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By Kathleen Blackwell-Plank
Kathleen Blackwell-Plank: Reading your stellar professional biography I am struck by what a citizen of the world you are. You have lived, worked, and studied in many countries. Few of us have the opportunity to experience the classical music world in so many diverse settings. What have you learned from your broad worldview?
Beste Toparlak: I am originally from Turkey. I have been very lucky to experience and study music in Asia, Europe, and America. What I learned living abroad is that societies are actually very alike and the big picture doesn’t actually change much. It is definitely a challenging but fun experience that grows your personal awareness, understanding, tolerance, and how to accommodate oneself in different situations. The most challenging part is the process of learning a new language. I have been learning several languages since the age of 6 and learned how hard it is to express yourself when you have a limited vocabulary.
Kathleen: How many languages do you speak?
Beste: English, German, Turkish. A little bit of Russian and Kazakh come from elementary school education in Almaty/Kazakhstan but of course, it loses its place in my memory as time passes over it.
Kathleen: What originally drew your attention to the harp? What attracted you to playing the harp?
Beste: I guess as a little girl I was caught up in animated movies, and wanted to be an angel playing a lyre.
Kathleen: How old were you when you entered the Ankara State Conservatory of Hacettepe? Were you a boarding student? Were you close to your family or did your studies require you to leave home at a young age?
Beste: Our conservatory system in Turkey contains a middle school, high school, and college all together as one package. Instead of 4 years of college music education like here in the U.S, it takes a total of 10 years to graduate and earn a Bachelor's degree. Therefore, you enter a conservatory when you are 11 and finally graduate at 21. It’s a very long journey to graduation for a full-time conservatory music student. I was living in my hometown, Ankara, with my family during that time. Later, I moved to Germany where I earned a Master’s degree studying with former Vienna Philharmonic principal harpist, Xavier de Maistre.
Kathleen: What brought you to the United States? To Charlotte?
Beste: I came to the United States to learn advanced musical characteristics and sound quality from the legendary harpist Miss Susann McDonald at Indiana University. After completing my Artist Diploma from IU, I had a great chance to tour with several symphony orchestras and chamber groups to California, New York, Georgia, and Virginia. When I came here for the Charlotte Symphony harp audition, Charlotte welcomed me with its energy, hospitality, and kind people. Since then, I have had a unique bond with Charlotte.
Kathleen: Do you have a favorite piece of music or a period of music? Are you more drawn to solo, chamber, or orchestral settings?
Beste: I really like to play pieces from the Romantic era. It’s hard to choose one setting over another because whichever I don’t get to play often, I miss that one. Currently, I really miss playing in symphonic concerts. Hoping this ends soon with minimal risk.
Kathleen: I notice that you have had the opportunity to premiere works by contemporary composers. What was that experience like? Did it involve working closely with composers to achieve their vision for their new works?
Beste: I think working with a composer makes the work even more special. You get to understand what the composer actually dreamt of while writing the piece. Many times the work is still evolving so you can add your own style to the process of creation. It gives you the chance to connect better/ on a deeper level.
Kathleen: You have had the opportunity to perform with over a dozen different orchestras in many countries and settings. How has this experience enriched your career?
Beste: It has expanded my networks. Always good to have friends abroad. Now, I never say “I’m far from everyone” but instead, “I have someone everywhere”.
Kathleen: Are you teaching harp students? In-person? Via digital platforms like FaceTime or Zoom?
Beste: Yes, I am teaching in-person as well as virtually on Skype & Zoom.
Kathleen: What would you want to tell young students aspiring to play the harp?
Beste: “Motivation is what gets you started. Habit is what keeps you going.” Is a quote that I very much like and kept reminding myself often during long practice hours.
Kathleen: The year 2020 has been unimaginable for most of us. The COVID pandemic has drastically changed the landscape of our lives. How has this impacted your work?
Like many artists, it had a negative impact on me, too. Many big projects I was excited for were canceled. Other than performing in big shows, currently, I am playing at private social events in a limited group of people.
Kathleen: Tell me about the creative ways you have had to adapt to work in our current situation.
Beste: Learning new music, putting together programs for performances, timing selections, researching the history of the pieces, altering piano scores, teaching online, recording/working on contemporary composers’ new pieces, performing on virtual events as well as actual private events.
Kathleen: I enjoyed listening to a short clip of your arrangement of Nuvole Blanche (White Clouds) written by Ludovico Einaudi. Tell me about your arranging of music for harp.
Beste: Glad to hear you enjoyed it! I started to arrange piano scores to harp a few years ago. Besides arranging legendary composers such as Tchaikovsky and Rachmaninoff, I’ve also had experience arranging pieces by contemporary composers for example Ludovico Einaudi, Yann Tiersen, Alexander Streliski, and Muriel Bostdorp. I shared some of the recordings with the original composers and received their feedback.
Kathleen: What are your plans and dreams for the future?
Beste: My dream would be to publish an arrangement of Piazzolla’s The Four Seasons of Buenos Aires for harp, violin and cello. My former harp professor, Elzbieta Szmyt, and I created this arrangement last year and later I presented it live in my final Artist Diploma Recital at Indiana University. While continuing to regularly perform in a professional ensemble, being able to pursue creative solo projects would be my dream career for the near future.
Kathleen: In May (if the COVID situation allows) you will be presenting a recital for the Charlotte Chapter of the American Harp Society. Tell me about your plans for this recital.
Beste: Yes! I am very excited about this recital, hopefully, life will get close to the normal in spring 2021. I am planning to present a very wide range of repertory. Besides famous pieces of Classical harp repertory, it will include Baroque & Romantic era, popular music and world music. I want this recital to be enjoyable for everyone. There are so many good options that I’m having a hard time choosing what to share with you!
