(This article is a companion to our feature interview, Crowning Achievement.)

What was it like behind the scenes for those who came to listen and be inspired? For me, I felt as though I entered a different world and traveled back in time. For the first time, the International Harp Contest in Israel was held in the northern coastal city of Akko, a 90–minute drive from Tel Aviv. Parking was outside of the Old City of Akko, just next to the sea. Early winter in Israel can be stormy, and we had several days of billowing clouds and at least one thunder storm. We walked through the stone gateway and into a courtyard and garden, past ancient trees and vines to listen to the first three stages of the Contest in the city’s historic Knights’ Hall. The building was constructed during the Crusades and is steeped in history. It has been converted into a museum and is part of a UNESCO World Heritage Site. It is truly a romantic place, and the harps all looked stunning against the backdrop of the hall’s vaulted stone ceilings, although it was not the most comfortable venue for the audience seated on plastic chairs.

Because of the location, most people who wanted to come hear the contest had to plan on a two hour commute when there was traffic. Serious students and professionals made the time and either carpooled or took the train. I enjoyed chatting with other musicians and harpists on the way back and forth from Akko.  We had lively debates over who we thought played better and why and tried to guess who would reach the finals. The International Harp Contest in Israel is a chance for harpists to get inspired and schmooze with their friends and colleagues from all over the country. There are always a few harpists who fly in from abroad to listen, in addition to local musicians and harp aficionados. The opening concert and finals are always held in a concert hall, and the general public shares in the excitement of an international event.

Both YuYing Chen and Anaëlle Tourret gave stellar performances at the contest. Anaëlle’s passion for modern music impressed the audience and the judges. In both the first and second stages, Anaëlle received the special prize for the best performance of a contemporary work and shared the award with YuYing for the best performance of Tournier’s Féerie, in the semi-finals.

The International Contest in Israel has been enriching the harp repertoire by commissioning new works for each Contest. A new tradition was launched this year to honor great harpists. Susann McDonald, chairperson of the jury, was the first to receive the Musical Legacy Award.

One thing that struck me this year was the strong showing by YuYing, a Chinese-born Chinese-trained harpist and the first Chinese musician to ever win the Contest. As musicians in the West are experiencing a decline in classical performance opportunities, China is experiencing a growth of both students and audiences. There are few harpists in China, but this could all change in the next few decades. Shanghai is at the forefront of the classical music scene in China, and YuYing Chen is the principal harpist with the Shanghai Symphony. During China’s Cultural Revolution 1966-1976, Western music was banned. YuYing remembers stories of her family listening to classical music in secret. The situation has completely changed during the past several decades, and classical music is blossoming in China.

Chinese parents have believed that a classical music education opens doors for study and business with the West. Tremendous pressure and support from Tiger Parents have produced disciplined students who practice more hours each day than many Western students practice in a week. The Chinese culture celebrates high performance and achievement, and classical music fits perfectly in this mix. China also manufactures many of the instruments for students around the world. The world’s largest piano factory in Guangzhou produces almost 300 pianos a day. Perhaps a million violins are produced in China every year. Most of the violins bought by students in the USA are built in China. Here in Israel, some of the finest violins are built, yet because of the cost, many Israeli students are learning on violins built in China. My fiddle player here in Israel, Gal Shahar flies to China every year to purchase violins. He gives each instrument several refining adjustments in his workshop and sells them locally.

The situation is the opposite for harps. Harp builders around the world bring their harps to China. Nadav Konieczny, our Israeli harp technician, speaks Mandarin and flew to China last year for Camac’s Academy. He helped introduce Camac’s lever harp models to harpists and teachers. Camac Harps will send Nadav back to China this year to regulate harps. Salvi and Lyon & Healy also have a strong and growing presence in China, but it is perhaps only a matter of time before harps built in China corner the market. Then again, it could be at least another century. We know for certain that it will be interesting to watch how the harp community grows in China. •