Self-taught composer and classical trained Dutch harpist Anne Van Schothorst’s latest album, Then It Became Clear, reveals how much raw emotion and drama can be plucked out of a harp. The minimalist compositions are like tiny vignettes of a larger compendium of music; each one has its musical purpose uncovering new layers of emotion and self-discovery that will intrigue lovers of classical and ballet music. The titles of the songs, like “I Am Able To Let Go,” “Yes I Do,” “Almost Home” and “Finally Acceptance” show that this was a deeply personal album to make and quietly demand repeated listens to uncover new emotions embedded within the harp melodies.
The best aspect of Anne’s technique is her knack for knowing when to pause and start again in the midst of a song. It’s as if she is reading the notes on some kind of magical sheet music stone. In “Almost Home,” her bass lines are plucked with a deliberate dragging on the notes, revealing a hesitation in the song that adds another dimension to its minimal structure, and leaves listeners on edge, waiting for what is next. With one-and-a-half minutes left in the song, she seems to put down her harp for a couple of seconds, letting what was just played sink deep into the listener’s psyche, as if to say “Did you hear me? Did you hear all of that?”
“Still” is another example of how she uses dramatic hesitations and musical rests to engage her audience. “Still,” (its title quite appropriate in this case), settles into a more somber tone than “Almost Home” but is equally intriguing in its methodical delivery, which includes some background udu for effect.
This artist understands the pathos that her instrument can uncover. There is no better example of this than on the soul-searching “Motion.” One of the most memorable tracks off of Then It Became Clear, “Motion” is the antithetical antidote to the slow moving “Still,” whose melody moves like a confident yet illusive cat, testing its surroundings, eventually opening up into a vibrant cascade of circular progressions, accompanied by the delicate touches of cymbals and bongos. The song’s hypnotic aura makes this musical prey for licensing to music supervisors of television romance dramas, modern dance theatre or even movies about unrequited love.
Self-discovery is a common theme on Then It Became Clear. The harp is the artist’s way of expressing her soul-searching ways. “Want to Fly” has passionate streaks of both strength and despair woven into the harp progressions. The spirited intro and fluttering strums of “Triumph” reveal an intense optimism that becomes more descriptive with the precise and short notes of the harp strings that drive the song’s melody forward. The crystalline production and periodic changing tempo warrant further listens.
While the harp is the center piece of Then It Became Clear, bass drums, bongos and other percussive elements effortlessly dot the artist’s sonic landscape. Rather than acting as the main clause of her work, they act like mid-sentence punctuation, like semicolons or commas. “Moos” has bass drum and bongos supporting the harp parts, never interfering with what the artist does best, but simply functioning as secondary elements on her musical palette. “Such A Challenge” uses crash cymbal rattles and dings for a stormy effect, while the walking harp line cleverly dodges and ducks the cymbals.
The myriad uses of Anne Vanschothorst’s gorgeous harp interludes are endless. The spare production and minimalist arrangements will leave the creative juices of filmmakers, writers, poets and producers flowing for a long time to come. Who knew how much outpouring of emotion could be plucked from 80 lbs of string and wood?
Reviewed by: Michael Morgan
Rating: 4 stars (out of 5)
