BY STEPHANIE ESLAKE
When I first started to chat with Laura Winter for this interview, she told me: “The most interesting thing about me is that my instrument is the harp”.
Having read about the Melbourne musician’s impressive performance credits as principal harpist with the Heidelberg Symphony Orchestra and Monash Academy Orchestra, and her entry into the world of music education, I would personally beg to differ.
But I must admit to finding the self-description a little hilarious, and I wanted to learn more.
So, ahead of her orchestral performance this week, we settled in for a chat about why the harp is such an intriguing instrument, and the way Laura has fought hard to strengthen her relationship with the harp since she was just four years old and watching Play School.
Laura, tell us why you think the harp is a super interesting instrument to play.
The harp is just an incredibly unique instrument. It’s extremely versatile in what styles we can play – it’s not all just beautiful, romantic glissandi! It’s the only orchestral instrument to play on a grand stave, so I can double the bass notes with the tuba and high melodies with the flute. I also use both hands and both feet to play, so that adds to the fun.
When did you first pick it up, and why? (Perhaps not literally…)
It’s a bit of a long story, but the short version is that I saw the harp ‘through the windows’ on an episode of Play School when I was four. I said: ‘That’s what I want to play’. And my parents said: ‘That’s never going to happen’.
I played piano and tried the violin, but my heart was set on the harp. Eventually, my parents gave in and then all the pieces miraculously fell into place – so we knew it was just meant to be. My 10th birthday came with the promise of finding me harp lessons.
Oh, and I’ve never literally picked it up – my dad has been an awesome roadie!
You perform with many orchestras across Melbourne – from the Heidelberg to Monash Academy Orchestra, among others. How hard is it for a harpist to find a place in the orchestra?
I was incredibly fortunate to study under the brilliant Julie Raines and, because of her connections, she got me started in a few orchestras around Melbourne. I’ve been working consistently ever since.
Nowadays, I find that I have to turn jobs down as I get asked to do so much, which is always hard to do as I love working with orchestras!
I’m not normally needed for the entire program. The amount of repertoire I play varies from concert to concert.
So tell us a little about the experience. How do you find the dynamic of being the only person in the orchestra to play your stand-out instrument?
Like most things in life, there are pros and cons. I like the freedom and flexibility that comes with typically being the only harpist. However, I miss the camaraderie and support that a larger section brings.
I find that most conductors tend to leave me to my own devices. I appreciate those that are really helpful with cuing after long breaks, and understanding that key changes are a bit more complex than the standard instrument. I guess it’s all about knowledge and consideration of the instrument.
You’re the principal harp with Heidelberg – why do you love performing with this orchestra and how do you find the repertoire?
So many reasons to love the HSO! I’ve been playing with them for over three years now, so I have a great relationship with the conductor and manager. All the musicians are so friendly, and incredibly talented. They push themselves to a very high standard, which, in turn, makes me work hard – it’s a good challenge.
The repertoire they program is fantastic; we do a lot of film music, which is a personal favourite of mine (John Williams is a genius at harp scoring!), combined with audience favourites, and always something interesting for the musicians to have fun working on.
You’ll be playing a concert on September 15 with Heidelberg, too. Which work are you most looking forward to?
Oh, that’s tricky. We’re performing Batman: Orchestral Suite, which just sounds so epic. But then, I also get to play in the Horn Concerto by Gliere, which will have my favourite horn player – the incredible Roman Ponomariov – as soloist. Plus there’s Huapango by Moncayo, which has such a fun Mexican feel. So it’s a tough choice.
Outside harp performance, you also work as an educator. What advice do you like to share with people starting out on harp?
Don’t be scared. I hear so many kids, teens and adults saying, ‘I wish I could play the harp, but I’d never be able to’, and then giving up before they’ve even started. Harp is actually way more accessible to begin than you might think.
On the flip side, the technique can be a bit fiddly to learn at first. It takes slow practice and patience – it can feel like you’re going nowhere. It’s worth persevering, though, because once you get it you can fly!
Anything else you’d like to add before we see you play in Heidelberg?
My first career highlight to date would have to be playing in the musical The King and I. This was the turning point where I decided that music was what I wanted to do for life, and I completely fell in love with playing musical theatre.
The other amazing experience I’ve had was earlier this year, when I was privileged to play under the baton of Nigel Westlake with the MAO. It was an incredible concert where we performed both Compassion and Antarctica alongside soloists Lior, and Slava Grigoryan. It took a lot of work and stress, but the end result was indescribable and something I’ll remember for the rest of my life.
See Laura perform the harp with the HSO at 8pm this September 15 in the Performing Arts Centre, Ivanhoe Girls’ Grammar School, and follow her on Facebook.
Shout the writer a coffee?
We volunteer our time here at CutCommon to support new music in Australia. Shout Stephanie a coffee for publishing this story, if you like.
Images supplied. Pay what you like securely via PayPal. We protect your personal information.
