Interview: Celtic Harpist Loril Shannik
Q: When did your interest in Celtic folk begin? Were you exposed to Celtic folk music quite often?
A: I grew up in Hamilton, Ontario, Canada. At the time it was a heavy rock & roll town, but the Celts were always present. I have always been interested in Celtic music, ever since I was a little girl. I grew up in a family with Irish, Scottish, and Welsh roots and have always loved the sounds of the traditional songs. My parents and grandparents were musical, so there was always music in the house.
Q: What inspired you to start playing the harp? Who taught you?
A: I started playing piano when I was 4-years-old, doing classical as well as folk, but I was always mesmerized by the sound of the harp. Also, I found its long-standing presence in stories and actual history absolutely fascinating. When I was young I had no opportunity to play a harp. As I got older, I was finally able to buy a small lap harp. I was so excited it took me an hour to choose from four apparently identical harps, but I still swear the one I got sounded the best. Since at the time I couldn’t find a teacher, I taught myself to play, and it was a complete labour of love. Harps are a bit like potato chips; having just one wasn’t quite enough. So I ended up with a larger harp as well, based on a design from the Orkney Isles, which allowed me more versatility in terms of sound and complexity (though I did, of course, keep my small harp which is still well-played and well-loved).
Q: The Vagabond Harp is your second album. How would you describe the creative evolution between that and your debut, Goblin Moon?
A: In my first CD I was trying to showcase the actual melodies of traditional music and allow the harp sound to ring clear by itself, not just as a strum in the background as sometimes happens in traditional music. In The Vagabond Harp I expanded the arrangements, using different instruments and/or different playing styles but still trying to keep the ultimate goal of letting the melodies speak for themselves and be interesting without over-ornamenting. The other, I guess, really obvious difference is that there are three vocal tracks on this album, including one original. Although I have been a musician most of my life, I am just now really beginning to explore the vocal side. I still firmly believe instrumental music can evoke myriads of emotion in its own right, but there are also many things that vocals can add to that.
Q: You also play keyboards for the alternative-rock band Synners of Truth. Would you describe your tastes in music as eclectic? What genres move you the most?
A: I guess eclectic is a good term since I am a fan of both Mozart and Sid Vicious, Enya and Tom Waits, Muddy Waters and Bauhaus. I truly believe all musical forms are valid, and find amazing things to listen to in all genres. I love classical for its complexity, punk for its primal connection, the blues for, well, just being the blues. That said, it is the Celtic music that moves me the most because it can bring all of the above to the table. Within this genre are songs that are haunting and sad and speak to your soul, or have such a beat you can’t help but jump to your feet and dance, or be so angry at injustice that it moves you to action, or so funny you laugh out loud. The Celtic music reaches out at so many levels in such rich complexity. Wow, I hope that didn’t sound too overly-enthusiastic, but I am really just so passionate about this kind of music.
Q: When did you decide to become a musician?
A: Honestly, I don’t remember ever really deciding. I have always been playing since I can remember and started performing publically in my teens, but like many professional musicians I also had to have at least one or more other jobs. (I have a Bachelor of Science in Wildlife Biology but spent most of my university time in bands.) I am very fortunate and grateful, that for the last 10 years, I have been able to be a musician full-time. I do, however, still teach fencing (swordfighting) twice a week because I love the sport.
Q: What other instruments do you play besides the harp and piano?
I play trombone, harpsichord, tin whistle, alto and soprano recorder, and the krumhorn, a medieval instrument that sounds rather like a duck – it’s cooler than it sounds, really. Currently I’m trying to tackle the medieval small bagpipes. I’m pretty sure I’m winning.
Website: http://lorilshannik.com