Covering the Harp World

How much could you possibly say about the harp? Well, the answer to this question turns out to be, “Plenty.” For 150 issues, Harp Column has talked to folks in every corner of the harp community—the builders, the freelancers, the recording artists, the international stars, the up-and-comers, the instrument fixers, the risk-takers, and everyone in between. None of them have been short on insights or stingy with their wisdom, graciously sharing their knowledge with Harp Column’s loyal readers. We’re taking a look back at every cover interview since our first issue in 1993 and finding out where these movers and shakers of the harp world are today.

(Want to read more? Click on any name to jump to the issue page where you can download that issue and read the full interview with your subscription to Harp Column.)

Volume 1

Magali Zsigmond • July/August 1993

Then Parisian harpist Magali Zsigmond had just won first prize at the 1993 International Jazz and Pop Harp Competition after moving to Boston to study jazz with Deborah Henson-Conant.

What she told us When asked if winning the competition was important for her career, she replied, “I think it’s important for me personally. It gives me more confidence. I think, ‘Well I’m not that bad. Wow, it works. I can do it!’ So it’s more important for me in my head. It’s good to be recognized. But I think it’s more important for me inside.”

Now In 2001, Zsigmond discovered the electric Celtic harp. She continues to perform in different jazz combos and has released four albums.

Yolanda Kondonassis • September/October 1993

Then Recently featured as the opening recitalist at the American Harp Society National Conference, Yolanda Kondonassis was splitting her time between New York and Cleveland, where she was the co-artistic director of the chamber music ensemble Myriad. Her album, Scintillation, was released in May 1993.

What she told us “The recording is something I’ve wanted to do for a long time. I think anyone who spends most of their time performing would like to do something more permanent. Once in a while performances seem rather fleeting.”

Now Kondonassis has released 18 more albums, cementing her status as one of the most recorded classical harpists. She has continued her Cleveland-based career, now heading the harp departments at Cleveland Institute of Music and Oberlin Conservatory. In May she premiered a newly commissioned harp concerto by composer Jennifer Higdon with the Rochester Philharmonic Orchestra.

Susan Bennett Brady • November/December 1993

Then In 1987, Susan Bennett Brady established the Atlanta Harp Ensemble, where she had recently been appointed principal harp with the Macon Symphony and Atlanta Opera Orchestra. Her efforts to develop a pre-orchestra training program for harpists led to a feature performance at the 1993 American Harp Society National Conference.

What she told us “I want my students to really enjoy playing the harp. It is not my intention to make them all professional harpists…[T]he harp is unique; from the very first lesson you can send them home and they sound wonderful, unlike some other instruments.”

Now Brady has continued balancing an impressive performance and teaching career in Atlanta. In addition to her harp ensembles, Brady also co-founded the Young Artist’s Harp Seminar in 2002.

Therese Honey • January/February 1994

Therese Honey is an accomplished seamstress who sews her own Renaissance costumes.

Then Houston harpist Therese Honey was spending 16 weeks a year at Renaissance fairs performing Celtic and Renaissance music. Ever a trailblazer, Honey was self-publishing her arrangements of early music and establishing a new way forward for harpists.

What she told us “In my own arrangements, less can be more. Just because I can play an eight-note chord does not mean it’s best for the music…[M]uch of this music has melodic scale patterns that need to stand clear on their own.”

Now Very much in demand across the United States as a Celtic and early harp specialist, Honey performs and lectures around the country. When back in Houston, she performs with the Texas Early Music Project.

Kim Robertson • March/April 1994

Kim Robertson has a college degree in French.

Then Celtic and folk harpist Kim Robertson had an impressive body of work: 18 albums, seven volumes of harp arrangements, and a number of original compositions.

What she told us “Because [Celtic music] is diatonic and a lot of the melodies are simple, it can sound too sweet. I’m trying to put an edge back in it, using syncopation and a little bit of dissonance.”

Now Robertson has added to her discography, and regularly releases new harp arrangements and instructional videos. She is known around the world for her Celtic music, touring internationally and leading workshops and retreats.

Felice Pomeranz • May/June 1994

Then The only harpist to graduate from New England Conservatory with a degree in jazz, Boston-based harpist Felice Pomeranz was the coordinator of Gilded Harps, a consortium of professional harpists performing throughout New England.

What she told us “If you want to make your full-time living playing the harp, you have to be able to do everything. You have to be able to play weddings, receptions, parties, give recitals, go play the Fauré Requiem and A Ceremony of Carols six billion times, and be able to do it with one day’s practice.”

Now On faculty at Berklee College of Music, Pomeranz specializes in teaching both classical and improvisational harp. She still runs Gilded Harps, and has published numerous arrangements of classical and popular music. She has released numerous albums and instructional material, including her latest book on jazz basics, Berklee Harp.

Volume 2

Elizabeth Hainen • July/August 1994

Then Five years after winning the silver medal at the USA International Harp Competition, Elizabeth Hainen won auditions with the Atlanta Symphony and the Philadelphia Orchestra in short succession.

What she told us “The soloist’s own personal interpretation…is important. Adding a note or leaving one out is not going to be detrimental. The question is, what’s going to be impressive and what’s going to come across as strongly as possible?”

Now Hainen has played with the Philadelphia Orchestra for over 20 years, and now serves on the faculties of the Curtis Institute of Music and Temple University. She cemented her legacy with a number of major international projects such as her collaboration with composer Tan Dun, premiering his harp concerto in 2014.

Tom Bell September/October 1994

Then An independent harp technician based in Toledo, Ohio, Tom Bell also performed in the flute and harp duo, Berkner & Bell.

What he told us “One of the things I like most is working for a very picky harpist. I love that challenge. I love knowing that with them being as particular as they can be, they will end up appreciating all the little details and work that I will put into an instrument.”

Now Bell is on the road from April through November regulating and servicing harps. During the winter months, he is busy rebuilding harps. With a three-year waiting list, Bell sees no signs of work slowing down any time soon.

Eleanor Fell • November/December 1994

Then Eleanor Fell was a harpist, music arranger, and owner of Vanderbilt Music. Having established the company with her husband in 1976, she made a name for herself as a pioneer of popular music on the harp, making accessible arrangements for advanced and beginner harpists alike.

What she told us “Sitting down with manuscript paper, without the music, probably not even in the right key. I did not know how to arrange…so a lot of it became my own hieroglyphics. In order to conserve paper, because I couldn’t get a lot of manuscript paper in Africa, I would write out my right hand and put a notation above where my left hand should be. So I was really teaching myself how to read a lead sheet, but I didn’t know it at the time.”

Now Fell, considered one of the most influential harpists of the 20th century, passed away in 2013. Vanderbilt Music is still in operation under new ownership.

Skookums • January/February 1995

Then Alaska harpist Skookums had forged a music career for herself after years as a fisherman, pilot, massage therapist, and landlord.

What she told us “It’s taken all the guts I’ve had to do what I’m doing, yet, at the same time, I feel so extremely privileged. If it’s in your heart, and it’s something that you really want to do, then you do it.”

Now Skookums continues to live in Alaska and play the harp. A recent performance for the Gathering of the Indigenous Daughters led to an invitation to Easter Island where she played for Princess Wahena.

Phyllis Mauney • March/April 1995

Both Bill and Hillary Clinton love the harp so much that when President Clinton was in office, “The
President’s Own” U.S. Marine Band added a second harpist (Karen Grimsey joined Phyllis Mauney in the position in 1994). The band even bought a gold 23 to keep at the White House. And on St. Patrick’s Day, Mauney was playing “Danny Boy” during a private dinner with the Prime Minister of Ireland, and President Clinton ran over to join her in singing it while she played.

Then As harpist with “The President’s Own” U.S. Marine Band, Phyllis Mauney had served for 17 years in the military, under four presidents.

What she told us “[A] vivid memory was from when the hostages came back from Iran. We were playing for a reception and one of the women said, ‘This is just so beautiful. It’s been so long since I’ve heard music, and this is so beautiful.’  That really touched me.”

Now Mauney retired from playing the harp two years ago and is enjoying life in South Carolina with her mother.

Park Stickney • May/June 1995

Then Living in New York, performing at restaurants and hotels, Park Stickney was occasionally subbing in Broadway musicals and starting to make a name for himself as a jazz harpist.

What he told us “I never want to give up the classical stuff, and I’d hate to say, ‘Oh I’m just a jazz harpist,’ although sometimes it’s very nice because it’s a convenient way of packaging myself.”

Now Splitting his time between Brooklyn and Switzerland, Stickney is one of the world’s premier jazz harpists. With five solo albums, he has toured around the world as both a performer and teacher. He is an instructor at the Royal Academy of Music, the Conservatoire National Supérieur de Lyon, and the Haute Ecole de Musique.

Volume 3

Ernie and Becky Brock •  July/August 1995

Then The husband-and-wife flute and harp duo was cranking out one-of-a-kind arrangements for flute and Celtic harp.

What they told us “I feel that the lever harp is self-sufficient in what it can do. Actually it can do a lot more than people have given it credit for. For a long time people have wanted to assign it only to the ‘folk harp’ function.”

Now After publishing a number of books of arrangements for flute and harp, Becky Brock passed away in 2011.

Gaëlle Vandernoot • September/October 1995

Then Vandernoot had just won the Gold Medal at the USA International Harp Competition.

What she told us “I didn’t think of the prizes. I just wanted to please myself with playing the music well. For me the competition was not important. I came for the opportunity to play the music.”

Now After 17 years as a soloist, Gaëlle Vandernoot no longer plays professionally, but she continues to play the harp for her enjoyment and works in real estate.

Deborah Henson-Conant • November/December 1995

Then The woman who put jazz harp on the map was launching her career into high gear.

What she told us “People think they’re going to be bored if they come to a harp concert. I can’t tell you how many times men come up to me after a concert and say, ‘My wife dragged me [here] kicking and screaming. I didn’t want to come and I had a great time.’”

Now The Grammy-nominated jazz harpist recently gave a TEDx talk titled “Reinventing Freedom with Electric Harp,” and has made the Camac DHC carbon fiber electric harp her signature instrument.

Pat Terry-Ross • January/February 1996

Then Pat Terry-Ross taught up to 40 students a year at the legendary harp program at Cass Tech High School in Detroit.

