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Levers Engaged: Classical Works Re-imagined for Harp features twenty select works from my master’s degree recital series. Spanning three centuries, the compilation places 17th century Scarlatti sonatas, and an 18th century Naderman sonatina alongside works by 20th century minimalist Philip Glass and contemporary jazz harpist Brandee Younger, showcasing the instrument's versatility.

Journey to chromatic repertoire:

My foray into chromatic music started in 2014 when I stumbled upon Barbara Brundage’s book, Classics on Request. I grew up playing diatonic music on lever harp—mostly Latin and world folk tunes. As a result, chromatic works took some getting used to. I chose to forgo pedal harp training in undergraduate music studies, and it wasn’t until I discovered  Barbara Brundage that I began exploring the chromatic range of the instrument.

Working with seasoned classical chamber colleagues inspired me to push beyond the harp’s diatonic design. Their ease with chromaticism and encouragement led me to adapt chromatic chamber repertoire for the lever harp. I began devising tools to approach chromatic passages, refining technique in graduate harp coursework at San Francisco State University.

As part of my Masters in Music with an emphasis in classical harp performance under the tutelage of retired second harpist of the San Francisco Symphony, Karen Gottlieb, I centered my studies around classical adaptations and repertoire, making revisions where necessary. In this process, I’ve compiled a toolkit to approach and re-work music not intended for levers. I offer some tools in my Harp Column article, “5 Tips to Solve Chromatic Conundrums on Lever Harp.”

Track Backstory:

1. Sonatina for Harp in A Minor by George Frideric Handel, was brought to my attention by my colleague and mentor, Dan Reiter, who arranged it for harp. The compelling harmonies and melody line passed between hands make it the perfect opener.

2. Sonata in A Major, K 368 offers the perfect contrast to the opening parallel minor track. Written for keyboard, Scarlatti plays with sound similar to the way Monet plays with color. Each passage is fun yet hearty in harmonic color and direction. With my performance of this piece, I’ve worked through all five sonatas arranged by Marcia Dickstein, and I am thrilled to bring you my favorites!

3. In Menuet, Bernard Andres captures the elegance of 17th century French couples’ dance. The work fits so nicely into the fingers that I couldn’t resist including it here. 

4. Bernard Andres’ Amarantes #2 showcases the beauty of the instrument with its lush, rolled chords and subtle harmonics. I found this number the most captivating of his series, Automates.

5. Brought to my attention by my harp instructor, Paradisi’s Toccata is as sonically charming as it is technically challenging. The nuances in the lever harp adaptation of this work make it particularly compelling. During the chromatic passages, the bassline drops away to free up the left hand for lever shifts. I play the right hand louder to compensate. The maze of lever shifting passages required to execute this delightful number is worth every moment.

6-8. Since learning Francois-Joseph Naderman’s Sonatina No. III I have been in love. Though written for pedal harp, the three-movement work fits nicely on the lever harp with its sentimental and charming character and elegant phrasing. Though I stretch time to accommodate the chromatic passages, the elasticity of the phrases feels rather natural. I plan to learn all seven sonatinas.

9. I find Bernard Andrès Epices’ (spices) series of works quite touching. Each with a different flavor (literally), I chose to include Pistache on this compilation, as it has a touch of flamenco flare and a freshness and form that leaves the listener wanting more.

10. I love playing Domenico Scarlatti’s Sonata in D Major, K. 298 for its bright colors and playful spirit. A sweet baroque adventure.

11. Rhett Barnwell’s arrangement of Handel's Aria In Classic Style shows beautifully on the lever harp. It takes the listener through a range of human emotions and showcases the instrument's strengths, including the emphasis on arpeggios and wide melodic range. I highly recommend searching the original.

12. Sergei Prokofiev’s Prelude in C took some getting used to. Written for piano, I removed and added measures to accommodate the required chromaticism. However, like Toccata, the piece fits well on lever harp and was a fun challenge for the fingers and mind.

13. Philip Glass’s Metamorphosis II grabbed me immediately with its powerful ostinato pattern and evolution from simple octaves to tripletts. I retune my low “C” to an “A” to play the repeating “A” octave true to Glass’s writing. The simplicity of the work is riveting and the harmonic structure deeply moving. I hope you find yourself equally captivated.

14. After hearing Brandee Younger live at SFJAZZ I immediately committed to learning Essence of Ruby. Written for pedal harp, the chromatic passages are no small feat on lever harp. As you listen, see what sounds like percussion, as a musical element to the piece. The work's opening groove grabs the listener and takes you on a journey through the sensitive melody lines. There’s also a groovy middle section that returns the listener  where they began but with a new perspective.

15. Béla Bartók is always a treat to listen to An Evening in the Village is no different. A sweet melody, it moves between innocence and joy offering a key change that surprises and delights. I am excited to share this touching melody. 

16. Bernard Andrès’ Pavane, a contrast to the Menuet, is a stately court dance. The contemplative nature of the work fits perfectly into the mix—energetic and mournful.

17. Sonata in Ishartum by the highly respected composer Lou Harrison was brought to my attention by my harp teacher who worked with him to record his series Music for Harp with Percussion on her 2015 album, Music for Harp. This powerful work offers rhythms and harmonies that delight and surprise. May this track introduce you to Lou and inspire you to investigate his captivating body of work.

18. One of my favorite tracks is Beige Nocturne by Pearl Chertok. She is the first female composer I presented in my recital series. A work from her Around the Clock series, this piece captures the moment it was intended for – wine tasting at sunset. 

19. A playful work representing the spice, nutmeg, I find Bernard Andres’ Muscade to be fun and catchy as well as rhythmically captivating.

20. Branjo is one of the most rhythmically dynamic works I learned during my program. It captures the spirit of what I most enjoy about playing the harp: challenging and exciting with an air of hope in both the direction this instrument is headed and the legacy that trails it. Composed by harper Alannah Thornburgh, this is an appropriate closing track. It’s a wholly nontraditional work rooted in the traditional Irish legacy of the lever harp. I hope you find a similar refreshing juxtaposition through this compilation of  contemporary and chromatic works played on an unlikely instrument, the diatonic lever harp.

buy album on bandcamp, receive email with links to download digital album and sheet music PDF’s