Friday, 12 December 2014

We'd like to present our brand spanking new Harp Chamber Music Competition!

We are super excited to announce the inaugural British Harp Chamber Music Competition, taking place in 2015!

For some time we have dreamed of putting something back into the harp world and encouraging the next generation of harpists to champion chamber music in the way that we have tried to. It hasn't been easy competing against the established and accepted (more traditional) string quartets and piano trios. We have always had to battle against the (incorrect) perception that a harp quartet won't sell and won't be able to provide the musical quality that the promoter needs to bring to their audience. We like to think that our staying power over the last 15 years proves this to be otherwise, and the sold out concerts and standing ovations definitively show that audiences like, and more importantly, enjoy what we do.


We want to continue to bring the harp to the forefront of British chamber music, and this competition is our way of doing so. There are two separate competitions: one for Young Professionals, and one for under-18s. Each competition is then split into two categories: multiple harps, and harps with other instruments. The final of the competition is on Sunday, 14 June 2015 at Riverhouse Barn Arts Centre, Surrey. Whilst the prizes of course include some cash, we have focussed our attention on providing recital opportunities for the winning ensembles. As an up-and-coming group, the most useful thing we were given was the chance to perform in public: not only is it invaluable concert platform experience and a chance to hone musical (and performing) skills, it is also a chance to showcase to other concert promoters and meet valuable industry contacts.


We hope to see a real variety of entries and look forward to discovering some new and unusual pieces. We are also working on a resource providing information on sourcing original pieces for varying combinations of instruments, with a focus on British works.

Wednesday, 10 December 2014

Composer Series - Eleanor Turner

Another month has flown by and Christmas is hot on our heels. We are delighted to reveal the next person in our series of composer interviews is the ensemble's very own Eleanor Turner!

Eleanor has been involved in writing and arranging for us pretty much since we first started playing together. An internationally recognised harpist as well as composer, Eleanor has written two pieces for us to play as well as countless other arrangements. The first piece, 'The Island' was written in 2002 whilst she was pregnant with her son, and even features the sound of a baby's heartbeat in the womb! The second piece, 'Rambla!' was composed a few years later, in 2008, and depicts the flashfloods that can happen in Spain - full of fiery spanish rhythms and panache, it is great fun to play! You can listen to 'Rambla!' here

As a performing member of 4G4H what do you like most about writing for the group?
I love writing for an instrument I know so well and have at hand to try things out on. I try to imagine a certain sound, especially a particular texture I could only get from using four harps and then use a combination of compositional techniques and trickery (such as recording and layering parts on my laptop, or using a loop pedal) to get the best idea of how the effect will sound across four of the same instrument. It can take a long time to work out how to achieve a certain sound for the first time, but then it is in your repertoire as a technique that you can draw on in future compositions.

Have you always composed alongside your harp playing and do you ever feel tempted to go into composing on a more full time basis?
My first piece for the harp was called “A Sad Farewell” – the harp can be such a melancholic instrument and even pieces written in major keys can sound so longing and sad on the harp! I love playing all my emotions into the harp and find playing it and writing for it deeply therapeutic. I worry that if I composed concert music full time I would go into a darker place, in my mind, more often than would be good for me. However, my main ambition is to study composition further, in particular to attend some courses for song-writing and also writing music for films. (There is a Faber Music course I would love to go on when my children are older.)  I can definitely imagine writing music for nature documentaries and would love to do this; this would mostly be happy music, which I have plenty of inside me as well

What musical styles are you most inspired by – is there any particular composer or piece that you identify with?
I love so many different styles but as a constant, I have always been passionately into Shostakovich and his music. As a teenager, I used to keenly spend my birthday money on a subscription to the DSCH journal (the twice-yearly printed magazine, dedicated to the life and works of Dmitri Shostakovich). There were two peaks of happiness in my year, therefore, when this journal would drop onto the doorstep, and the memory of that excitement still makes me shiver! I also had a hamster that I named Dmitri, in honour of the great man.

Are there any challenges in writing for four harps – what do you find most frustrating?
The only frustrating thing for me is finding the best way to notate harp effects and complex passages of writing. Sometimes you are looking at a mass of confusing arcs all over the music: tied notes, phrasing arcs, notes to ‘let vibrate’ without damping and maybe one or two special harp effects going on all at the same time – perhaps colour-coded scores will be my next venture!

