Plucks

Alice Giles introduced this concert by observing that the instruments being played, harp and guitar, are both plucked but they sound quite different given the structures of the instruments themselves.  The guitar has its strings (usually 6) over the soundboard; the harp has strings (6 octaves) exiting from its soundboard.  At least the strings are both plucked, although with different techniques, so a guitar may play a chord on six strings, but a harp can play a strum of many more.  And the techniques are otherwise, too, like on harp changing keys with pedals.  Each pedal raises or lowers a note by one semitone.  Interestingly, they are grouped, so two pedals work on the first two flats (B, E) and two further pedals work on the first two sharps (F, C) and the others manage the rest of the accidentals (G, A, D).  Fascinating!  Both these performers are renowned locals and this was a very relaxed and understated performance but very capable.  The first set was Alice on harp playing two sets of Five preludes for harp alone by Carlos Salzedo.  The first has movements titled Quietude, Iridescence, Introspection, Whirlwind, Lamentation, so I found myself wondering of the aptness of the composition.  I then found my concert neighbour brought up the same issue in some movements of the second prelude.  Not surprising, I guess.  Then set 2, with harp and guitar.  Three short compositions by Turlough O'Carolan, a local composition relevant to the Arboretum, A view from the Eagle's Nest by Marian Budos who was there for a chat after, and Suite magica by Maximo Diego Pujol, an Argentinian guitarist who had visited the ANUSOM in the past.  So some joyous, occasionally danceable, sometimes slow or filmic or storytelling or expansive as in landscape, and an obligatory Argentinian tango, from a pair of understated but quite brilliant performers on their respective instruments.  A pleasure.

Alice Giles (harp) and Timothy Kain (guitar) performed for the Harmonic Curves series at Wesley.