You are currently browsing the monthly archive for September 2011.

NOTES FROM TOUR:

When I asked our host of last Tuesday’s Workshop, Betsy Chapman, what to expect in Boyertown, PA – and a little bit about Marianne, the owner of the beautiful Inn we’d be staying in, Betsy sent me this email. While I was there, I took these photos.

Marianne Deery is the Mayor of Boyertown, the town I live in.

Here in Boyertown we have Bear Fever – our mascot, the Boyertown Bear can be found all around town in various guises – a Doctor Bear in front of the medical center, a laywer Bear in front of Borough Hall, a dentist bear – you get the idea.  These Bears were all created by a coalition of businesses, students, and townspeople to bring collaborative public art to our town.

Boyertown is “A Special Kind of Place” – a town of 4,000 residents that boasts its own Farmer’s Market, has a Museum of Historic Vehicles that is recognized for it’s excellent collection by the Smithsonian, a fabulous 1912 restored theater for movies and live performances, Studio B, a non-profit art gallery, and a main street of locally owned businesses that make it hard to want to shop anywhere else!

Tattoo Parlor Bear

We have an important place in the history of theater as well – in 1908 a fire in the Rhoades Opera House killed 171 people, and wiped out whole families.  That fire caused many of the fire-safety laws to be written that are still in effect.

Note that all doors in theater open out, remain unlocked during performances, and have panic bars.  Many exits are required, not just one door.  Curtains must be fire-resistent.  Exit signs are clearly marked and lighted.  Fire extinguishers are in prominent places, etc.,etc., etc.  All thanks to a fire in our little town.

As for Mayor Marianne?  Besides being renowned for her baking, it is an open secret that her favorite duties as mayor are tapping the first keg of beer at our annual Oktoberfest, and performing wedding ceremonies.  Not necessarily in that order!

The Bear in the Inn

So … you like bears?  Get thee to Boyertown!

“Baroque Flamenco” is one of my most fiery & dramatic pieces that’s the dramatic finale of PBS music special “Invention & Alchemy” and the 3rd movement of my concerto “Soñando en Español.” (Read about the piece in this blog).  Now the piece is in the hands of many other harpists …

(Sign up for the next hands-on workshop)


In 2008 I arranged “Baroque Flamenco” for other harpists to play, and instead of just making a single arrangement, I created 3 arrangments: one for beginners, one for intermediate players, and the concert version I play, myself, for advanced players.  All the versions are playable on concert harp, and the beginning & intermediate versions are also playable on the lever harp (also called “Folk Harp” or “Celtic Harp.”  You can see both concerts harps and lever harps – the blue one, and the one I’m playing – in the photo below)

Workshop with DHC

Hands-On Workshop with DHC

So now harpists all over the world are playing this piece.  But to really play the piece – to bring it aliveyou need to not just play the notes, but also play the “character” of the piece — and that’s the kind of thing you can’t pass on via written notes.  

So I created a hands-on workshop specifically for learning how to express the character of the piece  — which is both the simplest, and the hardest part of the music.

To work on that, we use a simplified version of the piece, so that players on all levels, from beginning to advance, can work together at the same time. Interestingly, it’s often the less advanced players who have an easier time connecting with the ‘character’ of the piece, so working together in a multi-level environment is useful to everyone.

For that same reason, I invite any advanced players  to present a brief section of the piece during short “Master Class” interludes, so that the entire class can learn from watching these short one-on-one sessions (which are also a nice break from the playing … well, for everyone except the ones presenting!).

By  the end of the evening, everyone knows how to ‘get this piece across’ to an audience, regardless of their skill level, and they can then take that understanding and apply it to whatever level of the piece they’re working on. They also get my tips on practice techniques for Baroque Flamenco and ideas for developing their own unique performances of the piece.

I love sharing this in person because as a composer I have a limited language through just written notes – but when I can be in the same room with you, and show you exactly what I mean, musically, you’re getting all the music, not just the notes.  You get to literally look over my shoulder.  You get to experience the passion of the piece – you get the living music and then you become part of the life of that piece.

THE NEXT HANDS-ON “BAROQUE FLAMENCO” WORKSHOP:  is Fri. Sept. 30 at Kolacny Music in Denver, CO.   Get more info or sign up here.

I had a radio interview yesterday morning on WPAZ, Pennsylvania’s  tiniest radio station (“with the biggest heart!”). The station had been struck by lightning the night before so they had to create an alternate tech set-up for my phone interview (see  below).  You can listen to that interview here:

WPAZ-2011-09-22_DHC-Interview

I love the mic placement  at the speakerphone, and especially love that even though I wasn’t there … they still provided morning coffee.

