Author: masumina

Teaching students from Royal Conservatory Birmingham, Royal Northern College of Manchester and Chetham’s School of Music.

I have been very privileged to have had the opportunity to teach at Guildhall School of Music. An open presentation was organised at Silk Street Music Hall.

Thanks to the students and enthusiastic colleagues, Imogen Barford, Charlotte Seale, Keziah Thomas, Karen Vaughn and Sioned Williams who were there!

https://drive.google.com/file/d/1U1Uuy7AoXmNZglGeH5EEDNgzhmLL04L4/view?usp=share_link

15th March 2023, 16:00

https://www.gsmd.ac.uk/whats-on/harp-masterclass-with-masumi-nagasawa

Intense C.Ph.E. Bach Masterclass for the students of Manja Smits at the conservatory ArtEZ in Zwolle, the Netherlands.

I am very happy with the results of the students, who are eager to learn and reacting fast! Much thanks to my colleague, Manja, who stimulates the students to learn the historical practice, but most important in learning to play expressively.

C.Ph. E. Bach quotes; ‘We should make our the ear conscious of the true content and affect of a composition’. ‘ Play from the soul, not like a trained bird!’

Masterclass at the Conservatory in Amsterdam.

Great to teach wonderful students of Erika Waardenburg and Gwyneth Wentinck ! They were eager to integrate the historical harp practices in their modern harp playing, and my, what an amazing progress they made!

Masterclass at the Mozarteum, Salzburg.

Thank you for the enthusiastic class of Stephen Fitzpatrick’s students. Impressive challenging repertoire from Haydn, C.P.E. Bach, Tailleferre, Fauré, Parish- Alvars and Debussy!

On Spohr’s Fantasie op.35

Spohr’s Fantasie is often demanded in harp competitions and auditions. However, until recently, there was no in-depth study by a harpist into a historically-informed stylistic way of performance on the Naderman single-action pedal harp from 1820. This presentation in the World Harp Congress offers a stylistic performance of the piece by delving into the lost harp practices from the 18th and 19th centuries.

The presentation is a challenge of animating the composition by performing beyond the notation, offering the listeners to experience that comes close to the composer’s expectations. The lecture provides a glimpse of the new annotated version of the Fantasie, which will be published early next year by Bärenreiter. The demonstration will be on the single-action and the double-action pedal harp.

Exciting varied programs were performed during the Dutch Harp Festival. It was truly a pleasure to be in the jury for the World Harp Competition among the other wonderful jury members!

Thank you Gavriel Lipkind, Jana Boušková, Nikolaz Cadoret, Maryna Krut, Vasile Nedea, Sophie Nzayisenga! And of course, Remy van Kesteren, Christianne Nordermeer van Loo and Elizabeth Jaxon who invited me!

CONGRATULATIONS for the winners, Juabjo Corbalán, Julie Rokseth, Maria Sásilva!

Fruitful study days on the German harp and the repertoire at the Scola Cantorum in Basel!

It was absolutely exciting to perform the C.Ph. E. Bach, Solo für die Harfe ( 1762) on my Single-Action Pedal Harp by Naderman (Paris 1771). Discussion on the piece was opening a new door for all of us.

Wonderful to have days with Heidrun Rosenzweig, Mara Galassi, Flora Papadopoulos.