Lavinia Meijer’s ‘Luck’

Luck. That is what it may look like. Suddenly Lavinia Meijer is receiving a lot of attention and praising reviews for her latest CD Visions (CCS SA 29709) with exciting works by Britten, Patterson, Byrnes, Yun and Takemitsu. But it’s not luck at all.

At the bottom of this turn of events, which really started when Meijer was awarded the Dutch Music Prize last year, lie years of committed work and investment. “At the beginning of my study I was very much busy perfecting myself,” says Meijer. “Until I discovered that the general audience was not really familiar with the harp as a solo instrument. Programme directors weren’t sure about a solo recital for the harp either. So I set myself the target of promoting the harp as a solo instrument. This has become an inner drive.”

She started to promote herself more and more and soon discovered that besides the usual business cards, websites (www.laviniameijer.com) and videos on a medium such as YouTube, it was the social skills to convey what she has to say that were most important. “I have simplified my message more and more.”

She laughs. “I used to be very shy. But as I have come to regard a harp recital as a one man show, I also wanted to have contact with the audience. This means that I talk about the instrument and the works I play. At the beginning I was rubbish and I made things too complicated. I have learnt a lot by asking and looking for feedback. Being open to advice is the best way to learn.”

Lavinia Meijer works hard to dispel the notion that the harp always sounds sweet and charming. Not only by the music she plays, but often also by theatrical means. “I came across this aspect for the first time when doing a project with dance group Leine & Roebana for the Dutch Music Prize. All of a sudden I had to continue playing while the dancers held my harp crooked and I was asked to talk while I was playing. I became aware that I have the entire stage at my disposal.”

With this notion in mind, she approached a score like Mosquito Massacre by the English composer Paul Patterson. “The score only contains a few suggestions for expression and movement. Thanks to the suggestions of my husband it became a whole act. When I let the composer see and hear this, he was very enthusiastic. This confirmed that I should just carry out ideas that feel good to me.”

Paul Janssen