Hey, it ain’t called “The Morning Show” for nothin’!

Radio host Betsy Chapman will also be hosting my “Fireworks for the Creative Spirit” workshop on Tue. Sept. 27 at the Tri-Country Performing Arts Center.  There are a couple of spots left as of this writing.  Here’s where you can get more info about the workshop is and how to register.

DHC & Betsy Chapman on live radio

It's nice to know that even if you phone it in, you still get coffee

RELATED POST:  Betsy sent me questions ahead-of-time (most of which she didn’t ask in the interview) but I experimented with writing out the answers in advance.  You can see the first question “Why the Harp?” here.

Line drawing of DHC playing harp (artist name: "Friday")

Line drawing of DHC by audience/artist "Friday"

I got a set of questions from Betsy Chapman, who hosts “The Morning Show” on WPAZ, a tiny station (“with a big heart!”) in Pennsylvania. WPAZ is co-sponsoring my “Fireworks for the Creative Spirit” next week, so Betsy interviewed me on air. But first she sent her questions, starting with the question I most dread and am most often asked.  So I started writing to find out what my  answer would be this time:


Q: So … why the HARP?

A: This is a question I ask myself over and over.  Did I play the harp as avoidance for writing musical theater, which is my first love?  Because it was an incredible physical challenge, a way I could be both an athlete and a musician at the same time?  Is it because it was an underdog instrument?  Is it because it was so identified with women, and so marginalized in the music world, that I felt like I wanted to liberate it in some way?

If someone had told me it is THE traditional storytelling instrument through history, that might have made me choose it.  But I did NOT know that.

If someone had told me it’s the missing link between the piano and the guitar, with all the double-handed dexterity of the piano but the ability to get right in on the strings and bend them and snap them like a guitar – that might have done it.  But I didn’t know that either.

So I honestly don’t know why I STARTED.  But I kept going for many reasons.  First, the challenge.  Practicing the harp completely enveloped my mind.  The dexterity between hands and feet, it calmed my mind and focused me in a way that nothing else did.  I think that my brain and my body needed something to connect them in that way: something complex and intricate, that required huge physical coordination and physical strength.  I found that very satisfying.

I also loved the excuse to get dressed up in long gowns,  high-heels, rhinestones and red-red lipstick, and I loved that I could pay my way through school by playing in dining rooms — PLUS I got free food.

When I started focusing on jazz, then again was the physical challenge I loved, and the understanding that by practicing a structure, I could eventually have huge musical freedom.

Then, later on, I fell in love with the international community of harp builders and players.  Which is good because a few years after that, I developed this idee fixe: the idea that it must be possible to strap on the harp, play it like an electric guitar.  And that was something I couldn’t make happen on my own.

NEXT BLOG:  “WHY ELECTRIC HARP?

ON SEPT. 30, 2011 – Denver, CO:  I’m presenting a hands-on workshop for harpists on “Baroque Flamenco” on Friday, Sept. 30 at Kolacny Music in Denver, CO.


Baroque Flamenco is one of my most famous and fiery pieces. But it wasn’t always.

The first time I heard the melody, it was in a  Minuet by Jean-Jacques Rousseau  (pictured below – quite fetchingly, I think).

I found it in one of my first harp books (“Medieval to Modern, Vol. 1″ by Samuel Milligan) under the title “Minuet in A Minor.”

I fell in love with the melody and started improvising on it, first in a Baroque style, and then over time, I started adding rhythm to the variations.

Little by little the piece became a conversation of styles: the melody was Baroque, but the variations took on a Latin rhythmic character (a lot like the rhythm of Bernstein’s “America.”)

Then, one day, packing up my gear in a rock club in Berlin, and hearing Ottmar Liebert’s “Nuevo Flamenco” on the house sound system, I had a revelation: “Wait a minute!” I yelled at myself over the music, “The harp … the HARP … is just a big GUITAR!”

By which I meant: there’s a whole other instrument here, not just the strings, but the sound box as well.

I started experimenting, and created a cadenza for the piece that included my best imitation of a flamenco troupe, from strums and slaps to foot stomps – all created on the strings and soundboard of the harp.