 You have composed two pieces for 4G4H; ‘The Island’ in 2002 and ‘Rambla!’ in 2008. What – if anything – has changed in your compositional style between the two pieces? Did you change anything in your approach to writing with the second piece?
Almost everything about the two pieces is different. The first time, writing for the group, I spent a lot of time imagining and conceiving grand ideas and wonderful twangings and clangings of all 4 harps, either playing all together or having solo moments. By the time I wrote ‘Rambla’, I had six more years of experience with the harp quartet and it was rather a luxury to be able to learn from other composers’, and arrangers’, mistakes, as well as my own. Rambla emerged much more naturally, usually sitting at the harp to compose it, engaging many of my favourite effects (I love the ‘whispering’ tremolo effect called bisbigliando) and freely moving between using one, two, three or all four harps at any moment.

Do you compose for anything other than harp (or harp with other instruments)?
Yes I do, but not really at the moment. I am also terrified of writing for brass which I would love to get over at some point. I am currently writing songs with a Dutch singer-songwriter called Angela Moyra, who occasionally asks me to send her over sound files of ‘mystical harp goodness’ – well, it’s a hard life, but if I must…

As a harpist, is there anything that annoys you about how today’s composers write for the instrument?
I sometimes feel it can be a little soulless and relying too heavily on the beauty of the harp’s sound. That may be why I commissioned my dear friend Thomas Hewitt-Jones to write me a solo piece, about five years ago now. The result was ‘Spirits of the Night’ which I re-named, for myself, Shades of Grief, as the first time I played through it I found myself playing through tears that just kept coming the more I played.

What about your life most inspires you to compose? On a similar note, what do you do if you get writer’s block?!
I have never been very good with words – getting a poem or an essay out of me at school was like getting blood out of a stone. I am very slow at writing anything, in fact. I wouldn’t say that was writer’s block, in particular, although I do have memories of donning a coat on top of my nightie and pacing angrily around the block, trying to make an idea come to the fore. In general, music flows more easily for me than words do and I love improvising. Composition for me is a combination of learned skills, structure, improvising, and always wearing my heart on my sleeve

What Hollywood actress would you choose to play you in a film?
Going back in time for this one I’m afraid, it could only be Lucille Ball.

What three things would you take with you to a desert island?
My two kids and a harp of course! (The harp could double up as a raft….)

Friday, 7 November 2014

Composer Series - Edward Watson

2015 will be our 15th anniversary. We feel very proud that we have been working as a group for such a long time, however, a lot of our success is down to the music that we perform. We are indebted to the many great composers of the past whose music we have 'borrowed', but also to the composers alive today who have written us some fantastically varied, challenging and inventive pieces of music. We would therefore like to honour them over the next few months by running a series of interviews with each composer who has created an original work for us. We hope that this will give you the chance to find out a bit more about the people behind the music that has been our constant companion for so many years.

Edward Watson The first composer to write for us was Edward ('Ted') Watson, who we commissioned in 2002 to write 'A Celtic Springtime'. We recorded Ted's piece on our first ever CD when we still went by the name 'Barkham Harp Quartet'. We were very young and still had lots to learn about pretty much everything from how to play for a recording to how to get the best out of playing with four harps. Ted's composition is a spritely piece of music with lots of interweaving parts threading through the harps. It really makes you think of the eagerness behind the change in season from Winter to Spring, and all the abundent life that is about to leap forth! You can listen to 'A Celtic Springtime' here.

You have written for the harp many times before – what is it that has drawn you to this instrument?
I used the harp in light music arrangements for the BBC. Somewhat simplistically! ‘A Celtic Springtime’ was my first venture into a serious concert piece. The harp is a magical instrument that conjures up antiquity.

What musical styles are you most inspired by – is there any particular composer that you identify with?
I adore Mozart! I particularly am drawn to the Classical, Romantic and Impressionistic. Mozart, Beethoven, Schubert, Brahms, Schumann, Mahler, Ravel and Debussy.

