Elizabeth Steiner
Please introduce yourself: what do you do? Where are you from? Where are you now?
My name is Elizabeth Steiner, and I'm a harpist and educator based in Philadelphia, PA. I'm originally from Seattle, WA.
How did you venture into the world of classical music? What or who inspired you?
I started playing the piano at the age of 9. I loved the piano but wanted to be in a musical ensemble with my friends. When I entered middle school, I asked the orchestra teacher if they had any instruments available for study, and she said that they offered the harp! I was so excited to and started harp lessons shortly after. I had orchestra class every day and then started weekly lessons and followed the path to two degrees in Harp Performance. My master’s degree at Temple University brought me to Philadelphia. My original inspirations came primarily in the form of the great classical CDs my mom played in our house. One of the CDs she bought when I first started playing the harp was Ann Hobson Pilot's solo album, the Boston Symphony's Principal Harpist. Seeing a black woman playing the harp on the cover of her own CD was a ‘gateway’ moment for me, showing me I could have a place in music as well.
The harp has played an integral role in Afro-Mexican culture and can be found in hundreds of the Son Jarocho genre arrangements. As an American woman with Afro/Mexican/Indigenous roots, is it safe to say that harping is in your blood?
Yes. The first time I saw a harp in person was actually in Tlacotalpan, Veracruz. My family was at a restaurant called El Pescador, and we listened to a band that had a harpist for over an hour. I didn’t play the harp yet, but its sound struck me, which became part of my musical conscience. A few years later, I saw La Negra Graciana in concert in Seattle. My mom made sure I went backstage to meet her. So, my first harp concert was of a well-known Afro-Mexican woman absolutely shredding on the harp. It was so inspiring! After I started the harp, my parents sent me to live in Mexico for three months. I stayed on General Santa Ana’s hacienda's grounds and studied the harp with one of Mexico’s most famous harpists, Maestro Alberto de la Rosa. I still have the sheet music I worked on with him!
What key moments in your career serve as accomplishments that caught you by surprise?
Teaching has been incredibly fulfilling for me. Communicating my love for the instrument to youth and BIPOC youth has been extremely important to me. Because I could start the harp at my school, it has been meaningful to create that same access point for other students.
I have been loving this strong, growing surge in POC representation in the orchestra pit. How important is it right now to elevate the works of orchestral musicians of color?
It’s imperative! It feels wonderful to see BIPOC players receive greater visibility. There is no shortage of fantastic players. We need greater pathways and more opportunities for everyone to perform. I have loved performing with the Broadway Sinfonietta, an all-female identifying mostly BIPOC orchestra based in NYC founded by the orchestrator Macy Schmidt. I had chills when she called me to play in this group because I had never played in an all-female group, much less all BIPOC ensemble in the classical space. The session's energy was incredible because I felt I could finally show up as my FULL self. When I have performed in major orchestras like the Baltimore Symphony in the past, I was often one of only two or three musicians of color on stage. I have always used this as motivation, but it is extremely encouraging to see the classical music world waking up to the vast richness of repertoire available by BIPOC composers and the boundless talent and skill available from BIPOC performers. I hope the field continues to amplify these voices. Hence, we begin to have orchestras that more accurately represent the cities in which they perform and the diverse history and present diversity of the United States.
I know that you sometimes perform 'harp remixes' of popular songs - like your rendition of Drake's "Hotline Bling" (which amassed LOTS of likes and views). What's your favorite popular song to perform on the harp?
I have some new covers in the R&B genre coming soon. I’ve really enjoyed arranging artists like Snoh Aalegra and Solange. My latest arrangement is Telepatía by Kali Uchis, which is really fun to play.
Like many, you have pivoted many of your performances to the virtual spotlight. What are the pros and cons of this experience, in your opinion?
The best part has been connecting with more people on a broader scale, whether it be other musicians, students, or listeners from around the country and world. I also enjoy not having to move the harp so much! Pivoting to virtual has led to some great opportunities and wonderful new students I wouldn’t otherwise be working with. I really miss playing live in ensembles with other musicians, though. It’s one of my favorite musical elements and so cutting back on that so much has been hard. I know we will have a creative renaissance when we come out of this!
What is your favorite classical composition to perform?
I love Bach, and lately, I have been transcribing Debussy piano works which I really enjoy. Lately, I have also enjoyed the works of William Grant. Still, a black composer I grew up listening to gained his due recognition in the classical world and beyond. I’m excited to perform his concerto for harp, Ennanga (based on the traditional harp of Uganda), with Orchestra 2001 this fall.
What advice would you give to youth from the diaspora who wants to do what you do?
Your existence is vital and needed in any creative field. Learn about your heritage and allow it to inform your work and fuel you. When you need strength, call on the ancestors because they want you to succeed.