Alys and her harp will be featured in a special evening presented by The Rose and Kettle Concert Sessions.  This will be an evening of varied musical styles, with performers on accordion, pennywhistle and old-time fiddle, sharing tunes and songs from many genres.  These evenings often begin with an open-mic, and close with a ceilidh or jam session, so bring your instruments and join in if you want to!  Thursday March 1, 7 pm (admission by free-will donation; almost all the funds go directly to the artists).  Rose & Kettle Tearoom, Cole Harbour Heritage Farm Museum, 471 Poplar Drive (corner Otago), Cole Harbour.  Contact: concertsessions@gmail.com

*****

March 10, 2012: International Women’s Day “Sisters in Steel” evening concert

Alys is excited to be performing in support of International Women’s Day!  This special event, “Sisters in Steel”, celebrates artists Becky Little, Barbara Schmeisser, and Alexa Jaffurs, through exhibits, blacksmithing and forging demonstrations, lectures, workshops and other interactive events.  Along with Alys and her harp, the evening concert will also feature musicians Ann Fearon, Karen Robinson, Mel Farrimond, and CBC Radio host Louise Renault as MC.  Hosted at King’s Theatre, Annapolis Royal, Saturday March 10, 2012.  For more info, visit www.annapolisroyal.com, or King’s Theatre 209 St George St, 902-532-7704.   

*****

March 30 – April 1, 2012: Intermediate Harp Workshop

presented by High Spirits Music (Naramata, B.C.)

Under the blossoms of the Okanagan orchards, Alys instructs the 12th Annual Harp Retreat & Workshop in Naramata, BC. This workshop will be taught at the level of intermediate harp students. We had such a fantastic time last year, we’re doing it again!  There will be Scottish, Irish, and Cape Breton repertoire, with information about ornamentation, variation, arranging, and some technical work to build speed and skill.  For more information or to register, please contact Caroline Mackay: theharplady@shaw.ca, phone: (250) 768-0930, or www.highspiritsmusic.com

*****

April 21, 2012: “Kitchen Party” Concert and Ceilidh

The evening begins and closes with an open mic segment, and then Alys will share some of her favourite harp tunes and Scots and Gaelic songs, as the featured performer of the evening.  Everyone is welcome to listen and/or participate in the open sessions, so bring your instruments/voices if you would like to!  Hosted by The Harbour Folk Society, this evening’s performance is open to members and non-members alike.  Admission by donation (suggested minimum $5.00 per person, 80 percent of funds go to the artist).  The music starts at 8:00 p.m. with the doors opening a little earlier.  Rose & Kettle Tearoom, Cole Harbour Heritage Farm Museum, 471 Poplar Drive (corner Otago), Cole Harbour. Tel.: 902-462-0154

August 14 – 18, 2012: IMA International School of Celtic Harp

January 23, 2011 - Launch party, World Harp Congress 2011! Alys performed a few numbers in support of the World Harp Congress (Vancouver 2011) launch party. Door prizes, live music, and presentations were enjoyed at this well-attended event, which took place at 2:00, in Nelson Mansion, New Westminster. For more information, visitwww.worldharpcongress2011.com

Saturday March 19, 2011, 3:00 – 4:00 (Granville Street at Georgia):

Leum! Alys Howe’s celtic band, performed on Granville Street as part of the CelticFest Saint Patrick’s Day celebrations. Leum! (which means jump in Scottish Gaelic) is an exciting new band of traditional musicians, featuring Annie Brown on fiddle, Keona Hammond on flute, Alys Howe on harp, and Neil Hammond on guitar and bodhran. With dance tunes and songs, Leum! celebrates the West Coast’s laid-back perspective on Celtic style, capturing the beauty and emotion of traditional music. We all jumped into St Patrick’s Day on Granville Street with Leum! For more information, visit www.celticfestvancouver.com/schedule-tickets/2011/

VIDEOS CLIPS of this concert can now be viewed on You Tube or by visiting the Performances page of this website.

APRIL 9th: BOWEN ROOTS FOR JAPAN – Benefit Concert

7:30pm - Cates Hill Chapel, 661 Carter, Bowen Island.  TICKETS: $20 available at the PHOENIX, or at the door

LEUM!

THEREAFTER

Acoustic roots with Neil & Keona Hammond and the JUNO AWARD-WINNING Shanto Bhattacharya

WINSTON HAUSCHILD

Indie-pop sensation!

BOB DOUCET & NEIL HAMMOND

A little bit of skiffle, a little bit of blues – mandolin, guitar, harmonica, ukelele and tea-chest bass.

