In 2021 we began following nine harpists for our Practice Makes Harpist series to see how their practice affects their musical experience. In the second year of the series, we are checking in with the nine harpists we met in year one to see how their practicing has progressed over the last 12 months. In this installment, we’re returning to Scotland and Mexico where two student harpists continue their studies. 

In some periods of life, our practice is limited by what we can physically achieve. Unfortunately,  Laura Penman has experienced this. Last autumn, she suffered a concussion, which affected her ability to think creatively, focus, and concentrate for more extended periods. 

Penman observes, “I think for me, the first year of university was much more productive.” This past year she practiced when she could and stopped when her brain started to hurt. Around January, she had a marked improvement in her focus and practice time. Then, in May, her family experienced a tragedy. 

Although she had the option to delay her second-year recital, she decided to complete it.  She said, “Thankfully, I had a lot of the practice and arranging done, so I just sat down and ran through the recital program when I could. It wasn’t quite at the stage of what I’d hoped it to be, but it was still playable. I’m really pleased that I did it, because I would have worried about it all summer.”

This summer, she hasn’t practiced too much. “It’s not that I’ve stopped completely. I’m just taking a break from the intense things and have played for fun or, more recently, when I feel like it. So while it’s a lot less structured, I’ve done a fair bit of composing.”

She met her short-term goal from last year, successfully playing her recital. Penman’s taking life a step at a time. The next step is getting back into the university environment and having a better third year.

Playing for an audience is nothing new for Jaqueline Aguirre. For years she enjoyed performing as part of a folk music group. However, during the extended lockdowns, something shifted for her, and as the world opened up to live performances, she found herself dreading them. The performance anxiety and adjusting to life after lockdown led her to seek professional help.  “I wasn’t enjoying it when I was playing my favorite pieces,” she said. “I didn’t want to be studying performance and hating performing.” 

After almost a year of work with a therapist, she’s comfortable performing. “But I decided to continue with the therapy because I think it can help with so many other problems in life, beyond music and performance.”  It’s certainly changed the way she practices. “In the past, when I studied, I felt anxious and stressed, thinking everything needed to be perfect. Now I’ve changed my mind. I want to enjoy what I’m doing. A little mistake doesn’t define what I am or what the performance is going to be. So if I make a mistake, I leave the past and continue performing.” 

When dealing with her performance anxiety, she talked to other musicians. Taking their advice, she follows a ritual on the performance day. “A good start to your day helps make a good performance.” She also tries for a good night’s sleep, eating right, and gentle warm-ups. 

Now she has many opportunities to perform. She’s in her third year of harp studies at Centro Cultural Ollin Yoliztli, and in her first year playing with Carlos Chavez School Orchestra. By adding on the orchestra, ensembles, and chamber music, she has a lot to practice. However, she’s spending the same amount of time as she did last year.  “I am more organized, focused, and plan carefully when I practice.” 

In addition, Aguirre makes time to do what she enjoys outside of music, getting out in the fresh air and riding her bike or playing Mexican folk music with her old group, Alegría del Son, on the folk harp.  She’s looking forward to her next year of studies and to performing more. •