The Jerusalem Harp Circle
Since 2002, core members of Nevel have been establishing a network of local harpers in order to share information, resources and inspiration. We welcome all harp-players to join the Circle.
Over the years, we have also hosted harp workshops in Jerusalem and other locations around Israel with Gráinne Hambly from Northern Ireland, Mary MacMaster and Corinna Hewatt from Scotland, Monika Stadtler from Austria, and Ventura Rosenthal from Israel, who plays in a South African orchestra.
Several public concerts have also taken place under our auspices, including evenings by Sunita Staneslow (Celtic harp) and David Karlsberg (Paraguayan harp), and fund-raising evenings by several of our members to cover the cost of bringing our beautiful Camac Hermine (34-string) harp to Israel.
Our library of books, articles, practical information and albums, continues to grow as members and friends lend or donate them to us. All members of the circle may borrow these for as long as they need.
Contact Nevel at:
e-mail:
fax: 972-2-679-0410
regular mail: PO Box 3143, 91036 Jerusalem, Israel
Here are two articles about experiences by one of our members, Jill Rogoff. They were published in a private newsletter in May 2005 and May 2006, respectively.
May 2005
“In September 2002, I helped found Nevel: The Jerusalem Harp Network with two other harp enthusiasts. Our circle has grown, both in numbers and scope. Apart from our musical agenda (workshops, concerts, etc.), we aim to use harps to reach out to underprivileged and at-risk youngsters, and -- most immediately -- to play for the sick and needy in hospitals and private homes. Our belief in the therapeutic properties of harp music has moved several of our members to begin studying to become certified therapeutic harpers, adapting one of the existing American courses to our local situation.
“We have already received two harps from generous donors. The first of these sits permanently at Sha’arei Tzedek Hospital in Jerusalem, waiting for whichever of us visits next. My first one-on-one experience, a ‘field work’ requirement for the course, was playing recently for a Jewish woman, a former American, hospitalised in an oncology ward. This situation is always nerve-wracking for the musician: you can never be sure how someone is going to receive your music. We want to serve their needs by creating a serene, comforting atmosphere: this is neither entertainment nor an opportunity to show off.
“Entering the room, I introduced myself by my first name alone. I asked the patient if she would like some music, and when she agreed, I urged her to stop me if it bothered her at any point. That point never came. I instinctively lowered my voice to a murmur when addressing her, and my harp-playing began at the same level. However, after a few minutes, she asked me to play a little more loudly. When her family began to gather, they indicated that they would like me to remain. Slow tunes are best suited to this situation, when the patient is lying on their back, possibly drifting in and out of sleep. I played several of my regular Celtic repertoire, but slowed each one down almost beyond recognition. Instinctively, you find yourself sticking more or less to the basic tune with the simplest of arrangements. Improvisation on a musical pattern or scale is even better. You play very rubato (without a set rhythm), letting notes linger through the room ? the Aeolian harp effect. It is deeply relaxing and soothing -- not just for the patient, but also for visitors and staff.
“After 50 minutes, I rose to take my leave, not wanting to overdo it. I mentioned to her that I also sing, and that I would do so on my next visit if she would like that. One of her sons immediately requested that I sing something in Hebrew before I leave. I was a little stumped: my usual Jewish repertoire on the harp is in Ladino (Judeo-Espagnol). Note to myself: I need to quickly learn to play some Hebrew and Yiddish tunes on the harp for such situations. After a minute’s careful deliberation, I thought of the evergreen Erev shel Shoshanim (Evening of Roses) and sang a verse and chorus for the whole room, to their evident delight. I was quite exhausted after the session, but happy that I was able to do what I had set out to do.
“Because of the different ethnic and religious sensitivies of patients here -- Jewish or non-Jewish, Israeli or Palestinian, devout or not, men or women -- we have had to think out our repertoire with particular care. This work is physically draining, but when a session goes well, when the patient and everyone else around them is soothed by the magic of the harp, the player feels deeply thankful for having been able to help in this small way.”
May 2006
“I continue to train as a therapeutic harper in the course offered by American harper Laurie Riley. Over the past two years, I have been playing at the Sha’arei Zedek Hospital up the road, and in recent months in its Neonatal Intensive Care Unit.
“Recent research in the USA has shown that premature babies absorb oxygen more efficiently when a harp is played to them; recorded music has a positive effect also, but it is widely believed that live harp music is more effective. The vibration of string on wood seems to have a deep influence on these tiny creatures struggling to survive. So it is deeply moving and exciting for me to play for the babies, their worried parents and grand-parents, and the tense staff. My appearance in the ward is greeted with joy and relief.
“A favourite moment was when an ultra-Orthodox [extremely devout Jewish] father began to sing along softly with my harp, as his wife gently fed their child. Another mother, stroking her baby’s skin as I played, encouraged her to listen to the music.
“I find myself improvising in a slow 6/8 rhythm to the machines beeping around the room. I always play in the key of Em, which is musically compatible with the B-note that the machines emit. In this way, the beeping becomes a part of the music and is immediately far less irritating. On some occasions, the improvisation will last for a full 15 minutes, before I move on to another piece.
“On several occasions now, ultra-Orthodox men have spoken to me about the instrument, the music, or asked for a particular tune. Normally, they would never speak to me, as it is clear from my clothes that I am not of their community. Perhaps they allow themselves this measure of direct communication, seeing me as part of the staff or because I am doing what they consider to be a mitzvah [a religiously sanctioned “good deed”]. I am happy that the music is breaking down traditional barriers.
“I play, too, for people who are at the very end of their lives. It is impossible for me not to be moved by the distress of the family at their side. One woman, hovering over her fading husband, grasped my hands and searched my face, asking if the harp music would help him. I could only say that it would do him no harm, and that it is thought to help both spirit and body. She told me that he was already quite deaf, but I said that several people with experience in this work note that the ears are one of the last organs to fail: there was a good chance that her husband would still hear the music, even if only subliminally; and his body would certainly receive the vibrations from the instrument, even though we would not be able to see it. She accepted this and allowed me to stand in the corner of the room, playing quietly for some thirty minutes. After twenty, I noticed that the patient’s body was relaxing more, and so was his wife’s.
“The staff who have encountered my colleagues and me have come to believe implicitly in the power of the music we play. When I have been away, some of the nurses tell me later that they have missed the music and need a regular ‘dose’ of it. Others are mildly annoyed when one of the patients refuses my offer of music. I have to tell them that this is absolutely the patient’s right; in fact, it may be the only thing they can refuse when they are in a helpless situation in a hospital. Other patients simply have not experienced this music, and may not realise how beneficial it can be. Increasingly, however, people are excited about the presence of the harp in the hospital, and anticipate our visits with pleasure.
“In February, Nevel became an official non-profit organisation. This will enable us to increase our activities and also receive donations, to help cover the costs of our members’ playing in various places. We are now halfway through our course, and our enthusiasm isn’t waning. On the contrary, we are deeply encouraged by the positive response we are meeting everywhere we go. Long may it continue.”
Hug a harp today!
Medieval woodcut; detail from the Augsburg Psalter from Ratdolt, 1494
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