{"id":46312,"date":"2022-03-25T13:20:47","date_gmt":"2022-03-25T13:20:47","guid":{"rendered":"https:\/\/www.rochester.edu\/adv\/alumni-news-media\/?p=46312"},"modified":"2022-03-30T15:29:41","modified_gmt":"2022-03-30T15:29:41","slug":"has-harp-will-travel-and-upset-expectations","status":"publish","type":"post","link":"https:\/\/www.rochester.edu\/adv\/alumni-news-media\/2022\/03\/25\/has-harp-will-travel-and-upset-expectations\/","title":{"rendered":"Has Harp, Will Travel\u2014and Upset Expectations"},"content":{"rendered":"

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Has Harp, Will Travel\u2014and Upset Expectations<\/h1>\n

[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=”150px” image_repeat=”no-repeat”][\/vc_column][\/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”grid” text_align=”left” background_color=”#7eb1dc” css_animation=”” box_shadow_on_row=”no”][vc_column][vc_empty_space height=”25px” image_repeat=”no-repeat”][vc_column_text]<\/p>\n

Touring 200 days a year, collaborating across genres, and coaxing unexpected sounds from an often stereotyped instrument, an Eastman alumna is forging a new identity for the harp.<\/h3>\n

[\/vc_column_text][vc_empty_space height=”25px” image_repeat=”no-repeat”][\/vc_column][\/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”grid” text_align=”left” css_animation=”” box_shadow_on_row=”no”][vc_column][vc_empty_space height=”25px” image_repeat=”no-repeat”][vc_column_text]<\/p>\n

\"Marry

SOUND ART: Harpists who deviate from preconceptions about how harps are supposed to sound take \u201ca bit of a risk,\u201d Lattimore says. Photo credit: Elizabeth Weinberg\/The New York Times\/Redux<\/p><\/div>\n

Mary Lattimore \u201902E calls her harp \u201cmy friend.\u201d<\/h3>\n

They\u2019ve been through a lot together, and the instrument has the scars to prove it. There\u2019s the nick from a friend\u2019s drumstick that got away during a performance, and the scratches from the kitten who used it as a jungle gym.<\/p>\n

\u201cIt definitely has the marks and scratches, but it\u2019s all about our personal history together,\u201d Lattimore says. \u201cMy memories are on this piece of wood that I\u2019ve been traveling with for so long.\u201d<\/p>\n

That piece of wood is about six feet tall and weighs 85 pounds, and, before the pandemic, it accompanied the Los Angeles\u2013based Lattimore on tour some 200 days of the year.<\/p>\n

\u201cThat was my idea of heaven,\u201d says Lattimore, who in seven years burned through three used Volvo XC90s\u2014a model that could accommodate the harp she inherited after high school from her mother, who used to play with North Carolina\u2019s Asheville Symphony Orchestra.<\/p>\n

Along the way, Lattimore has established herself as a leading musician in creating a new identity for the harp, helping take the instrument in musical directions that few thought\u2014or were aware\u2014that it could go. A composer and performer, she\u2019s earned recognition for her experimental approaches to crafting sounds that defy the stuffy stereotypes of the harp as well as for her eagerness to ignore musical genres as she shares her music.<\/p>\n

Her most recent recordings, Silver Ladders (2020) and the anthology Collected Pieces II (2021), earned rave reviews from the music site Pitchfork, which devotes most of its attention to rock and roll and rap music. She\u2019s collaborated with Thurston Moore of Sonic Youth fame and Neil Halstead of the seminal shoegaze band Slowdive. (Halstead also produced Silver Ladders.)<\/p>\n

She\u2019s recorded albums with noted folk musician Meg Baird and has worked with electronic musical artist Juliana Barwick, singer-songwriter Sharon Von Etten, among many others.<\/p>\n

Classically trained at the Eastman School of Music, she counts the Cure as one of her favorite bands.[\/vc_column_text][vc_empty_space height=”25px” image_repeat=”no-repeat”]

<\/i><\/span>
People have a lot of preconceived ideas about harps and how they\u2019re supposed to sound. So if you deviate from that idea of angels and that classic harp association, you\u2019re being vulnerable. You\u2019re taking a bit of a risk.<\/span><\/h6><\/blockquote>[vc_empty_space height=”25px” image_repeat=”no-repeat”][vc_column_text]<\/p>\n
\"Marry

CREATIVE COLLABORATIONS: As the pandemic limited her ability to tour, Lattimore has focused on collaborations with other musicians and scoring films. Photo credit: Elizabeth Weinberg\/The New York Times\/Redux<\/p><\/div>\n

Lattimore says she\u2019s comfortable with risk in part because of her education at Eastman. Aside from learning how to play the classics and improvise, she became competent in composing parts of music that sound equally thoughtful and unexpected.<\/p>\n