What was it that you liked about the idea of writing for four harps? Had you ever heard the harp being played in this way before?
I had never heard four harps before. Once the idea had been put forward (I was asked to write the piece), the mind begins to ‘tick over’.

Were there any challenges in writing for the combination, and what did you enjoy most about the compositional process?
One harp is a challenge. HELP I had FOUR!!! Once I have an overall idea of what the piece is going to say, I enjoy seeing it develop. I often write the ending before the beginning.

What was the inspiration behind your piece for the group ‘A Celtic Springtime’?
Like most English composers, I went through a ‘Celtic’ phase. The bardic influence, Merlin etc. I still visit Glastonbury (The Isle of Avalon) frequently to pick up the vibes.

You have a new Christmas work for harp with mezzo-soprano and choir being performed later this year, with our very own Eleanor Turner as the harpist. How have you used the harp in this piece and is it based on any specific carols or texts?
This work contrasts the first Christmas (Mary, Joseph and the infant Jesus in the stable) with the hustle and bustle of preparations for a modern day Christmas. The harp accompanies throughout and has an opening solo Prelude and a solo Interlude. The carols are based on Breton Folk Tunes and the words are by Gabrielle Byam Grounds.

Are there any young and up-and-coming composers you think are ones to watch?
Can’t answer this! Everyone seems to compose these days. Time will do the sifting!

What would you like your composing legacy to be?
I’ll be happy if any of my pieces are played and enjoyed.

What do you enjoy doing in your down time?
Practising, composing and gardening.

What three things would you take with you to a desert island?
My clarinet, a box of reeds and a penknife.

Wednesday, 3 September 2014

We have a special birthday next year - read on to find out how we're celebrating!

It's our birthday!

And our gift is new music

Queen Elizabeth I
Queen Elizabeth I
To celebrate our 15th anniversary year in 2015, we are commissioning composers Alissa Firsova, Nicola LeFanu, Ayanna Witter-Johnson and Savourna Stevenson to collaborate on a substantial new piece for harp quartet.

As a group of female musicians playing in an unusual formation, we have been inspired by many diverse women who have made outstanding contributions to our world. Each movement of our new piece will be dedicated to one of these pioneering females and we are launching a competition where you choose the four women we celebrate.

 Tell us about someone (dead or alive) that you think deserves to be recognised in a piece of music - the more unusual the better! 
To submit your suggestion and why you think this woman should be included, please email:

The four winning entries will be credited in the music, so please don't forget to include your name and address. Please note that the women shown on this flyer are examples only - we look forward to receiving a great variety of entries!

Deadline for entries: Sunday 19 October 2014

Wednesday, 7 May 2014

Our interview for leading Classical music webmagazine Tokafi

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In November of last year, Harriet Adie of 4 Girls 4 Harps was approached about the band: "I got called by someone enquiring about my group '4 harps, 4 girls, 4 pianos'!", she laughs, "4 harps are enough!" They certainly are. Quadruplicating the harp's tone, the UK-based quartet are equally capable of dreamy lyricism and working up a racket, sporting a sound both versatile and powerful. In doing so, they have taken on a leading role in what has already been called by some 'the underground harp movement': the gradual emancipation of the harp from a negligible niche into a musical force to be reckoned with. Their success – the four piece has been featured extensively on national radio and already has bookings extending well into 2015 – is as much a result of their tight, carefully honed group sound as the individual qualities of the performers, all of which continue to enjoy fruitful solo careers. Of lately, two band members, Adie and Eleanor Turner, have also increasingly contributed original compositions to the live program of 4 Girls 4 Harps, adding exciting contributions to the still small repertoire for harp quartet. The hard work and commitment hasn't gone by unnoticed: The group's 2009 album Fireworks and Fables, collecting some of their favourite transcriptions as well as personally commissioned compositions, met with an enthusiastic response and last year's Christmas CD seemed to hold a subscription to album of the month nominations. Every step of the way, 4 Girls 4 Harps are turning your expectations about their instrument upside down. They may not be performing with 4 pianos. But they certainly could hold their own against them.
In this interview with all members of 4 Girls 4 Harps (including latest addition Elizabeth Scorah), we speak about the founding of the group, commissioning new music and the future of the harp quartet as a general format.

