Podcasts about world harp congress

When you think of harp music, is there a characteristic harp sound that comes to mind, a musical gesture that belongs to the harp more than to any other instrument? A glissando, maybe? That's certainly one of them, and a favorite of mine. Another one that I find very powerful and very harp-y is a rolled chord.  Harps were meant to play chords, especially rolled chords. They sound liquid and rich, even plummy. You can listen to an orchestral recording and when the harpist plays a rolled chord, you know it. It's almost as if everything melts for a moment. If you want to check out some of those moments, just stick with me because we'll be talking about a couple. But I also want to talk to you about how to make your rolled chords sound just that magical. In my opinion, we often forget that our rolled chords play a significant role in our musical expression. I hear so many harpists playing their chords blocked or flat when the music clearly calls for a chord that's more lush and romantic. In fact, this is one of my pet peeves and something I'm likely to go into a rant over given the opportunity. I'm not ashamed about this though. I felt totally vindicated when I was in a workshop given at the World Harp Congress by the famous French harpist Isabelle Perrin. She was talking about the opening chords of the Fauré Impromptu, and suddenly she was off on a rant just like mine. The frustration she expressed was that too many harpists play blocked chords all the time, when rolled chords would be infinitely more musical. She didn't know it, but she was ranting to the choir, where I was concerned. Rolled chords are part of the native language of the harp. Today I want to help you roll them well, to understand how to fit them in and most of all, how to use them to add expression to your music.  We'll explore the differences between flat, cracked and rolled chords. We'll deal with some of the critical technical aspects of rolled chords, too. But mainly, I want you to learn how to love them and how to use them to create more depth of expression, more beauty in everything you play. Links to things I think you might be interested in that were mentioned in the podcast episode:  Our November Seminar series on rolling chords is starting - join today! Related resource: Podcast episode #92, Quick Fix: Roll Your Chords Right Listen to Marilyn Costello with the Philadelphia Orchestra, playing Rimsky Korsakov's Scheherezade; the Pas de deux from Tchaikovsky's Swan Lake, and Debussy's Danses sacrée et profane. Harpmastery.com Get involved in the show! Send your questions and suggestions for future podcast episodes to me at podcast@harpmastery.com LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-181  

If you've ever marveled at the healing power of music, then this podcast episode will blow your mind. This week I will share with you a conversation with a special guest, harpist Barbara Lepke-Sims. Barbara is a Juilliard trained harpist and an expert teacher and performer, and one of the main facets of her playing is as a music practitioner. She doesn't just call herself a music practitioner; she is certified through the Music for Healing and Transition program and has more than a decade of experience bringing healing and peace to those who suffer. I met Barbara when I became a board member of the American Harp society, where she has been very active, but we really connected when we met up at the World Harp Congress in Wales this summer. I was curious about how she became a music practitioner, why she chose the certification program she did and what really motivates her about this important work.   I was really picking her brain because this is a field where I have little direct knowledge. Our My Harp Mastery members often ask about this kind of playing. They feel called to share their music in this special way. So I asked Barbara if she would come and speak to our My Harp Mastery members on a live call, to tell them more about her work, her experiences and about how to get started with it. She did a fabulous presentation for our members, and on this episode you will hear what she shared with them. Remember that what you will hear is taken from a recording of a live call and Barbara was presenting slides, so you may hear us refer to something on the screen that you won't be able to see on the podcast. She has wonderful information to share, though, and I know you will learn a lot.  If you are a My Harp Mastery member you can find the video recording of the entire call in our Live Calls Archive.  If you've ever considered doing this kind of playing, you will find this call invaluable. Also, check out the show notes for links to Barbara's website and two very moving videos that she shared with us on the call. Links to things I think you might be interested in that were mentioned in the podcast episode:  Barbara Lepke-Sims website: https://sacredspaceharp.com/ Video: Enhancing Healthcare through Live Therapeutic Music Video: In Their Words: Stories from Those Touched by Therapeutic Music Harpmastery.com Get involved in the show! Send your questions and suggestions for future podcast episodes to me at podcast@harpmastery.com LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-083

Tara Minton heads to the congress to meet and chat to the other jazz harpists in this incredible review show. The WHC is held every three years around the world and seeks to promote the exchange of ideas, stimulate contact, and encourage the composition of new music for the harp.  Concerts, workshops, seminars and exhibits concerning all aspects of harp musicology and performance are offered at these triennial sessions. Track List:Games - Tara Minton Unforgettable - Ruth Lee Confirmation - Milena Hoge Dwik i nastpstwo - Rhodri Davies Dark Eyes - The Transatlantic Hot Club Joyful Ride - Monika Stadler Utklipp Moontrip - Stina Hellberg Agback Monk-y Puzzle - Brenda Dor-Groot How Insensitive - Park Stickney Samba Rag - Rossitza Milevska Memphis - Remy Van Kesteren Blissful Sigh - Pia SalviaThe Age Old Question: A Podcast for Music FansThe Age Old Question is a podcast for the music fan who has ever debated music's...Listen on: Apple Podcasts SpotifySupport the show

