Corrections or additions?

This article by Elaine Strauss

was prepared for the March 13, 2002 edition of

U.S. 1 Newspaper. All rights reserved.

Catrin Finch Shares a Welsh Music Tradition

My husband enters the room and is ensnared by the CD

recording of harpist Catrin Finch’s Bach. It is a nimble, energetic,

and muscular translation of compositions originally written for solo

violin. Instead of the harp’s characteristic sweeps of sound, Finch’s

Bach is resolutely focused.

My husband looks dissatisfied. "There’s something wrong with the

high-low balance," he says. As it turns out, he thinks that the

recording instrument he is listening to is a piano.

Interviewing Finch by telephone from her home in Wales, I wonder

whether

he has made her a compliment, and eventually she responds to his

misunderstanding

by saying, "It makes me very happy." But first she takes

another

stance. "My aim to make the harp sound like a harp. I aim to show

that the harp can sound just as good as an instrument as the piano.

It’s usually regarded as not capable of solo things."

This 21-year-old is a direct, unspoiled member of Generation Y. She

conveys as much by inflection as by choice of words. I imagine at

her end of the phone she rolls her eyes, tilts her chin and lets her

facial expressions emphasize her meaning.

First prize winner in the Young Concert Artists (YCA) International

Auditions in 2000, Finch gives a concert in Richardson Auditorium

under the auspices of Princeton University Concerts on Thursday, March

14, at 8 p.m. Her program encompasses both works for harp and

transcriptions

by Bach, Debussy, Albeniz, and others.

Founded in 1961, YCA has launched the careers of major figures on

today’s concert stages. Winners have included Emanuel Ax, Richard

Goode, Pinchas Zukerman, and Dawn Upshaw. The Princeton University

Concerts Prize is awarded annually to the outstanding YCA winner.

"She walked out onto the audition stage and immediately commanded

everyone’s attention with not only her dazzling technique, but the

expressivity and sensitivity of her playing," observed Princeton

Concerts’ Nathan Randall.

Finch’s instrument was made by Salvi of Piasco, Italy, near Turin.

"It’s an example of today’s modern concert harps," she says.

"The harp is probably in the best, most developed state it’s ever

been. Today’s harps are the finest ever seen. They produce a sound

people didn’t think the harp could make. They’re strong, robust

instruments."

Finch has had the harp since 1990, when she was 10. After she selected

the instrument from several shipped to Salvi’s London showroom, her

family adjusted to the new situation. "My parents re-mortgaged

the house and changed the family car," she says. Once bought,

the harp demanded a station wagon.

How does she choose a harp? "I select by the sound," she says.

"I like bright sounds, but warm. It also matters how it looks.

A harp can have different kinds of decoration. My harp is very modern

looking. My taste has lately turned away from ornately decorated

harps.

Then there are physical things — how it plays and whether it suits

your shape. Some harps are shorter and fatter. I was quite a tall

10-year-old, and I grew around the harp." Finch is now 5 foot

8.

The youngest of three children, Finch remembers absorbing the piano

instruction of her older siblings. "I listened to their

lessons,"

she says. "I was annoying. Being the youngest of three, you

automatically

become involved. When the older ones practice, you join in." Her

brother Matthew is an accountant in London. Her sister Emma works

in marketing in Cardiff.

Finch’s father, a native of England, works for a government

agriculture

development agency. Her mother, a librarian, teaches piano;

German-born,

she moved to England as a child. "I’m the only member of the

family

born in Wales," Finch says. "I consider myself Welsh. I speak

Welsh. I learned it at an early age in school."

"We don’t have professional musicians in the family," Finch

says, "but there’s always been a piano in the house. My mother

was keen on us all learning music. Taking music as career was not

thought of, but she considered music important for bringing kids

up."

When Finch was five, she attended a harp concert and

knew immediately that she had to learn to play the instrument. By

age six, she had started lessons.

"I guess I went on and on about the harp," she says. "I

knew that playing harp was what I wanted to do. There was no turning

back. My mind was set. Six was an early age to start, but for me it

was the right time. I was ready. I had been playing piano since I

was four and I knew how to read music. My mother had already bought

me a flute, and she sold it."

