Judy Loman spent most of her career as principal harpist for the Toronto Symphony (retiring in 2002), while making frequent appearances as soloist and chamber...

Judy Loman spent most of her career as principal harpist for the Toronto Symphony (retiring in 2002), while making frequent appearances as soloist and chamber musician. For at least four decades she has reigned as one of the world's premier harp virtuosos, and this new release shows that her enthusiasm and flair for performing and her impeccable technique and articulate, always stylish expression haven't diminished one bit. And on this fine outing, we find that the recording's title delivers exactly what it promises, offering not run-of-the-mill transcriptions often presented on such compilations but rather many original and rarely-heard works--and in a well-organized, varied, musically compatible program.


The only weak spot in terms of repertoire is the opening Fantasy on a Theme of Haydn by Marcel Grandjany, competently written and certainly attractive enough, but offering nothing really original in its quaint, rather predictable 19th-century style (a bit of a stretch for a work published in 1953). Of course Loman makes the most of it--very much, actually--and brings us along through its nearly eight minutes by virtue of her scintillating fingerwork, amazing fast legato runs, and, need we say it, shimmering arpeggios. And speaking of "scintillation", Canadian composer Kelly-Marie Murphy (b. 1964) contributes a stunning piece of work by that title that's actually the solo cadenza from her Harp Concerto "And then at night I paint the stars", which she wrote for Loman's retirement from the Toronto Symphony.


Other highlights include the impressionistic Vers la source dans le bois by Marcel Tournier and a transcription of Prokofiev's piano Prelude in C Op. 12 No. 7, which Loman performs with such crystal clarity--you hear every single note and line--and such perfect balances between lower and upper registers that you can't imagine a more ideal rendition of the piece, no matter what the instrument. Finally, in the Ballade Op. 28 we hear why Carlos Salzédo, with his fascinating use of articulation effects and his grand-scale, all-over-the-harp gestures was such an important, commanding figure as a harpist and composer for the instrument. Loman conveys the work's varied moods and fulfills its formidable technical demands with a thoroughly engrossing performance that shows off both her impressive dynamic power and facility for more subtle, lyrical expression. The sound is impressive as well--big and bold yet clear and vibrant, with the harp appropriately positioned relative to the listener so that even an hour of plucking doesn't wear on the ear. If this is your kind of music, you should look for an earlier "companion" to this program (also on Naxos) titled Harp Showpieces (type Q3108 in Search Reviews), which contains another beautiful work by Tournier along with Salzédo's own Scintillation. [10/19/2005]
--David Vernier, ClassicsToday.com