Gustav Mahler once said that a symphony must be like the world, in that it must contain everything. But when it comes to classical music, is that 'container' (think of the pageantry, the dressing up, the protocols of when to clap or cough) getting in the way?  Ben sits down with the young, ambitious and innovative Music Director of the Kingston Symphony, Evan Mitchell, for a conversation about the meaning and power of music, the responsibility of those who make it, and the onus on us in the audience to meet half-way. About the Guest Evan Mitchell is proving to be one of the most able and imaginative young conductors in Canada. Mr. Mitchell has enjoyed four triumphant seasons as Music Director of the Kingston Symphony Association, garnering praise for his programming, approach, and musical results. During the past two seasons, the Kingston Symphony's entire Masterworks Series has sold out under Mr. Mitchell's leadership. During his various conducting residencies, Mr. Mitchell has led over 200 concerts, acted as a Canadian ambassador during a historic two-week tour of China, Korea and Macau, and served as an official consultant to the Vancouver Olympic Committee and Assistant Producer for the recording of the medal ceremony national anthems. He has also brought the magic of orchestral music to over 500,000 students and children, many of whom had never experienced a live performance first hand. His programs for young people have been recognized for their appeal and educational mandate. Equally comfortable in the realm of contemporary music and opera, Mr. Mitchell has premiered over 20 new Canadian works and is a strong advocate for music by Canadian composers. He is also the Principal Conductor of Opera 5, an award-winning independent opera company based in Toronto, which is responsible for a popular web series entitled Opera Cheats. Mr. Mitchell is a champion of initiatives designed to enhance the live concert experience, such as insider videos, informational podcasts, pre-concert talks, and special concerts devoted to live, onstage insights into major orchestral works. His program SoundSync, which involves real-time updates delivered silently to mobile devices during the concert, was hailed as the greatest technological innovation in the concert hall of 2014 by the CBC. Among his recent career highlights, Mr. Mitchell was Principal Conductor of the World Harp Congress, in which he conducted eight harp concerti with some of the world’s best harpists. He is a regular guest conductor with the Toronto Symphony Orchestra and the Kitchener-Waterloo Symphony. He has also led orchestral collaborations with the Barenaked Ladies, Judy Collins, and Pink Martini. Learn more about Evan.

Susann McDonald and Linda Wood Rollo have been working together for more than 30 years, composing music, writing two highly acclaimed series of Harp Method books and teaching a generation of harp students. Their work together was instrumental in the formation of the World Harp Congress and the USA International Harp Competitions and well-loved compositions like Haiku for Harp. They have built one of the largest and most well respected harp departments in the world at Indiana University. For more information, visit their website at www.musicworksharpeditions.com. This program is supported by a grant from the Louisiana Division of the Arts, Office of Cultural Development, Department of Culture, Recreation and Tourism in cooperation with the Louisiana State Arts Council as administered by the Arts Council New Orleans.

An Aeolian symphony for amplified improvising lever-harp orchestra.

An Aeolian symphony for amplified improvising lever-harp orchestra.

CHRISTA GRIX Christa fell under the spell of the harp during her first lesson at 16. Two years earlier, she was transfixed by live jazz during a performance at her high school. The two influences have shaped, but not limited her explorations and accomplishments on the instrument. Equally adept as both a classical and jazz harpist, she is one of those rare individuals who can make the transition from the jazz rhythm section to the symphonic string section sound effortless. The appeal and respect her music generates has taken her throughout the U.S., Canada and Europe as an invited soloist and clinician at all the major harp festivals and conferences. Christa released her first jazz harp recording, freefall, in 1996, on the Freefall Music label. Her second recording, Cheek to Chic was released in 2002. She is the President and CEO of Freefall Music, and founder of ArtnHarp, a division of Freefall Music. She currently sits on the board of the Detroit Musicians Fund, and is a past board member and executive committee member of the American Harp Society. Upcoming national and international appearances include performances at the 2010 Conference of the American Harp Society in Tacoma, Washington, and the 2011 meeting of the World Harp Congress in Vancouver, British Columbia. You can contact Christa at christagrix@mac.com and read more about her at http://web.mac.com/christagrix