What she told us “We all have to find out what works for our hands. If you can’t play, it’s not working. And not being able to play usually gets tied up somehow in the muscles getting tight.”

Now Honored as the Kresge Eminent Artist in 2017, Terry-Ross has been playing with the Michigan Opera Theatre for over 40 years and recently retired from teaching at Cass Tech High School.

Marcia Dickstein (Debussy Trio) • March/April 1996

Then The Debussy Trio founder Marcia Dickstein was looking for new ways to promote the traditional flute, viola, and harp combination.

What they told us “The biggest highlight of our career is the fact that we still exist. Despite all the negative stuff you hear about the condition of classical music in this country—hopefully the fact that we’re still out there doing it proves that it’s not true.”

Now Dickstein is still performing with the Debussy Trio, which recently celebrated its 26th season and the release of its 11th album. She is also the harp professor at Cal Poly San Luis Obispo and Westmont College.

Mindy Dalmas Cutcher • May/June 1996

Then Mindy Dalmas Cutcher was touring the world aboard Holland America’s Statendam.

What she told us “Cruise ship musicians never have a day off…[T]he management considers your job to be a very easy one—you’re only working three or four hours.”

Now Cutcher is now principal harpist with the Pennsylvania Ballet and performs in the harp duo, Principally Harps!

Volume 4

Nancy Allen • July/August 1996

Then The acclaimed recording artist, performer, and harp instructor at Juilliard was gearing up for a solo performance at the World Harp Congress in Tacoma.

What she told us “When you’re out on the stage alone, it’s an incredible responsibility to play well and to somehow reach an audience—to entertain them and educate them and inspire them.”

Now Appointed principal harpist with the New York Philharmonic in 1999, Allen’s career continues to flourish.

Anne LeBaron • September/October 1996

Then Following her win of the prestigious CalArts Alpert Award, harpist/composer LeBaron was experimenting with extended techniques for the harp.

What she told us “Composers tend to want to write for instruments that are more flexible…I know some very well-known composers who have never written for the harp because they don’t understand it.”

Now Co-chair of the composition department at California Institute of the Arts, Le-
Baron is also the Vice-President of the American Composer Forum. Her compositions are performed around the world.

Judy Loman • November/December 1996

Then With multiple recording and performing credits to her name, Loman was principal harpist with the Toronto Symphony and taught at the University of Toronto.

What she told us “I would say the most difficult part of any performance is to remain focused on what you’re doing and never to let your mind off of what you’re doing. That’s pretty hard when you’re also trying to be musical and get the feeling and the emotion going at the same time.”

Now Retired from her orchestra job, Loman continues to perform and teach, both at the University of Toronto and the Glenn Gould School at the Royal Conservatory. She was appointed a member of the Order of Canada in 2015.

Patrick Ball • January/February 1997

Then Patrick Ball was touring the country with his one-man show, O’Carolan’s Farewell to Music.

What he told us “The thing about playing O’Carolan’s music is that the melodies are so wonderful. My only concern is to get the melody out without too much distracting accompaniment.”

Now Ball continues his extremely active performance career. He is currently on tour performing two shows across the United States: Come Dance with Me in Ireland and Celtic Harp & Story.

Calvin Stokes, Erik Nielsen, and Paul Baker • March/April 1997

Then The trio of men was trying to shake up the harp’s female-dominated image.

What they told us Stokes: “I think we have to remember that as jazz musicians we’re competing against Wynton Marsalis and Miles Davis. We can’t just put out a recording that, ‘Ooh it has a pedal slide, how cool.’ We need to actually learn how to play the music.” Nielsen: “I think harpists need to study scores, especially since our parts are not generally melodic but have some relationship to the texture. If a harpist doesn’t understand that, it can really inhibit the sound and irritate the conductor.” Baker: “We could always use more [harp arrangements]. Just compared to the amount that’s available to me as a pianist and an organist, there are so many fewer choices in the harp field.”

Now Based in Cleveland, Stokes performs classical, jazz, and everything in between; Nielsen focused his career on conducting and is currently chief conductor of Bilbao Symphony Orchestra and music director of Theatre Basel; Baker pursued a career as harpist and pianist, and has published over 20 of his own arrangements.

Alice Chalifoux • May/June 1997

Then Chalifoux had just retired from teaching at the Cleveland Institute of Music and Oberlin Conservatory.

What she told us “Don’t tolerate any sloppy playing. Do it right and don’t put up with bad playing. If your technique is good and your fingers are strong and you’re relaxed, then you can express what you want to in music.”

Now The legendary performer and beloved harp teacher passed away in 2008 at the age of 100.

Volume 5

Sarah Bullen • July/August 1997

Then Then principal harpist with the New York Philharmonic, Bullen had just won the Chicago Symphony Orchestra harp audition.

What she told us “Don’t ever listen to what anyone says about any [orchestra] opening. There’s a buzz about every opening, and it’s usually not true. Don’t listen to what anyone says about who’s supposed to get the job, because they haven’t heard you yet.”

Now More than 20 years later, Bullen is still principal with the CSO, and recently retired from teaching at Roosevelt University’s Chicago College of the Performing Arts. She also authored two volumes of Principal Harpist: A Guidebook for the Orchestral Harpist.

Lynnelle Ediger-Kordzaia • September/October 1997

Then Ediger-Kordzaia was teaching harp to 40 children in the Richmond Public Schools.

What she told us “My philosophy is that when students do something significant, they’ll feel significant. When they have performed incredibly well and they know that they’ve done it themselves, then you can never take that away from them.”

Now No longer with the Richmond schools, Ediger-Kordzaia founded the American Youth Harp Ensemble in 1999, which has toured the U.S. and abroad.

Sue Richards • November/December 1997

Then Celtic harpist Richards was performing and recording with her bands, Ensemble Galilei and Ceoltoiri.

What she told us “I don’t think American harpists listen enough. I think they listen to music and start playing pretty tunes, and they don’t listen to other recordings that are not harpists.”

Now Richards still performs with Ensemble Galilei; they have a new multimedia show that will debut in November. She also regularly performs for military veterans at VA hospitals and has recorded CDs that are given to patients.

Cindy Horstman • January/February 1998

Then Horstman had just launched her jazz harp career in Dallas, Texas.

What she told us “If you’ve got good time, then things just fall into place. Make sure that you practice with a drum machine to work on your timing.”

Now Horstman has been performing and recording with bass player Michael Medina in the duo 2tone for over 20 years.

Sylvia Woods • March/April 1998

Then The prolific folk harp music arranger was well established as the queen of harp merchandising through her Sylvia Woods Harp Center retail store and mail order catalog.

What she told us “The main thing people don’t always understand about [publishing music] is that if you are using any copyrighted material, you have to get permission, and you have to pay for it. You can’t just put out a book or a record of Disney music or whatever without paying for it.”

Now In 2013, Woods moved her business to Hawaii, and she continues to run a thriving online store for sheet music and other harp supplies.

Isabelle Moretti • May/June 1998

Then The French harp sensation was performing and recording throughout the world and had just been named professor of harp at the Paris Conservatory.

What she told us “…chamber music is marvelous because too often the harp is alone and it’s so important to have the rapport to make music with others. Just like in life, being alone all the time I believe is not possible.”

Now Moretti continues her career as a prolific recording artist and performer; this past December, she premiered a harp concerto by Bruno Mantovani at the Théâtre des Champs Elysées.

Volume 6

Five Year Anniversary Issue • July/August 1998

Our five year anniversary issue featured thoughts about the harp from our interviewees to date.

What they told usEleanor Fell: “The harp is alive and well, and it is heartwarming to know that interest in the harp is growing for every age.”

Xavier de Maistre • September/October 1998

Then De Maistre had just won first place in the USA International Harp Competition.

What he told us “It’s very difficult to keep all the pieces ready together, and memorized…[W]hen you play those pieces in the competition, you need to have them almost perfect. Otherwise you’re overcome with the stress.”

Now After 12 years as harpist with the Vienna Philharmonic, de Maistre left in 2001 to focus on his career as a solo and recording artist. He recently released Serenata Española, a critically acclaimed album of Spanish music, featuring legendary castanets player Lucera Teno.

Derek Bell • November/December 1998

Then The legendary harper was touring the world as a member of The Chieftains.

What he told us “I’m not like the average Californian that spits out three tunes and the next thing you find, he’s harp professor in his town. I couldn’t inflict that bluff on the public.”

Now Bell passed away in 2002; he left behind an extensive discography of solo and ensemble recordings.

Lori Andrews • January/February 1999

Then Jazz harpist Andrews was performing regularly at L.A.’s Warehouse restaurant with her band, the Lori Andrews Quartet.

What she told us “One of the things I think is really important about [improvisation] is not to be afraid to be creative at that moment, because the moment changes. You don’t want to play the same solo night after night—you don’t feel the same way day after day.”

Now With eight albums to her name, Andrews continues to defy traditional harp norms, creating music that blends jazz, fusion, and R&B with her combo, the Lori Andrews JazHarp Quartet.

Jakez François • March/April 1999

Then Jazz harpist François partnered with founder Joel Garnier to build the Camac harp company.

What he told us “The first time I was playing in a jazz trio, I knew almost nothing about jazz, but I told them, ‘Yeah, yeah, I know!’ And it worked, because I was doing it all by ear.”

Now Following Garnier’s death in 2000, Francois became president of Camac Harps.

Dee Carstensen • May/June 1999

Then The singer/songwriter/harpist was making waves in the folk/pop field.

What she told us “There’s that stigma of seeing a harp and thinking, ‘This is going to be sleepy’…[B]ut people get so excited when they see the harp being played in a way that they have never seen before.”

Now We tried unsuccessfully to contact Dee Carstensen for this article.

Volume 7

Heidi Lehwalder • July/August 1999

Then The protégé of Carlos Salzedo was directing the Fredericksburg Festival of the Arts, which she founded in 1988.

What she told us “After five months of no sleep with my third daughter, I was scheduled to play at the Kennedy Center. There I was, rocking her with one hand and practicing the Mozart with my right, then swinging the stroller around so I could practice the left hand.”

Now Recently retired from an illustrious performing career, Lehwalder now lives in Seattle where she devotes her time to teaching the next generation of harpists.

