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Work Samples

Beau Soir by Claude Debussy

Dariusz Skoraczewski, cello, and Jacqueline Pollauf, harp, perform Beau Soir (Beautiful Evening), by Claude Debussy (1862-1918).

Dance of the Bull by R. Murray Schafer

The Dance of the Bull comes from Canadian composer R. Murray Schafer's (b. 1933) larger suite, the Crown of Ariadne, based on the Greek myth of Thesus, Ariadne and the minotaur. The Dance of the Bull is an aggressive piece depicting the minatour full of fury, with brief moments when the light and airy gestures of Adriadne break through. Many percussive extended techniques are employed, including the xylophone effect, the thunder gliss, the extensive use of pedal slides, and scraping the strings with a coin.

Largo from Violin Sonata no. 3 by J. S. Bach, transcribed by Marcel Grandjany

Largo from J. S. Bach's (1685-1750) Violin Sonata no. 3, BWV 1005, is played on many instruments. The French Romantic composer, Camille Saint-Saëns (1835-1921) took the original solo violin piece and transcribed the work for solo piano. Marcel Grandjany (1891-1975) based this harp transcription on Saint-Saëns' work.

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About Jacqueline

Baltimore City

Jacqueline Pollauf's picture
Jacqueline Pollauf, harpist, has been praised for playing with “transcendent ability” (The Sybaritic Singer), “glittering beauty” (Lawrence Budman, critic for the Miami Herlad), and “most satisfying elegance” (The Toledo Blade). Past performances include the premiere of a new work for harp and voice at Carnegie Hall, and appearances at the Eleventh World Harp Congress in Vancouver, Canada, and the Library of Congress and the National Gallery of Art, both in Washington D.C. Jacqueline has been a... more

Beau Soir Album

Cellist Dariusz Skoraczewski and I have been working on an album of harp and cello music, called Beau Soir (Beautiful Evening) after the title track. Although it's a beautiful combination of instruments, there isn't much written for harp and cello, so we've transcribed and arranged almost all of the works ourselves. In this section you'll find a few highlights from the album, which we're looking forward to releasing in 2019.

  • Beau Soir CD Cover

    CD Cover for Beau Soir, forthcoming 2019 release of cello and harp music by Dariusz Skoraczewski and Jacqueline Pollauf.
  • Beau Soir by Claude Debussy

    Dariusz Skoraczewski, cello, and Jacqueline Pollauf, harp, perform Beau Soir (Beautiful Evening), by Claude Debussy (1862-1918).
  • Pièce en forme de Habanera by Maurice Ravel

    Dariusz Skoraczewski, cello, and Jacqueline Pollauf, harp, perform Pièce en forme de Habanera by Maurice Ravel (1875-1937). Ravel originally wrote this Spanish-inspired piece as a song without words for voice and piano, and later transcribed it for cello and piano.
  • Fratres by Arvo Pärt

    Dariusz Skoraczewski, cello; and Jacqueline Pollauf, harp. Fratres was written by Estonian composer Arvo Pärt (b. 1935) in 1977. Pärt is considered a minimalist composer, and the entire piece is based on just a few bars of material. The piece exists in versions for many different combination of instruments. This version is most similar to the version for cello and piano. The lowest string of the harp is tuned a third lower than usual to approximate the range of the piano.
  • Romanian Folk Dances by Béla Bartók

    Dariusz Skoraczewski, cello, and Jacqueline Pollauf, harp, perform Romanian Folk Dances, written by the Hungarian composer Béla Bartók (1881 - 1945). It was originally written for solo piano and has since been transcribed for a variety of instruments. The movements are as follows: I. Stick Dance II. Sash Dance III. In One Spot IV. Dance from Bucsum V. Romanian Polka VI. Fast Dance
  • Performance by Dariusz Skoraczewski and Jacqueline Pollauf

    Dariusz Skoraczewski and Jacqueline Pollauf perform on cello and harp.
  • Meditation from Thaïs by Jules Massenet

    Dariusz Skoraczewski, cello, and Jacqueline Pollauf, harp, perform Meditation from the opera Thaïs by Jules Massenet (1842-1912). Massenet wrote this piece as an instrumental interlude between the acts of the opera, for solo violin, with a prominent harp part. It's frequently performed as an encore, as it involves both musical and technical virtuosity.
  • The Swan by Camille Saint-Saëns

    Dariusz Skoraczewski, cello and Jacqueline Pollauf, harp, perform Camille Saint-Saëns' (1835-1921) The Swan. Saint-Saëns wrote The Swan as part of his larger work, the Carnival of Animals. This is a classic work for harp and cello, giving both musicians room to explore the idiomatic qualities of their instruments.

Songs and Dreams Album

In 2018 I released a new solo album, Songs and Dreams. I composed and transcribed all of the music on the album, making it a more intimate project than past albums. Here you'll find a few of the tracks, ranging from classical, to folk and jazz influenced music.