What is it about the harp that has kept it so interesting for so long and has made you dedicate so many years of your life to it?

A tongue in cheek answer might be that it is so large and expensive that we would be honour-bound to keep playing! But, in all seriousness, there are so many ways a harp can be played and such a variety of performance opportunities, that it remains fascinating and challenging. The modern-day harp is a relatively new invention and we have only just begun to scratch the surface in terms of what this instrument is capable of. Composers and harpists are constantly inventing new ways to play the harp: the unusual percussive and timbral effects you can create are particularly interesting, including playing with various implements and preparing the strings with crocodile clips and blu-tack! It is a playground of an instrument and we will never be bored by it!

For many performers, there tend to be a variety of performers who've inspired them. How is that for you?

Harpists like Catrin Finch have been trailblazers for the instrument in recent years. So many more people listen to harp music as a result of their performances. Jazz harpist Deborah Henson-Conant has pushed the boundaries of how the harp is perceived and taken it to places where people will have never heard the sound before. This is something we very much admire and hope to emulate with what we do as a quartet.
We are also very inspired by colleagues who are doing things differently with the instrument, particularly harpists who are commissioning and creating new repertoire such as American harpist Bridget Kibbey, and Dutch harpist Remy Van Kesteren who not only has a glittering solo career but has also established a fantastic harp festival and international competition in the Netherlands … these are people that put the harp on the map for years to come.

We have also found inspiration outside the harp world in artists who are totally dedicated to their chosen instrument and repertoire. Some of them have even drawn us to an instrument we might not have felt any special affinity for - for example, flautist Wissam Boustany or Ig Henneman with her totally unique viola playing.

How did the idea for a harp quartet come up?

The idea for the group came as a result of the harp ensemble classes Harriet and Eleanor participated in at the Junior Department of the Royal College of Music. After several concerts together as part of the JD harp ensemble, they were encouraged to take it further by Harriet’s mother (a concert promoter and founder of the Two Moors Festival), and within a few months, the quartet was born.

What were the first rehearsals and performances like?

Our first performances were very tame in comparison to how we perform now. Almost all the music was centred around pieces we could access and play, rather than having the luxury of creating our own tailor made programmes and being able to have a real vision for a concert, as we can now. The rehearsals were directed by JD harp professor Daphne Boden, so we had minimal input in to how we performed the music. As we were so young (under 20), it was probably a good idea that we didn’t make the big decisions ourselves as we didn’t have the musical experience to do so. One thing that has never changed however, is that we have always talked about the music in our performances. It is very important to us to make the music come alive for the audience, and telling them about its origins is a big part of that.

When we started out, we could never have dreamt that one day we would be able to devise an entire programme (or several) of our own creations and transcriptions. It has been a joy learning how to treat four harps as one instrument, yet bringing out the individual voices of each player. It's a total contrast to the early student days!

How would you describe the sound of four harps playing at the same time compared to just one?

Four harps are so different to a solo harp. The level of power we can get from four instruments is huge in comparison and it is one of the things we always get audience comments about. Having said that, it would still be a lot quieter than a full symphony orchestra so there would potentially be some very large venues where it might be hard to hear us in the back seats.

Three of the harps in the group are made by the same makers – Salvi Harps  - so they are quite similar in tone. However, even among identical models there can be big differences in how they sound, especially in terms of their individual volume. We do adjust for that in the group, so the loudest harp has to play at a comparable level to the quietest harp to keep the instruments balanced. It is also important to say that a lot of the difference in tone quality comes from the player rather than the harp, so again, we do have to adjust things depending on who is playing which part in order to come up with the perfect sound combination.

What are some of the complications in terms of performance and sound when playing with a harp quartet – compared to, say, a string quartet, where the individual voices are more sharply delineated?

As a group, it can be challenging to identify where a part is coming from, as all parts are basically the same sound. It doesn’t pose a huge problem for us now as we are so used to playing in that sound world, but for a group starting out, this could be quite challenging. One of the hardest things as a harp ensemble is playing exactly together. When we pluck a string, our fingers squeeze a little before we let go … all harpists do it in slightly different ways and this is why it is so hard to get notes exactly together.

