The American Harp Journal - Extras - Summer 2017 (revised)

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the harp is given an impassioned line and instructed to perform it with “rhythmic fluidity.” This begins an exchange of unmetered “solo” lines between harp and cello. The rhythmic profile is grouped with beams indicating relative length. Because each player’s rhythmic profiles and tempi are free within these gestural groups, it creates sections of indeterminate length like in the first movement. To somewhat simplify things, the non-solo instrument is either absent or “vamping” a textural gesture. When rhythmic unison or precision is required, the score returns to metered bars. Timbrally, deliberate choices in vibrato width, articulation, register, and the use of harmonics create a vast sound palette for the two instruments. The sound world alternates between utmost delicacy and frenetic energy—the parts tangle significantly as the players execute virtuosic flourishes in both technique and musicality. Unsure of the timbral and temporal effects of my score prior to the first performance, I was somewhat nervous submitting this work as a competition piece. Winning the Costello Competition for wires at rest (tend to tangle) allowed me to hear a world-class performance of the premiere at the Curtis Institute, which is a real gift for any young composer. It also reaffirmed for me that the harp is a composer’s dream instrument in both its strengths and its challenges. Thanks to the Lyra Society’s Costello Competition, a new generation of emerging composers is encouraged to discover the harp’s repertoire and make meaningful additions to it themselves. ABOUT THE AUTHOR Elizabeth Hainen has earned an international reputation as one of classical music’s great harp ambassadors, playing programs that showcase the diversity—and virtuosity—of her modern-day instrument around the world. As Solo Harpist with The Philadelphia Orchestra since 1994, and in high demand as a guest artist, Hainen has collaborated with such eminent conductors and musicians as Charles Dutoit, Rafael Frühbeck de Burgos, Michael Tilson Thomas, Yannick Nézet-Séguin, Wolfgang Sawallisch and the Juilliard String Quartet. In addition to The Philadelphia Orchestra, she has appeared as a featured soloist with the City of London Sinfonia, the Hong Kong Philharmonic, the Kennedy Center Orchestra, the Orquesta Sinfónica Nacional de Colombia, the Bulgaria National Radio Orchestra, Camerata Ducale in Italy, the Chicago Civic Orchestra, the Mexico State Symphony, the Vienna Boys Choir, and in numerous recitals at Carnegie Hall. For the 2016-2017 Season, Hainen will release a new recording and appear with Curtis on Tour. A champion of new music, Ms. Hainen gave the US, China, European and Australian Premieres of Nu Shu: The Secret Songs of Women, written especially for her by Tan Dun. Hainen serves on the faculties of the Curtis Institute of Music and the Boyer School of Music at Temple University and has provided educational outreach to hundreds of school children in urban Philadelphia through her nonprofit foundation The Lyra Society. Audio of 2015 Costello Competition Winner Listen to a recording of Bekah Simms’ 2015 Costello Competition winning work, wires at rest (tend to tangle) for harp and cello: https://soundcloud.com/bekahsimms/wires-at-rest-tend-to-tangle 20 THE AMERICAN HARP JOURNAL – EXTRAS
The Lyra Society: Extras On May 21, 2017, the Lyra Society’s held its 12th Annual Benefit Concert “Hilary Hahn Performs!” at the Center for Architecture and Design in Philadelphia, PA. Below are photos from the event. (Used with permission; taken from the Lyra Society’s Facebook page.) For more information, see www.lyrasociety.org. Programs. Taking a bow. Hilary Hahn & Elizabeth Hainen, founder of the Lyra Society. Maryanne Meyer, Teaching Artist & Elizabeth Steiner, Director of Education. Manijéh René Pickard (Teaching Artist, Play on Philly) & Liz Huston, Director of Community Collaboration. Glissando! harp program students. Hilary Hahn. Hilary Hahn & Elizabeth Hainen. V Hilary Hahn signing autographs. SUMMER 2017 21
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Page 4 and 5: Ballet and the Harp by Cynthia Pric
Page 6 and 7: The Harp In France in 1581, the har
Page 8 and 9: First, the Prima Ballerina steps on
Page 10 and 11: Example 2: Tchaikovsky's Nutcracker
Page 12 and 13: Example 3: Tchaikovsky's Swan Lake
Page 14 and 15: and performance demands of the Russ
Page 16 and 17: Ballet and the Harp: Extras Tchaiko
Page 18 and 19: Tchaikovsky's The Sleeping Beauty c
Page 20 and 21: The Lyra Society by Elizabeth Haine
Page 24 and 25: AHS 12 th Summer Institute, 22 nd N
Page 30 and 31: Deciduous Trio: Amulet Strange, flu
Page 32 and 33: AHS Young Composers Project by Juli
Page 34 and 35: AHS Young Composers Project: Extras
Page 36: Emily DeLia (age 16) The Descent Th

The American Harp Journal - Extras - Summer 2017 (revised)

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