> Sea of Glass Harp music LNT105 [GP-J]: Classical Reviews- March 2002 MusicWeb(UK)






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SEA OF GLASS – MÔR O WYDR - ELINOR BENNETT – HARP
John METCALF (b.1946) – Harp Scrapbook

1. Le Tombeau de Boulez
2. Vanog
3. Miami gondola
4. Rhythm study
5. The Descent of Dumuzi
6. The Rise of Geshtinnana
7. The two sisters

Arvo PÄRT (b.1935) - Pari Intervallo
Robert Ap HUW (16th century) – Hun Gwenllian
Jeffrey LEWIS (b.1942) – Dreams, Dances and Lullabies
Grace WILLIAMS (1906 – 1977) – Hiraeth
Arvo PÄRT – Spiegel im Spiegel
Robert Ap HUW – Gosteg yr Halen
Philip GLASS (b.1937) – Metamorphosis no.2; Wichita Vortex Sutra
Elinor Bennett, harp
Recorded at St.Silas Church, London 1994(?)
LORELT LNT 105 [71:37]


Elinor Bennett has an international reputation as a harpist, and has been the inspiration for many new pieces, two of which are recorded here. The harp is an extraordinary and wonderful instrument; it has an ancient pedigree, comparable with that of the flute, yet has infinite possibilities of tonal variation, proving irresistible for composers of more recent times.

Of course it is seen in Wales as the ‘national instrument’, and there has been an unending stream of fine players from the Principality for many centuries past (whatever Mendelssohn may have thought!). John Metcalf (himself an increasingly important figure in modern Welsh music) has cunningly combined a ‘traditional’ view of the instrument with some more challenging and modern perspectives. His scrapbook is, as the name suggests, a varied collection, but it holds together well; there is humour and vivacity here (e.g. Rhythm Study and The Two Sisters), as well as romance and mystery (Vanog and Miami Gondola).

The Williams piece (the title translates as ‘Longing’) is expressive and melodious, while the Lewis (also written for Bennett) is a dark, rather brooding work which rarely rises above pianissimo. The four minimalist pieces, two by Pärt, two by Glass, are undoubtedly effective on the harp, though your response to them will of course depend upon your reaction to the inevitable longeurs of the style.

Robert ap Huw, who came from Anglesey, was court harpist to James I for a while, and was the author of what is probably the first written collection of harp music (Musica neu Beroriaeth). Bennett produces an entirely different tone colour for his two little pieces – much more lute-like in sound. (She may even be playing a different instrument, though we are not told this.)

Elinor Bennett plays all this music with musical and technical mastery. My only misgiving lies in the nature of the programme; almost all the pieces are slow and very quiet, which makes the disc a somewhat somnolent experience! Fortunately, then, the second Glass piece, Wichita Vortex Sutra (a title unexplained in the booklet) is relatively relaxed, with an almost Caribbean feel to it.

There are far too few recordings of harp music, particularly modern harp music, in the catalogue. Lorelt are to be congratulated for featuring this fine artist and the music she champions. The recording is excellent – not too close so that we don’t pick up the mechanical sounds of the instrument, but close enough to feel the ‘bloom’ of the tone.


Gwyn Parry-Jones


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