As a general rule, we work for a sound where the most important parts musically are the ones that are heard most. The general timbre of the group should be well blended, but each harp has a massive timbral scope so we can create beautiful and genuinely unique textures by each harp simultaneously using a different tone - for example, a slightly brassy bassline, a warm glow from the middle gut register filling out harmony, an oboic sound or flutey harmonics for the tune if there is one, plus a rhythmic motif up high in the last harp, or an arrhythmic 'whisper' called a bisbigliando, or glissandi.

How has your concert repertoire developed over the years?

What a difference! At first, we were playing harp duets with two harpists playing each part. For example one of our favourite early programmes started with 'The Arrival of the Queen of Sheba' and ended with a rousing Welsh Duo by Victorian harpist John Thomas. Over the years we have tried several different formulas – programmes of lighter music, programmes packed with contemporary music, programmes where we mixed four harps with harp duets and harp solos - and finally come up with something that works very well.

A typical concert today consists of well-known classical pieces arranged for the group by either Harriet or Eleanor and pieces that we have commissioned specially for the ensemble. We think that this format works best as there is something for the conservative Classical listener – something we have to battle with is the misconception that four harps are a bit ‘wacky‘ – and something that pushes the boundaries musically and really shows the scope of what four harps can create.

Since the harp quartet is not exactly a particularly wide-spread format, transcriptions quite naturally seem to play an important role. What's your approach to them and how do you select the right pieces?

When it comes to the transcriptions, we work on the basis of what would work well in a programme. After that, it is a case of what would work well on the harp (there are certain types of figurations such as rapidly repeated notes and very fast chromaticism which aren’t really playable on the harp). We love to transcribe and usually look to orchestral pieces for the repertoire - we have always been taught to view the harp as an orchestra within one instrument, in order not to be limited by its image and more stereotypical characteristics. With our transcriptions, audiences are always impressed by what we achieve and we receive lovely comments about the transcriptions surpassing the orchestral version sometimes! We have great fun mimicking the instruments that the harp can sound a little like, but more often than mimicking we're using the orchestral original as inspiration for the dialogue, the structure, the timbre and the personality of the work - therefore, we choose pieces that are rich in those qualities. We are also lucky in that we have more flexibility on repertoire than a solo harpist would have, as we are able to split what would be too difficult for one harp between four harps, so this opens up a lot more possibilities for the group.

You also have two active composers in the line-up. Can you tell me a bit about your different compositional approaches?

Eleanor and Harriet write in very different ways. Eleanor is more experimental both technically and harmonically than Harriet and her pieces for the group have been quite contrasting in compositional style. Harriet has more of a distinct style of composing and is very keen on toccata-type rhythms and a mixture of jazz and french impressionist harmonies, and this is apparent in all her compositions for the group so far. Both girls agree that they have learnt a huge amount about how to write for the group over the years, and are not afraid to let their music have ‘space‘ now, whereas, earlier compositions were much more dense musically speaking, with all four harps playing together the majority of the time.

Other harpists are really interested in our new compositions and are starting to ask for copies. We are both working on publications, as once the works are more accessible it could really take off. Eleanor has been delighted that her "Aquarium" arrangement (Saint-Saens) has been performed by the American Youth Harp Ensemble and we think that our popular transcriptions should pave the way for harp ensembles to try our original works.

We also love the idea of leaving a musical legacy for the future, and over the past ten years, we have amassed a substantial number of new pieces for harp quartet which we hope will be enjoyed by the next generation of harpists.

Next to transcriptions and original pieces, 4 Girls 4 Harps has also made a name for itself by commissioning new music. What has the response by composers been like so far?

Whenever we have approached a composer about writing a piece for the group they have always been incredibly enthusiastic. In the early years we didn’t give them much direction so the finished piece was always a wonderful surprise. If we were to commission anything in the future we would be a bit more specific about what we were looking for, partly to complement the pieces we already have, but also because we have learnt through our own writing experience what works and what doesn’t work for four harps. It is very gratifying that we now have composers approaching us with pieces they have written for harp quartet to ask if we would be interested in performing them.