LORNE WARR

The Velvety Baritone of Sealeigh Park!

CHRIS CORRIGAN

Singer, songwriter and compere extraordinaire!

THE BLACK SHEEP

(no introduction required)

and Spontaneous, haiku-inspired painting by the lovely and talented

EMILY VAN LIDTH DE JEUDE

Raffle prizes, Silent Auction, Wine Bar, snacks and other surprises.

ALL PROCEEDS WERE DONATED TO ShelterBox

delivering emergency shelter, warmth and dignity to people affected by the disasters in Japan.

www.shelterboxcanada.org

APRIL 29, and MAY 1:

Prokofiev’s “Romeo and Juliet”, Suites One and Two. Alys played classical (pedal) harp with the West Coast Symphony Orchestra, for two performances of this gorgeous and exciting work!

The full program included:

Mikhail Glinka; Overture to Ruslan & Ludmilla,

Sergei Rachmaninoff; Piano Concerto #2 ,

Sergei Prokofiev; Romeo & Juliet Suite #1 and 2

Performances:

- Friday April 29th at 8:00, The Old Auditorium at University of British Columbia

- Sunday May 1 at 2:00, Mount Seymour United Church in North Vancouver

Tickets were available at the door. For more information, visit: www.ubcmusic.ca, or http://www.westcoastsymphony.ca/concerts-schedule

 

MAY 7: Kiwanis Festival in Langley, BC – Alys adjudicated the harp and guitar categories. For more information, visit http://www.kfv.ca/

 

 

 

 

 

 

 

Alys’ performances at WORLD HARP CONGRESS VANCOUVER 2011: www.worldharpcongress2011.com

 

JULY 24 (Sunday): Alys was one of many spectacular harpists performing for the Opening Gala of the World Harp Congress ((Vancouver 2011).  The Vogue Theatre, 3:00pm – 4:30 pm.

 

JULY 27 (Wednesday): Alys performed with Winter Harp, produced by artistic director Lori Pappajohn, and featuring Janelle Nadeau. The Vogue Theatre, 7:30 – 8:15.

 

 

 

JULY 28 (Thursday): A “Cape Breton” harp concert at the WHC!

Cape Breton is an island located off the East Coast of Canada, in the province of Nova Scotia.  This area of Canada received a particularly strong cultural contribution from Scotland, because of the many Highlanders who immigrated there after the Clearances in the 1800s.  Today, Cape Breton is internationally renowned for the tremendous energy and sheer joy communicated in the performances of its outstanding fiddlers, piano players, and step-dancers.  Any “snapshot” of Canada’s rich cultural diversity would be incomplete without a nod to Eastern Canadian music.  Accordingly this concert, presented for WHC Vancouver 2011, will have a special focus on the Scottish musical heritage of Cape Breton.

Canadian harper Alys Howe and American harper Seumas Gagné present collaborative performances of lively dance tunes, waulking (work) songs, Gaelic love songs, and “puirt-a-beul”.  Both accomplished harpers with a deep love for traditional music, Alys and Seumas have immersed themselves in the Scottish clarsach and Irish cruit (Celtic harp) traditions, and the musical cultures of Scotland, Ireland, and Eastern Canada. If you don’t know what puirt-a-beul is, then open your ears to Alys and Seumas: two harpers proudly challenging the idea that all harp music is relaxing!

Award-winning Alys Howe is unique among Celtic harpists in North America. She was the first overseas harp student accepted to the prestigious Royal Scottish Academy of Music and Drama, went on to obtain her Masters from the University of Limerick, and has studied and taught at The Gaelic College of Celtic Arts, in Cape Breton. Alys is fascinated by the diversity of the contemporary Celtic harp, and has adopted influences from Cape Breton piano-style to jazz and ragtime, into her own contemporary soundscape.

Seumas Gagné has been playing the music of the Highland and Irish Gaels on the Celtic harp for more than twenty years, and is the only American to have won the trophy for solo clarsach performance at the Scottish Mod. After extensive study of the Gaelic language, Seumas helped found Slighe nan Gaidheal, Washington’s Gaelic language and cultural society.  He has worked with noted Cape Breton performers Wendy MacIsaac and Andrea Beaton.

Saint Paul’s Church, 3:00 – 4:00.

 

Review of ALYS HOWE IN CONCERT – Naramata, BC (April 1, 2011)

Alys Howe provided her audience at the Chalmers Chapel with a night to remember, a delightful experience. As an audience member in this amazing space, and with the harp and voice gently ringing the room, there were moments where ‘ethereal experience’ came to mind.

