It's always been sort of a part of my nature to second-guess myself on most things, and performing on the harp is no exception. The doubt isn't always apparent to others, but I often find myself nervous on stage because I doubt my ability to just...play. The studio recital was especially rewarding, as it was a chance for me to prove to myself that I could play without this underlying doubt. Thankfully, with the encouragement of my teacher and my harp guys (see picture), I was able to play without self-doubt. This made for quite an exciting performance for both me and my teacher. I don't think I've ever smiled so wide after a performance.
The orchestra concert went well, too. As always, I had my harp partner-in-crime, Zach, to play this difficult part (Bruch's Scottish Fantasy) alongside me. Although, I must say that the highlight of the concert was the violin soloist featured in the Bruch. The harp has its own solo part, but the violin really shone through, making for a beautiful performance. And though it was exciting while it lasted, I'm a bit glad to move on from the Bruch and onto Ravel's Ma mère l'oye (Mother Goose) Suite.
It's almost surprising how much I've grown in the last year since entering pre-college at Juilliard. The rigor is often (i.e. always) overwhelming, and yet I've learned to adapt while maturing more than ever as a musician. A few years ago, I would have never though that my technique and musicianship could improve so much in a year. I would have never believed that I could play the harp parts for famous (and difficult) pieces like Bruch's Scottish Fantasy, Bartók's Music for Strings, Percussion and Celesta, or Stravinsky's Firebird. And yet, in pre-college I've had the chance to play these pieces and more. For this and more, I am continually grateful.
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| The best harp dudes ever. |