Becky Nissen • September/October 1999

Then Becky Nissen had just won first prize at Lyon & Healy’s International Jazz and Pop Harp Competition.

What she told us “I don’t use music on any of my jobs. For me to sit there with a music stand and play the same things in the same order, in the same key, night after night, would just bore me to tears.”

Now Nissen remains active as a church musician and freelance harpist, performing locally and at national harp gatherings.

20th century Issue • November/December 1999

Our last issue of 1999 featured profiles on the most influential harpists of the 20th century.

Millenium Issue • January/February 2000

Then Our first issue of the 21st century featured harpists who were taking the instrument to new heights, including jazz harpist Susan Mazer. She authored the owner’s manual on Lyon & Healy electric harps and started a company with her husband, Dallas Smith, called Healing HealthCare Systems.

What she told us “The challenge, for the present and the future, is to seek and deliver a level of excellence in performance that is beyond the issue of repertoire and style. It means that whether performing pop, jazz, Ravel, or Mozart, one must play the harp well. Technique needs to be invisible next to the power of the music.”

Now Mazer is now considered a leading expert on how the environment of care impacts patients’ experiences, and her company has taken off.

Gwyneth Wentink • March/April 2000

Then At age 18, Wentink had already won numerous international competitions, including the Israel Contest, and was touring Europe and America as a concert artist.

What she told us “When you play for an audience, there is a connection. You and the audience make something together.”

Now Wentink has continued a performance career, presenting a diverse array of classical and experimental programs around the world. Her latest album, The Alchemy, was released in May and features violinist Kala Ramnath and saxophone player George Brooks. A steadfast advocate for the arts, Wentink is founder of the think tank State of the United Arts and director of Stichting Harps.

Roberto Perera • May/June 2000

Then Perera, a native of Uruguay, was making waves with his innovative brand of Paraguayan harp music.

What he told us “I use the pinkie because you can do much more beautiful chords with five fingers than with four. I don’t know why, but for some reason God put the five fingers there. So, if you have five fingers, why not use the five fingers?”

Now Perera recently made the switch to lever harp after 40 years playing a diatonic Paraguayan instrument, and just last year released a new album, Siempre, Lo Que Quiero.

Volume 8

Corky Hale • July/August 2000

Then One-of-a-kind Hale had plenty to say about everything from James Dean to playing from memory; she had recently debuted her own cabaret show on stage.

What she told us “Don’t wear those old, long, flowered gowns. Wear a hip pants suit of some kind or look like you really know what you’re doing! I mean, otherwise, harpists never get beyond that dining room. I’m not saying that’s wrong, but if you want to do more, then you’ve got to get with it!”

Now Based in Los Angeles, Hale continues a busy and varied career. Her book, Uncorked! Music, Marriage, and Making a Difference, came out in June 2018.

Robbin Gordon-Cartier • September/October 2000

Then Robbin Gordon-Cartier built a thriving harp program at the Cicely Tyson School for the Performing Arts in East Orange, N.J.

What she told us “[The kids] come because they think the teacher is nuts. They really do. Some of them come because they think it’s going to be easy. And a lot of them come because they hear the kids, they hear them play on many different levels, and they think, ‘Oh, I can play like that.’”

Now Still teaching at the Cicely Tyson School for the Performing Arts, Gordon-Cartier is also a faculty member at Kean University. In May 2013, she received the NAACP Educator Award.

Rüdiger Oppermann • November/December 2000

Then German harpist Rüdiger Oppermann had traveled the globe playing 1700 concerts, making more than 30 recordings and shedding light on harp traditions around the world.

What he told us “We live in a very interesting time where people with different styles, from different worlds, meet for the first time and it’s amazing. I think the future of the harp is still to come.”

Now Oppermann has recorded more than 50 albums and completed over 30 tours with his eclectic and experimental music festival KlangWelten.

Catrin Finch • January/February 2001

Then Prince Charles had just appointed the Welsh harpist to the revived position of Royal Harpist.

What she told us “I don’t think [Prince Charles] will ring me up one afternoon and say, ‘Come play for dinner this evening.’ I normally play at more official occasions, which are planned out in advance. Literally, you just drive into Buckingham Palace and park your car outside and let yourself in.”

Now An extremely versatile soloist and recording artist, Finch released her latest album, Soar, in April 2018 with Senegalese kora player Seckou Keita.

Bernard Andrès • March/April 2001

Then Prolific harpist/composer Bernard Andrès had published over 50 works for harp in addition to playing with the Orchestre Philharmonique de Radio-France since 1969.

What he told us “The harp is not an instrument. It is music. It’s like an orchestra. When you play the harp, you have to think like you are a full orchestra with all the different tones and different sounds.”

Now Andrès continues his composing career, writing a wide variety of music for harpists of all abilities.

Letizia Belmondo • May/June 2001

Then Italian harpist Letizia Belmondo had just won the 14th International Harp Contest in Israel.

What she told us “To avoid becoming nervous before performing and play my best, I must be completely secure in everything I need to know by memory: notes, fingerings, and pedal changes. Then I can truly be involved in the music itself and feel comfortable.”

Now In 2011, Belmondo was named the harp professor at the Haute Ecole de Musique de Lausanne. Her most recent album is a collaboration with pianist Zsolt Czetner for the label Tactus.

Volume 9

Susann McDonald • July/August 2001

Then Susann McDonald was known throughout the harp world as the founder of the USA International Harp Competition and head of the Indiana University harp department—the largest in the United States.

What she told us “I learned from [Henriette Renié] the importance of attention to detail—that just one phrase, one nuance, a bit more time here—this is what can make an entire performance work. Her influence was enormous for me.”

Now The legendary McDonald still serves as the artistic director of the USA International Harp Competition and retired from teaching at IU in 2017.

Victor Salvi • September/October 2001

Then Harp builder Victor Salvi had recently established the Victor Salvi Foundation, an organization to promote the harp and promising harpists to a wider audience.

What he told us “One of the things we are doing is trying to find composers to write new works and add to the repertoire. The other object is to try to get the harp back on the concert stage…to give as many recitals as we can to some of the winners of major competitions.”

Now Before passing away in 2015 at age 95, Salvi saw his fledgling foundation become a leading force in promoting the harp and new music.

Remembering 9/11 • November/December 2001

Then Harpists shared their stories about how they were affected by the terrorist attacks of Sept. 11 and how their music helped them through the tragedy.

What she told us “The events of September 11 have given me a deeper understanding of the importance—no, the urgent necessity—that all of us who are artists, especially now, continue to do what we do.” —John Sheridan

Now Nearly 17  years later, harpists across the country still mark that dark day with memorial concerts and tributes.

Kathleen Wilson • January/February 2002

Then Charleston Symphony principal harpist Kathleen Wilson became the first South Carolinian and the first harpist to swim the English Channel.

What she told us “I’ve figured out that I can take a plan, and I can apply those same sort of characteristics that got me across the Channel and turn around and use them in the musical world.”

Now Wilson was named to the South Carolina Athletic Hall of Fame in 2018 and continues to play principal harp with the Charleston Symphony Orchestra.

Carol Robbins • March/April 2002

Then Carol Robbins had played with some of Hollywood’s biggest acts and had two CDs to her credit.

What she told us “The reason I moved from the piano to the harp was the sound. You know the feeling you get from playing a big chord? You’re immediately close—it’s such an intimate instrument. You can play the same chord on a piano and a harp and it’s not going to sound the same.”

Now Robbins’ latest CD, Carol Street, was released in 2016. She continues to play jazz with the Carol Robbins Trio and the Billy Childs Chamber Jazz Ensemble.

Jan Jennings • May/June 2002

Then Banker-turned-harpist Jennings built a thriving freelance business playing over 100 weddings a year, teaching, and publishing arrangements and books.

What she told us “It never fails to amaze me that people say, ‘I didn’t know you could play that on the harp’…[I]t really gets me when they say, ‘Can you play this rock tune?’ Give me a break! It has three chords in it! Who can’t play that?”

Now Based in Orlando, Jennings continues to perform, write music reviews, put out new arrangements, and give workshops around the country. In 2013, she established the Summer  Harp Academy with Elzbieta Szmyt, based in North Carolina.

Volume 10/11

Annabelle Taubl • July/August 2002

Then Fifteen-year-old Annabelle Taubl was getting national attention after winning the Young Professional Division AHS Competition the year before.

What she told us “My favorite thing about playing the harp is playing concerts. I love to play concerts. When I learn a new piece, I can’t wait to perform it.”

Now Taubl has been principal harpist with the San Francisco Ballet since 2014.

Lynne Aspnes • September/October 2002

Then Lynne Aspnes was busy teaching at the University of Michigan during the school year and Interlochen Arts Camp in the summer.

What she told us “I can’t imagine anything better to do with your life than teaching. It’s as if somebody has given me the chance to open doors for people. It doesn’t seem like work; it’s not work. It’s pure pleasure.”

Now In 2011, Aspnes founded the American Harp Center in Petoskey, Mich. as a space for harp students to hone their craft.

Linda Wood Rollo • November/December 2002

Then Linda Wood Rollo had just received The World Harp Congress’ highest honor—the Award of Recognition for Services to the International Harp Community—and had recently published the Harp Olympics series with Susann McDonald.

What she told us “Some people love competitions, and other people can be destroyed by them. It’s the responsibility of a teacher to give a student a healthy background of what a competition can be like, and to make sure they are mentally prepared.”

Now In 2016, Wood Rollo received a Lifetime Achievement Award from the American Harp Society. She continues to publish new volumes of music and teaching material used by harpists around the world.

Mary Jane and David D’Arville • January/February 2003

Then The D’Arvilles, who opened the Richmond-based Virginia Harp Center in 1997, had recently opened the doors to a second showroom in Haddonfield, N.J.

What they told us Mary Jane: “We both enjoy different aspects of the store. David enjoys the business aspect, and I enjoy the whole harp community aspect of it, but ultimately we both really enjoy the excitement people get when they find the harp of their dreams.”

Now With the opening of their third harp showroom in Georgia in 2007, the D’Arvilles have continued their mission of helping all harpists find harps.

ShruDeLi Ownbey • March/April 2003

Then Ownbey was the force behind the burgeoning harp community in Salt Lake City, teaching students from 5:45 A.M. until well after dark.

