Mindfulness in Harp Playing and the Role of Being Present

Rita Costanzi’s Open Window Master Class

Author: Marcela Méndez

“The shadows we experience often come as the result of the fact that we are standing in the shining of our own light.”

Ralpha Waldo Emersona

A Brazilian Harp Dream

In 2013 I was invited by Artistic Director, Alex Klein[1], to be the second teacher in the Harp Program of FEMUSC (Festival de Musica de Santa Catarina – ) – a wonderful orchestral Festival that takes place in Jaragua do Sul, Brazil each January. Created and led by Rita Costanzi, this FEMUSC Harp Program’s birth was neither simple nor easy. Rita’s first trip to Brazil was almost canceled, as the Festival at this moment did not actually own any harps. But the harp program was made possible due to one student’s desire: Gustavo Beaklini generously provided his old Lyon & Healy #15 to be used during the Festival. Rita, Gustavo and the other passionate harp student, Leila Reis, all shared this one harp during the program’s first year!

Alex Klein wanted to help the development of the instrument. There is no harp factory in Latin America and in general, by the end of the 20th Century, there were not a lot of instruments in good enough condition to be played, so the challenge was huge! But, a “miracle” took place, as Rita always says. In October 2007, local Brazilian billionaire Wander Weege donated four Lyon and Healy Concert Grand Harps to begin building FEMUSC’s harp program; in the following year, inspired by the Program’s success, he donated twelve more! Lyon & Healy donated a Troubadour Harp. Thus, the future of the harp program was secured!

"We don't know what we would have done without Rita Costanzi. It is not that “someone else could have done it in her place”. Impossible. A change this remarkable requires, vision, teaching philosophy, and the encouragement of others, particularly her students, to pick up the pieces and embrace the future."  Alex Klein

 As the Festival only required the use of these harps for two weeks during January, a local harp program developed in the Jaragua do Sul Cultural Center – “SCAR” in August, 2008, with Talita Martins as the first Teacher. Subsequently, Carolina Ribeiro, Gustavo Beaklini and then Gustavo Jimenez-Peirera continued the important development work of the SCAR Harp Program. SCAR became the “home” of the greatest number of harps in one location in Latin America!

Furthering the development of the Program, Master Harp Technician, Erich Rase, generously offered to fly to Brazil to begin training interested students and the SCAR piano technician, so that the instruments could be maintained year-round. During this first visit, funded by SCAR and FEMUSC, Erich trained Gustavo Jimenez-Peirera, Gustavo Vieira a harp student from Jaragua and two local piano tuners Mr. Donizete Bonifácio and his son, Wellington. The hope is that Wellington will be able to be fully trained at Lyon-Healy and serve the Brazilian Harp Community in the future as a certified, resident technician.

Rita’s Teaching: Searching New Horizons

“If the only tool you have is a hammer everything looks like a nail”

Anonymous

The special, unique and unusual aspect of this Brazilian Harp Paradise is Rita’s teaching. Her approach has been very appropriate in helping Latin-American students develop their artistry.

I met Rita for the first time in 2008 during the Rio Harp Festival, and after sharing those days with her, a friendship was born between us. Rita is the kind of musician who is completely outside of the stereotype. Once I accepted to be a part of FEMUSC, Rita told me that every morning, one to two hours would be consecrated to the “Janela Aberta Teaching” (in Portuguese meaning “Open Window”). I was curious and then, not surprised; after three years, I now know that this is the special moment for the students and young professionals during the Festival.

As Rita, herself, explains: „Open Window refers to what flows through me in pure Consciousness in service to everyone in the room. We cover many aspects of spiritual philosophy that serve the students in their challenges with performance fear, anxiety, tension and life issues, plus the usual Master Class format covering The Art of Interpretation, Historical Background on the pieces and Techniques for concentration, memorization, relaxation and awareness”.

But I can say that the Open Window is much more than an explanation with words. What Rita brings to the class is Mindfulness. Many philosophical, spiritual, and psychological traditions emphasize the importance of the quality of Consciousness for the maintenance and enhancement of well-being. The concept of mindfulness has roots in Buddhist and other contemplative traditions where conscious attention and awareness are actively cultivated. It is most commonly defined as the state of being attentive to and aware of what is taking place in the present.

Rita has the capacity to teach in a non-judgmental, holistic way; during her Master Classes you will witness a student’s inner process – as Rita zeros in on the, sometimes, deeply buried and/or blocked emotional issue(s) preventing the student‘s ability to perform with inner strength, conviction, joy and true freedom. A student may ultimately cry as the cause of suffering is discovered. Rita calls this “the crack”; once the crack occurs, then the Light can come through. It is so amazing after a session of two hours of “Janela Aberta” to then attend the Master Class and hear the student play with such passion, artistic conviction, strength and intention, as she/he begins to understand and reflect on what has transpired. As Rita gently guides each student to awaken in Consciousness, to bring out everything inside that has been blocked due to fear, tension, technical challenges or life history, Rita sees the Soul of the person and helps him or her to overcome all those issues that are not allowing the artistry of the musician to flow out. The day the student understands is the day of the crack; it is the moment of light - the moment of transformation. I have been witness to this transformation. The day after, the playing of the student is just different; you can feel the real Presence of the student’s Soul in his playing, and you can experience mindfulness in musical performance.

“I was especially moved by the effects of the Open Window workshop on the younger attendees. These young people, whether in their 20’s or teenagers, are in a stage of self-identification and self-determination. They seek affirmation of themselves and their current career path in a holistic, wholesome way—that is what Open Window offers. It was heart-breaking and then heart-healing to see some of the younger attendees question pre-conceived notions of themselves and their societal pressures, break them down, and then begin to re-build a fresher perception of themselves.”

Virginia Chang, Adult Amateur Harp Student

Rita’s teaching is the guardian of this light that shows that in Rita’s words “there is always a way”. Students (not only harp students) from all geographies have experienced this transformation. I have been transformed myself by Rita’ philosophy and I am certain that what Rita teaches with her own example is absolutely true: “As high as you strive to be a better musician, you must strive even higher to become a better human being.”

“In only twelve days , Rita Costanzi managed to shift and clarify my perception of myself, both as a musician and as a human being, and the world at large. With her seemingly unending knowledge of the harp repertoire and eye-opening anecdotes, Rita makes harpists into musicians.”   Violetta Norrie, Manhattan School of Music

"Now that I have known Rita Costanzi for 10 years, I can say that you never stop learning from her. Her way of seeing the harp is what I feel students need the most: artistry and passion. Every piece has its own background and research; it's extremely helpful for the interpretation. Her unique teaching of the inner work and the morning hour of "Janela Aberta" (Open Window) are the most touching moments. I feel that this is what allows the transformation of students’ souls – creating in them the possibility of becoming great artists.” Gustavo Jimenez-Peirera, harpist, Rio de Janeiro

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[1]                Alex KleinBrazilian oboist. Graduate of the Oberlin Conservatory of Music, Klein became the principal oboist of the Chicago Symphony Orchestra, where he remained for nine years. Following his departure from the Chicago symphony, in 2004, Klein returned to Brazil where he founded the FEMUSC festival