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| Customer Reviews |
Average Rating: 
Rating: - The Philly Sound-The Harp Column July/August 2002 Volume 10
(excerpt)Perhaps to the credit-or detriment-of producers and engineers, solo harp recordings often seem to have an overly-present quality, leaning toward brighter timbres and crisp articulation. But Hainen's offering is indeed reminiscent of the Philadelphians' legendary and eponymous sound: Warm, broad, and yes, lush. Appropriately enough, Hainen leads off the album with an old Philly favorite, the third of Liszt's three Liebestraume. Hainen shows admirable restraint and exemplary musicality in her tasteful rendition of what has become largely a Liberacean confection for many pianists. And indeed, there is something about her sound that sets her apart from most soloists and even other orchestral harpists. Especially interesting for a Philadelphia Orchestra aficionado is how Hainen's playing reflects the present soundscape of a group once known primarily for its reading of Romantic works: Her playing is as expansive as it is lean, as flashy as it is reserved, and as technical as it is expressive. Indeed, the congnoscenti will tell you, accurately, that the Philadelphians have never sounded better. A most impressive crop of new principals have, in their brand-new concert hall, shown that the band still leads the pack in its ability to blend, dazzle, and alter its style as the music dictates. Elizabeth Hainen is a wonderful embodiment of the "new" Philadelphia sound and a perfect example of how the best musicians can make their instruments become a symphony orchestra, even on their own.
Rating: - Must have harp recording
"Virtuosity and expression are not the first two traits most listeners associate with the harp. But Elizabeth Hainen makes a case for the instrument as something more than the angel-food cake of the orchestra in this budget release of transcriptions and works written especially for harp. Her fine, fast work in Liszt's Liebestraume brings to a harpist of considerably more skill than we ordinarily have a chance to hear from her principal harp chair in the Philadelphia Orchestra. Elias Parish Alvars' Serenade is a kind of bel canto for harp-fanciful ornamentation and strong melody-and Hainen treats it as such. She also gets a lovely bell tone. The best thing about Hainen's playing is the way she makes a melody sing. It's hard to imagine Glinka's Nocturne sounding more musical.
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