Harpist Rosanna tells us about impressionist harp music, glissandos, and concert-day routines.
The harp is often prominent in French impressionistic music – can you recommend any particular moments from this era to listen out for?
Both Ravel and Debussy wrote so well for the harp, they even had harp lessons so they could learn exactly how to compose for the instrument. Aside from the Danses Sacrée et Profane by Debussy which is an absolute favourite of mine, I always love playing the Tombeau de Couperin. There the harp has a more supporting role, but you should definitely spot a swooping glissando at the end of the first movement showing off almost the whole range of the harp.
Both Ravel and Debussy wrote so well for the harp, they even had harp lessons so they could learn exactly how to compose for the instrument.
What is your usual concert day routine?
I have no particularly set routine on a concert day, but I generally like to warm up a little in the morning by playing some tricky passages slowly. As there are a lot of practical logistics involved in playing the harp, I spend a fair amount of time driving my harp to the venue, finding parking (which can be a challenge), finding the entrance with as few steps as possible, and tuning all 47 strings before the hall becomes too noisy. Other than that, I just look forward to the rehearsal and concert.
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