Biography

Liehsja

Playing the harp has taken me across Europe and as far afield as Hong Kong and Chicago.

Closer to home, my harp and I have performed everywhere from cottages, estates and marquees to cafés, churches and castles, as well as at venues such as London's Café Royal, Carlton Towers, Kensington Palace, Sandhurst Military Academy, Wembley Arena and the Royal Albert Hall.

Education & Early Years

I began playing the lever harp at the age of 9 in Aberdeen, Scotland, studying with Anne Macdearmid. After moving to rural Sussex, I continued my lessons with Helen Arnold, which led me to the pedal harp and the world of exams. During my music degree at Keele University, I was fortunate to study with tutors from the Birmingham Conservatoire (Robert Johnson) and the Royal Academy of Music (Thelma Owen). Along the way, I also learned from early music harpist and conductor Andrew Lawrence-King, and renowned jazz specialist Park Stickney. I am deeply grateful to all my teachers for their inspiration over the years, and for helping to shape me into the harpist I am today.

I graduated from Keele University with a first in Performance in 2003. My debut was performing Debussy's Danses with the Keele Philharmonic Orchestra in Paris and across Brittany. Since then, I have been in demand for orchestral work, solo recitals, weddings, christenings, parties and functions.

Harp Therapy & Folk

I trained with the International Harp Therapy Programme in the United States, where I learned to improvise using the modes. I have since played in hospitals and hospices, supporting people with complex learning needs as well as patients in a coma. As a member of the band Wasps in the Woodshed for seven years, I developed a deep understanding of traditional lever harp techniques, as well as improvisation, arrangement and composition.

As a Composer

As a composer, I have collaborated with the Pericles Theatre Company, writing music for five major productions: The Children of Lir (2003), Bench (2005), Woman (2006), Pericles (2008) and The Nightingale (2009). A number of these productions toured to the Brighton and Edinburgh Fringe festivals, as well as to theatres across Europe.

I performed my compositions at Wembley Arena in 2006 to celebrate the United Nations International Day of Peace. Other contributors included Ruby Wax, Tania Bryer, Robin Gibb (Bee Gees), and Michael Timothy (Massive Attack). In 2010, I was invited by Imogen Heap to join the orchestra for her live performance at the Royal Albert Hall.

Teaching & Technique

When my daughter was born, I turned my focus towards building a teaching practice at home. Each student is unique, and it is a privilege to support and witness their growth.

Harp technique fascinates me. Just as we don't rely on a single method to build a house, there is no one way of approaching the harp. Traditional lever harp playing calls for a softer, more delicate hand, while the pedal harp requires greater strength and support.

The question is always: what voice is the harp asking for, and what technique will allow it to be fully realised?

Each player's journey is about developing a relationship with the harp that feels connected, authentic and uniquely their own. It is a privilege to be part of that process.