Lavinia

Passaggio, Lavinia Meijer's first release on Sony, is an album of the crossover music of Ludovico Einaudi, an Italian composer and pianist who encouraged the Dutch harpist to record some of his most popular pieces. The playing on this 2013 album is highly polished and appealing, and Meijer demonstrates considerable powers of concentration and precision in performances of her harp transcriptions of Einaudi's keyboard music. Some will find Meijer's renditions emotionally communicative and mood enhancing, and most of the credit for their effectiveness belongs to her, because Einaudi's modal harmonies and conventional patterns tend toward a bland prettiness, or pretty blandness, that's all of a piece. Simple melodies and repeated arpeggiated chords have the instant attraction of minimalist music, and simplicity is often a virtue in the proper context. Sony's recording is clear and close-up, and Meijer has presence in a fairly resonant studio space.

An album the majority of whose contents consists of harp arrangements of music by Philip Glass might seem a bit arcane for a major label, but it seems that Sony knows what it is doing here. The Glass Effect double album is one of those releases that succeed on two different levels, an explicit one and one that, although not mentioned, is perhaps even more important. The former level here is the one denoted by the title, as Meijer picks up the rather neglected theme of Philip Glass' influence by offering, on disc two, a group of works by younger composers who follow Glass in varying degrees but who, it's safe to say, wouldn't have the styles they do without Glass having gone before. Much of the album consists of arrangements by Meijer herself, and these include, at the end, a remix of music from Koyaanisqatsi that's delightful and would be spoiled by description. But there's also solo harp music: sample the Suite for Harp by progressive rock musician Bryce Dessner, who certainly seems to have absorbed Glass' style far enough to make it his own.

Four years in the making, "Are You Still Somewhere?" sees Lavinia Meijer combine original compositions with her long stated dream of interpreting modern composers and musicians for the harp. Works by Ryuichi Sakamoto, Ólafur Arnalds, and Alexandra Stréliski all feature, as do collaborations with Dutch pianist Pieter de Graaf and punk legend Iggy Pop. Over the years, Lavinia Meijer experimented with electronic music, jazz, theatrical music, and avant rock. It was these experiments that led her to the ideas behind "Are You Still Somewhere?", and provided inspiration for her own compositions.

Peaceful Choir by harpist Lavinia Meijer and chamber choir World Choir of Peace is a relaxing musical journey through the manifold colors and sounds of contemporary choral music. Renowned international composers have contributed entirely new works or arrangements for this unique recording project, including Sir Karl Jenkins, Grammy-nominated composer and pianist Hauschka, San Fermin mastermind Ellis Ludwig-Leone, composer icon John Rutter, Estonian pop-violinist Maarja Nuut and German soundtrack composer David Reichelt (8 Days). The album includes 15 world-premiere recordings and music by house-hold names such as Ola Gjeilo, Eric Whitacre, Max Richter, Hans Zimmer and Arvo Pärt.

Korean-born Dutch harpist Lavinia Meijer states as her goal "to make the harp better known as a solo instrument, with all its possibilities which are often still unknown to the wider audience." With this release she accomplishes her goal, not so much technically as musically. The harp does not do so much here that the attentive listener to the big early film scores won't have heard before. But Meijer's album falls nicely into the group of releases that are reconstructing the virtuoso solo repertoire of a century ago, rediscovering gems that were swept aside by self-serving modernist imperatives.

Korean-born Dutch harpist Lavinia Meijer states as her goal "to make the harp better known as a solo instrument, with all its possibilities which are often still unknown to the wider audience." With this release she accomplishes her goal, not so much technically as musically. The harp does not do so much here that the attentive listener to the big early film scores won't have heard before. But Meijer's album falls nicely into the group of releases that are reconstructing the virtuoso solo repertoire of a century ago, rediscovering gems that were swept aside by self-serving modernist imperatives. The music on the disc is plenty spectacular technically. The opening Variations sur un thèm dans le style ancien plunge into tight, high figures with the first variation and deepen from there. But what's really intriguing about them is their distinctive take on the little neo-Renaissance current that flowed through the music of the early twentieth century. The two Divertissements of André Caplet are even more unexpected, especially the one marked "à l'Espagnole" (track 5).