Kathleen Blackwell-Plank: Reading your stellar professional biography I am struck by what a citizen of the world you are. You have lived, worked, and studied in many countries. Few of us have the opportunity to experience the classical music world in so many diverse settings. What have you learned from your broad worldview?
Beste Toparlak: I am originally from Turkey. I have been very lucky to experience and study music in Asia, Europe, and America. What I learned living abroad is that societies are actually very alike and the big picture doesn’t actually change much. It is definitely a challenging but fun experience that grows your personal awareness, understanding, tolerance, and how to accommodate oneself in different situations. The most challenging part is the process of learning a new language. I have been learning several languages since the age of 6 and learned how hard it is to express yourself when you have a limited vocabulary.
Kathleen: How many languages do you speak?
Beste: English, German, Turkish. A little bit of Russian and Kazakh come from elementary school education in Almaty/Kazakhstan but of course, it loses its place in my memory as time passes over it.
Kathleen: What originally drew your attention to the harp? What attracted you to playing the harp?
Beste: I guess as a little girl I was caught up in animated movies, and wanted to be an angel playing a lyre.
Kathleen: How old were you when you entered the Ankara State Conservatory of Hacettepe? Were you a boarding student? Were you close to your family or did your studies require you to leave home at a young age?
Beste: Our conservatory system in Turkey contains a middle school, high school, and college all together as one package. Instead of 4 years of college music education like here in the U.S, it takes a total of 10 years to graduate and earn a Bachelor's degree. Therefore, you enter a conservatory when you are 11 and finally graduate at 21. It’s a very long journey to graduation for a full-time conservatory music student. I was living in my hometown, Ankara, with my family during that time. Later, I moved to Germany where I earned a Master’s degree studying with former Vienna Philharmonic principal harpist, Xavier de Maistre.
Kathleen: What brought you to the United States? To Charlotte?
Beste: I came to the United States to learn advanced musical characteristics and sound quality from the legendary harpist Miss Susann McDonald at Indiana University. After completing my Artist Diploma from IU, I had a great chance to tour with several symphony orchestras and chamber groups to California, New York, Georgia, and Virginia. When I came here for the Charlotte Symphony harp audition, Charlotte welcomed me with its energy, hospitality, and kind people. Since then, I have had a unique bond with Charlotte.
Kathleen: Do you have a favorite piece of music or a period of music? Are you more drawn to solo, chamber, or orchestral settings?
Beste: I really like to play pieces from the Romantic era. It’s hard to choose one setting over another because whichever I don’t get to play often, I miss that one. Currently, I really miss playing in symphonic concerts. Hoping this ends soon with minimal risk.
Kathleen: I notice that you have had the opportunity to premiere works by contemporary composers. What was that experience like? Did it involve working closely with composers to achieve their vision for their new works?
Beste: I think working with a composer makes the work even more special. You get to understand what the composer actually dreamt of while writing the piece. Many times the work is still evolving so you can add your own style to the process of creation. It gives you the chance to connect better/ on a deeper level.
Kathleen: You have had the opportunity to perform with over a dozen different orchestras in many countries and settings. How has this experience enriched your career?
Beste: It has expanded my networks. Always good to have friends abroad. Now, I never say “I’m far from everyone” but instead, “I have someone everywhere”.
Kathleen: Are you teaching harp students? In-person? Via digital platforms like FaceTime or Zoom?
Beste: Yes, I am teaching in-person as well as virtually on Skype & Zoom.
Kathleen: What would you want to tell young students aspiring to play the harp?
Beste: “Motivation is what gets you started. Habit is what keeps you going.” Is a quote that I very much like and kept reminding myself often during long practice hours.
Kathleen: The year 2020 has been unimaginable for most of us. The COVID pandemic has drastically changed the landscape of our lives. How has this impacted your work?
Like many artists, it had a negative impact on me, too. Many big projects I was excited for were canceled. Other than performing in big shows, currently, I am playing at private social events in a limited group of people.
Kathleen: Tell me about the creative ways you have had to adapt to work in our current situation.
Beste: Learning new music, putting together programs for performances, timing selections, researching the history of the pieces, altering piano scores, teaching online, recording/working on contemporary composers’ new pieces, performing on virtual events as well as actual private events.
Kathleen: I enjoyed listening to a short clip of your arrangement of Nuvole Blanche (White Clouds) written by Ludovico Einaudi. Tell me about your arranging of music for harp.
Beste: Glad to hear you enjoyed it! I started to arrange piano scores to harp a few years ago. Besides arranging legendary composers such as Tchaikovsky and Rachmaninoff, I’ve also had experience arranging pieces by contemporary composers for example Ludovico Einaudi, Yann Tiersen, Alexander Streliski, and Muriel Bostdorp. I shared some of the recordings with the original composers and received their feedback.
Kathleen: What are your plans and dreams for the future?
Beste: My dream would be to publish an arrangement of Piazzolla’s The Four Seasons of Buenos Aires for harp, violin and cello. My former harp professor, Elzbieta Szmyt, and I created this arrangement last year and later I presented it live in my final Artist Diploma Recital at Indiana University. While continuing to regularly perform in a professional ensemble, being able to pursue creative solo projects would be my dream career for the near future.
Kathleen: In May (if the COVID situation allows) you will be presenting a recital for the Charlotte Chapter of the American Harp Society. Tell me about your plans for this recital.
Beste: Yes! I am very excited about this recital, hopefully, life will get close to the normal in spring 2021. I am planning to present a very wide range of repertory. Besides famous pieces of Classical harp repertory, it will include Baroque & Romantic era, popular music and world music. I want this recital to be enjoyable for everyone. There are so many good options that I’m having a hard time choosing what to share with you!