Katharine – Harpist

Concert, Recital and Wedding Harpist

Harp Medley

Katherine is one of the few harpists in the UK who plays both a full-size concert harp and a small strap-on electric harp. She has performed internationally and at many prestigious venues in London, including St John’s Smith Square, the Royal Albert Hall, the Barbican Centre and the Barbican Art Gallery. This wonderful harpist has performed at the House of Lords, in the company of Prince Charles at St. James’ Palace and for HRH the Duke of Edinburgh at the Senate House in Cambridge.

Audio

New Blues

Black Orpheus

Book a Harp Player for Your Wedding — Beautiful Harpist available for Private and Corporate Bookings

Katharine studied the harp at Chetham’s School of Music in Manchester. She spent her early year’s training as a junior at the Guildhall School of Music and Drama, under the guidance of Charlotte Seale, where she received a scholarship to pursue full-time studies. She graduated from Pembroke College, Cambridge.

katya_harpist_uro — Performance with an electric harp

Besides recitals, concerts and private events, Katharine is also available to perform for Indian and Bollywood Themed Events and Weddings with the required repertoire.

Reviews

“If you want to add a touch of class to your special occasion, I would highly recommend these two wonderful musicians. Proficient from start to finish, I dare you to find more accomodating and accomplished professionals than these two. ATen out of ten!”

Nicky & Daniel

Repertoire List

Classical & Wedding Favourites

Arrival of the Queen of Sheba – George Handel
Spring & Winter from ‘The Four Seasons’ – Antonio Vivaldi
Bridal March from ‘Lohengrin’ – Richard Wagner
Wedding March – Felix Mendelssohn
Ten Préludes – J.S. Bach
“Sarabande” from Violin Partita No. 1 – J.S. Bach
Air & Hornpipe from ‘Water Music’ – George Handel
Amarilli Mia Bella – Giulio Caccini
Angelus (from Feuillets d’Album) – Henri Renié
Ave Maria – Bach/Gounod
Ave Maria – Franz Schubert
Barcarolle – Marcel Grandjany
Berceuse Russe – Marcel Tournier
Canon in D – Pachelbel
Chanson dans la nuit – Carlos Salzedo
Come Again, Sweet Love – John Dowland
Equisse (from Feuillets d’Album) – Henri Renié
Flow my Tears – John Dowland
Gymnopedie No. 1 – Eric Satie
Harp Concerto in B-flat – George Handel
Jesu, Joy of Man’s Desiring – J.S. Bach
Minuet in G Major – J.S. Bach
O Mio Babbino Caro – Giacomo Puccini
Pavane and Variations – Antonio de Cabe
Recuerdos de Viaje – I. Albéniz
Rest, Sweet Nymphs – Francis Pilkington
Reverie – Alphonse Hasselsmans
Sonatina – Sergiu Natra
Suite for Harp – Benjamin Britten
The Minstrel’s Adieu to his Native Land – John Thomas

Jazz / Pop

‘Married Life’ – the Theme from Pixar’s ‘Up’
A Time for Us (Love Theme from the Paramount
Alice in Wonderland – Fain/Hilliard
Annie’s Song – John Denver
As Time Goes By – Hupfield
Autumn Leaves – Johnny Mercer
Black Orpheus – Louis Bonfi
Blue Bossa
But Not for Me – George Gershwin
Days of Wine and Roses
Fields of Gold – Sting
How High the Moon
If – David Gates
It Had to Be You – Isham Jones
Killer Joe – Benny Golson
Kissing You – Des’ree
La Mer – Charles Trenet (Beyond the Sea)
Misty – Garner
My Romance
New Blues – Deborah Henson-Conant
Over The Rainbow
Picture Romeo and Juliet) – Nino Rota
Samba de Orfeo
Send in the Clowns – Sondheim
Songbird – Eva Cassidy
Summertime – Gershwin
There Will Never be Another You – Warren/Gordon

Traditional/Folk

Adon Olam – Uzi Chitman
All The Pretty Little Horses – Southeastern American Lullaby
Danny Boy – trad. Ireland
Donna Donna – trad. Yiddish
Down by the Salley Gardens – trad. Ireland
Glenlivet – trad. Scotland
Greensleeves – trad. English
I Love my Love in the Morning – trad. Ireland arr. Kim Robertson
Mi Yitnani Of (Who Will Give me Wings) – trad. Bukharan Melody arr. Sunita Staneslow
My Lagan Love – trad. Ulster Air
Scarborough Fair – trad. England
Shenandoah – trad. American Chantey
Star of County Down – trad. Ireland
Tum Balalaika – trad. Russian
Variations on a Welsh Carol – Ank Van Campen

Bollywood

Mere Humsafar
Mere Rang Mein
Na Tum Jano Na Hum
Naya Naya Dhula Dhula
Satyam Shivam Sundram
Soni Soni
Sun Sahiba Sun
Yeh Galiyan Yeh Chaubara
Yeh Kahan Aa Gaye Hum
Zara Sa Jhoom Loon Main

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The Indian subcontinent is what represents Indian classical music. It has two major traditional styles that make up the genre, the first tradition being the North Indian tradition of classical music known as the Hindustani and the South Indian expression known as Carnatic. However, they were not distinctive forms of musical traditions before the 15th century.

The Mughal Rule of the Indian subcontinent caused the respectful genres to separate and evolve into different forms of music. The Northern tradition honours improvisation and exploration of all aspects of a raga(a melodic improvisation/framework), whilst Southern traditions tend to be short composition-based. Despite these stark differences, there are still many ways in which these two systems have more similar and common features with each other.

The very roots of classical music from India are found in Vedic Sanskrit literature of Hindusim and the classic Sanskrit text on performing arts. The Hindustani music style is mainly found in North India, Pakistan and Bangladesh. But has also had Arab and Persian music influences, including the start of new ragas and the development of instruments such as the sitar and sarod. The instruments most used in the Northern style of classical Indian music also include the surbahar, esraj, violin, table, santoor, sarangi and more.

The Carnatic music style from Southern India comparatively is far more rhythmically structured and intensive than the North. Their elaborations are typically faster in tempo and a lot shorter than their equivalents in Hindustani music, and utilize the use of fixed compositions that are similar to that of Western Classical music. Whilst Carnatic compositions seem to have notated lyrical poems, primary themes that include worship, depictions of temples, philosophy and more, it is a common belief in South India that the music represents a more ancient approach to classical music. In contrast, Hindustani music has evolved by external influences.