I often—lovingly—think of the harp world in the same sphere as that weird part of the Internet with odd diet blogs and Scientology forums; it comes complete with a sort a shibboleth and its own lingo. Objection comes next in a line of shorter harp pieces that I’ve written over the past few years, in the hopes of figuring out how the instrument and its attendant baggage works—I spent a few hours digging through Salzedo and other ‘harpy’ texts, and did a lot of listening. The result is a kind of hectic piece: the initial figure dominants its entirety, and— aside from a short, slightly slower interlude—the music maintains a constant pulse. At the outset, the music is in the middle-lower register of the harp, slowly working its way out. About a minute in, a nine-chord cycle begins, leading to more forceful music at the second repetition. From there the music becomes more frenzied, and trailing off by the last two chords of the cycle. A slower section takes over, using harmonies from before and the initial motive. The initial tempo is then picked back up at a hushed dynamic; Objection closes with arpeggiated harmonies reminiscent of the chord cycle.

Hope Wilk, harp

instrumentation solo harp
premiere April 22, 2014, Mazzoleni Hall, The Royal Conservatory, Toronto, ON
written January 2014
duration 6′

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