The highly acclaimed experimental harpist KETY FUSCO will be launching her new album ‘The Harp, Chapter I’ at London’s prestigious Royal Albert Hall on 3rd March 2023.
At the Conservatorio della Svizzera Italiana, Fusco received a degree in classical harp, went on to specialise in master of arts in music performance, and started a revolution in the harp world. She signed with Caterina Caselli’s Sugar Music company and released her debut album DAZED two years after graduating.
On 3rd March the harpist/composer performs a brand-new experimental live performance with two harps, light, and visuals in the venue’s modern performance space, the Elgar Room, in conjunction with visual artists Gabriele Ottino and Sharon Ritossa.
The performance will transport audiences on a visual & auditory journey into an improvised musical realm that is distinct from the harp’s classical canons and filled with moving imagery that will allude to modern issues. In fact, Kety Fusco creates sounds and settings that suggest the deconstruction of a classical harp by utilising the materials made of wood, metal, and gut, evoking images and settings, and creating imaginary soundtracks that seamlessly complement the visual imagery produced by Ottino and Ritossa .
this moonsoars into the nightglow of A mind’s wanderingRaw Ramp Music Magazine
In the collective imagination, the harp produces topical themes reflecting the creation of the instrument, the media prima, and composition. While in Kety’s performance, numerous harp fragments create an avant-garde interpretation of the oldest musical instrument in existence. The idea for the project first came to Kety Fusco while she was attending the Montreux Jazz Artists Foundation’s artistic residence in Venice.
In anticipation of the show, Fusco has released a post-classical electric-harp single titled ‘2072’, the new single from her album The Harp, Chapter I that will be launched at The Royal Albert Hall.
On the single & accompanying video, Kety says, “On 13 January 2072 I will die: this video is a reminder of what it was. My melody will accompany me in my passing, reminding me that the world was beautiful before I arrived. I did not love the world I was living in and that is why he did not allow me to stay any longer. Forests precede civilizations, deserts follow them. It’s not my phrase, but I like it”.
The single brings a crumble of frostbitten notes to a wintrified scene that thrums with warningful intention yet is never too sullen to be entirely dreadsome. Instead, this piece moonsoars into the nightglow of a mind’s wandering, with ghostly purpose.