She is engaging, she is comfortable, and she is completely at ease with her music. Her occasional light banter helped put the music into perspective, and also drew the audience in to the talented personality behind the strings.

Her fingers set to work with multi-layered melodies floating from the three-dozen strings of her Celtic harp. She interspersed Irish and Scot instrumentals with songs featuring her own lovely soprano voice. This was a bonus. We knew we were coming to hear a renowned harpist, but to hear her sing too was the icing on the Celtic cake.

Alys dazzled us with her soprano vocals in Gaelic.  We chuckled during a Canadian folk tune of loving a logger, and we were captivated by her ability to make Celtic harp magic.

Watch video clips from this performance

–
Craig Henderson
editor, My Naramata
editor@MyNaramata.com
http://twitter.com/MyNaramata

As the end of a semester or a school year approaches, many students are asked to participate in recitals or performances, to celebrate all the hard work and many accomplishments they have made during the year.  It’s very normal to feel nervous about playing music or giving a performance in front of other people. Many professionals experience stage fright and nerves, even after many years of playing in public.  However, sharing your music with other people is a very important part of playing an instrument.  Music is meant to be listened to, and if you never play for anyone besides yourself, you are cheating yourself out of the full experience of musicianship.  (After all, if someone gives a concert but no one is there to listen, the full experience cannot take place.  An audience provides ONE HALF of a concert experience – the musician is only doing the other half of the work!)  You are also cheating yourself out of an opportunity for personal growth (“No one else even noticed that I made a mistake – I survived it, and the world didn’t end!  Now I know what to work on for future, or what to do differently next time.”)  You are cheating yourself out of the opportunity to amaze and surprise yourself (“I can’t believe I did that!  It feels great now that it’s over!”)  And – you are cheating your listeners, out of the joy of sharing your music with you.

It can be really difficult to make time for all the things that we want to do, that we need to do, and that are important to do. Sometimes something that we love to do, like playing the harp, simply can’t be squeezed in to our already jam-packed schedules.  While the idea of playing in front of other people doesn’t always seem appealing, here is something to consider.  A recital or any kind of “deadline” can be reframed from something that seems intimidating or stress-inducing, into a golden opportunity to make a true commitment to the learning you signed up to do (and paid good money for!) Don’t you sometimes feel frustrated because you want to play the harp, but can’t seem to improve the way you would like – usually because you just don’t have enough time to practice?

Setting the deadline of playing in a recital can create just the right mixture of “motivating fear” that will help you fully commit to practicing more intensively during the days leading up to a recital. We all know that something we enjoy as just a hobby can’t be our top priority 365 days a year.  But it can be more realistic to make the harp a top priority for just THREE WEEKS out of the year: MAKING THE TIME to sit at your harp EVERY DAY, and really focussing on the ONE SONG you will play for the recital.  The fear of playing that song in public, combined with the security of knowing that you will be playing for a group of friends and other sympathetic musicians, plus the “realistic-ness” of this short-term time commitment, is a formula for rapid improvement and exhilarating success!  You will be amazed at how three weeks of dedicated practice will take your harp-playing to the next level.  The confidence you will gain from your performing experience will make the next goal or challenge seem that much more attainable…which makes it possible for you to conceive of other goals and challenges that you wouldn’t even have imagined you could take on.

When I was growing up, I was so afraid of playing the harp in public, I couldn’t sleep the entire night before doing so!  Over the years, I became aware that I had a tendency to say no to things that I really wanted to do, because they seemed too difficult or too scary for me. Eventually I realized that this behaviour was causing me to lose out on many learning and growth opportunities, and I came to feel a lot of regret about the risks I didn’t take – much more so than about any little mistakes I might have made in front of an audience! Now, I accept several performances a year, simply BECAUSE they scare me!  I’ve learned that anything that scares me offers the potential for tremendous personal growth and a real sense of pride in myself and my achievements.  Those feelings are so great, I have gradually learned it’s worth some fear and anxiety, in order to experience the “pay-off”. I got to this place one step at a time, by gradually saying “yes” to bigger and bigger challenges.

As a harp teacher, I sometimes work with students who theoretically want to play an instrument, but go year after year (and sometimes instrument after instrument) without ever truly committing to it (or to themselves!)  Don’t keep telling yourself that, “next year”, “in five years”, “when you retire”… etc… you will finally make time to really play the harp.  Play the harp NOW. Play the harp for the next three weeks.  Play the harp for a friend.  Play the harp for a recital!