What she told us “I always make room for two or three 3-year-olds in my schedule. They keep me humble. They are totally honest. There are no secrets.”

Now She has now taught Suzuki harp for over 30 years and received a Lifetime Achievement Award from the American Harp Society in 2015.

Julia Cunningham • May/June 2003

Then Canadian harpist Julia Cunningham had just left her position with Salvi Harps in Italy to tour with the Rolling Stones, become a “soul” harpist with singer Solomon Burke, and record a CD.

What she told us “We are so lucky that our instrument can create things. There are a lot of us, but we are still a unique breed. I really think that you should not give up. Get out there. Not everybody is going to grow up to be a concert harpist. They don’t have to be.”

Now Still pursuing a diverse career, her latest recording, Harp Spa, is intended to help listeners meditate and find peace.

Volume 12

Kimberly Rowe and Hugh Brock • July/August 2003

Then Founders Kimberly Rowe and Hugh Brock celebrated a decade of Harp Column magazine.

What they told us Kimberly: “I think if we have caused people to think in a different way by sharing an opinion that they might not otherwise have thought about, then we have achieved our number-one goal.”

Now Still going strong with the addition of Harp Column Music and Harp Column Academy, Harp Column celebrates 25 years.

Wally Krasicki • September/October 2003

Then Harpmaker Wally Krasicki credited the committed family effort of Venus Harps as the reason his company continued to thrive despite an onslaught of new competition.

What he told us “If you’re not going to do something with passion, then don’t do it at all. It’s really that important. You’ve really got to love it. If you don’t love it, you don’t belong in it.”

Now In May Venus sold its last production harp and is transitioning its business to focus on harp repairs, maintenance, and used harps.

Mary Kay Waddington • November/December 2003

Then Mary Kay Waddington worked with the legendary Dr. Shinichi Suzuki to create the Suzuki harp method.

What she told us “Just like you don’t teach kids to read before you teach them how to talk, we do the same thing with music. There is a higher percentage of struggling readers in Suzuki students than in traditional ones. That’s because in traditional teaching, a student’s playing level is totally limited by their reading level.”

Now The Suzuki harp method has continued to thrive, thanks to Waddington’s 40 years of dedication. The fifth volume was published in 2015.

Varvara Ivanova • January/February 2004

Then  Russian harpist Varvara Ivanova had just won the 15th International Harp Contest in Israel.

What she told us “[When I’m performing] I only think about the music and the experience of playing.”

Now A devout Christian, Ivanova joined a monastic community and is now a nun.

Louise Trotter • March/April 2004

Then The International Society of Folk Harpers and Craftsmen had just bestowed its Lifetime Achievement Award on Louise Trotter.

What she told us “It has taken me a long time to realize that there comes a time when you quit playing notes and begin to play music. When I reach that plateau on the stage where you finally get so comfortable that what you’re playing really means a lot to you and you hate to see the program end—that is a good place to be.”

Now In 2014, Trotter was awarded another lifetime achievement award, this time by the Somerset Folk Harp Festival, and her arrangements are still extremely popular with harpists today.

Jana Bouskova • May/June 2004

Then Winner of the world’s two most prestigious harp competitions, Czech harpist Jana Bouskova was preparing to perform at the 2004 AHS Conference in Philadelphia.

What she told us “It’s always possible to have a family and to work and to still be on if you have a lot of help from your family. I am very proud of my family—they are so near to me and help me anytime I need.”

Now In high demand as a soloist, Bouskova also plays with the Czech Philharmonic Orchestra as their principal harpist and teaches at the Koninklijk Conservatorium Brussels.

Volume 13 • Ray Pool July/August 2004

Then Ray Pool spent his early career playing in the pits of over two dozen Broadway musicals and serving as resident harpist at the Waldorf-Astoria Hotel in New York. Pool was well-known in the harp world for his books of arrangements and workshops on theory and harmony for both pedal and lever harp. When we talked to him in 2004, Pool had just premiered Harp Sonnets, a new composition for harp and choir commissioned by the Victor Salvi Foundation.

What he told us “The first thing I did when I brought home my 36-string lever harp was play a chromatic scale in every key…I was convinced that somewhere along the way there was going to be something that was missing.”

Now After 37 years in the same apartment in New York City, Pool moved to Rochester, N.Y. “I’m living happily ever after—snow and all,” he says. While Pool thought he would retire in Rochester, that hasn’t happened yet. He continues to teach workshops around the country and has embraced the instructional mode of the day, Skype, where he teaches students all over the country and the world.

Emmanuel Ceysson • September/October 2004

Then Fresh off his gold-medal performance at the USA International Harp Competition (USAIHC), Emmanuel Ceysson was a harp star on the rise in 2004.

What he told us On his hopes for his harp future, “…I would like to do many solo concerts, but I cannot be happy without playing with an orchestra. That is too important to me. Someday, in the future, I would like to teach also.”

Now Ceysson’s win at the USA IHC, and successive first prize wins at the Young Concert Artists auditions in New York in 2006 and the ARD Competition in Munich in 2009 cemented his position among the top young harpists in the world. In 2015 Ceysson left his position with the Paris Opera Orchestra to become principal harpist with the Metropolitan Opera Orchestra in New York. Ceysson is on the faculty at the Mannes School of Music and recently released his latest recording, Ballad in Red.

Michelle Sell • November/December 2004

Then Michelle Sell defied labels when we profiled her back in 2004. With a wealth of experience recording, backing up big acts, doing harp therapy work, and playing virtually any genre of music, the Bay Area harpist was one of those musicians who could do it all—and do it well.

What she told us “I think I get bored really fast. I can see a project to the end, but I don’t have the best ability to stay with one thing for a long time. To sit and memorize a concerto, you know, I had a time when I was doing that, but I guess it wasn’t me.”

Now In 2016 Sell had three surgeries to repair injuries stemming from 50 years of harp playing. All the procedures were successful, and she has since started a pet care business that has made her fall in love with dogs, cats, geckos, tortoises, chameleons, and bunnies.

Catriona McKay •  January/February 2005

Then We traveled to Scotland to interview Catriona McKay, and hearing her play with fiddler Chris Stout made the trek worth it. McKay had just won the First Jakez François International Celtic Harp Competition, but she is equally adept on pedal harp.

What she told us “A lot of times I’ve been told that I’m playing this limited instrument…There’s another side of that, which is that this instrument, with these limitations, fascinates me and actually fuels a positive approach to the instrument.”

Now McKay and Stout just released their newest album Bare Knuckle, in December. Nominated for best duo in the BBC Radio Folk Awards, the pair continue to tour and record.

Bridget Kibbey • March/April 2005

Then Just a year and a half out of Juilliard, Bridget Kibbey characterized the career she was building as “eclectic,” and had just been awarded one of four 2004 Avery Fisher Career Grants given to promising young musicians.

What she told us “I don’t ever think about being the best…because I’ve never been the best, and that’s fine. In artistry and music making, everyone has their own niche. I think a healthy boundary is just to be your own best, because if you’re doing that, you are keeping your eye on the music, which is the important thing.”

Now Kibbey’s “eclectic” career is in full bloom 13 years after we interviewed her. She has racked up a number of awards and continues to champion new music commissions to expand the harp’s repertoire, which she travels the country performing. Kibbey also explores across musical genres, performing and recording chamber and solo works from other cultures and musical genres.

Elzbieta Szmyt • May/June 2005

Then Elzbieta “Ela” Szmyt, a native of Poland, chose the harp over a career in science after studying with Susann McDonald at Indiana University. With her magnetic personality and sense of humor, Szmyt, gained a reputation as fun-loving but tough teacher, working alongside her mentor and former teacher, McDonald, at Indiana University.

What she told us “I do have a very personal approach to my students. I feel like every student is different and every student needs something different from their teacher.”

Now Szmyt has been at IU for three decades, now, and her teaching legacy is cemented with several generations of harpists who have studied with her.

Volume 14

Peter Wiley• July/August 2005

Then The self-proclaimed “Harp Doc” Peter Wiley made the road service program a reality when he was a harp technician at Lyon & Healy. Wiley had left Lyon & Healy to start his own service business, where he spent an average of 150 days a year on the road regulating and repairing harps.

What he told us “A lot of harpists I work with are very tired of hearing me talk about strings, but the strings are the voice of the harp…”

Now Harp Doc Peter Wiley still spends much of his time traveling the world regulating and fixing harps.

Pat Wooster • September/October 2005

Then Pat Wooster’s name was synonymous with the harp scene when we talked to her in 2005. A past president and vice president of the American Harp Society, Wooster was the current chairman of the board of the World Harp Congress and a champion of the instrument in her city of Tacoma, Wash., and around the world.

What she told us “It’s been interesting for me. No two days are alike…every single day of my life is different.”

Now She received the AHS’s lifetime achievement award in 2009 and, in 2014, stepped down after 17 years as the head of the World Harp Congress. Wooster continues to teach and serve on the juries of regional, national, and international harp competitions.

Salzedo Harp Duo—Nancy Lendrim and Jody Guinn • November/December 2005

Then Nancy Lendrim and Jody Guinn met at the Salzedo Harp Colony in Camden, Maine, in the summer of 1979. Both trained in the Salzedo technique, they brought the harp duo music of Carlos Salzedo to a new generation of harpists when they released their first album in 2004 called Short Stories.

What they told us “The reason we call ourselves the Salzedo Harp Duo…[is because] we want to carry on his legacy, tradition, and method of playing the harp. It’s something we are both dedicated to and feel strongly about…” —Nancy Lendrim

Now The Salzedo Duo released a second album titled Simple Gifts in 2008. Lendrim and Guinn continue to perform and teach together, in addition to their positions as orchestral harpists in Ohio.

Henry Fanelli • January/February 2006

Then In January 2006, Phantom of the Opera surpassed Cats as the longest running musical on Broadway, and for all 18 years of Phantom’s run, Henry Fanelli was the harpist in the pit. But Phantom was just one of many shows Fanelli had played during his 40 years on Broadway.

What he told us “I think one of the reasons my career has been successful is that I’m one of the few people in the pit who really cares about what’s happening on stage. Sometimes I would ask the conductor, ‘What’s happening on stage when I play this glissando?’ And they’ll tell me what’s happening, and then I have a concept of what it should sound like.”

