Thursday, 21 June 2012


So. Nightrider has passed, and I am left with no aches or pains, and some wonderful memories and the feeling that the night was one of the defining events in my life. Truly one of the best things I've ever done, up there with passing my motorbike test and finishing my first racing weekend at Brands Hatch in far from last place.

The harp has had a little bit of a rest since my recital, and I've had some time to mull over where I am going and what happens next.

I read many blogs, a number of them harp related, but one of the most interesting ones is that of Deborah Henson-Conant at

Deborah's influence on contemporary harp and performance cannot be overstated - I'll talk more about this another time. Recently she confirmed that she will be joining Steve Vai on a tour, and her blog has recently covered some of her preparation for this.

Today I read this post, and it really resonated/struck a chord/(insert musical cliche) with me. DHC - Field of Musical Landmines

It is SO good to know I'm not alone in feeling out of my depth when working with other musicians and taking the harp a little off piste. In particular, the explanation of playing the wrong notes even when you're playing the wrong string was so clear, and I will use it to mention to others.

Also her feeling of worrying whether the other musicians were wondering if the notes were wrong because she was playing them wrong, or if she hadn't worked out the harp logistics yet - I have been here so many times.

I'll be reading with interest and can't wait to hear some of the results of all her incredibly intensive work.

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