Please tell me who published the Prelude by Enescu. I would disagree with one thing. I rarely see programs that are arranged chronologically. One positive attribute of such a program is that the ear is not shocked by sudden contrasts, but gradually led through styles. Pianists tend to start with classical sonatas or Bach. That is more of a cliche to me, and we don’t have very many classical sonatas anyway. We do have some nice modern classical pieces, the Maghini Suites being two of those.
I think one of the things to consider when arranging a program is whether the audience is made up of harpists or non-harpists(non-musicians). If the people attending the concert are not harpists or even musicians, there’s a good chance they have never heard solo harp before. In choosing an opening number for that kind of audience I would stick with something relatively short and very melodic. The Harmonious Blacksmith variations, the Glinka Nocturne, or any number of Handel theme and variations come immediately to mind.
I would not personally begin with those composers unless I was still a student. They are not musically of sufficient interest for any serious listeners. They are okay for casual listeners or salons. I would open with Beethoven’s Variations on a Swiss Air, Spohr’s Fantaisies (when will the second one be published?), anything by Handel, Spanish baroque music, many pieces called Prelude. Grandjany’s Children at Play would be an excellent opener.
I opened one recital with the Alojz Srebotnjak Preludes. I liked that. The first one is excellent for that and they progress in an interesting way. There are several modern pieces that are good to start with, I think. But I do like starting in the baroque period or earlier. I think the audience’s ears need to be warmed up as well as our fingers.