For those not in the know, inspired by her life as an American artist living in Australia, Emily Granger makes her solo recording debut performing contemporary works that reveal the breadth and beauty of harp music from the two countries.

Critical acclaim has been incoming for Granger from day one, perhaps none more so than ... impressed with some spectacular playing, both skilled technically and emotionally poignant a performance that wasn’t just brave, but also brilliant [Limelight] and ... harpist Emily Granger effortlessly straddles the worlds of classical and popular music [Melbourne Recital Centre].

With themes of travel and isolation, serenity and solitude, the music here on the just-released In Transit paints a vivid portrait of an artist’s life in transit between opposite sides of the globe.

TRISTAN COELHO (b.1983)
1. In Transit (7:01)

ROSS EDWARDS (b.1943)
The Harp and the Moon
2. I. Lento e molto languido (4:49)
3. II. Allegro grazioso (2:31)

LAURA ZAERR (b.1960)
4. River Right Rhumba (5:18)

SALLY GREENAWAY (b.1984)
5. Liena (2:32)

LIBBY LARSEN (b.1950)
6. Theme and Deviations (5:28)

ELELA KATS-CHERNIN (b.1957)
transcr. Granger
7. Blue Silence (8:34)

KATE MOORE (b.1979)
8. Spin Bird (3:52)

AUGUSTA READ THOMAS (b.1964)
transcr. Granger
9. Eurythmy Etude “Still Life” (3:55)

TRISTAN COELHO
10. The Old School (4:12)

SALLY WHITWELL (b.1974)
11. Undiminished (5:00)

NANCY GUSTAVSON (1920–1996)
12. Great Day (2:29)

DEBORAH HENSON-CONANT (b.1953)
13. The Nightingale (4:30)

This immaculately precise, organically cultivated work of splendiferous art opens on the ornate, twinkling gossamer of Tristian Coelho’s title track In Transit and then we get Ross Edwards’ two-part The Harp and the Moon; the first Lento e molto languido languishing sedate, the second, Allegro grazioso, a more gently fervent ensemble.

Laura Zaerr’s River Right Rhumba is a right, royal, magical even run and prance through the summer meadows and is followed by Sally Greenaway’s more studious Liena, which is in turn backed by Libby Larsen’s contemplative Theme and Deviations, and then comes Elela Kats-Chernin’s stoically imbibed Blue Silence (transcribed for Harp by Granger herself).

Along next is one of my own personal favorites from this quite wonderous new recording, the glistening of Kate Moore’s Spin Bird, which is itself followed seamlessly by the Augusta Read Thomas’ dainty Eurythmy Etude “Still Life” (yet again having been arranged by Granger), another from Tristan Coelho in the form of the peacefully-willed The Old School, the recording rounding out on the cultured Sally Whitwell piece Undiminished, closing on Nancy Gustavson’s flourishing palette within Great Day, and then Deborah Henson-Conant’s delightfully delicate The Nightingale.

Emily Granger has established herself as one of the leading harpists in Australia. She has performed as Guest Principal Harp with the Chicago, Sydney, Tasmanian Symphony Orchestras, Lyric Opera of Chicago, and Opera Australia Orchestra, and presented chamber recitals at Carnegie Hall, The Kennedy Centre, Melbourne Recital Centre, and Sydney Opera House Utzon Room.

Emily has collaborated with top ensembles and instrumentalists in Australia and the US, including the International Chamber Ensemble, Flinders Quartet, Ensemble Offspring, Omega Ensemble, and Nexas Saxophone Quartet. She was a finalist in the 2021 APRA Art Music Awards for Performance of the Year.

Emily studied harp performance at Indiana University Jacobs School of Music and the Chicago College of the Performing Arts with Susann McDonald and Sarah Bullen.

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Official Emily Granger Website