As always, before starting to read this interview, I leave you with a good soundtrack to accompany your reading. Hit play and discover Sara Águeda and her wonderful work with historical harps.
1- What was your first encounter with the harp, and what motivated you to specialize in early music?
My encounter with the harp was from a very young age. My parents are avid music lovers, and classical music always played in our home. I don’t exactly recall what led me to choose the harp, but from the age of 6, I strongly wished to approach this great instrument, under the constant phrase “I want to play the harp.”
2- Regarding the differences between the historical harp and the modern harp, can you highlight the most notable characteristics and how they influence your interpretative approach?
They are actually quite different instruments. The string tension, gauges, and arrangement vary significantly. However, what changes the most between the “modern” harp and the harps of the 16th and 17th centuries is their roles within the ensemble. In early music, the harp is a continuo instrument, part of a large mechanism, and its role has a noticeable presence. The modern harp has a vast repertoire as a solo instrument, but its role within the ensemble is more irregular, sometimes contributing sonority, other times blending various instrument families, and sometimes providing small effects. There isn’t a “continuous” presence as violins might have in a symphonic repertoire.
3- Following the line of historically informed performance, how do you consider the importance of this practice in music, and how do you apply it in your work with the historical harp?
It’s a fascinating job, delving into sources, understanding materials, and interpreting works on your own is wonderful. It’s crucial to thoroughly know the information provided by each source, aiming to get as close as possible to the original musical practice. Once you have all the information, only then can you make the work your own. Fortunately, the harp is one of the most important instruments in Spain, Italy, and England in the 16th and 17th centuries, so we have a large number of sources revealing the secrets of those times.
4- Within the realm of historical harps, who have been your main influences and references, and how have they impacted your development as a historical harpist?
Without a doubt, I have two names, my two great teachers: Nuria Llopis, my teacher of the two-order harp, and Mara Galassi, my teacher of the double harp. I have been incredibly fortunate because both have been tremendously generous in sharing all their knowledge with me. Now I feel that, obviously, I have my own personality as a continuo player and harpist, but their legacy is still enlightening me and guiding my path every day.
5- Can you share a funny anecdote, particular challenge, or significant experience you’ve faced in your career as a historical harpist?
There are many, and some are lengthy to tell, from having to open the flight case at the airport to show that there wasn’t a dead body inside, to being called over the train intercom to remove a large package and then being invited for a beer in the cafeteria after seeing my photo in the newspaper.
But undoubtedly, the most beautiful of all is the following:
A beautiful story thanks to A CONCERT
On August 20th, Rocío de Frutos and I gave a concert in the Gardens of the Royal Alcazar. Occasionally, people from the audience write an email to congratulate us on the concert, and this time I received this text:
“Last Friday, I was able to attend the concert you offered in the gardens of the Alcazar of Seville, and I loved it. Thank you for giving us those gifts.
But, it’s not for this reason that I’m sending you this email. I was an old friend of your father from our youth. We lived together in Rome during the two courses we spent there, in addition to sharing a work adventure in Germany. Some time later, our lives drifted apart and have not crossed paths since. Precisely because I heard about you in the press, the daughter of that Victor, I have recovered happy memories of that distant past, and I would like to share them with him.
I found it easy to find an online portal to send you this email. I bother you, therefore, because I couldn’t find your father’s email to communicate directly with him. I hope you can provide it, which is the reason for this message.
Forgive me if I’ve addressed you informally without knowing each other, but it would have seemed strange not to do so with the daughter of an old friend.
My warmest regards and congratulations on possessing such magnificent qualities.”
I immediately called my father to read him the email, and with an emotional voice, he said: “It’s Antonio.”
But that’s not the end of it; my father told me that when they returned from Germany and Rome, they arranged to meet at the Sevilla train station on a particular day at a specific time, with the bad luck that each of them went to a different station. With no mobile phones, no social networks, neither knew more about the other, they didn’t have addresses, and barely knew each other’s last names.
After 45 years, they met again thanks to A CONCERT.
I would love to show you a photo of them before and now, but I respect their privacy.
Still, the story deserves to be told now.
6- How have you experienced the evolution of networking and marketing in the field of early music throughout your career?
Well, marketing is quite exhausting. I manage social media in a fairly austere way, and the reality is that I have never lacked work. I don’t believe that work comes solely from social media, but the force with which it is being implemented is intimidating. I’m afraid of spending more time than necessary on self-promotion and losing quality study time.
There is no choice but to adapt, and I hope to do so in a healthy way.
7- How do you manage your online presence to stand out in a market where authenticity and history are so important?
I try to do it with the utmost honesty possible. I believe that doing something you believe in is the key to everything, so I try to stay true to my learnings and what I want to contribute as an artist.
8- In terms of teaching historical harps, what is your approach, and how do you share your knowledge with younger generations interested in this unique instrument?
For me, it is crucial to approach it from three channels:
1- The technical aspect, without which we cannot explore the instrument to the fullest
2- Thorough knowledge of original sources and their historical contexts
3- Each person’s brilliance for development, creativity, and creation are essential in every journey.
9- Do you have any advice for musicians considering delving into the performance of early music and historical harps? What advice would you give to your first-year conservatory self from your current perspective?
Answering the first question, I would say that the path of historically informed performance is magnetic; there is always music to discover. Solo repertoire is wonderful, but also improvisation, listening, and creativity are elements that generate a lot of interest.
To my “self” from the first year of conservatory, I would say to continue as is, keep playing for pleasure, and always trust my intuition.
10- We are sure our readers are enthusiastic about the harp after reading your story. Could you recommend 3 harp albums for us to delve deeper into your instrument?
First, I would ask you to listen to my teachers; I have worn out these first two albums. The third is an album I recorded with two great friends: Pere Olivé and Beisana Ruiz. It’s an album that leaves your soul content, so I hope it brightens your day.
1- Il viaggio di Lucrezia. Mara Galassi
2- Ecos de Cifras. Nuria Llopis
3- Im-posibles. Tañer