Now In January 2018, Phantom of the Opera celebrated its 30th anniversary on Broadway, and Henry Fanelli was behind the harp in the pit as he has been since 1988.

Gráinne Hambly • March/April 2006

Then Irish harpist Gráinne Hambly was gaining quite a following in the United States for her approachable style in concerts and workshops. But growing up in the Irish tradition where music is usually played by ear, Hambly learned to adjust to an American audience who was more paper-trained.

What she told us “I try to make people aware that there is no one way of doing things. There are as many ways as there are people, so you just choose your own way and have fun with it.”

Now Hambly’s playing and teaching is more in demand than ever. Together with her husband, Scottish harpist William Jackson, Hambly frequently tours at home and abroad, bringing traditional Irish music to new audiences.

Naoko Yoshino • May/June 2006

Then Widely regarded as one of the best harpists of her generation, Naoko Yoshino was preparing to perform on the opening recital for the AHS National Conference in San Francisco when we interviewed her in 2006. Twenty years earlier, Yoshino had first been invited to perform for the AHS Conference after becoming the youngest winner of the International Harp Contest in Israel in 1985 at the age of 17.

What she told us “When you are on stage with the harp and with the music and trying to do the best performance you can, it really doesn’t matter who you are playing for.”

Now Yoshino celebrated 30 years of harp playing with an anniversary recital series in Tokyo over the last three years. Her latest recording Harp Recital 3, was released last year on the Grazioso label.

Volume 15

Deborah Henson-Conant •  July/August 2006

Then Deborah Henson-Conant became the first harpist we featured on the cover of Harp Column twice in 2006. DHC, as she is known, had reinvented herself many times over since our first interview with her in 1995. She had just released her newest project—Invention and Alchemy with the Grand Rapids Symphony—on DVD and CD.

What she told us “As I got more into it, I just realized that there is no other instrument I could have chosen that would have had more headroom when it comes to expression and storytelling.”

Now Invention and Alchemy was nominated for a Grammy in 2007 for best crossover classical album. DHC continues to reinvent herself with new performance and educational projects.

Andreas Vollenweider• September/October 2006

Then The Swiss harpist rose to fame with his unique style of new age music in the 1980s. After taking some time off to be with his family, Andreas Vollenweider was back on the performing circuit, set to release a new album of Christmas music in the fall of 2006.

What he told us “I think that music is not just acoustic decoration. Music is a language that allows us to communicate with elements or dimensions of ourselves that we normally can’t get to.”

Now In 2012 Vollenweider received the Swiss Music Award for Outstanding Achievements in his career. According to his latest update to fans last fall, he has a major project in the works with details coming soon.

Ann Yeung • November/December 2006

Then Ann Yeung was building a vibrant harp program at the University of Illinois at Urbana-Champaign and was heavily involved in the harp community on the global stage as the editor of the World Harp Congress Review.

What she told us “Having a strong sense of yourself and a sense of humor is important to enjoying your life as a harpist.”

Now Yeung’s harp program at Illinois has grown to be one of the premier destinations for harp study in the country. Yeung stepped down from the WHC Review in 2014, but continues to serve on the WHC board of directors. Yeung also led the AHS from 2014–2016 and continues to serve on its board of directors.

Sivan Magen • January/February 2007

Then Sivan Magen had just become the first Israeli to win the prestigious International Harp Contest in Israel.

What he told us “…I was nervous—this was one of the hardest experiences of my musical life.”

Now Magen has firmly established himself among the best harpists in the world in the decade since winning the Israel competition. He has recorded several albums and is a frequent performer of both solo and chamber music around the world. Most recently he became the principal harpist with the Finnish Radio Orchestra in Helsinki.

Joanna Newsom • March/April 2007

Then Joanna Newsom was the rarest of harpists—she was better known outside of the harp world than inside when we talked to her in 2007. Popular in indie and folk music circles, the singer-songwriter harpist was touring to promote her latest album Ys.

What she told us “I still have great faith in the idea that you have to do what you love, no matter what. And if what you love doesn’t fit inside any of the life paths or career paths that you’ve witnessed, it’s still okay.”

Now Newsom has arguably achieved more mainstream success than any other living harpist. Her 2015 album Divers went to number one on the Billbaord Alternative Albums chart, and she performed cuts from that album on the late night talk shows The Late Show with Stephen Colbert and Jimmy Kimmel Live!

Marie-Pierre Langlamet • May/June 2007

Then Marie Pierre-Langlamet had achieved accolades in her field—studying with the world’s best teachers, winning the most prestigious competitions, landing the principal harp position with the Berlin Philharmonic—but remained the same grounded, unpretentious music lover she had always been.

What she told us “I find that if you really want something musically, somehow you transcend the limits of the instrument. You go beyond, create an illusion.”

Now This fall Langlamet will mark her 25th year with the Berlin Philharmonic.

Volume 16

Lisa Wellbaum • July/August 2007

Then Retiring Cleveland Symphony Orchestra principal harpist Lisa Wellbaum reflected on 33 years with one of the country’s most renowned groups.

What she told us “My most memorable experience was playing Mahler’s Eighth Symphony at Carnegie Hall with Robert Shaw. He had all the choirs all in different parts of the hall. It was just thrilling to hear that kind of a sound.”

Now Wellbaum has returned to the CSO in almost every season since she retired to sub for current principal harpist Trina Struble. She says she is enjoying retired life, spending much of her time traveling.

Maria Krushevskaya • September/October 2007

Then Twenty-three year old Maria Krushevskaya had just made history, becoming the first Russian harpist to win the USAIHC.

What she told us “[The competition] was difficult, even maybe more difficult than three years ago when it was my first time, because now I understand that the enemy number one is…not the other participants, but me.”

Now Following her gold-medal win in Bloomington, Krushevskaya recorded two CDs and was the soloist with the Bolshoi Theatre Orchestra. In 2013 she became the solo harpist with the Mariinsky Orchestra where she continues to play.

Maeve Gilchrist and Rizpah Lowe • November/December 2007

Then Maeve Gilchrist and Rizpah Lowe had just won the lever and pedal divisions (respectively) of the Lyon & Healy Jazz and Pop Harp Competition.

What they told us Maeve on growing as a musician: “I think it’s about trying to not let fear get in the way…knowing that you’re going to have to embarrass yourself at some point to get to that next step.” Rizpah on the harp’s visibility: “The harp can go anywhere. It needs to be seen; it needs to be more visible, and that’s the most important thing [for us].”                                      

Now Gilchrist was the first lever harpist to join the faculty of the Berklee College of Music in Boston, and is currently a visiting instructor there. She has released five albums to date, and last year premiered her first concerto for lever harp with the Western Piedmont Symphony. Lowe won a Grammy in 2017 and continues to perform and travel both as a solo act and Rizpah Ecentrica. She is working toward several advanced degrees and creates free meditation music on her YouTube channel.

Elizabeth Fontan-Binoche • January/February 2008

Then The protégé of French harp legend Marcel Tournier, spent her life performing, teaching, and sharing her love of music with others, and at age 81, was showing no signs of slowing down.

What she told us “…I feel that we have a mission to give what somebody has given to us, in my case Marcel Tournier, to others.”

Now Age continues to be simply a number for Fontan-Binoche, who, now in her 90s, continues to teach near her home in Nice.

Gayle Levant • March/April 2008

Then Studio harpist Gayle Levant had played on countless movie soundtracks, television shows, recordings, and live concerts during her career in Hollywood.

What she told us On what it takes to do studio work, “…you have to be a good sight-reader. You have to be quick. You have to have good technique. You have to…be aware of what the composer’s trying to do and give him the best you can, although you may have to change the part.”

Now Levant’s work in Hollywood hasn’t slowed in the last decade. She continues to record with the biggest names in music and the movies. She recently played on Paul McCartney’s latest album, and counts her work on Michael Giacchino’s Academy Award winning score for the film Up as one of her highlights in the last 10 years.

Ann Hobson Pilot • May/June 2008

Then After 40 years with the Boston Symphony Orchestra, Ann Hobson Pilot had announced her retirement, and the orchestra announced it was commissioning legendary film composer John Williams to write a concerto in her honor, to be premiered the following year.

What she told us “…once I began the harp, I loved it immediately. I liked the fact that you could make music with your fingers in direct contact with the strings, and therefore you could control the tone and the dynamics and all much more, I think, than you could on a keyboard instrument.”

Now Hobson Pilot premiered Williams’ concerto, On Willows and Birches in October 2009. Hobson Pilot was honored by the League of American Orchestras with its gold baton award in 2017, and this past spring she gave the commencement address at her alma mater, the Cleveland Institute of Music.

Volume 17

Cristina Braga • July/August 2008

Then Brazilian harpist Cristina Braga wowed audiences with her command of classical technique and Bossa Nova style.

What she told us “I try every second to remind myself that our profession is about sound and feelings, not strings and pedals.”

Now Braga continues to perform and teach in Brazil. She has amassed 17 recordings, including her most recent album Samba, Jazz and Love in 2013. In 2014 she and husband Ricardo Medeiros opened a garden for concerts called Uaná Etê, and a year later started a nature and art festival called FLOR Atlântica.

Sam Milligan • September/October 2008

Then Sam Milligan created some of our most popular harp music collections, and he was about to release a third volume to his ubiquitous Medieval to Modern series.

What he told us “I love [the harp], and I think everyone should play it. And that’s been my focus, really, is to try to influence more people to love it as much as I do.”

Now Milligan has revived an interest in early music from medieval times to the colonial Spanish New World, and has commissioned harp makers for several instruments on which to play this music. He is heavily involved in the Historical Harp Society and continues to give workshops on early music.

Lisa Lynne • November/December 2008

Then This heavy metal band bassist taught herself how to play the harp and successfully carved out her musical niche, becoming the best selling Celtic (lever) harpist in the U.S. and touring 40 weeks a year for the past 15 years.

What she told us “…I knew that this instrument had a lot of magic, a lot of power, because it transcended all lines, all varieties of people.”

Now Lynne teamed up in a duo with fellow Celtic harper Aryeh Frankfurter and the two have since married. They also tour in a trio with wire-strung harpist and storyteller Patrick Ball. She has also released a second volume of original compositions and several albums in the last 10 years, created in her own recording studio.

