Writing this piece of music was probably one of the most enjoyable projects I’ve ever done. Perhaps that’s why it turned out to be a good one.
The harp can be a daunting instrument: it is large yet delicate, piano-like but not a piano, strings plucked with four fingers per hand not hammers hit by five fingers.
However, the learning process about harp technique was made considerably easier by Jacqueline Pollauf, who has kindly posted a list of guidelines online.
Anna Kate Mackle, Principal Harpist of the Florida Orchestra
But I must admit, I also cheated a little – I asked Anna Kate Mackle, Principal Harpist of the Florida Orchestra, for some input. Back in the mid 80s, Anna Kate and I were both in the New Jersey Youth Symphony and also attended the same summer camp in North Carolina, the Eastern Music Festival. It was such a terrific six weeks of intense music activity that we hardly saw each other, and when I moved back to the UK a few years later we lost touch until I moved to Tampa Bay some 20 years later. (EMF was so good, Anna Kate now teaches there every Summer).
Anyway, Anna Kate enthusiastically shared her perspective on a couple of corners during the creation of Mirror 2 and so I couldn’t resist but dedicate the piece to both her and Jacqueline. I do hope they’ll both find occasions to play the piece at some point (Maybe during next year’s Festival of Psalms).
Perhaps another reason this piece turned out so well is that I have a kind of fondness for the harp. Whilst in college in London I dated a harpist and spent a lot of time carrying and transporting her harp all over London and Kent. She attended the Royal College of Music and I attended Trinity College of Music, but we didn’t let that rivalry get in the way as we were both members of the Kent County Youth Orchestra (upper age limit 21), and my mom & her dad worked together at Kent Music School!
(Come to think of it, I’m pretty sure being a percussionist very used to carting about large and heavy instruments came in pretty handy during that relationship!)
Anyway, in the past month or so I’ve learned a great deal more about the harp than I already knew (such as multiple note harmonics per hand) and tackled this composition with a different kind of energy. As one independent industry reviewer commented, the piece is “beautifully haunting.”
Mirror 2 is based on psalm 38 which is structured in 5 sections, namely A, B, C, then B again and finally A again. To me, that’s a mirror image. I don’t know if there’s a formal musical structure out there that imitates a mirror, but I’m not bothered about that – I’m calling it a Mirror in the same way that many pieces are called Sonata or Rondo based on the music’s structure.
By now you know that my compositions, although currently rooted in a more traditional Russian Romantic idiom, are far from normal. Typically we associate the harp with angels, prettiness, light cotton candy, beautiful sweeps and whooshes, and happy weddings.
So this piece is dark, low, deeply emotional and far from angelic! Each of the five sections of Psalm 38 are about Prayer or Pain. See Longman & Garland’s commentary for more details.
Use the Reverbnation player below to listen to the piece (it starts quietly) and then see if you agree with George’s assessment below. Let me know in the comments what you think.
I’m giving the sheet music for this piece away for free for an entire week, so if you know any harp players, be sure to send them this post using the share buttons below so they can download it and try it out. Both you and I would love to know what they think of it, right?!
George Algozzina is, amongst other things, a tenor in the Clearwater Chorus
“My life has been truly affected and enriched this morning when listening to Stephen’s new song, ‘Mirror 2.’ It was wonderful to awaken and experience an entire day’s worth of feelings and emotions in just a few minutes through a truly amazing and beautiful musical composition. I do not know the emotional reaches or spiritual intentions Stephen has for his piece, but it took me from an ominous (almost hopeless) place…to one of acceptance…and then to one of self-awakening and the chance of peace, tranquility, and hopefulness. Thank you, Stephen, for making a difference in this moment and in my life!”
Anyway, in the past month or so I’ve learned a great deal more about the harp than I already knew (such as multiple note harmonics per hand) and tackled this composition with a different kind of energy. As one independent industry reviewer commented, the piece is “beautifully haunting.”
