Publications
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Close examination of R. Murray Schafer’s extensive collaboration with harpist Judy Loman
The American Harp Journal, Vol. 28, No. 3
Summer 2022
https://drive.google.com/drive/folders/1oGuLo1hbt9JOSkNgL_14UKrJgvIUEXb-
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The American Harp Journal, Vol. 28, No. 1
Summer 2021
https://drive.google.com/drive/folders/1oGuLo1hbt9JOSkNgL_14UKrJgvIUEXb-
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The Harp Column 27, No. 2 (September/October 2018).
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The Harp Column 25, No. 4 (January/February 2017).
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Doctoral of Musical Arts diss., The Juilliard School (New York, NY),
2014.
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The Harp Column 17, No. 2 (September/October 2008)
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The Juilliard Journal 23, No. 8 (May 2008)
Recordings
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Purchase on Bandcamp!
https://ericjohnsen.bandcamp.com/album/liminality
This limited-release musical project seeks to explore liminal spaces: that space at the threshold of profound change; the state of suspension between the death of what was, and the birth of what will be -- or could be.
Combining an improvisational chamber ensemble with strings, Liminality weaves together jazz, fusion, and world beats with chamber and orchestral elements. The music ranges from strictly composed to purely improvisational. Textures range from the power of the full ensemble with chamber string orchestra to the delicacies of solo and duet performances. At times the music floats in ethereal spaces; at other times it is rhythmically driving, anchored by American, Indian, and Afro-Cuban influences.
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Digital Production released for limited viewing, April 29-May 16, 2021
Original Score for harp, cello, flute, and voice by Russell Ronnebaum
Recorded and filmed in Tucson, AZ
Available on Spotify:
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Pre-recorded recital with Molly Gebrian, viola
Released on YouTube on August 19, 2020
Works by Sally Beamish, Paul Hindemith, Takashi Yoshimatsu, and Astor Piazzolla
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Jeremy Huw Williams, baritone
Faculty members of Fred Fox School of Music (UArizona)
Naxos, 2020
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National Arts Centre Orchestra
Analekta, 2018
Walter Boudreau, Concerto de l’asile
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St. Louis Symphony
Nonesuch, 2016
John Adams, Scheherazade.2
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Talea Ensemble
Wergo, 2016
Anthony Cheung, Centripedalocity for 7 musicians
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Student Documentary Film by Liz Chae
Columbia University, 2008
Joel Douek, original score
Gold Medal, Academy of Motion Picture Arts and Sciences
36th Student Academy Awards (2009)
Reviews
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The Dallas Morning News
November 11, 2021
“Most of the program was devoted to a 40-minute work by Karlheinz Stockhausen, an avant-garde German composer who lived from 1928 to 2007. Freude (Joy) comes from Klang (Sound), a cycle of 21 pieces for various instruments, based around the hours of the day.
Composed in 2005 and scored for two harps, Freude calls on the players to strike, scratch and pat the strings, execute pitch slides with their fingernails and create huge resonant blocks of sound. They also cast ritualistic impressions by singing the Pentecost hymn “Veni creator spiritus,” and producing vocal effects including whispering, chanting and panting.
Harpists Michelle Gott and Emily Levin expertly synchronized the tricky interplay and skillfully navigated the vocal parts.”
https://www.dallasnews.com/arts-entertainment/performing-arts/2021/11/11/review-dallas-symphony-voices-of-change-explore-wide-range-of-contemporary-classical-music/
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BBC Music Magazine, May 2020
Brief Notes, p. 86
“Diverse in both performing forces and moods, this is a terrific introduction to Mathias beyond the Welsh composer’s well-known carols. The mesmerising, mysterious Harp Sonata is a particular treat.”
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Artsfile.ca, July 11, 2018
“The score was played by an equally talented mix of 12 musicians drawn from all disciplines under the steady and confident baton of Matthew Larkin. The use of a harp, deftly played by Michelle Gott, in the performance was especially enjoyable...”
Peter Robb
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Royal Canadian College of Organists, Montreal Chapter Bulletin, Vol. 25, No. 2.
“Cette composition plaisante précéda la « Phantasie pour orgue et harpe », op. 52 de Rachel Laurin, un duo où les deux interprètes purent non seulement manifester leur haut niveau d’éducation musicale, mais aussi leur maîtrise de travail en équipe. L’équilibre entre les deux parties ainsi que le calcul du délai arrivant du derrière de l’église fut très bien réussi.”
“This pleasant composition preceded the "Fantasy for organ and harp," op. 52 by Rachel Laurin, a duet where the two performers could not only show their high level of music education, but also their mastery of teamwork. The balance between the two parties and the calculation of the time coming from behind the church was very successful.”
Alexandra Fol
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Ottawa Citizen, May 27, 2013
“Gott’s harp playing was delicate and apt. She made an especially good impression later on with Liszt’s evocative and lovely Le Rossignol. It was originally written for Liszt’s instrument, the piano, but the transcription Gott played [was] surpassingly beautiful, at least in her hands. She was also outstanding in Lyne Wainright Palmer’s Sarabande.”
Richard Todd