Images: ©MolinaVisuals and ©Naxos
This is an impressive début album. Harpist Elisa Netzer gives a solo harp album with an interesting compilation of arrangements and original pieces, as well as representatives of diverse genres, periods and characteristics.
The album is roughly split into two parts – the first contains arrangements pieces originally written for the Harpsichord and Piano, the second contains more pieces originally written for the harp in the 20th century. It’s a well-planned album programmatically, keeping the listener alert for its entire 52 minutes.
Alessandro Scarlatti’s Toccata No. 9, which opens the album, is well transcribed by the performer, sits naturally with the instrument and contains all the possible legato playing one could hear coming from a good harpsichordist, while giving an extra layer with the dynamic possibilities of the harp.
It’s once again nice seeing a young generation of musicians dedicating their efforts to Khachaturian’s music, as we’ve discovered lately while covering Nemanja Radulovic’s album, “BAÏKA”. Here we have a nice transcription to harp of two pieces from “Album for Children” for piano (1965) made by Vera Dulova and combining some drumming on the harp’s soundboard, what gives a remarkable resemblance to a middle-eastern Goblet drum (track 2). It’s a spirited affair here, much more effective than in Xavier de Maistre’s more discrete version (Claves Records).
Tone Shading and Coloring
Netzer technical command is omnipresent throughout (the Toccata from Mortari’s “Sonatina Prodigio” is nothing but stunning in its dexterity – track 10), but it’s the tone shading and coloring which makes her playing so distinctive. The Toccata by Ami Maayani is a good example. This is one of the many pieces this significant Israeli composer wrote for the harp (and for his sister, harpist Ruth Maayani). This fascinating piece requires quick adjustments to rhythm, dynamic and tonal changes, which Netzer controls masterfully. You can also hear a shade of middle-eastern scents, which Floraleda Sacchi and Monica Turini’s rather missed in their versions.
The highlight of this release is a new piece, “Toccare”, written for Netzer by Swiss composer Stephan Hodel (b.1973). It’s a memorable, exciting piece, culminating the album concept – Toccata comes from the Italian word “Toccare”, which translates to “to touch”. Hodel combines different kinds of touch in this piece; Netzer is using her feet and palms while playing the instrument, as an accompaniment or as a stand-alone element (listen to the exciting episode from 5:00 onward). It’s clear the composer took the time to acquaint himself with the instrument, and he takes advantage of all of its capabilities, making this a truly great new piece that should join the regular repertoire of the harp.
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The album ends with an atmospheric performance of Nino Rota’s “Sarabanda e Toccata”, where Netzer once again shows what a great colorist she is: Listen to the new theme coming, as if from nowhere, at 1:15 (track 12). As it happens, Rota’s fame as a film and concert composer gives this piece the advantage of being more widely represented in the catalog. From the more recent versions, Elizabeth Plank is persuasive in this piece and her intonation superb (if more emotionally constrained), but her recital is less wisely constructed than this album, even if containing some wonderful performances. Elina Piva for Decca presents a fine technical command, but lacks the shading and overall flair. Her dynamic range also sounds quite limited. The same is true for Elisabeth Remy’s take on this lovely piece, and she is misrepresented with a close and a rather dryish recording. Frankly, only Plank’s version stands the comparison. This goes straight to being perhaps the best version on record.
Netzer, who also produced and programmed this album, enjoys a state of the art recording quality, giving transparency but keeping enough space around the Lyon & Healy harp she uses here (and on her live performances). A well thought-out, fascinatingly programmed and superbly-played album, It simply has to be heard.
“Toccata” – Solo Harp Recital
Alessandro Scarlatti – Toccata No. 9 in G Minor (arr. E. Netzer for harp)
Khachaturian – Oriental Dance, Toccata (arr. Dulova for harp)
Paradies – Keyboard Sonata No. 6, II (“Toccata”, arr. E. Netzer for harp)
Turina – Tocata y Fuga, Op. 50 (arr. N. Zabaleta for harp)
Maayani – Toccata
Mortari – Sonatina Prodigio
Hodel – Tocare
Rota – Sarabanda e Toccata
Elisa Netzer – Solo Harp
Naxos, CD 8.573835
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