Alice Giles, harp
Arnan Wiesel, piano
Wesley Music Centre, Forrest September 21
Reviewed by Len Power
In a concert of harp and piano, you might think that the piano could easily dominate a delicate instrument like the harp.
The artists, Alice Giles, harp, and Arnan Wiesel, piano, showed how both instruments can harmonize with each other with their program of music by C.P.E. Bach, J.S. Bach, Charles Eakin, Emile Deltour and Carlos Salzedo.
Alice Giles has had a wide-ranging career and has appeared as guest artist at international chamber music festivals. She has given Master Classes in harp world-wide and is Lecturer at the Sydney Conservatorium of Music.
Arnan Wiesel’s career as solo and chamber musician has taken him to many countries internationally. He has performed with numerous orchestras around Australia and is the former head of the ANU School of Music Keyboard area. He currently has a teaching studio in Canberra.
The program commenced with Four Little Duets by C.P.E. Bach. The first duet was a sparkling, melodic work which contrasted with the more reflective and delicate slower second and third duets. The fourth was again melodic and bright and all four were a great choice to show the harp and piano working successfully together.
Wiesel then played a piano solo, Toccata in D Major for keyboard, by J.S. Bach. This dramatic work was given a superb performance. Wiesel also mentioned that the organisational skills of C.P.E Bach, a fine composer himself, and the son of J.S. Bach, ensured that much of his father’s music is still with us today.
Giles introduced the next duet, saying that it was one of their favourites to play. This modern work by Charles Eakin required the use of extended techniques to perform. It was edgy, colourful and dramatic and both artists gave it an extraordinary performance. It was one of the highlights of the program.
After a short break, Giles and Wiesel played Carlos Salzedo’s Sonata for Harp and Piano in one movement. The work showed the power and clarity that both instruments can achieve together. Giles explained before they commenced playing that the work featured sonorities and resonances that could make it hard to tell which instrument they were coming from. It was fascinating to hear this in action. It was a very dramatic work that was another highlight of the program.
Giles then played two works for solo harp by Salzedo –
Ballade Op. 28 from 1914, composed near the start of his career, and Traipsin’
Thru Arkansaw from 1955, near the end of his career. The first was a lush,
romantic work with hints of the modern works to come from the composer, and the
second showed his connection to folk music of the time. This was a joyful,
melodic, almost foot-tapping, work.
The final work on the program, Boogie Woogie for Harp and Piano by Emile Deltour was delightful with its boogie woogie beat bouncing between the instruments. The artists then played a passionate, rousing Spanish Dance No. 5 by Granados for an encore.
Highlighting the sonoric meeting places and differences of these two instruments produced a beautifully played concert that was educational as well as highly entertaining.
Photo by Peter Hislop
This
review was first published by Canberra CityNews digital edition on 22 September
2025.
Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs.