  • Album Cover of Songs and Dreams

    Cover for Jacqueline Pollauf's 2018 solo album, Songs and Dreams. Design by Aleona Pollauf.
  • Prelude no. 3 by George Gershwin, transcribed by Jacqueline Pollauf

    Prelude no. 3 is from George Gershwin's (1898-1937) Three Preludes for piano. I love this piece and was determined to play it on the harp, despite some obvious difficulties. Gershwin includes all kinds of chromaticism, including quick chromatic scales in the interior line of two of the sections, which are fiendishly difficult for the harp.
  • Can't Help Falling in Love, Peretti, Creatore, and Weiss, arranged by Jacqueline Pollauf

    This was written by a three-person song writing team, Peretti, Creatore, and Weiss, and first recorded and made famous by Elvis Presley. I didn’t want to change anything about the beautiful and memorable melody, so instead the piece builds through an increasingly complex accompaniment.
  • Sunrise written and performed by Jacqueline Pollauf

    Sunrise is an intertwining of two songs, the well-known You Are My Sunshine, and Colours, written by the British singer/songwriter Donovan in the 1960’s. I was working on an arrangement of each piece separately, and somehow they ended up weaving their way together. For many of the transitions in the piece, the two melodies join seamlessly together. In the end, I came up with a title that melds lyrics from both pieces as well.
  • Recording Session

    Working on a studio recording.
  • Rose Red written and performed by Jacqueline Pollauf

    Rose Red is based on a haunting melody from the Elizabethan era. The melody is frequently sung as a round, which is echoed in this piece by the melody layering upon itself intricately. There are various lyrics that have been paired with the melody over the centuries. I chose to name the piece after the lyrics I know best: Rose, rose, rose red, Shall I ever see thee wed? I will marry at thy will sire, At thy will.
  • Liten Visa Till Karin by Staffan Linton, arranged by Jacqueline Pollauf

    Liten Visa Till Karin (A Little Song for Karin) is based on a piece by Swedish jazz pianist Staffan Litton. I love to listen to jazz, and was drawn to the richness of Linton’s harmonies. This arrangement is certainly far removed from the original jazz chart, but hopefully in a way that blends the resonance of the harp with the core of Linton's work.
  • Songs and Dreams CD Back Cover

    The back cover of the 2018 album Songs and Dreams

Trio Sirènes

I perform regularly with Trio Sirènes, alongside Marcia Kämper, flute and Karin Brown, viola. Claude Debussy (1862-1918) is generally considered the first composer to write a piece for this instrumentation, but the English composer Arnold Bax (1883-1953), wrote a piece right around the same time. In this section, you can hear us play Bax's work, Elegiac Trio, along with a couple of contemporary pieces and a few transcriptions.

  • Trio Sirènes performance at Second Presbyterian Church

    Trio Sirènes (Marica Kämper, flute; Karin Brown, viola; and Jacqueline Pollauf, harp) perform at Second Presbyterian Church, Baltimore, Maryland. Photo by Lawrence Siegel.
  • Elegiac Trio by Arnold Bax

    Trio Sirènes (Marcia Kämper, flute; Karin Brown, viola; and Jacqueline Pollauf, harp) performs Elegiac Trio, by Arnold Bax (1883-1953). Although certainly an impressionistic piece with its sweeping lines and the many colors Bax explores, it is written, surprisingly, in a simple 4/4 meter. Each instrument is featured virtuosically throughout the piece. The harp begins and ends the work, and also introduces a contrasting middle section.
  • Three Shades Without Angles by Hannah Lash

    Trio Sirènes (Marcia Kämper, flute; Karin Brown, viola; and Jacqueline Pollauf, harp) performs Hannah Lash's (b. 1981) Three Shades Without Angles, composed in 2014. The piece alternates between relentless driving sections and quieter spacious sections. Lash's primary instrument is the harp, and she uses the instrument fully, including a section in the middle of the piece where arpeggios start on the lowest string of the harp, climb to the top string and return continuously, making the piece both physically and musically demanding to play.
  • Sonatine by Maurice Ravel, trans. Skaila Kanga

    Trio Sirènes (Marcia Kämper, flute; Karin Brown, viola; and Jacqueline Pollauf, harp) performs Sonatine by Maurice Ravel (1875-1937). It was originally written for solo piano and here is transcribed for flute, viola and harp by English harpist Skaila Kanga (b. 1946). This is the complete piece, with movements as follows: I. Modéré II. Mouvement de Menuet III. Animé
  • Trio Sirènes performance at UMBC

    Trio Sirènes (Marica Kämper, flute; Karin Brown, viola; and Jacqueline Pollauf, harp) perform at the University of Maryland, Baltimore County, Baltimore, Maryland.
  • Prelude and Fugue in c minor, BWV 871, J. S. Bach, arr. Rudolf Kämper