Julie Smith Phillips • January/February 2009

Then The newly-appointed principal harpist with the San Diego Symphony achieved a career’s worth of accolades before the age of 30, which Julie Smith Phillips attributes to setting goals and sticking to them with good, old-fashioned hard work.

What she told us “…it really gears me up to work hard. I feel like it pushes me to be and do everything I can on the instrument.”

Now The San Diego Symphony recently commissioned a new harp concerto for Phillips. She performs with the Myriad Trio and taught at Arizona State University for several years. She and her husband have two small children, which Phillips says are her most important projects to date.

Carrol McLaughlin • March/April 2009

Then Carrol McLaughlin had just released her book, Power Performance, and was honored with the distinguished professorship award from the University of Arizona, where she led the harp department and harp ensemble she created, HarpFusion.

What she told us “My teaching is simply saying, ‘Here is who I am, here is what I do. If it serves you, if it uplifts you, if it makes you a better harpist, if it fulfills your passion in your life, I am honored to pass it on to you.’”

Now Sadly, Carrol McLaughlin passed away on March 10, 2018, at her home in Tucson, Ariz. You can read a memorial tribute to her in the May/June 2018 issue of Harp Column.

Skaila Kanga • May/June 2009

Then In 42 years of film recording, Skaila Kanga could be heard on over 300 soundtracks, but that was only part of her fascinating career, which also included teaching at London’s Royal Academy of Music.

What she told us “My whole idea when I started the harp was that I wanted to do as many different things as possible.”

Now Kanga continues to record and teach all over the world. She was honored in 2010 with the title of professor emerita of harp by the Royal Academy of Music.

Volume 18

Alfredo Rolando Ortiz • July/August 2009

Then Alfredo Rolando Ortiz was a Cuban-born, Venezuelan-raised, Colombian-trained medical doctor turned wildly popular Paraguayan harpist.

What he told us “To me, one of the most fun things is when I hear people [say], ‘I never knew harp could do this; I never knew the harp would be so much fun!’”

Now Ortiz says his life continues being woven around the harp with just a few important changes. He reduced his private teaching to have more flexibility traveling; he has composed more music for harp ensembles, and his wife now travels with him more, creating and selling her custom harp jewelry. Last year, Ortiz, who was born in Cuba, returned to the island nation for the first time in 57 years when the Chicago Harp Ensemble performed several of his works at the Teatro National in Havana.

Floraleda Sacchi • September/October 2009

Then The Italian harpist was relatively unknown in the United States, despite being well-known in Europe for her recordings with a major label, large catalog of transcriptions, and the Lake Como Music Festival, which she directed.

What she told us “I think you have to choose what interests you. I never wanted to be in an orchestra, so I always spent my time thinking about what to play and trying to promote myself.”

Now Sacchi continues her prolific career, transcribing, recording, and performing. In 2017, Sacchi premiered a new harp concerto by Claudia Montero. It was the third harp concerto Sacchi had premiered since 2013.

Judith Liber • November/December 2009

Then Judith Liber was preparing for the 50th anniversary of the International Harp Contest in Israel, of which she was the longtime director. After retiring from a fascinating career with the Israel Philharmonic Orchestra, Liber was turning much of her energy to teaching, having just released her own method book.

What she told us “Leonard Bernstein was my main teacher. I learned more about music from him than anyone or in any school.”

Now Liber continues to enjoy retirement, spending time with her grandchildren and coaching a few elite harp students.

Israel Contest Finalists • January/February 2010

Then The 17th International Harp Contest in Israel did not award a first prize to any of its three finalists, so we tripled our coverage, interviewing all three: Ina Zdorovetchi (second prize), Remy van Kesteren (third prize), and Emily Levin (finalist).

What they told us Ina Zdorovetchi on the jury’s decision to not award a first prize: “We were told that no one was outstanding enough, and this was very difficult for all of us. But, in my perspective, perhaps the jury had unrealistic standards, and they maybe expected perfection that cannot be achieved—at least not under such stress.”

Now Zdorovetchi is principal harpist with the Portland (Maine) Symphony Orchestra, Boston Pops Esplanade Orchestra, and Boston Lyric Opera. She also heads the harp department at the Boston Conservatory at Berklee where she received the 2017 outstanding music faculty of the year award. Van Kesteren went on from Israel to establish the Dutch Harp Competition and Festival in 2010. He also won the gold medal at the 9th USA International Harp Competition in 2013. Levin also competed in the 2013 USA IHC where she won the bronze medal.

Julie Spring • March/April 2010

Then At 24-years-old, Julie Spring was in her second full season as principal harpist with the Toronto Symphony Orchestra.

What she told us “…in the end, it’s all about whether you fit into that specific group’s idea of ‘harp sound.’ It doesn’t matter if you were note-perfect and phrased beautifully—they want to see how you fit with them.”

Now No longer with the Toronto Symphony, Spring recently joined the Chicago Harp Quartet, is lead instructor of the Chicago Harp Ensemble, and is a middle school orchestra director.

Catherine Michel • May/June 2010

Then Catherine Michel was a product of the most traditional classical harp lineage, but found her musical voice in long-forgotten centuries-old scores and 20th century songs for the stage.

What she told us On her studies with Pierre Jamet, “I was so respectful to Monsieur Jamet that I would never come not knowing my lesson absolutely by memory.”

Now Michel continues to teach at Zurich University and to give masterclasses around the world.

Volume 19

Jung Kwak • July/August 2010

Then Korean harpist Jung Kwak trained in America, but had returned to Seoul where she was making waves both as a classical harpist and as crossover artist Harpist K.

What she told us “…I have students who come over and they want me to teach the electric harp, but I tell them, ‘First you need to have a great classical background in order to really do the stuff that I’m doing.’”

Now Kwak continues to be a harp force in South Korea and beyond. She is co-director of the Korea International Harp Competition, which held its second triennial contest in March, 2018.

Agnès Clément • September/October 2010

Then Twenty-year-old French harpist Agnès Clément had just won the gold medal at the 8th USA International Harp Competition in Bloomington, Ind.

What she told us Advice for future competitors: “The most important thing is the memorization part—to be able to be totally free when you’re on stage, and to not worry anymore about the text, but just how to express the music.”

Now In 2016, Clément won the ARD Music Competition in Munich. She has been principal harpist in the Brussels Opera La Monnaie Orchestra, and frequently gives solo performances and masterclasses around the world.

Maria Luisa Rayan • November/December 2010

Then Argentinian harpist Maria Luisa Rayan was returning to her Latin American roots, having produced five major arrangements all with a connection to her musical upbringing.

What she told us “…you really need to feel the music in your body, and that’s how you express it; you breathe every accent.”

Now Rayan continues to produce new arrangements for harp. She is co-director of the Korea International Harp Competition, and travels the world performing and teaching.

Edmar Castaneda • January/February 2011

Then Colombian harpist Edmar Castaneda had made the mainstream jazz world sit up and take notice, and was about to release his first solo album.

What he told us “The way you play the Colombian harp…is very percussive…when I was 7 I started dancing. So I think that’s why I have the rhythm. It’s very important for me. And so is playing the maracas. So it’s there always, inside of me.”

Now Castaneda travels the world performing on a Llanera Colombian harp, designed and named after him. His newest album Hiromi and Edmar Castaneda live in Montreal was released last fall.

Jessica Zhou • March/April 2011

Then Jessica Zhou was in her second full season with the Boston Symphony Orchestra, filling the big shoes left by Ann Hobson Pilot’s retirement.

What she told us On auditions, “When I feel comfortable with the excerpts I have to play, once I’m on the stage, I’ll feel that I am just playing another time in my living room in a practice situation.”

Now Still with the BSO, Zhou also teaches at the New England Conservatory of Music, Boston University, and the Tanglewood Music Center.

Elizabeth Cifani • May/June 2011

Then After 42 years, Elizabeth Cifani was retiring from the Chicago Lyric Opera Orchestra.

What she told us “…you should sound like a singer, and that’s hard. One of the things I always did was I always looked for the sweet spot on the string to match that particular singer’s voice.”

Now After retiring from the Lyric Opera, Cifani continued to teach at Northwestern University until her retirement at the end of 2017, after 36 years at the school.

Volume 20

Claire Jones • July/August 2011

Then The official harpist to HRH the Prince of Wales, Claire Jones, shared the scoop on playing for the recent royal wedding of Prince William and Kate Middleton.

What she told us “I was so thrilled and honored because it is the biggest engagement I have had as Royal Harpist, and, as my term is coming to an end soon, it was just the icing on the cake!”

Now Jones released her latest album This Love last year and will tour the U.S. this summer.

Janet Harbison • September/October 2011

Then The most accomplished Irish harper of her day, Janet Harbison made raising the Irish harp’s profile her life’s work. She directed the Irish Harp Orchestra and even helped design her “dream instrument” with Camac harps, which was named after her.

What she told us “…that for me is the new challenge—to inspire, enthuse, invigorate the young folk to enjoying the buzz of the creative and social aspect of session playing.”

Now Harbison’s Irish Harp Centre continues to teach the next generation of Irish harpers under her guidance.

Alice Giles • November/December 2011

Then Australia’s Alice Giles became the first harpist to perform in Antarctica during a journey to celebrate the centennial of the first Australian Antarctic expedition.

What she told us “I actually did take the big harp out after the concert, onto the ice…I allowed a lot of time in the transition shed before and after, and by the time I got it back and it had been sitting for a while, I went to play it; it was perfectly in tune. I couldn’t believe it, and it had been -15 degrees, with wind…-30 degrees.

Now Giles continues to perform and teach around the world. She is also on the faculty at the Sydney Conservatorium of Music and the Australian National Academy of Music in Melbourne.

Remy van Kesteren • January/February 2012

Then At the ripe old age of 22, Remy van Kesteren was busy getting ready for the second Dutch Harp Festival and Competition, which he founded in 2010.

What he told us “Because competitions are such a huge deal for the competitors—they prepare such a long time—I felt that our competition should be more focused on the competitors…we wanted to create a week that is interesting even for the competitors who are eliminated in the first round…That’s why we came up with the idea of combining the competition with a festival.”

