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Sunniva Rødland Wettre: La harpen klinge! Å fremme harpens klang og kunstneriske funksjon i norsk samtidsmusikk

Stipendiat ved Norges musikkhøgskole

Through this project I wish to broaden the position of the harp as a contemporary instrument in Norway. The project will showcase parts of the modern development of the harp which has not been shown in Norway before. It will explore the possibilities of artistic expressions on the harp related to modern aesthetics.

The goal is firstly to initiate artistic explorations of the harp among composers and to contribute to a further development of the artistic range of the instrument. Secondly, the goal is to increase my own and other harpists awareness and knowledge, both when studying contemporary harp-music as well as when communicating the characteristics of the harp to composers.

To write for harp might seem problematic to many composers. I believe, however, that the harp is a flexible instrument which in many situations is being unnecessarily problematized and underestimated. Modern composers like Aperghis, Berio, Britten, Carter, Donatoni, Holliger, Jeths, Salzedo, Schafer, Rihm and more, have shown interesting approaches to the harp. This flexibility with a wide range of artistic expressions is what my project will focus upon. It is essential for harpists, as well as for composers, to know and to be aware of the development in the modern harp repertoire, particularly when positioning the harp in the contemporary scene.

The main body of the project is investigating both modern an contemporary repertoire for the harp. I am studying modern solo- and chamber-music repertoire that represents something unconventional in relation to the traditional treatment of the harp. My performances will include parts of this ʻunconventionalʼ repertoire, as well as modern

Norwegian repertoire. I am also collaborating with composers such as Adderley, Torvund, Steen-Andersen, Tornquist, Thoresen and Hellstenius. Through these collaborations I am reflecting upon the way we communicate together and how I as a harpist communicate my instrument. I will give world premieres of the commissioned works throughout my project.

To further increase my insight in contemporary aesthetics and my range as a musician, I will be exploring the possibilities of the harp and my own aesthetics through improvisations. My focus is particularly the dynamic flexibility and the differences in sound quality. Harshness, aggressive playing, rhythmical playing, percussive techniques have had little attention in the past but is something I want to focus upon. I am also diving into the vast area of modern playing techniques and electronics to continue the explorations of contemporary ways of using the harp.

Important questions in the project are;

• How may one artistically use the harp of the 21rst century?
• How does one achieve a wide range of expressions on the harp?
• How does a harpist and a composer communicate?
• How does the harpist most efficiently explain the characteristics of the harp?

The end result of “Let the harp sound!” will involve world premieres of the commissioned works, documentation of the repertoire performed and a documentation of conversations with other harpists, the collaborations with composers and the subsequent written reflections.