One Harp World

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”.

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.

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

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