    Trio Sirènes (Marcia Kämper, flute; Karin Brown, viola; and Jacqueline Pollauf, harp) perform J. S. Bach's (1685-1750) Prelude and Fugue in c minor, BWV 871. This is from the second book of Bach's monumental work, The Well-Tempered Clavier. Rudolf Kämper (b. 1976) arranged the work for Trio Sirènes. As the work was originally for solo keyboard, he not only divided the part up between the instruments, but also expanded upon it, in some instances using harmonies that are decidedly of the 21st century.
  • Et Descendit by Sungji Hong

    Trio Sirènes (Marcia Kämper, flute; Karin Brown, viola; and Jacqueline Pollauf, harp) perform Sungji Hong's (b. 1973) work, Et Descendit. Hong composed this work in 2015 and since then Trio Sirènes has championed it, giving it many performances at a variety of venues. The work is a subtle exploration of colors and timbres between the three instruments.
  • Trio Sirènes program, cover page, Emmanuel United Church of Christ

    Program cover for Trio Sirènes at Emmanuel United Church of Christ, Hanover, Pennsylvania. November 12, 2017.
  • Trio Sirènes program, inside page, Emmanuel United Church of Christ

    Program for Trio Sirènes performance at Emmanuel United Church of Christ in Hanover, Pennsylvania. November 12, 2017.

Original Works for Harp

Since the harp is an instrument a bit outside of the mainstream, the repertoire written for the instrument is relatively small and many major composers simply didn't write any solo or chamber music for the harp. However, there are still many beautiful pieces written for the harp and here you can hear a few of these exquisitely crafted pieces that explore the instrument in different ways.

  • Performance at Carnegie Hall

    Performance at Carnegie Hall, New York, New York.
  • Interlude from A Ceremony of Carols by Benjamin Britten

    Benjamin Britten (1913-1976) wrote A Ceremony of Carols for treble voices and harp in 1948. The work consists of many short pieces, and this interlude for solo harp comes at the center of the piece and echoes the a capella processional and recessional. Britten uses harmonics extensively throughout the piece, which give it a sense of stillness.
  • Dance of the Bull by R. Murray Schafer

    The Dance of the Bull comes from Canadian composer R. Murray Schafer's (b. 1933) larger suite, the Crown of Ariadne, based on the Greek myth of Thesus, Ariadne and the minotaur. The Dance of the Bull is an aggressive piece depicting the minatour full of fury, with brief moments when the light and airy gestures of Adriadne break through. Many percussive extended techniques are employed, including the xylophone effect, the thunder gliss, the extensive use of pedal slides, and scraping the strings with a coin.
  • Aria in Classic Style by Marcel Grandjany

    Jason Kissel, organ; Jacqueline Pollauf, harp. Aria in Classic Style by Marcel Grandjany (1891-1975) is a meditative piece for harp and orgran. Grandjany was primarily a harpist, but also played some organ, which shows in his writing here. Grandjany blends the two instruments beautifully, so at times it is impossible to tell which instrument is which.
  • In a Landscape by John Cage

    In a Landscape by John Cage (1912-1992) was written in 1948. He wrote the piece to be played on either solo piano or solo harp. It's a surprising piece as it's not nearly as experimental or avant-garde as one would expect from Cage. Instead, it bears a marked resemblance to Erik Satie's (1866-1925) music, and seems to suspend time.
  • The Minstrel's Adieu to His Native Land by John Thomas

    John Thomas (1826-1913) was a Welsh harpist and composer. The Minstrel's Adieu to His Native Land is one of his more well-known works, a classic theme and variations, and it showcases many dramatic effects on the harp.
  • Fontainebleau Suite: Palace Lake by Grace Becker Vamos

    Palace Lake is the first piece from the Fontainebleau Suite by Grace Becker Vamos (1898-1992). This little known piece was written by American cellist and composer Grace Vamos and was most likely inspired by the time she spent studying at the Fontainebleau School of Music in France. Vamos performed in a flute, harp and cello trio and arranged much of the music for the group, which gave her a strong sense of the harp and its capabilites when composing for the instrument.
  • Fontainebleau Suite: Summer Night by Grace Becker Vamos,

    Summer Night is the second piece from the Fontainebleau Suite by Grace Becker Vamos (1898-1992). Although the entire work is most likely inspired by the time Vamos spent studying in France, this movement has more of an American blues feel to it.
  • Fontainebleau Suite: Forest by Grace Becker Vamos,

    Forest is the third piece from the Fontainebleau Suite by Grace Becker Vamos (1898-1992). Here Vamos emulates a style of composition similar to that of Marcel Tournier (1879-1951), writing a melody intertwined with the quick moving notes of the accompaniment.
  • Solo recital program, Florida State University

    Solo recital program at Florida State University, including several original works for harp. March 31, 2017.

Transcriptions for Harp

Much of the repertoire for the harp is made up of transcriptions, and there is a long tradition of harpist composers transcribing to expand the repertoire. Most of the transcriptions in this section were done by Marcel Grandjany (1891-1975), whose transcriptions are so carefully conceived and executed that they feel as well-suited to the harp as his original compositions.

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