American-Australian harpist Emily Granger makes her solo debut recording, In Transit, with a collection of contemporary works that reveal the breadth and beauty of harp music from her two countries.

Memories and moods infuse Tristan Coelho’s evocative title track as well as the composer’s The Old School, recalling an artists’ residence in Australia’s Blue Mountains. Laura Zaerr’s rhythmical River Right Rhumba is inspired by West African drumming, whilst Sally Greenaway’s Liena, named after Melbourne-born harpist Liena Lacey, draws upon jazz and Latin dance music. Ross Edwards evokes a fantasia in his hypnotic The Harp and the Moon, whilst Libby Larsen’s bold Theme and Deviations is a tease on the traditional musical form. Sally Whitwell’s Undiminished is just that both harmonically and in spirit. Emily’s virtuosity is on full display in Kate Moore’s soaring Spin Bird, inspired by Jonathan Livingston Seagull, and in Nancy Gustavson’s Great Day, steeped in colourful glissandi showing off the harp in all its glory. Turning her hand to arranging, Emily has adapted Elena Kats-Chernin’s Blue Silence, originally for cello and piano, underscoring the works calming, healing and meditative properties; and Augusta Read Thomas’ Eurythmy Etude “Still Life”, originally for solo piano, stemming from the Greek meaning for beautiful and harmonious rhythm. Emily closes the album with Deborah Henson-Conant’s The Nightingale, one of her earliest musical memories as a young harpist.