After carefully studying the collaborations between composer and performer, focussing on the communication and interaction during the process, a set of subjects surfaces. From the point of view of the performer there is the ‘first aid’ regarding the technical abilities of the instrument (which definitely applies to the harp – most of the composers seem to limit the collaboration to this technical aspect) and creative involvement; such as sharing musical ideas and emotions, compositional suggestions, performance triggers etc.

In the case of the composer we detect practical issues like the modalities regarding the notation, as well as their feelings on being present during rehearsals, idea of the degree of completion of the piece prior to collaborating, and general openness to suggestions.

A final subject of interest is the personal relationships between the composer and the performer. Joseph Jongen, for example, initially postponing his work on the Harp Concerto because of the harpist being involved, referring to Mireille Flour as a ‘diablesse de femme’ – devilish woman (Whiteley, J. S. 1997). 

We arrive at the following categorisation of touchstones – which were tested and refined by means of a conversation with Ernestine Stoop, who has a career-long experience of collaborating with composers (E. Stoop, personal communication, February 17, 2022):

1. Technical assistance;

This is not surprising, of course, as it turns out that composers generally find the harp a difficult instrument to write for. As the conversation with Ernestine Stoop also showed, they usually do not know the range of possibilities. Particularly in terms of notation the composer frequently does not seem to know how to indicate something. 

2. Creating a space for experimentation, endless testing;

3. Confrontation with the birth of sound, imagination versus reality

Ernestine Stoop mentions that on a regular basis it turns out that composers had a different conception of the sound. Often, the way of notation used by the composer turns out not to represent the sound they pursued, prompting her to search for the sound the composer had in mind.

4. Composer rediscovering during rehearsal;

5. Composer being present at the dress rehearsal;

Ernestine Stoop states this limits the composer's ability to contribute significantly to the performance, stating making adjustments to dynamics or articulations is still possible, but radical changes are impossible at the time of the dress rehearsal. Ideally, the composer should be involved much earlier in the process, in fairness they should be present from the very first rehearsal onwards. 

6. Field of tension regarding interpretation; between performer and composer, and in addition with respect to the ideal of one single interpretation versus the possibility of various interpretations;

Ernestine Stoop can think of examples for composers searching for their one correct interpretation (she mentions György Kurtág as being incredibly stubborn), but indicates composers usually are attentive to your ideas, stating that good composers also should be. 

7. Personal touch as a result of the relationship between performer and composer;

The manner of communication, respect between both parties has a great influence on the collaboration and final performance.