DHC Playing Baroque Flamenco with the Grand Rapids Symphony

Me playing "Baroque Flamenco" with the Grand Rapids Symphony

Thus was born, “Baroque Flamenco,” which morphed from a sweet, haunting minuet into a fiery tour-de-force that was the dramatic finale of my PBS music special “Invention and Alchemy”, and later became the 3rd movement of my  concerto “Soñando en Español.”  You can see a video of the performance of “Baroque Flamenco” from the DVD (and GRAMMY-Nominated CD) “Invention & Alchemy” here:


SEPT. 30, 2011: I’m presenting a hands-on workshop for harpists on “Baroque Flamenco” on Friday, Sept. 30 at Kolacny Music in Denver, Colorado – for all levels of harpists.



NEXT: Hand to Hand: Passing on Baroque Flamenco…




Press Release – run until 10/1/2011

Take a Harp


Shrink it down


Plug it in


Strap it on

Deborah Henson-Conant is the world’s foremost electric harpist – but this ain’t your grandmother’s harp!

She’s a GRAMMY©-Nominated recording artist, and THE “DHC” behind the “DHC Blue-Light”  –  one of the fastest-selling new harp models in the world!
This 11lb carbon-fiber electric harp is Deborah’s signature instrument, and was designed specifically for her by the CAMAC Harp Company in France.

On October 1st Deborah Henson-Conant is coming to Denver for a 3-day Creative Residency sponsored by a consortium of local music organizations, that includes a solo show on Saturday, Oct. 1st at 8pm and a Hands-on Workshop on Friday, Sept. 30th, from 7-10pm.

ARTIST BIO

Guitar legend Steve Vai calls her “The Jimi Hendrix of the Harp.” NPR’s Scott Simon described her as “the Love-child of André Previn and Lucille Ball.” The New York Times credits her with “reshaping the serenely Olympian harp into a jazz instrument by warping it closer to the Blues.” And the Boston Globe described her as “A combination of Leonard Bernstein, Steven Tyler and Xena, Warrior Princess.”
Henson-Conant is a one-woman orchestra, with electric harp, voice and a looper pedal she uses to layer sounds in real time, then weaves solo lines and vocals above it. The music in her shows ranges from her Grammy-Nominated Blues to the tender love song, “The Nightingale” from her PBS Music Special, to a Hendrix-inspired version of the Star Spangled Banner.

FORGET the demure harpist – Henson-Conant is a showman, entertainer and solid musician who’s been compared to musical greats from Leonard Bernstein to Elvis Presley.  She’s been featured on CBS Sunday Morning, The Today Show and NPR’s Weekend Edition, and in two full-length PBS music specials. Henson-Conant’s voice is compared to Carly Simon and Joan Baez; her playing to Chuck Berry and Jimi Hendrix; and her humor to musical comedian Victor Borge.  The shows are tied together by powerful, funny, affirming stories and universal humor.  She’s known for her renegade image, evocative singing voice, and shows that fuse music, theater, stories and humor.  Her playing ranges from full-out bluesy to heart wrenching ballad.  This is a feel-good, outside-the-box, bring-the-folks-you-love kind of show for audiences of all genders and ages- folks who want to celebrate what it means to passionately follow your own creative path.  Henson-Conant debuted with the Boston Pops, opened for Ray Charles at Tanglewood, jammed onstage with Bobby McFerrin, Doc Severinsen and Marvin Hamlish — and offstage with Aerosmith’s Steven Tyler.  She’s been featured on CBS’ “Sunday Morning,” NBC’s “Today Show” and NPR’s “Weekend Edition,” and interviewed by Scott Simon, Studs Terkel, Charlie Rose & Joan Rivers.

WHO: Deborah Henson-Conant, GRAMMY® Nominated Electric Harpist
WHAT: Solo Show, PLUS 3 day Creative Residency
WHEN: Sat, Oct. 1, 2011 at 7:30 pm, see below for additional event date
WHERE: Unity Church of Denver – 3021 S. University Blvd – Denver, CO 80219
TIX: $15 all ages   Purchase Tix Online  / By phone 303-722-6081, OR Kolacny Music 1900 S. Broadway, Denver, CO 80210
SHOW INFO:  Artist’s Event Page 

CONTACT: Beatriz Harley, 781-483-3556, HipHarp@HipHarp.com

HI-RES IMAGES   Hi-Res Image
s
ARTIST WEBSITE:  (www.HipHarp.com) and YouTube channel give a good overview of what you can expect at the show.

↓  join   ↓  the   ↓   conversation   ↓

Facebook Fan Page         Blog      Twitter    YouTube Channel

Blog Categories