Artist Interview: Bridget Kibbey – Philadelphia Chamber Music Weblog


Bridget Kibbey debuts with the Chamber Music Society on February 13 in collaboration with mandolin participant Avi Avital. The pairing is a singular one, combining the grace of the harp with the power of the mandolin. To get the background on this collaboration and their program, we related with Bridget for a fast interview between her classes for harp college students at Bard Faculty.

Erik Petersons: You might be showing with Avi Avital on February 13. How do you know him and what’s your collaboration like?

Bridget Kibbey: I can not wait to take the stage with Avi! I met him over ten years in the past, in a collaboration with Daybreak Upshaw, and we grew to become quick pals—geeking out over a piece that demanded difficult rhythmic interaction between the harp and mandolin. Quick-forward a 12 months and we discovered ourselves making an attempt out repertoire, enjoying on air or on digital camera to share our ardour for the way lovely these devices sound collectively.

EP: It’s uncommon to listen to a live performance with mandolin and harp. Inform us about your program and what the viewers can count on to listen to. What are the challenges of arranging works for this duo?

BK: The distinctive resonance of the mandolin and harp could be very well-suited to a lot repertoire, attributable to their comparable sound world however broad registers. The mandolin usually acts as violinist, vocalist, and so forth, whereas the harp capabilities as guitar or keyboard. Subsequently, it is not shocking our repertoire stems from the Baroque and heads to the folks. Was {that a} dangerous rhyme?

EP: What drew you to the harp and who’ve been your main influences as an artist? What traits or potential does the harp have that you simply hope to introduce our viewers to?

BK: I first encountered the harp in a rustic church in northwest Ohio on the age of 9. Having performed piano for six years, my dad had the clever concept that transitioning to harp would not be an excessive amount of of a leap. As soon as I received previous Twinkle-Twinkle and Suzuki E book 1 (resenting the truth that I had already performed these items on piano six years earlier as a toddler), I used to be HOOKED. I’m nonetheless utterly mesmerized by my instrument. Other than the facility of its resonance that reaches out and hugs an viewers, just like the mandolin, it exists in lots of traditions world wide. Not simply the Baroque lute or the French Belle Époque (Debussy, Ravel, and so forth.), however in people traditions, from the kora to the Celtic clarsach to the Colombian, Paraguayan, and Venezuelan makes use of for the instrument. My hope is audiences would perceive simply how a lot expression comes from the harp, no matter time or place.

EP: Previous to your live performance, you’ll maintain a grasp class for college students within the metropolis. Describe the grasp class expertise and what you hope college students will take away from the expertise.

BK: I really like instructing the scholars at Temple and know a lot of them! They arrive with a lot expertise, and my greatest obsession is speaking about sound high quality and bodily ease on the instrument that helps us “get out of our personal manner” so the harp can resonate and sing the most effective. I see these lessons as a dialog, back-and-forth, and all the time be taught a lot!

Bridget Kibbey seems with the Chamber Music Society on Thursday, February 13 on the Kimmel Heart’s Perelman Theater.



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