The next time an opportunity comes along that seems too scary to say yes to – think it over and ask yourself, why would I NOT want to do this?  What are some possible negative outcomes of this experience?  Are these concerns really valid (are the possible negative results really all that bad?), or am I holding myself back in some way that isn’t really useful to me any more?  What might be some positive outcomes of saying YES to this experience?

Thinking about the enslavement of humans lead me to think about the enslavement of animals. I have always loved animals, and always had many pets. But even the concept of “having” a pet – what is that?! Do we really have the right to “own” another living creature? A dog? (A plant?) When you start thinking about the concept of ownership and the enslavement of living beings, there are a lot of things to question. My two dogs bring so much joy, love, and happiness to my life. They are “like children”. They need me to “look after them”. (These are all things white people used to say about slaves). I try very hard to contribute to the happiness of my dogs’ lives – we worship Caesar Milan at our house, we give our dogs as much exercise as possible (the discipline is more of a challenge); and every day I take time to try to communicate to them how much I love them, and how grateful I am that they are here with me. Of course, they have no choice about being here with me. They only leave our home on leashes, and they only run free in parks if we allow it. They get to eat when we feed them. We have complete, total control over what they experience and when. I like to think I am a good “master”. But can anyone be a “good master”? I don’t know. Maybe that’s an oxymoron.

And aside from *that* issue, I have also eaten animals for most of my life.

I wonder if in the future, human beings will look back to our time – and find our treatment of animals to be shocking, and unimaginable. I read an interesting article this morning, about biologist and writer Jonathan Balcombe’s books on the emotional lives of animals. He states “we kill more animals now than at any time in history, and there’s a lot of suffering associated with that. We kill them mainly to eat them, and most of us could be eating kinder food”.

The idea of “kinder food” really struck a chord for me (harp pun intended). Over the last few years, I have gradually become more and more committed to vegetarianism (and hats off to you vegans – I hope some day to be there with you). I have a lot of food allergies and sensitivities, and for a long time I thought I could not afford to give up meat, because of the negative consequences this would have for my health. But last October I read a book that described some of the barbaric and horrific ways that animals raised for meat are treated – and tortured to death. Reading this book, I realized that I could no longer allow myself to be a consumer whose money supports the meat industry. I felt there could be no possible excuse to justify my continued participation in something so awful. According to what I read, the people who work in the average slaughterhouse somehow have to get used to the brutal and insane environment they work in. They have to “turn off” their capacity to care about the constant suffering and horror they witness, in order to continue at their jobs. (That description reminded me of news stories you hear about the Nazis “exterminating” Jewish people. The psychology of it is appalling, and yet apparently, most people in the “wrong” circumstances, are ultimately capable of these same atrocities).

I remember one passage, describing a cow who was supposed to have been stunned and had its throat slit (“humanely”). Unfortunately (according to the book), this process can be faulty. Sometimes a cow, who has not been stunned and who is not dead, is caught in the machine that will grind it to death (still alive!!!) The workers must reach with a metal hook, stick it into the rear of the cow, and drag the cow out – because it is blocking up their machinery and slowing down the slaughtering process. Unfortunately sometimes the cow is so thoroughly stuck, the hook just rips its anus right out of its body. The cow is still alive and fully conscious – trapped, terrified, in agony, and unable to beg for mercy. A victim of all of us, who don’t care enough about the sufferings of animals to stop them from happening. These animals have done nothing to hurt or harm us, but for some reason we think we have the right to torture, murder and eat them. I wonder how we came to think that way?

In part, it must be because we are so removed and detached from the natural world. Many of us don’t work on farms and have never worked on farms. We don’t raise legless chickens ourselves, or saw off their beaks. We don’t throw the male baby chicks (live) into the garbage where they are crushed and suffocated to death because they will never lay eggs. We don’t go out into the forest and fields to kill what we will eat. We go to our local sterile and brightly lit supermarket, and exchange metal and paper for some neutral, neatly-packaged chunks of dead animal.

And then there is this familiar argument: many animals eat other animals – so what’s unnatural about human animals eating other animals? Nature is cruel – just look at a cat with a bird or a mouse. We aren’t any different or better than other animals. We evolved from cavemen, who ate whatever they could get in order to stay alive – just like other animals.

But the thing is – we haven’t been cavemen for a long time. We could choose to be different and better than other animals. Unlike a lion or a shark, we have that capacity to think through our behaviours rationally and morally, and make new choices. Many of us really do have the money and time to find other foods – and here in Vancouver, there are so many “kinder” options that we can choose from.

