Instituto Anemos

I watched harpist Danielle Kuntz perform a special Fifteen-Minutes-of-Fame recital presented by Robert Voisey from Vox Novus, and I was deeply enchanted. In fifteen brief works by composers from around the world, the harp seemed to move through many inner landscapes: initiation, childhood, mystery, withdrawal, lightning, destiny, forest, water, dawn, and the eternal cycle of wonder.

The recital begins with David Bohn, where the music reverberates like an initiation, pointing toward a hidden path that few dare to follow.

With Pablo Fedele, there is an ancient innocence of childhood: lightness, sweetness, leaves dancing under a gentle sun, almost like a lullaby.

Anneloes Wolters flows like a sound not yet born, something that nourishes itself, gathers strength, and dances its mystery in the dark womb.

In Josh Trentadue, I hear the lightness of retreat, the appreciation of what is inevitable, a calmness before recognition.

An electric force appears in Sandro Montalto: a flash in the night, electricity and light like a message from the sky, incandescent and alive.

David Peoples emanates the arrival of inwardness, the ethereal beauty of a cold morning turning white.

In Ali A’râb, the sound intertwines, weaving lives through threads that meet in the infinite web held by the hands of the Moirai, the weavers of fate.

With Greg Pfeiffer, there is a shiver: a nocturnal and mysterious bird, eyes open in the dark forest, deep within the blackness of mystery.

In Kevin Rose, water freezes as though reflecting the sky: matter and spirit, visible and invisible, a fusion of complementary opposites.

Dionicio Aguirre Treviño brings the search for light within shadow, drops of dew glittering in the hour before morning, and the trembling of night before dawn.

Peregrine Wade awakens latent life, soft notes of something beginning, like the source of youth itself.

Sebastian Zaczek sounds like distant echoes, remnants of shimmering stars: each note glows with light and pulses with mystery.

In P. Kellach Waddle, there is recognition and enchantment before the ancient soul, the truth of meeting the Self in an infinite dance.

Michael Goodman enters like an enchanted annunciation, a revelation of dawn.

And the recital closes gently with Michael Coleman, in the eternal and infinite cycle of enchantment.

My gratitude to Danielle Kuntz for giving body, delicacy, and presence to these works, and to Robert Voisey from Vox Novus for creating a space for contemporary music, living composers, and the harp as a territory of listening, imagination, and revelation.

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Instituto Anemos