Our favourite piece written for the group so far has to be Edward Longstaff’s "Saraswati". Based on the Indian Goddess Saraswati (who has four arms) it is one of the most exciting pieces we have ever played. It is technically incredibly demanding and by the end of it we all feel like we have had a good workout, but musically it is also extremely beautiful and dynamic and really conjures up the colours and sounds of an Indian landscape. We recorded this piece on our last CD, Fireworks and Fables, with Tabla player Sanju Sahai. The addition of authentic Indian drums made it even more inspiring to play and listen to.

We are also looking forward to performing Harriet’s 2012 piece "Elemental" at the World Harp Congress in Australia next year, and hope to record this in the not too distant future.

What have been some of the landmarks for the ensemble over the years? When did it start to become clear that this was a concept which might last quite a long time?

One of our earliest landmarks was playing for St George’s, Bristol in 2004. The group was very new still and it was an honour to play somewhere with such an eminent history. Another early highlight was being selected to perform at the 9th World Harp Congress in 2005 – playing for an audience of ‘experts‘ was very daunting! We were also privileged to be invited to perform as part of the opening celebrations of London concert hall King’s Place in 2009. A more personal landmarks in terms of the quartet’s development have been the chance to collaborate with other musicians, such as tabla player Sanju Sahai, and (on our Christmas CD  released at the end of last year), soprano Helen Winter. We have learnt a huge amount from working with other musicians in terms of ensemble playing, creativity and interpretation.

We don’t think we ever had a long term ‘plan‘ for the group. We knew that we loved performing together and playing harp quartet music, and it never occurred to us that we wouldn’t be doing it years down the line! However, now we are over thirteen years into performing together, we do think more about the direction we want to go in and making sure the group continues to be successful. Perhaps with the confidence that longevity has brought, we are able to think in a more long-term way. We think we are fairly unique in the harp world to have been performing successfully as a group for such a long time!

Do you see the harp quartet as a viable model for the future in some form or will 4 Girls 4 Harps remain a unique proposition, do you reckon?

Since we started the group almost 15 years ago, we have seen an increase in the number of harp ensembles, both professional level and student groups. We are delighted that we are not the only harp quartet in the world and also that some other groups are playing some of our commissions and transcriptions. It would be fantastic to see harp quartets become a more recognised chamber group in years to come and we would like to think that we've paved the way for this to happen.

Does this show through in your audiences as well?

We are certainly seeing more diverse audiences - obviously this goes hand in hand with playing in a wide range of venues and at different times of the year, the day and whether it's a music society with quite a fixed audience or a festival that brings in a wider crowd. We're also getting a bit of a following with the young harpists - they definitely admire how we approach the quartet and the repertoire.

One of the most satisfying parts of our concerts are some of the comments afterwards from audience members who were blown away by the variety of the sound and repertoire. Some people might see the the harp quartet as a bit gimmicky but after actually coming to the concert, their preconceptions are completely disproved. We always programme such a wide range of styles and periods that there is something for every taste from Baroque to recent commissions to Jazz … we love surprising our audiences (well except those who have seen us many times!). Interestingly, the biggest prejudice we have to overcome is from concert promoters who are concerned that the harp quartet won’t sell well. They are always amazed when the ticket sales pour in, and most of our concerts now are sold out! This wouldn’t happen if the local audience were suspicious of the group – the harp is a very popular instrument to listen to now, and we think audiences are attracted to the idea of the spectacle of harps magnified by four!

You've recently commented on the hardships of life as a performer, which is more than understandable. Can you now tell me a bit about what makes playing in this group so satisfying?

TokafiOur friendships, the amazing opportunity to be so creative, and using the four harps as a unique colour palette for our own compositions and creativity! Being a harpist can be quite lonely (much of our career is spent either performing solo concerts or in a corner of the orchestra), so being able to play with three other people who can completely understand the ups and downs of the instrument is a lovely feeling. We have also met some wonderfully generous people in the places we have performed in – our hosts and the concert organisers are all so friendly and helpful, and the audiences we play to are always incredibly receptive and enthusiastic about what we are doing. It is also amazing to be part of something that is trailblazing and unique – it always feels as though we are a part of something very special and we are excited for all that the future has to offer!

Interview with 4 Girls 4 Harps by Tobias Fischer