When I read the book last October, I was in Cape Breton for approximately two weeks. Cape Breton is still quite a rural place, and in some ways it is a “financially challenged” place. I realized while I was there that the decision to not eat meat is a luxury – and some people are not in a position to make that decision. But I know that I am able to make that choice – and I look forward to the time when more and more people will also be able to.

As Jonathan Balcombe says, “Research indicates animals do indeed feel emotion and have rich, complex, inner lives…Despite the findings of recent science…we continue to do things to animals we would never think of doing to humans – like poisoning them in experiments, butchering them and eating them… If people continue to eat animals, there’s only so much we can do to alleviate their suffering. It’s hard to advocate for them between bites of a cheeseburger”.

Burrrrp. True.

Things started with a bang, when I performed with the orchestra for the Opening Ceremony of the 2010 Olympics in Vancouver. Though orchestral musicians are supposed to keep their eyes trained on the conductor, we did manage to enjoy parts of the spectacular entertainment – in fact, we might have had the best seats in the house! I particularly enjoyed the incredible feats of the snowboarders who opened the show (I believe there were ultimately several, as many of them sustained injuries doing the stunt)!; Sarah McLachlan’s “Ordinary Miracle” (who knew that she plays in bare feet under the ball-gown?); the incredible aerial dancing, choreographed to the Joni Mitchell song (I think viewers who only saw this act on television could not fully appreciate how stunning and emotional it was to see it in person – what a shame, as this was truly a highlight for me); and of course the Eastern Canadian segment, with all the fiddling and dancing. Perhaps the ultimate highlight for me, however, was finally getting to realize a childhood dream and meet Loreena McKennitt. I even took the opportunity to have my photo taken standing beside her Lyon and Healy Troubador – along with Donovan, one of the composers for the Ceremony, who it turns out is also a big fan of McKennitt! I confess I originally accepted the job feeling quite cynical about the Olympics taking place in Vancouver, and I didn’t expect to enjoy it any more than any other gig. But being present at the Opening Ceremonies converted me to a full-fledged Vancouver Olympics fan. I enjoyed everything after that – even the craziness downtown. So that’s a tribute to the success of the Ceremony – that it could cause someone who felt the way I did about the Olympics in Vancouver (bah humbug, to mis-apply Scrooge’s phrase) to completely change their mind (no ghostly hauntings necessary).

St Patrick’s Day was low key and really fun this year, some friends and I performed as “Ceart” at The Monmartre Cafe on Main Street. As always, I enjoy playing at sessions, house concerts or parties, and take every opportunity to play trad tunes! Sessions at The Trap and The Railway Club are not as convenient for me as the good old Wolf and Hound, but I make it out when I can.

Adjudicating for the Edmonton Kiwanis Festival was an adventure for me the first weekend in April. It was wonderful to meet local harpist Keri Zwicker, and to hear the students she and Nora Bumanis have coached so well. Many of us met again for a workshop, where I shared a few of my favourite jigs and reels, and some of the “goodies” I’ve learned on my travels!

Of course there were the usual gigs, weddings, and background entertainment jobs through the year. It’s reassuring to see that the economy seems to be turning around again. One hotel gig featured a conversation with an older gentleman who was seated near my amplifier. I took it as a compliment that he found my harp “rather loud”, as that is not a complaint harpists receive very often when playing in a large echoey public space! Of course I seem to be a magnet for neighbours who don’t enjoy living next to musicians! My current apartment, thank goodness, has a singer upstairs – though they ARE cat people (wheras we have two little “holy terriers”!)

In June I was invited to Fort Worden, where Feis Siatail meets to celebrate Scottish Gaelic culture. The harp class, though small, was enthusiastic. They tell me they will always remember the answer to “what is a strathspey” versus “a strathspray”! I made some wonderful new friends in Fort Worden, in particular the lovely and fabulously talented Andrea Beaton. Now if only I could convince Matt Haverly and his family to move to Vancouver!

A close encounter with some urban wildlife, in the form of a highly crazed raccoon, was the least enjoyable part of my summer. My poor dogs were badly bitten and so was my partner Brian! The dogs were treated for rabies, but though we went to the top of the chain for medical care in BC, no such vaccine was made available to my human companion. Makes you wonder who should be trusted: the veterinarians who advise and charge you to vaccinate your pets against rabies, or the people doctors who refuse to provide the same service to human beings?

