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Interview with harpist Zachary Hatcher about Martin Stauning's Harp Concerto

Zachary Hatcher (c) Agnete Schlichtkrull

Interview with harpist Zachary Hatcher about Martin Stauning's Harp Concerto

Martin Stauning's newly released Harp Concerto was written for and recorded by the solo harpist of the Danish National Symphony Orchestra, Zachary Hatcher. We asked Zachary Hatcher a couple of questions about the highly original work and the close collaboration with the composer.

Interview
24 August 2022

"It's simply a delightfully odd piece of music that Martin Stauning has put together. A confrontation with the idea that a harp is something that lulls people to sleep – at times, Zachary Hatcher is tearing the strings of the instrument – but at the same time a work, which has a fundamentally dreamy character", wrote Seismograf in a review of Martin Staunings Harp Concerto.

The concerto was recently released in a world premiere recording by harpist Zachary Hatcher, the Danish National Symphony Orchestra and conductor Joshua Weilerstein. The work was written for Zachary Hatcher, who here tells us about performing the sinister, yet beautiful work who nearly drove him insane.

How was the collaboration with Martin Stauning?

"Working with Martin was very easy. Although working on a premier is nerve-wracking, Martin has a certain nonchalance and optimism that makes you believe as a team you can do anything. I was pretty involved in the process, but mostly in the execution. I did my best to put some life into his ideas, but the actual part, while very challenging, was very well written for my instrument. He kept an active dialogue with me to double check ideas that might not quite work – luckily we always found a solution. Besides a few general execution issues that are inevitable in new music  Martin wrote and built a true concerto for the harp. I have no doubt it will become standard repertoire in the future". 

What is it like to having a concerto written for you?

"To be honest, terrifying. I was first and foremost trying not to disappoint my friend. Martin was one of the first composers I worked with in Denmark, all the way back in 2016 for the Pulsar Festival. I instantly knew I loved his music. Of course I was thrilled when it was decided that Martin would write a piece, but with it came an immidiate commitment to making his ideas come to life. You end up hoping that the idea won’t be beyond your own understanding; that the music can move through you in a way the composer will be happy with. It’s not an easy job to do something well, let alone first. 

Playing the piece was something else entirely. The structure of the work is quite broad, the harmony and lines were somehow quite difficult to sing and build. Coupled with some really demanding technical passages, it felt at times like I was falling down the stairs in the dark. Eventually I started to grow with the music  it nearly drove me insane. There were so many things that up until the premiere I wasn’t even sure I could musically execute. On the other side of the first performance though, I realized that working on this piece was one of the greatest musical challenges of my 23 years as a harpist; the one I grew the most from. I hope very much to do it again!". 

What should the listener expect when listening to this piece?

"I think this piece is sinister and beautiful. It is a bit of a hard adjustment to enter Martin’s world; he sees beauty and horror in something as simple as a string or a puppet. I think the listener should be ready to hear something stunning, scary, and moving. When approached with an open mind this music gets under your skin, makes you remember, and makes you fade into some of life’s mysteries". 

What images and feelings do this piece evoke in you?

"The piece for me has a raw natural component, particularly the first movement. It is as fresh as springtime, but with the uncontrollable side of spring and nature. It turns almost into a fight on stage between the orchestra and the soloist. It’s entertaining, but also a bit too intimate. Like something you realize too late you shouldn’t have seen. It calls you in and won’t let you go. At the end of the piece it felt as if I was getting beaten by the orchestra until the last chord". 

How does this concerto represent a new way of writing for the harp?

"One large issue with the harp, is that a significant portion of our repertoire is what I would call “character pieces”. These, while beautiful, sometimes leave a performer wanting more. We don’t have the seriousness and depth of many other instruments in the music we play. Martin wrote something that conveys a very dark idea and story; one that suits the instrument surprisingly well. With this piece I got to use and entire side of artistry and freedom to express the music in a way I have never been able to. I hope this will encourage other composers to look at the harp in a new way  this instrument is capable of absolutely anything. Martin has shown us that".

You can listen to the Harp Concerto on your preferred streaming service here.

  • Martin Stauning

    Harp Concerto