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.)
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.