In August, I was off to Wells BC for a wonderful week. My students began the week as harp novices, but left with a solid foundation of skill. I had some very talented newbies in this class, and I’m so pleased to hear they are continuing their harp journeys in their own provinces! It was, as always, wonderful to see Sharlene Wallace (my former harp teacher and a dear mentor) and the incomparable Kim Robertson – one of my all-time favourite harp performers and a great inspiration.

I’ve done some harp swapping this year, making the difficult decision to let go of my Dusty Strings 36 S in maple after many, many years of companionship. That harp travelled with me through Scotland, Toronto, Cape Breton, and Ireland so we learned a lot of great tunes together! I enjoyed a brief affair with a DS Bubinga 34 harp (now owned by my student Rosanna), but am now becoming more seriously aquainted with a DS Koa 34. I will say that the new 34s are so much lighter and more portable, and this Koa has a huge vibrant sound! My Camac electroharp continues to look for a perfect new “forever” home. A Daphne 40 by Salvi is considering becoming part of my tribe in place of the Camac, and now that some truly ancient strings have been changed, I think we may get along!

I did a lot of teaching through Prussin Music, the highlight of which was the group classes: Harp Performance Ensemble, The Harp Practice Ensemble, and an introductory level class for beginner harp players. During my wonderful, 3 week trip to Cape Breton in October, these classes were ably led by my friend and colleague Rebecca Blair.

Attending Celtic Colours in Cape Breton – what a dream come true! Though I saw hundreds of concerts at Celtic Connections in Scotland while I was a student there, until 2010 I never managed to be in Cape Breton in October for our own Canadian version of this event. From the opening night, where the piano playing of Jerry Holland rocked my world – to the last concert, where Catriona McKay and Chris Stout showcased their amazing collaborative work (which I feel would be best described as “Celtic Chamber music”), I was in heaven all week long! Catching up with Andrea Beaton and getting to spend time with Cape Breton harpist and artist Jenny Tingley (and her lovely family!) was another special highlight of the trip. Ahh, Nova Scotia. Some day I will live there!

Elizabeth Volpe, the Principal Harpist of the VSO, sustained an injury which meant the VSO was short a harpist for a few concerts. I know Elizabeth won’t mind me saying that, though I was concerned for her, I was excited to be involved in some challenging and wonderful orchestral repertoire! Mussorgsky’s Pictures at an Exhibition, Elgar’s Symphony No. 1 in A-flat Major, Op. 55, some rare art-songs by Strauss, and Camille Saint-Saëns – Symphony No.1 in E-flat major were all part of my musical soundscape this year. A gala performance with Vancouver Opera (playing second harp to the outstanding Heidi Krutzen), and a Christmas concert as first harp with the Vancouver Island Symphony rounded out my pedal harp engagements this year.

With the World Harp Congress coming to Vancouver in 2011, we local harpists almost feel as though the Olympics are coming to town all over again! This will be another special opportunity to share with the rest of the world, some of what we value and treasure about our Canadian culture and heritage. My friend Seumas and I are planning to perform as much repertoire from Cape Breton as we possibly can – though the harp is not featured in that musical culture, it should be!

Here’s to the journey in 2011!

I was working with a class of total beginners, 8 wonderful women most of whom had never touched a harp before. I love teaching beginners – everything is new and exciting for them, and I get to relive those feelings and remember what it’s like to be just starting your musical journey with the harp. Sometimes because I play and teach harp as my job, I lose touch with how magical and special the instrument really is. So it can be really rejuvenating and joyful to work with beginners who are keen and open to the wonder of the experience! We spent a lot of time celebrating all that we accomplished together – but I must say, they really did learn a lot! In just five days, these novices learned how to tune their harps, play intervals of 2nds and 3rds (broken AND solid!) triads and chords – understanding a bit of theory along the way – scales, both crossing over and under – AND, between the eight of them, they learned to play 5 tunes! I thought that was great.

It was very special for me to be at Wells with Kim Robertson (teaching the intermediates) and Sharlene Wallace (teaching the advanced class). These accomplished and inspiring harp players are two of my idols, and it was because of Kim that I originally went to Wells as a student myself – where I then met Sharlene, who became a very important teacher and role model for me. So you can imagine what an honour (and a thrill!) it was, to be “on faculty” with these two Harp Goddesses! Possibly the highlight of my week was playing tunes with Kim at the Bear’s Paw. Sharlene didn’t play that evening, but her tune “Winter Frieze” made kind of a “special appearance”!!! Winter Frieze…as performed by Alys Howe and Kim Robertson