Music / “In Transit”, Emily Granger, harp. At Greenaway Studio, Chapman, August 14. Reviewed by LEN POWER.

THERE’S something about harp music that is instantly transporting. The instrument has always added a beautiful sound to classical music works but it’s a different and delightful experience to hear a solo harp played in an intimate setting.

At the Greenaway Studio, a full house was treated to a sublime afternoon of contemporary works for the harp played by the consummate artist, Emily Granger.

American-born and now Australian-based, Granger has had a busy international career. Dedicated to expanding the repertoire for the harp, her concert, “In Transit”, featured contemporary harp music from Australia and the US, reflecting her own multiple journeys from one continent to the other as she made the decision to reside in this country.

There were works by Australian composers including Ross Edwards, Tristan Coelho and Sally Greenaway as well as pieces by US composers Libby Larsen, Laura Zaerr, Deborah Henson-Conant and others.

With themes of travel and isolation, serenity and solitude, the music painted colourful pictures that engaged the imagination. Each work was given interesting introductions by Granger. She won the audience over completely with her relaxed, warm and friendly manner.

It was a well-chosen program of works and choosing highlights afterwards was almost impossible. For this reviewer, it was “The Nightingale” by Deborah Henson-Conant. Granger explained that this was one of the first pieces she heard as a young harpist, inspiring her to continue her studies. 

For listeners, its haunting, delicate and melodic qualities were magical. Amazingly, a ray of sunshine spot lit Granger through the window of the studio just as she was playing it.

Other works that particularly impressed were Coelho’s atmospheric “The Old School” and Greenaway’s “Liena”. From the US, Larsen’s “Theme and Deviations” and “River Right Rhumba” by Zaerr were also memorable.

Watching Granger playing the harp in close-up in this intimate studio was an enthralling experience in itself. Being able to see her elegant finger technique on the strings clearly and her use of the foot pedals on the harp was fascinating.

A group of young children seated on cushions on the floor directly in front of the performer were enthralled by the experience and their attention was held throughout the concert. Maybe Granger inspired some harpists of the future as a result of this experience.