Now Under van Kesteren’s leadership, the Dutch Harp Festival and Competition has continued to evolve, giving contestants complete artistic freedom to design their own programs, and allowing all types of harps—not just classical pedal harp. It held its fifth edition in May under a new name—the World Harp Competition.

Karen Vaughan • March/April 2012

Then Karen Vaughn had just become head of the harp department at the Royal Academy of Music (RAM) and the associate artistic director of the World Harp Congress, in addition to her work as co-principal with the London Symphony Orchestra.

What she told us“I think that if you become a professional musician, you have to accept that there are times when everything except your career is on hold, because you can’t half be a musician.”

Now Vaughan continues in all her roles with the RAM, WHC, and symphony. She also travels the world teaching and adjudicating competitions.

Caroline Lizotte • May/June 2012

Then Canadian Caroline Lizotte had found success both playing and composing for the harp.

What she told us “I intend to be both performer and composer, because I find that the more and the better I perform, I become a better composer.”

Now Lizotte continues to compose, teach, and perform in Quebec.

Volume 21

Laura Sherman • July/August 2012

Then Sherman had been the harpist for Wicked on Broadway since it opened in 2003 and had just launched her own publishing company with a number of her transcriptions of Bach works.

What she told us “In the beginning we had no idea [Wicked] was going to be such a hit; we got mixed reviews, and so we though, ‘Oh, we’ll be there six months total.’ But we’re about eight and a half years in now, and it really is and continues to be an exciting show to be involved with.”

Now Sherman and Wicked are now in their 14th year on Broadway. In 2015, she played on the cast recording of Hamilton and also performed on Meredith Monk’s latest recording in 2016. Sherman developed an obsession with Baroque triple harp, traveling to Italy to study the instrument. She also served as interim editor of the American Harp Journal during 2017.

Duo Scorpio—Katie Andrews and Kristi Shade • September/October 2012

Then Katie Andrews and Kristi Shade formed Duo Scorpio out of a desire to promote and expand the original harp duo repertoire. The duo was about to release its debut album Scorpion Tales with the financial support of a wildly successful Kickstarter campaign.

What they told us Katie Andrews on the duo’s sound: “Sometimes listeners can’t even tell who’s playing which part, and the two harps just blend in and out of each other. It’s almost like one instrument.”

Now Duo Scorpio commissioned a new work by Paul Patterson, Scorpions, which they premiered at the World Harp Congress in Hong Kong in 2017. The duo also released its second album last year titled Two Bridges.

Mary Radspinner • November/December 2012

Then For nearly two decades, Mary Radspinner’s retail harp store Melody’s Music and Afghan Press publishing company had been connecting her with harpists around Houston and across the country.

What she told us “I got to know all the people who own harp stores; I got to know so many wonderful performers, and just made so many friends…I think it’s like having an extended family…”

Now Radspinner splits her time between Houston and Milwaukee to be closer to family. She continues to teach harp and piano and has relearned the organ. She says she remains committed to finding ways to help average public school students receive harp training.

Anaïs Gaudemard • January/February 2013

Then Twenty-one-year-old Anaïs Gaudemard won first prize in the 18th International Harp Competition in Israel, which went on as scheduled despite the threat of war looming over the competition until ceasefire was declared the night before the competition was set to begin.

What she told us “I am especially drawn to contemporary music for the harp. I believe this is the future for classical harp.”

Now Gaudemard has won several international awards since the 2013 Israel Contest. She released her debut album in 2016 and maintains a busy schedule performing as a soloist with orchestras around the world.

Benjamin Creighton-Griffiths • March/April 2013

Then Wunderkind turned teen-phenom, Benjamin Creighton Griffiths had been on the international harp scene for nearly his entire life. Classically trained, he was branching out into jazz and publishing some of his arrangements.

What he told us On his most memorable performance, “I played at Clarence House, at a reception that Prince Charles hosted…I got to play background music for Prince Charles and I got a look around Clarence House and I got to play the royal harp as well.”

Now Creighton-Griffiths is in demand as a jazz and improv harpist. He gives concerts and workshops around the world, and has three albums to his name, including his most recent release 1 Man Band, released in 2017.

Marguerite Lynn Williams • May/June 2013

Then Marguerite Lynn Williams had just completed her second full season and received tenure with the Chicago Lyric Opera Orchestra.

What she told us “Being in an orchestra pit is different than being on stage. I’ve found I’ve developed my listening skills a lot further. I need to be able to hear the singer breathe in to know when they’re going to start a note, and I have to be able to do that practically blind because I can’t see the other  person I am playing chamber music with.”

Now Williams has established a strong teaching role in Chicago—she teaches at Roosevelt University and Northwestern University, and is the founder and director of the Chicago Harp Ensemble.

Volume 22

Erin Hill • July/August 2013

Then New York City harpist Erin Hill left a successful stage acting career largely behind to pursue her eclectic musical interests.

What she told us “Singing, writing songs, and playing the harp are my three favorite things in this life. I do also love acting, but not as much as my three favorite things.”

Now Hill just signed her first record deal with Cleopatra Records and has released three albums—Harp Town, Christmas Harp, and a re-release of Girl Inventor. She has made several television appearances and also played and sang for Michelle Obama and Hillary Clinton.

Remy van Kesteren • September/October 2013

Then Dutch harpist Remy van Kesteren had just won the gold medal at the 9th USA International Harp Competition.

What he told us “There was a time that I was so frustrated that I was not a pianist or a violinist. But at some point I said, ‘Yeah, okay, harp is my instrument. I need to make music, and happened to sit behind a harp. So I do it on a harp.’”

Now Van Kesteren continues to explore storytelling with the harp, performing and collaborating throughout the world. His latest album, Tomorrow Eyes, features original music, and he recently composed and premiered a ballet with the Dutch National Ballet.

Allegra Lilly • November/December 2013

Then Allegra Lilly found success in her sixth professional audition, winning the coveted principal harp position with the St. Louis Symphony Orchestra.

What she told us On auditioning: “Not putting pressure on each audition has really helped. It’s so difficult as a harpist because we have so few auditions…There will be more auditions, always, and no one is going to take away your harp-playing privileges if you go in and completely blow it.”

Now Lilly was named principal harp faculty at the Brevard Music Center in 2017 and is a frequent chamber music and orchestral coach.

The Fleischer Family • January/February 2014

Then The first family of harp, the Fleisher family, made history when members of the family composed, performed, and conducted a four-harp concerto.

What they told us Dickie Fleisher on how the performance came about: “[Leon Fleisher] suggested…that a four-harp concerto be commissioned from his nephew, Nicholas Jacobson-Larson [a prominent film composer in Hollywood], for the 25th anniversary [of the Naples Philharmonic] and the concert be a real family affair with his three children and his daughter-in-law featured as the harp soloists and his wife [Katherine Jacobson Fleisher] playing the Mozart Concerto for Two Pianos with him.”

Now Members of the Fleisher family continue making music all across the country.

Germaine Lorenzini • March/April 2014

Then Certainly one of the most influential harp teachers of the last 50 years, Germaine Lorenzini gave us a glimpse into her uniquely French musical upbringing and pedagogy.

What she told us “Teaching is not just something I enjoy or find interesting—it’s much more than that. I am passionate about teaching. To be able to transmit your own experience and also to discover a new person, to come to understand each of your pupils psychologically, to respect them and help them develop and evolve as individual musicians—these are incredible privileges.”

Now Sadly, the harp world lost Germaine Lorenzini in 2017. Her former student, Isabelle Moretti, wrote a tribute to the beloved teacher in the May/June 2017 issue of Harp Column.

Antonio Forero and Lyon & Healy Harps • May/June 2014

Then Antonio Forero was leading Lyon & Healy Harps into its 150th birthday celebration in Chicago.

What he told us On the challenge of making a durable instrument: “You’re working with natural materials, and you know that the best instrument is made when you go to extremes…when you maximize everything, you maximize the sound.”

Now Forero was succeeded by Marco Salvi as president of Lyon & Healy in 2015.

Volume 23

Motoshi Kosako • July/August 2014

Then Japanese jazz harpist Motoshi Kosako had left his home and career in public health in Tokyo and established himself as one of the most sought-after jazz harpists in the United States.

What he told us “In the big picture, I think I am using music as one of many activities to make myself a better person, both spiritually and physically.”

Now Kosako is still living on his farm, “striving for a good balance among natural environment, human life, and artistic productivity.” He is performing at the AHS National Conference in Redlands, Calif., this summer.

Stephanie Curcio • September/October 2014

Then Stephanie Curcio had become a fixture in the harp community for her instructional Student Harpist series and numerous ensemble and solo arrangements, which included over 90 works.

What she told us “It’s such a careful balance between working very hard, but not to the point that you stop loving what you’re doing. And you can’t be afraid to fail. We all will.”

Now Despite marking her “pseudo-retirement” back in 2014, Curcio remains quite busy. She teaches a few select students and is working on a harp ensemble commission from the Central Florida chapter of the American Harp Society.

Paula Page • November/December 2014

Then Longtime Houston Symphony harpist Paula Page retired after three decades as principal harpist.

What she told us “I knew I wanted to play in an orchestra, and I worked really hard and took auditions and was very fortunate to have an orchestra career. It’s not that simple anymore.”

Now Page continues to teach at Rice University, the University of Houston, and Round Top Music Festival following her retirement from the Houston Symphony.

Ray and Sue Mooers • January/February 2015

Then Ray and Sue Mooers started their Dusty Strings instrument-making business out of their basement back in the late 1970s. Thirty-five years and 35,000 instruments later, Dusty Strings is known around the world for the quality of their lever harps and hammered dulcimers.

What they told us Ray Mooers on their motivation: “This was like the classic entrepreneurial spirit happening. It was a drive to create things with our hands to sell them to people who appreciated the work.”

Now The Mooers continue to innovate at Dusty Strings, introducing their newest harp model—the Serrana 34, a mariachi-inspired harp—in 2017.

Isabelle Perrin • March/April 2015

Then Universally admired for her musicianship, French harpist Isabelle Perrin could easily have been named harp ambassador to the world, having studied both in France and the U.S., leading the World Harp Congress as its artistic director, and having recently moved to Oslo, Norway, where she lived and taught.

What she told us “…when we are musicians deep inside, whatever instrument we play, we are musicians with our instruments, and we are also musicians without, whatever happens.”

