By THIRSTY
Elizabeth Hainen is the principal harpist of the Philadelphia Orchestra
and is on the faculty of the Curtis Institute of Music and the Boyer College of
Music and Dance at Temple University. Lauded by the Washington Post for
her “unusual presence with silky transparency” and by the New York Times
for her “earthy solidarity,” Hainen has been a featured soloist all over the
world, from the Anchorage Symphony to the Bulgaria National Radio Orchestra and
from the Chicago Civic Orchestra to the Hong Kong Philharmonic, and has
collaborated with eminent conductors like Charles Dutoit and Michael Tilson
Thomas.
Stay Thirsty Magazine was thrilled to visit with Elizabeth Hainen at her home in Philadelphia
for this Conversation about her life, her instrument and her views on music
education.
STAY THIRSTY: What did
your parents say when you chose the harp as your instrument? Did you ever
consider the logistics of traveling with such a large instrument and taking it
all over the world?
ELIZABETH HAINEN: Actually,
my father was so happy that he had an excuse to get a fancy new station wagon.
We joke that he will still be helping me move my harp even when he is 80, which
incidentally he turns this coming December. Thankfully, when traveling with The
Philadelphia Orchestra we have a great team of guys that do the heavy lifting
of the instrument trunks. When I am on my own with solo gigs, Lyon & Healy
Harp manufacturers assists me with getting instruments all over the world.
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| Elizabeth Hainen and her harp |
STAY THIRSTY: As the
principal harpist for the Philadelphia Orchestra, how do you see the role of
the harp in the orchestra?
ELIZABETH HAINEN: From
a musical viewpoint, the instrument plays several roles. As a colorist, it
provides timbre and tone and a supportive texture to the string section. As an
accompanist, it often supports the flute, clarinet, oboe and solo violin.
STAY THIRSTY: You will
be performing with the Philadelphia Orchestra this summer at the Saratoga
Performing Arts Center. What attracts you about the Saratoga venue and
audience?
ELIZABETH HAINEN: This
will be my 25th summer at SPAC! I have always enjoyed the acoustics,
which is so rare for an outdoor venue. In fact, I have boasted that our space
is much more desirable than Tanglewood’s and one should make sure to hear our
orchestra in its summer home. I have also made close friends in Saratoga
Springs, NY, and they regularly attend our concerts. We have a great time
dining and socializing at the many wonderful establishments.
STAY THIRSTY: Your
resume includes performances as the featured soloist with the Hong Kong
Philharmonic, the Kennedy Center Opera House Orchestra, the Orchestra Camerata
Ducale in Italy and the State Symphony Orchestra of Mexico. Off all the concert
halls you have performed in, which are your favorites and why?
ELIZABETH HAINEN: When
on tour with the orchestra one of my favorites is the Musikverein in Vienna
Austria. Not only is the sound incredible, but there is a presence of great
music-making that inspires the performer and listener like no other place.
STAY THIRSTY: You are
the Founding Director and Chairman of the Lyra Society, a nonprofit
organization whose mission is to promote new works for the harp and to educate
young harpists. How did this venture come about and who are the principal
beneficiaries of your efforts?
ELIZABETH HAINEN: Playing
music comes naturally for me considering I come from a family of musical
educators and performers. We would often schlep my harp to my parents’
elementary and middle schools where I would deliver a brief concert introducing
the harp to young people. It always bothered me that none of these schools had
a harp. When I came to Philadelphia to begin my career with the Philadelphia
Orchestra, I heard about the rich legacy of instrument programs which once
thrived in the public schools. My personal journey took me to each school that
still owned a concert grand harp and upon this exploration I discovered that
three alumnae of Philadelphia High School for Girls all went on to become
principal harpists in major orchestras. This group includes Ann Hobson Pilot,
the first African-American member of the Boston Symphony. It became clear to me
that I must reestablish a harp program within the public schools. The Lyra
Society will celebrate its 15th anniversary in 2020. I am proud to
say we are currently teaching over twenty-five school students the harp. Our
recent graduates attest their future was shaped due to the gift of the harp.
All are college graduates or college-bound with honors and scholarships. Truly
a testimony to what the Lyra Society is accomplishing.
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| Elizabeth Hainen |
STAY THIRSTY: In
addition to your role as a performing harpist, you are also on the faculty at
the Curtis Institute of Music and the Boyer College of Music and Dance at
Temple University. How do the students of today compare with the students when
you were in college? How difficult is it to recruit students to become harpists
and what is the likelihood of them having a career playing this instrument?
ELIZABETH HAINEN: My
experience in music school was similar to modern day Curtis students: we
expected to excel at our instruments to become soloists and ensemble players at
the top tier. What has changed, in addition to performing to the best of your
ability, is the scope of the career path. Both Curtis and Boyer offer
incredible training in community outreach, self-promotion and business. I
recently created a teaching team at Boyer that represents how diverse classical
training has become. Historically, a harpist’s training and position has been
limited to classical music, but we are seeing a shift in this due to the
creation of many school harp programs like the Lyra Society’s GLISSANDO! harp
program. Our younger generations of harpists are motivated to take the harp in groundbreaking
directions, from duos to quartets and from jazz to singer-songwriting.
STAY THIRSTY: You are a
graduate of the Indiana University School of Music as is the renowned violinist
Joshua Bell, who also happens to be Honorary Advisory Board of your Lyra
Society. How did that happen?
ELIZABETH HAINEN: Joshua
Bell and I became close friends as we entered freshman class together. Along
with our other friends, we were always very supportive of each other’s school
performances, competitions and career endeavors. I used to attend Josef
Gingold’s masterclasses where Josh would give a test run for upcoming major
performances. You can now find some these old videos on YouTube! We perform
together often, and he continues to be a wonderful friend.
STAY THIRSTY: Your
third CD, entitled HOME, was released during the 2017-2018 season. How
was the lineup for this CD chosen and which pieces are you especially proud of?
Is there another CD in the offing?
ELIZABETH HAINEN: One
winter I endured multiple snowstorms in the sanctuary of our Victorian row
home. Philadelphia was shut down each time, but fortunately I had electricity,
groceries, wine and my harp. For a performing musician there is always a
concert deadline so it’s rare to have the opportunity to practice for one’s
self. I took advantage of my mini-sabbatical by playing some of my favorite
diminutive works with my Parsons Russell Terrier, Cosmo, at my side. While
enjoying this rare indulgence, it occurred to me that many memorable musical
encounters have taken place in our home, often as salon concerts with my
husband, David DePeters. So this inspired me to record all the pieces I like to
play for myself at home. I guess you could say, “home is where your harp is.”
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