Isabel Cárdenes Expands the Possibilities of the Harp
Isabel Cárdenes is inspired by the eclectic possibilities of the harp. As the Maryjane Mayhew Barton Fellow at Curtis, Cárdenes is exploring how the instrument can be experienced beyond conventional expectations—especially in connection to her Cuban heritage.
Ricardo Lorenz’s Venezuelan folk harp concerto is one meaningful example. The recently commissioned work—written for Cárdenes as a graduation gift—challenges conventional perceptions of the instrument, featuring rhythmic, percussive chords and strong syncopation. It also reimagines traditional repertoire: Each movement is titled after a distinct tattoo style, including tribal (geometric patterns), dotwork (intricate dots), and trash polka (bold, graphic designs).
“Lorenz’s work highlights Latino musical influences in a space where they have historically been underrepresented,” Cárdenes emphasizes. “It enriches the existing repertoire with a culturally-informed perspective.”
This year, Cárdenes is building on this work by centering it as her capstone project for Curtis’ Community Artist Program, a weekly course that melds entrepreneurship and innovation with artist-citizenship and community. Learn more about Cárdenes’ work, and what she’s looking forward to this year at Curtis, in her interview below.
What inspires you most as an emerging artist and performer?
I’m interested in exploring what the harp has been and what it can be. It’s an ancient instrument—it’s been around for centuries—but it’s also progressed a lot in terms of the music written for it. Specifically, I’m inspired by what the harp is in other parts of the world: How can we change how the instrument is perceived?
Ricardo Lorenz’s Venezuelan folk harp concerto must be especially exciting to work on, then.
Yes! It brings out many aspects of the harp: The instrument is rhythm-based, but it’s also percussion and all of the instruments of the orchestra. At times, it’s even violent. I’m having so much fun playing this piece and just seeing what the harp is capable of.
I’m also excited to connect to my Cuban heritage through music. The harp is not a Cuban instrument, but I think this piece could be an entryway for many things in the future. It’s something I’m excited to explore.
You’re also passionate about community engagement work. Could you talk more about this?
It started when I was a kid and my choir director was diagnosed with cancer. I would play for her while she was getting chemo, and I could see it helped her get through the process. More recently, I started playing with the Azure Concert Series in Pittsburgh, which presents sensory-friendly concerts for children with autism. It gives them a chance to calm their minds and feel peace for a moment.
In some ways, I’ve gained more performance-wise from these experiences than during an official concert. With this work, I feel I can communicate more authentically because no one is looking to me as a classically-trained artist.
What does this say about the larger role of music in society today?
I personally think it’s all about connection. I think we live in an isolated society. There’s nothing we need more than connection and love. That can take many different forms, but I think words kind of downplay what people feel. Sometimes, without tools like music, you’re not able to access yourself as deeply. So, by bringing music to people, you give them the chance to understand themselves and others better. It gives people a voice without words.
What are you looking forward to beginning your second year at Curtis?
Who I’m surrounded with in my environment directly impacts my output. So, being in a community like Curtis that’s just bursting with talent is so motivating. I feel inspired by everyone here, and that’s really manifesting in my work. So, I’m excited for that—and continuing to work on this concerto. I think it’s going to bring something really fresh to the harp repertoire.
