KETY FUSCO



A revolutionary in the world of the harp, Kety Fusco took the music world by storm with her debut album DAZED (Universal distribution, album not promoted due to pandemic situation) and she was awarded the name 'Queen of the Electric Harp’. She destabilises the usual perception of the harp, moving away from the arpeggios and sound carpets that the instrument can easily call to mind, thus entering a universe that no listener would ever think belongs to a harp. Fusco has dedicated herself to transforming the sound of the harp, an instrument rich in sonic possibilities, and wishes to make its innovations available to everyone, not just harpists: "For me, thanks to my technique as a harpist learnt during my academic studies, it would be easy to produce arpeggios and soundscapes, but I don't like playing easy. Instead, I'm interested in the harp being freed from any taken-for-granted connotations and for any kind of musician to explore it with a more punk approach Kety is currently working on a sound research project, which consists in making soundtracks, entirely produced by her harp. Kety manipulates the sound of the harp, scratches the strings, screams inside the sounding board, destroys double bass strings by smashing them on her harp. The result of Kety Fusco's music is a mix of research, insistence and passion, electronic music and wild dancing on the one hand and organic research of experimental music on the other.

HARP SOUND RESEARCHER




When I began my research into the contemporary sound of the harp, the first thing I did was to do the first think I wouldn't do. From a harp, I took its composition and therefore: the gut of the strings, the metal of the mechanism and the wood of the structure. I sampled the sounds, searching for the essence of the raw material. The sounds obtained are mostly noises, which you are not used to hearing from a harp, yet it is always the harp that produced them. My soundtrack Music to make a dream come true is a demonstration of what a harp can do in the modern era, not just by taking the finished product, i.e. the harp as a classical musical instrument, but by taking its detail. From the detail of a harp comes the vision of a new harp, capable of entering a new modern musical environment, which radically detaches it from its historical origins.