Thank you. I'm glad others on the list have a harp nuetral attitude. The fact is
that increasing numbers of pedal harp performers are 'crossing over' and
rediscovering the joys of the small harp, and small harp performers are
stretching their skills to the pedal harp. There was an outstanding level of
musicality and technical ability at the ISFHC conference this year that
testifies to the growing desire for excellance among all harp performers.
In the record industry I have seen a dramatic increase in the level of
performance on the demo tapes that harp performers send me, and the volume of
submissions. The revival of the harp in in traditional and modern music of all
types is really taking off, except in the classical arena where the number of
oportunities for performing are declining due to lack of public interest and
creative dynamic in the genre. Except for one or two harp activists there is
very little new or innovative activity being done to bring classical harp music
to new audiences. Unlike folk genres, there has not been a lot of classical
music written for pedal harp that speaks to a broad audience, and very little
successful new classical music for the harp is being written. However the
repertoire is growing in direct proportion to the expansion in the use of all
kinds of harps, and the melding of classical technique with popular genres is
becoming increasingly successful. Players like Debra Henson-Conant, Kim
Robertson, Sunita, Park Stickney and Tina Tourin (to name but a few) are
examples of musicians who transend attempts to pigeonhole them by the instrument
the play. In fact they all play both lever and pedal harp professionally
(although Kim has 'retired' from the pedal harp).
Harp performers are a unique bunch of folks. I don't know of any other
instrument that has such a devoted community than the harp family. Perhaps when
harps are as common as pianos then the mistique will be gone. I hope not.
Fred
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