I am sometimes asked to name my favorite stylistic period. It doesn’t matter to me, as long as we’re talking about good compositions and I can give them my own personal interpretation. It’s true that even as a young performer I discovered that I had an affinity for modern music. I am particularly interested by the technical and interpretative possibilities. It gives the performer a sense of freedom. I also enjoy the challenge of making modern music, which is experienced by so many people as “difficult”, into something not only approachable but exciting. Personal contact with the composer is a priceless advantage here. I would never have been able perform the works which were written specially for me by Garret Byrnes, Carlos Michans, and Jacob TV (Jacob ter Veldhuis) with such conviction if the composers hadn’t been around.Music for the harp has been composed in every imaginable style over the centuries, and in the process certain structures and “rules” have come into being which were largely obeyed by every self-respecting composer. But in the last century things changed; the limits were extended. A few composers, such as Carlos Salzedo, deliberately departed from the beaten path, even though it was sometimes a struggle before they could ultimately realise their personal visions. My experience has been similar. I have more or less demanded the right to experiment with new music in order to establish my own place on the concert platform.Download booklet
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