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This week's Podcast is something a little different due to not having a guest (or WiFi) this week so I decided to go H.A.M on your questions and even let you know.

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As its title Solo suggests, Ms Gaudemard has compiled an imaginative programme for harp alone which traces the development of the repertoire for the instrument across three centuries. She swiftly developed a reputation as a teacher herself even before she hit her teens and was one of those pioneers responsible for the emergence of the harp as a credible solo instrument in the early years of the twentieth century.

It is hard to imagine an extended work that is more idiomatically conceived for the instrument. Colourfully written and episodic in nature, it presents an array of challenges to the player which Gaudemard fully embraces.

Viola and Harp in French Music

There appears to be a great deal of debate on specialist harp websites about the order of its movements, with many cognoscenti suggesting that its stately slow movement fits best in the middle. It sounds perfectly satisfying and formally sound to me in this slow-fast-fast sequence however, and Gaudemard certainly makes the most of the innumerable opportunities the composer provides for tasteful ornamentation in what is a poised yet dynamic interpretation. In an ideal world, I would suggest that she couple it with another favourite harp concerto, the criminally ignored masterpiece by William Mathias.

Whether these two pieces would make apt bedfellows is perhaps debatable, but they both involve sensitive yet thrilling writing for the harp and bewitching orchestration. In my view, both solo and concertante harp repertoire is too seldom explored or recorded, so if Ms Gaudemard, or anyone from Harmonia Mundi or anywhere else happens to read this….

Unusually and pleasingly, the notes also feature a pithy and poetic account of the processes involved in recording this recital. The producer responsible for this, Alban Moraud can feel justifiably proud of the naturalistic and convincing sound he has achieved for this beguiling instrument.


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It is warm yet objective, and has been carefully tailored to suit each of these pieces. Richard Hanlon. We are currently offering in excess of 51, reviews. Donate and keep us afloat.

Impromptu for Harp No.6 in D Flat Major, Op by G. Fauré on MusicaNeo

Nimbus Podcast. Search MusicWeb Here. You can also use this FreeFind but it is not so comprehensive. International mailing. Acte Prealable returns with New Releases. Superior performance. Verdi Requiem Thielemann.

Fauré | Impromptu for harp Op. 86 performed by Isabelle Moretti

Marianna Henriksson An outstanding recital. Arnold Bax Be converted. John Buckley one of my major discoveries. Vaughan Williams Concertos.


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  6. RVW Orchestral. As its title Solo suggests, Ms Gaudemard has compiled an imaginative programme for harp alone which traces the development of the repertoire for the instrument across three centuries. She swiftly developed a reputation as a teacher herself even before she hit her teens and was one of those pioneers responsible for the emergence of the harp as a credible solo instrument in the early years of the twentieth century.

    It is hard to imagine an extended work that is more idiomatically conceived for the instrument. Colourfully written and episodic in nature, it presents an array of challenges to the player which Gaudemard fully embraces.


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    5. There appears to be a great deal of debate on specialist harp websites about the order of its movements, with many cognoscenti suggesting that its stately slow movement fits best in the middle.