The first benchmark is leading the way: both the historical examples and my own experiences show that composers approach instrumentalists mainly from a technical standpoint. The technical, virtuoso possibilities of the instrument, the practical limitations, the timbres, the conversion into notation of each of the desired (extended) techniques etc. – in a manner of speaking the instrumentalist acts as a translator between composer and instrument. Hindemith had Gatti-Aldrovandi check out ‘the heart and kidneys’, Britten asked Ellis to let him know if everything was up to scratch ‘harpistically, not musically’, Salzedo criticised Jolivet on his ‘essentially pianistic’ writing. Throughout each of my collaborations, I also answered various questions related to the pedals, extended techniques and notation. 

Creating a space for experimentation proved to be my main concern throughout the collaborations – especially in the case of Maja Bosnić, trying to translate her timbres, sounds, noises into techniques on the harp, composing the sound material workshop. Dai Fujikura would often provide me with a few bars - first drafts of passages - asking me to record them and comment on them; this helped the composer enormously in regard to the creation and development of the music. Ernestine Stoop also spoke about experiences with composers who wanted to try out ideas on the instrument. Confrontation with the birth of sound does show imagination and reality not to be one and the same. 

The role of the composer during the rehearsal process has proven to be very relevant, in particular with a view to the field of tension regarding interpretation. All of the examples I studied, as well as my personal experiences show that although the composers do have ideas on interpretation, they respect the role of the performer. Of course, I should add that as performers we usually strive to let the composer's music do the talking, conveying her or his ideas accurately and truthfully. Micheline Kahn talked about the influence Caplet had during rehearsals, explaining his intentions, sharing his perception. Meanwhile, Britten left the details regarding technique to Ellis as he was convinced Ellis would have beautiful suggestions himself. Gatti-Aldrovandi insisted on playing the Sonata exactly as Hindemith envisaged it. Dai Fujikura dreams of his music taking on a life of its own, like letting go of a child. He left the interpretation entirely up to the performer, it inspired him throughout the compositional process. I shared recordings of performances with Maja Bosnić, on which she shared her feelings on the interpretation and execution with me. Frank Nuyts made profound contributions throughout rehearsals, commenting on the performance, sharing his intentions (very similar to André Caplet’s process).

I would like to pay particular attention to the personal relationship between composer and instrumentalist. Various historical examples show that the personal relationship sets the tone. It is striking that the chances of success and quality regarding the new piece and collaboration are largely related to the relationship that composer and performer have with each other. In the example of Micheline Kahn and Osian Ellis, a profound admiration for the musical qualities of the harpists stands out. My personal collaborations are rooted in a deep respect for the work of each of the composers Frank Nuyts, Dai Fujikura and Maja Bosnic. The collaboration between Mr. Fujikura and myself came about after an impassioned e-mail from myself to his agent. Although each of the collaborations was different, I have a lovely relationship with each of them. In addition, the examples also speak of a certain affection between people. The correspondence between Fauré and Kahn show they had a deep fondness for each other, Osian Ellis and Benjamin Britten shared a close friendship. The reverse story can be found in the case of Salzedo and Jolivet, in which the admiration of a young composer is up against a certain arrogance of his senior, the harpist – who also considers himself a composer. Ernestine Stoop also talked about the impact Kurtág's way of speaking and treating people had on young colleagues. I would therefore like to conclude that cooperation first and foremost originates and develops on a human level. For me, this personal contact proved to be of great influence on the final performance. When both composer and performer can share ideas with each other and each other's role is appreciated, this undoubtedly benefits the music: composer and performer coming together as 'people working together to create'.

When we zoom in on the impact that my involvement had on the outcome, there are a couple elements to consider. To begin with, there is the fact that you choose the composer after a thorough analysis of her or his work. In other words you could say that even before the seed for a new composition is even planted, you exercise an immense influence through your personal selection of the composer. Before there is any actual contact, the relationship with the composer has already been affected by your fondness for her or his music. In the case of Dai Fujikura for whom the musician is of great importance anyway, I spoke of my admiration when I first contacted him. Secondly there is the degree to which you contribute to the musical idea through extensive dialogue on the subject matter, your expectations etc. Of course, the composer then gets to work and forms his or her own image of the composition. 

Subsequently, the moment the composer starts to compose and the extent to which you are involved, is when your impact as an instrumentalist really shines through. Mainly because of the fact that when you go through the development of the composition together with the composer your interpretation and the performance grow along.

By working closely with those composers I have had the opportunity to get to look at

my instrument from a lot of different perspectives, searching for innovative techniques

and sound possibilities, timbres and ways of performing certain musical elements.

Consequently broadening my personal view on playing the harp. Furthermore I was lucky to establish collaborations with leading and renowned composers like Dai Fujikura, which has contributed immensely to my learning curve.

In the end, as a performer, you do want to honour the composer and convey her or his ideas accurately and truthfully. Of course, unlike musicologists and the historical performance practice,  I did have the opportunity to talk with the composers, trying to understand their intentions and views.