Given the number of notes played on a harp with each hand simultaneously, she says, sometimes a melody can get buried. Lattimore remembers her harp professor, Kathleen Bride, singing the melody to \u201caccentuate the real, concentrated essence of the song.\u201d<\/p>\n

\u201cI definitely still use that now when I write melodies,\u201d she says. \u201cI think about her singing and how beautiful a piece can be if you keep that simplicity in mind, even if you\u2019re layering and layering.\u201d<\/p>\n

Lattimore\u2019s latest release, the nine-track Collected Pieces II, features her hallmark layers of melody, including two written in 2020 at the height of the COVID-19 lockdown. At the time, she wasn\u2019t feeling particularly creative, and she had no intent to release either one. But she wound up releasing both \u201cWe Wave From Our Boats\u201d and \u201cWhat the Living Do\u201d in hopes of capturing \u201ca weird mood from a weird time.\u201d<\/p>\n

Another track, \u201cFor Scott Kelly, Returned to Earth,\u201d was dedicated to the astronaut best known for spending nearly a year in space\u2014and written after breaking her jaw during a fall. She couldn\u2019t talk for two months, which made her think about herself \u201creturning back to Earth and learning how to talk to people again after a long time of quiet isolation.\u201d (Lattimore, who emailed the song to NASA, heard through the space agency that Kelly loved it.)<\/p>\n

Since her first recording in 2013, Lattimore has released three albums of new music, along with compendiums and collaborations.<\/p>\n

When the pandemic halted touring, Lattimore turned to more collaborations. She says the process of learning from, and communicating with other people through instruments involves curiosity and trust, and leads to exciting musical evolutions. She recently recorded the instrumental duet \u201cSugar Kiss\u201d with guitarist Steve Gunn, with whom she has performed for years.<\/p>\n

Now focusing part of her creative output on film scores\u2014another COVID-19-related byproduct, as a way to \u201cpivot in a worst-case scenario\u201d\u2014Lattimore is working on music for two documentaries. Though still young, she thinks about how such work could be good to keep her involved in music creatively as she ages, once she\u2019s not able to lug around her \u201cgiant 85-pound sculpture\u201d anymore. (In fact, both her parents had hip replacements around the same time after moving the harp for so many years.)<\/p>\n

The cumbersome nature of her craft is also why Lattimore keeps a second harp at a backline company in Prague for overseas shows, an investment made possible through a Pew Fellowship grant in 2014.<\/p>\n

Early this year, Lattimore was happily back to touring\u2014back to meeting new people, exposing audiences to an instrument they may not ordinarily see, new adventures, and new landscapes.<\/p>\n

\u201cGoing from place to place\u2014there\u2019s a freedom in that,\u201d she says. \u201cYou can kind of leave mundane things behind because there\u2019s so much purpose and meaning.\u201d[\/vc_column_text][vc_empty_space height=”25px” image_repeat=”no-repeat”][\/vc_column][\/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”grid” text_align=”left” css_animation=”” box_shadow_on_row=”no”][vc_column][vc_column_text css=”.vc_custom_1648216024405{border-top-width: 1px !important;padding-top: 10px !important;border-top-color: #999999 !important;border-top-style: solid !important;}”]<\/p>\n

\u2014 Robin L. Flanigan, March 2022<\/strong><\/span><\/p>\n

[\/vc_column_text][vc_column_text]Flanigan is a Rochester-based freelance writer.[\/vc_column_text][vc_column_text]This article originally appeared in the spring 2022 issue of Rochester Review magazine<\/a>.<\/em>[\/vc_column_text][vc_empty_space height=”25px” image_repeat=”no-repeat”][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"

Mary Lattimore \u201902E calls her harp \u201cmy friend.\u201d <\/p>\n

They\u2019ve been through a lot together, and the instrument has the scars to prove it. There\u2019s the nick from a friend\u2019s drumstick that got away during a performance, and the scratches from the kitten who used it as a jungle gym.<\/p>\n","protected":false},"author":52,"featured_media":47272,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[22],"tags":[272,632,102,132,652],"class_list":["post-46312","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-profiles","tag-alumni","tag-eastman-school-of-music","tag-music","tag-rochester-review","tag-women-who-roc"],"yoast_head":"\nHas Harp, Will Travel\u2014and Upset Expectations - Alumni News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.rochester.edu\/adv\/alumni-news-media\/2022\/03\/25\/has-harp-will-travel-and-upset-expectations\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Has Harp, Will Travel\u2014and Upset Expectations - Alumni News\" \/>\n<meta property=\"og:description\" content=\"Mary Lattimore \u201902E calls her harp \u201cmy friend.\u201d They\u2019ve been through a lot together, and the instrument has the scars to prove it. 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