassis, our cover artist, who continues to make waves in the harp world more than 30 years after she first graced our cover. Others may be new to you, like Samira Memarzadeh, who is featured in this issue’s Sounding Board column, and whose path is anything but typical.

What strikes me most about this issue—and every issue—is how closely our triumphs and struggles as harpists mirror one another, regardless of background or geography. It makes the international harp world seem like a small town. Memarzadeh studied classical pedal harp in Germany but felt confined by the traditional concert hall and its perceived limitations. (Sound familiar?) In Harp on a Flying Carpet, she recounts how she and her instrument ended up performing at a circus-themed festival near the Turkish–Syrian border.

Or consider Swiss harpist Tjasha Gafner and her new album From Keys to Strings. Frustrated by her instrument’s comparatively narrow standard repertoire (raise your hand if you’ve felt this), Gafner took matters into her own hands, arranging an entire album of keyboard works. As recording review editor Alison Young writes, she approaches the project with “remarkably fearless” conviction, playing “with such aplomb and grace that one could easily believe these works were written for the harp all along.”

Even our interview with Kondonassis reveals some universal truths about musicians and self-doubt. (See Force of Nature.) The American harpist is among most respected performing artists of her generation, yet she is still uncertain if her latest creative endeavor will succeed. “Of course, these are the questions we ask ourselves when we dream up something new,” she says, “but in the end, you have to banish those doubts and see where it takes you.”

The 80 harpists in this issue represent nearly 20 countries. Yet their contributions don’t stop at national borders. Whether through original compositions, recordings, arrangements, teaching, advice, or performances, their collective influence on our shared endeavor is remarkable.

Though Harp Column is based in the United States, our community—and our instrument—are inherently global. That’s why we’re especially excited to serve as the official news outlet for One Harp World, the international gathering jointly sponsored by the World Harp Congress and the American Harp Society, which will take place July 28–Aug. 3 in Toronto. You can preview featured performers and presenters on pg. 6 of this issue’s PDFdownload.

If you’re heading to Toronto this summer, please stop by and say hello. And if you can’t attend, we’ll keep you connected with artist profiles and full conference coverage on our website and social media channels. •