Debussy: Passepied from Suite Bergamasque Harp arrangement by Marie-Pierre Langlamet Taken from "Clair de Lune" CD The pages of Debussy are full of waves, and the harp is so good at being the wave! It plays the game so smoothly… What composer would be able to better capture the essence of this instrument? Debussy understood instinctively that its greatest strength was its weakness. Indeed, the harp is a fragile instrument, discreet, intimate. Debussy taught it how to use shadow and light, to explore its borders with silence, to twinkle in the dark, intriguing and attracting rather than vainly trying to project. « Less is more ! » Marie-Pierre Langlamet first become acquainted and enchanted with the harp from the children’s album Piccolo Saxo. Because Marie-Pierre Langlamet definitely wanted to learn a polyphonic instrument, and the piano class was full, she decided to take up the harp. She received her first musical training at the Nice Conservatoire with Elisabeth Fontan-Binoche, later participating in master classes given by Jacqueline Borot and Lily Laskine. She was only 17 when she was engaged as principal harp in the Nice Opera Orchestra, but a year later she gave up this position to continue her studies in Philadelphia at the Curtis Institute. From 1988 until she joined the Berliner Philharmoniker five years later, she was deputy principal harpist of the Metropolitan Opera Orchestra in New York. Marie-Pierre Langlamet appears all over the world as a soloist with leading orchestras and chamber ensembles, and she also gives numerous solo recitals. In June 2009, Marie-Pierre Langlamet was made a Chevalier dans l’Ordre des Arts et des Lettres by the French Ministry of Culture for her contribution to French music. Since 1995 she has taught in the Orchestra Academy. What she enjoys most in her free time is riding, skiing and ice-skating with her children. All information and photos were taken from the internet.