Music for the harp has been composed in every imaginable style over the centuries, and in the process certain structures and 'rules' have come into being which were largely obeyed by every self-respecting composer. But in the last century things changed; the limits were extended. A few composers, such as Carlos Salzedo, deliberately departed from the beaten path, even though it was sometimes a struggle before they could ultimately realise their personal visions.
This album presents a varied picture of recent repertoire from the last forty years. The title, which derives from the work by Garrett Byrnes, fits this album's experimental atmosphere.
"I am sometimes asked to name my favorite stylistic period. It doesn’t matter to me, as long as we’re talking about good compositions and I can give them my own personal interpretation. It’s true that even as a young performer I discovered that I had an affinity for modern music. I am particularly interested by the technical and interpretative possibilities. It gives the performer a sense of freedom. I also enjoy the challenge of making modern music, which is experienced by so many people as “difficult”, into something not only approachable but exciting. Personal contact with the composer is a priceless advantage here. I would never have been able perform the works which were written specially for me by Garret Byrnes, Carlos Michans, and Jacob ter Veldhuis with such conviction if the composers hadn’t been around." Lavinia Meijer
The interpretation of 'Visions in Twilight' is intended as a homage to the Turkish harpist Fatma Ceren Necipoglu, who died so tragically, at the untimely age of 36, in the Air France crash of 1 June 2009. Fatma gave the world premiere of this piece, which was written for her. Only a few days before her death, she performed it again during the fourth Rio Harp Festival.