Now Perrin remains artistic director of the World Harp Congress, where she led the group’s 2017 gathering in Hong Kong. She continues to teach at the university in Oslo and give masterclasses around the world.

Anneleen Lenaerts • May/June 2015

Then Principal harpist with the Vienna Philharmonic, Anneleen Lenaerts managed to pursue outside projects and maintain a sunny disposition, despite a grueling performance schedule with one of the world’s top orchestras.

What she told us “It sounds maybe strange, but it was never my goal to be in an orchestra because I love so much to do other things. But this is, of course, a fantastic chance musically, though it is important as well for me to have my freedom next to the orchestra.”

Now Lenaerts continues to be one of the most sought-after soloists in the world. She just recorded her newest CD for Warner Classics with the Brussels Philharmonic.

Volume 24

Sunita Staneslow • July/August 2015

Then Sunita Staneslow was a harpist as versatile as they come. Living in Israel, raised in the U.S., Staneslow had traveled the world, giving her music a global perspective.

What she told us “Find what you love. Play music you love. Play with people you love. I started playing music I really felt passionate about, so I became a better musician.”

Now Staneslow’s biggest changes have been away from the harp since 2015. She has become a grandmother and is dividing her time between Israel, Scotland, and San Diego to be near her family. She continues to arrange music and give Skype lessons, as well as holding boutique harp retreats along with Celtic harpist Kim Robertson.

Katryna Tan • September/October 2015

Then Katryna Tan had built a harp empire in Singapore, including a studio of 100 students. She had recently staged an original harp musical titled Pluck with 30 students, and started the Singapore HarpFest.

What she told us “I think my background as a designer has trained me to think in terms of designing what you want to do. I know in my mind what I would like to do and what I am capable of, so I pursue it and I have to trust myself that I can make it happen.”

Now Tan created a sequel to the harp musical Pluck and continues to lead her Rave Harpers student ensemble in addition to her solo and chamber music performing career.

Kathleen Bride • November/December 2015

Then In more than a quarter century at the Eastman School of Music, Kathleen Bride—a protégé of Marcel Grandjany—had left an indelible mark .

What she told us “…never go into a situation thinking that you know everything, because there is always something to learn.”

Now Bride continues to teach at Eastman and is working on a book about her teacher and mentor, Marcel Grandjany.

Emily Levin • January/February 2016

Then Emily Levin was on fire, having just won two major orchestra auditions—the Santa Fe Opera and the Dallas Symphony Orchestra—in the space of two months, accepting the position with the DSO.

What she told us “Being able to play music with people who are talented and care about the music they play—there is nothing like it.”

Now Levin is a founding member of the Dallas Harp Quartet and a 2016 Astral Artist audition winner. She released her debut album Something Borrowed in 2017, which earned her the Young Artist of the Year award from the Classical Recording Foundation.

Yuying Chen • March/April 2016

Then Chinese harpist YuYing Chen had just won the 19th International Harp Contest in Israel.

What she told us “I like to express music from my heart. I never try to play forte here or piano there, I just follow my heart. I tell a story when I play and let the audience enjoy the music.”

Now Chen performed at the 2017 World Harp Congress in Hong Kong. She continues to raise her young daughter and play principal harp with the Shanghai Philharmonic.

Susann McDonald • May/June 2016

Then America’s grande dame of the harp Susann McDonald was enjoying a landmark year, which included the 10th USA International Harp Competition that she founded in 1989, a tribute concert in  her honor at the American Harp Society Conference, and her 80th birthday.

What she told us “I think one of the most important things a teacher can do is to encourage. Maybe lift their sights a little higher to hopefully inspire them to do a little bit more, get better, develop better tone quality and musicianship.”

Now Shortly after our interview, McDonald retired from a long teaching career at Indiana University. She continues to be the artistic director of the USA International Harp Competition, which will hold its 11th contest in 2019.

Volume 25

Emmanuel Ceysson • July/August 2016

Then Ceysson had just received tenure after his first full season as principal harpist with the Metropolitan Opera Orchestra.

What he told us “The reason you should do competitions…is as a personal challenge, I think. It’s a way to overcome your personal fears and flaws. I think working on those should be the main point of competing.”

Now Ceysson is still in the pit at the Met and recently released his latest album, Ballad in Red, on the Aparte label.

Katherine Siochi • September/October 2016

Then Katherine Siochi had just become the first American to win the USA International Harp Competition since Maria Casale took the gold in 1989.

What she told us “Perfection is something I strive for during practice, but if that’s my focus in a performance, it’s detrimental to really creating music.”

Now Siochi won the principal harp position with the Sarasota Orchestra in 2017 and also performed at the World Harp Congress in Hong Kong last summer.

Rees Harps • November/December 2016

Then Father and son harp builders William and Garen Rees were enjoying making their wildly popular and colorful Harpsicle model harps in their small-town factory in Southern Indiana.

What she told us Garen Rees on what he loves about making Harpsicles: “…I think the biggest enjoyment is seeing what people are doing with our instruments…Seeing the out-of-the-box things people are doing all over the world…it just blows my mind.”

Now The team at Rees Harps will unveil two new harp models this year. The 34-string Harpsicle Brilliant and a 27-string therapy harp called the Keela.

Marie-Claire Jamet • January/February 2017

Then Marie-Claire Jamet talked candidly about the French musical tradition into which she was born and that shaped her life.

What she told us On the French tradition: “…I think, first of all, it’s about giving students a good hand position so that they will have good tone and be able to make the harp sing. Then, there’s also learning how to interpret the music.”

Now Still living in Provence, Jamet continues to teach, perform, and judge competitions throughout Europe.

Sasha Boldachev • March/April 2017

Then Relatively unknown in the United States, Russian harpist Sasha Boldachev was equally at home playing film scores as he was transcribing opera fantasies, and his world travels were as boundless as his musical exploits.

What he told us “The main point of my compositions is to show that you can make music however you want and that the harp can do much more than you imagine.”

Now Boldachev is no longer an unknown quantity in the U.S. He toured the country extensively in 2018, followed by tours of the United Kingdom and Asia.

Maeve Gilchrist • May/June 2017

Then Maeve Gilchrist, the first lever harpist to be on the faculty of the Berklee School of Music, had just premiered her new lever harp concerto with the Western Piedmont Orchestra and released a new album with bassist Viktor Krauss.

What she told us On being a musician in New York: “The level of musicianship is continually inspiring and challenging, and the wealth of musicians to play with is incredible. There seems to be a unique focus on creating for creation’s sake—I’m spoiled with the players around and the breadth of vision.”

Now In April Gilchrist premiered her new work Pastures Red for string quartet, harp, and samples at the Edinburgh International Harp Festival. This summer she’ll be touring the East Coast with the DuoDuo quartet.

Volume 26

Jennifer Swartz • July/August 2017

Then The principal harpist with the Montreal Symphony Orchestra (OSM) and harp teacher at McGill University talked with fellow Canadian harpist Caroline Lizotte about their country’s rich harp tradition.

What she told us “I saw learning music as a life philosophy, and being part of not just one, but many different families and many different approaches.”

Now Swartz has been busy working with the OSM on the next edition of the Manulife Competition, which will feature harp and piano in November 2018. Next season, she will be performing the Gliere harp concerto with Symphony Nova Scotia, Debussy Danses with her own orchestra, l’Orchestre Symphonique de Montréal and is preparing a new solo harp recording.

Nikolaz Cadoret • September/October 2017

Then With roots in both classical and Celtic harp traditions, Nikolaz Cadoret had crafted a style all his own, and was about to perform for the first time in the United States.

What she told us “…I’m made for playing my music. That’s my thing—playing my music on stage, or traditional music with small formations. And yes, I guess I also need artistic control, even if I can share the artistic control with my colleagues.”

Now Cadoret and the Collectif ARP group of harpists are working on a unique creation involving the work of composer Kristen Noguès with Orchestre Symphonique de Bretagne for the 2019-2020 season. His trio Descofar will release its second album later this year, and Cadoret is developing a new solo project “Lost Influences.”

Baltazar Juárez • November/December 2017

Then Baltazar Juárez was preparing to host the fifth Mexico International Harp Competition, which he established in his home country, modeling it after the USA International Harp Competition, which his mentor Susann McDonald founded.

What he told us On holding the competition following two strong earthquakes near Mexico City, “I was seriously considering canceling the competition…but the organization has already put so much work into it, and the students have been preparing their music—there is so much involved that it would be a shame not to go on.”

Now Juárez and his team managed to hold a successful competition and festival just a month after the earthquakes. Juárez continues to perform around the world, most recently at the Rio International Harp Festival.

Florence Sitruk • January/February 2018

Then Florence Sitruk, who had spent her entire teaching and performing career in Europe, had just moved to Bloomington to succeed her mentor Susann McDonald at Indiana University.

What she told us “[Susann McDonald] was so generous and so open and not controlling, as long as you worked to the highest level. That taught me a lot. I think this is how you have to serve students—try to find their voice.”

Now Sitruk just finished her first full academic year teaching at Indiana.

Addi and Jacq • March/April 2018

Then The vocals-harp duo of singer Addi McDaniel and harpist Jacqui Kerrod was redefining the singer-songwriter model and finding success inside and out of the harp world.

What they told us Jacqui Kerrod describing the duo’s sound: “We had to get creative with ways that we make sound because it’s just the two of us. Working within that limitation, a diverse range of sounds and styles emerged—it’s contributed to a pretty eclectic mix of things.”

Now Addi and Jacq are teaming up with conductor John Devlin and arranger Evan Meier to create arrangements of their songs for chamber orchestra, which they plan to release on EP.

Osian Ellis • May/June 2018

Then Osian Ellis, the longtime London Symphony Orchestra harpist and close collaborator with composer Benjamin Britten, had just celebrated his 90th birthday and been honored for his lifetime achievements at the fourth International Welsh Harp Festival.

What he told us On the coldest church he’d ever performed in: “Canterbury Cathedral for a performance of one of the church operas. I spent the next two or three days in bed with a bad cold.”

Now Ellis continues to enjoy playing the harp at his home in Wales. •

Want to find out more about any of these fascinating figures of the harp world? You can read all 150 interviews in their entirety at harpcolumn.com. Harp Column subscribers have full access to our digital library of back issues.