One Harp World

Perspectives on Susann McDonald's influential performing and recording career.

A lecture-recital exploring the musical influences of newly-rediscovered bohemian/Swedish harp virtuoso and composer Anton Edvard Pratté (1796-1875), aka ”The Harp King of the North”.

Katia Mestrovic will deliver colleague Melina van Leeuwen's dissertation on Carlos Salzedo’s compositional theory of “New harpism.” The end result of his “complete renovation of the harp”, new harpism is the undiscovered key to understanding Salzedo’s entire oeuvre.  The pre-concert lecture will include a discussion of Salzedo's works featured in Alice Giles' 11:00 solo recital.

A lecture-performance featuring Edward Top’s Resonanties and the Student Harp Ensemble of the Vancouver Academy of Music, showcasing accessible harp ensemble writing and collaborative composition. www.edwardtop.com/orchestra/six-pieces-for-harp-ensemble

How the Huron Harp School has built an inclusive and thriving community for harp learners of all levels through group practices and performances.

Ann Yeung and Isabel Moretón Achsel (past and current Editors of the World Harp Congress Review) moderate a presentation-panel to highlight the histories and importance of international harp organizations in nurturing the international harp community, culminating in the 2026 One Harp World event in Toronto.

The wide tonal and timbral range of both pedal and lever harps are showcased in two contrasting works, J.S. Bach's Chromatic Fantasy alongside O'Farrell's new composition, 'Murmuration' for pedal harp, composed especially for Emmanuel Ceysson. This lecture-recital illustrates methods of achieving the range of chromatic colour made available using two completely different mechanisms and compositional methods, including transcription approaches for chromaticism on lever harp.

An interactive exploration of the nuances of adapting, arranging, and transcribing for the harp, through an analysis of contrasting approaches to the Recuerdos de la Alhambra by Francisco Tárrega.

Bill Marx’s rediscovered double harp concerto, revived by Duo Shockoe, fuses jazz, Hollywood horror, and classical elements—bringing a lost masterpiece to life for modern global audiences.

Explore fresh ideas for creating a more singing harp line on the harp,  including alternative fingerings, enharmonic substitutions and palette of options for articulation with master artist Silke Aichorn. You love to have a singing harp line? I have many ideas, how to change the sonority, to create a more legato line, to show a powerful and not only virtuos presentation- selected examples are shown for some spicification of your next pieces.

Explore the lyrical writing of Canadian composer Alice Ping Yee Ho's concerto  for harp, exploring memory, loss, and renewal, where oceanic soundscapes mirror humanity’s fragile relationship with nature.

This session provides participants with a comprehensive introduction to the arpa jarocha (Veracruz harp) and its pivotal role in son jarocho, a dynamic Afro-Indigenous-Mestizo musical tradition from southern Veracruz, Mexico. The session will examine the historical evolution, cultural context, and performance methodologies related to the arpa jarocha, focusing on its significance in musical traditions, communal events (fandangos), and poetic improvisation. Participants will get practical experience with the instrument's musical lexicon, study its construction and performance techniques, and examine significant repertoire, including sones such as “La Bamba,” “El Cascabel,” and “La Bruja.” We will analyze the intersection of décima poetry and call-and-response singing with the harp's rhythmic and harmonic foundation in ensemble performance. This workshop is suitable for musicians, educators, folklorists, Latin American music students, and community members interested in decolonial musical practices, oral traditions, and the expressive potential of Mexican regional music. Educational Aims: Participants will comprehend the historical origins and cultural importance of son jarocho and the arpa jarocha. Determine the principal characteristics of son jarocho song structures, rhythmic patterns, and harmonic frameworks. Identify the composition of conventional verses and their function in collective improvisation. Listen, applaud, sing, and participate in instrumental practice to engage in the collaborative elements of Son Jarocho. Workshop Activities: Exhibition of the arpa jarocha method and its tuning Examine the social and political aspects of son jarocho as a dynamic tradition of resistance and cultural validation. The workshop will involve both live and recorded performance excerpts. Directed auditory engagement and lyrical examination of chosen songs Engagement in conventional coro–copla (chorus–verse) frameworks Lever harp, pedal harp, and synthetic rhythm instruments (quijada, pandero, or clapping) are welcome. Technical Specifications: Multiple arpa jarocha, lever, and pedal harp instruments Audio reproduction apparatus Projector for slides or video clips Area designated for collective vocalization or participatory engagements

Defining Music Therapy credentials and practice within the harp community as a profession, differentiating it from harp therapy training and other therapeutic music practices.

Speaking from the Harp: How Rousseau's "Minuet" transformed into "Baroque Flamenco", unlocking a world of solo harp works, concertos, chamber music and education.