Date: Fri 28-Mar-1997

Publication: Bee

Author: SUEZ

Illustration: C

Location: A13

Quick Words:

NFoM-Anraku-Julliard

Full Text:

FINAL SEASON CONCERT FOR NFoM A HEAVENLY EXPERIENCE

B Y J UNE S. A PRIL

Between Gabriel Faure's Impromptu and Claude Debussy's Sonata No. 2 for Flute,

Viola and Harp , Mariko Anraku's friend, flutist Marina Piccinini, quipped to

the audience, "Mariko spends half her life tuning her harp, and the other half

playing it out of tune."

The friendship between the seven musicians added one more element that

augmented a musical experience that was excellent and mesmerizing last Sunday

afternoon. The musicians had gathered on the stage at Newtown's Edmond Town

Hall for the final concert of the Newtown Friends of Music 1996-97 season.

Joining with her friends, Kristina Cooper, cellist; Jennifer Frautschi and

Michael Wei-Chung Shih, violinists; and Daniel Panner, violist (who are known

as the Magellan String Quartet), the award-winning harpist also invited double

bass player Timothy Cobb to join them for the concert.

It was Ms Anraku's idea to bring her friends from her days at Julliard School

of Music together with Mr Cobb (who is also a member with Ms Anraku of the

Metropolitan Opera Orchestra), to offer the Newtown audience a new combination

of sounds. After a week of intense rehearsals, a program of classic and modern

music held the audience spellbound.

Harking back to antiquity, the double-action pedal harp is an instrument that

requires fine coordination, as well as perfect pitch. Its 6« octave range

offers a sonorous, ethereal quality that is a perfect vehicle for works by

impressionistic composers such as Claude Debussy. All the red strings are "C"

and blue or black strings are "F." The highest sounds are made with nylon

strings, the middle tones are produced on strings made of sheep gut, and the

lowest register sounds are from steel strings. So clearly, strong hands are a

requisite of harpists, not just overall body strength (or a working knowledge

of physics).

The harp is not only a large instrument, it also involves coordination with

the seven pedals which control making the strings sharp, neutral or flat.

"The harp is a percussion instrument," Ms Anraku noted, "because you pluck the

strings to make musical sounds." She added that the challenge comes in when

seeking to create a smooth, or legato , quality to music. It is about

maintaining the resonance when the performer plucks the strings.

Music is part of the talented 27-year old harpist's family. Her aunt played

harp, and there was always a harp at grandmother's house to listen to. At age

three, Ms Anraku started studying the piano. When her body was ready, at age

eight she began her harp lessons.

"It was assumed that I would be a harpist."

First prizes at the Concert Artists Guild New York Competition (1995), the

Japan International Harp Competition (1989), and the bronze in 1992 at the

International Harp Competition in Israel are but a few of the kudos already

awarded this talented musician.

Her performing debut was in Toronto, a decade ago, with the Toronto Symphony.

Ms Anraku's chamber work is also an important role in her career, but two

years ago she was appointed associated principal harpist of the Metropolitan

Opera Orchestra.

"Listening to the singers has been an adventure for me," she explained. "It's

helped me carry over the vocal sound legato into my harp playing."

By the end of April, the public will be able to purchase Mariko Anraku's first

release. Produced by Channel Classics, this will be the first of five

recordings by the young, promising talent.

A talented, award-winning musician, Ms Anraku has demonstrated that the range

of the harp is unlimited. Beginning the afternoon's program with the Concerto

in B-flat Major, Op. 4 No. 6 by 18th Century composer George Frederic Handel,

the trills and dynamics displayed by the harpist affirmed the wisdom of harp,

in lieu of harpsichord.

For some, the greatest joy of all the music was Debussy's Danses Sacree et

Profane . Sans the flute, the music was boldly visual in nature, heightening

the connection between sound art and imagery. Should this come out on one of

the compact discs Ms Anraku is under contract for, it will undoubtedly be a

standard for harp/string ensemble performances.