Finding a harp teacher was no problem in Wales, where the harp is

the national instrument and most schools own harps and have harp

teachers

on staff. Finch currently studies with Skaila Kanga at London’s Royal

Academy of Music.

Before acquiring the Salvi harp at age 10, Finch outgrew three

successively

larger and more sophisticated instruments. The Salvi, like all concert

harps has 47 strings, giving it a range roughly the same as that of

a modern piano, and seven pedals. Finch succinctly explains how the

pedals work. "There are three slots to each pedal," she says,

" — flat, natural and sharp. There is one pedal for each scale

step. The C pedal will move every C on the harp. It’s very easy to

get the harp into any key you want. But it’s virtually impossible

to play a fast chromatic scale. You can’t move your feet that

fast."

"The advantage of the harp is how it handles glissandos,"

Finch says. These are the smooth sweeps covering a large range of

pitches; they are tricky to pull off comfortably on a piano. "By

using the pedals you can play two of the same note at a time. A fast

glissando, which is a series of plucked sounds, sounds like a chord

because of the pedal settings. You can get different chords by

plucking

the same strings when the pedal settings are changed."

One of the special demands of playing the harp, says

Finch, is coordinating hands and feet. "It’s hard enough when

the brain has to worry about one bit of body. It’s worse when there

are more parts. In the kind of pieces I play, the feet are as

important

as the fingers because the feet control the pitch." Sometimes

Finch practices hands and feet separately.

"If you want to be concert harpist, you must move on as soon as

possible to a pedal harp," Finch says. "At 10 my playing was

at stage where I had to get a new harp. Having had the harp since

then, the main part of my studying was on this harp. My playing now

suits the Salvi harp. It would be difficult for me to switch."

This season Finch premieres a double harp concerto commissioned by

England’s Prince Charles. "Playing the harp is quite a lonely

thing," she says. "It’s like piano. You need nobody else.

You carry the whole show. Being able to share the stage with someone

else is lovely."

The day of a performance Finch stays calm. "I eat bananas before

performing and take it easy the day of a concert. It’s too late to

do anything then. I just go with the flow. For me the panicking begins

a few weeks ahead of time. That’s when I worry about learning the

notes, and not messing up on stage."

Finch evaluates the success of a concert by the audience reaction.

"There’s no such thing as a perfect performance," she says.

"You can always find ways to improve. Even while I’m performing,

I think of ways in which I could have done things better. If the

audience

is enjoying themselves, that’s what I’m there to do. You could get

bogged down in how many wrong notes you played. But if the audience

has had an experience because of what you’ve done, it’s a success.

It’s a sign of success when someone comes up after the concert and

says, `Wow!’ That’s why you spend hours and hours — for the few

minutes of joy you bring people."

Invited to tell of a narrow escape in performance, Finch comes up

with a repetitive narrow escape story. "You’re playing a piece

that you’ve played hundreds of times," she says, "and suddenly

you don’t know where you are. You have to improvise for a while, and

then it will come back. You can’t guard against memory lapses. It’s

a successful mistake if no one else notices. Mistakes will always

happen."

Finch is now nearing the end of a two-year term as the royal harpist

to Charles, Prince of Wales. The prince had heard her play at his

50th birthday celebration and Finch’s former teacher was on the

selection

committee. The post was last filled in 1871, during Queen Victoria’s

reign. "Being the royal harpist is a fantastic honor," Finch

says. "I play at official and private functions. It’s no more

than once a month maximum. I get to meet people that I never dreamt

I would meet."

When Finch looks back at the beginnings of her life with the harp

as a young child, she says, "It just blossomed from there."

Never underestimate the power of a determined five-year-old,

especially

one blessed with parents who have the good judgment to take her

decisions

seriously.

— Elaine Strauss

Catrin Finch, Princeton University Concerts,

Richardson

Auditorium, 609-258-5000. Recital features original works and

transcriptions

by Johann Sebastian Bach, Claude Debussy, Jean Francaix, William

Mathias,

Isaac Albeniz, Manuel De Falla, and Bedrich Smetana. Adult $19 to

$29; students $2. Thursday, March 14, 8 p.m.


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