Sharron Griffith

Sharron Griffith


Sharron started playing the harp at the age of ten in her native Wales,she has pursued a diverse and varied career as a soloist, chamber and orchestral musician in recitals both on the concert platform, recording and radio broadcast’s.

Sharron works regularly with the BBC Scottish Symphony Orchestra, Royal Scottish National Orchestra, Scottish Opera, Trondheim Symphony Orchestra and the Royal Northern Sinfonia. She also works with several International Orchestra’s, including the Scottish Chamber Orchestra,Scottish Ensemble, Red Note Ensemble, Arctic Philharmonic to name a few. 

Sharron is a keen soloist and chamber musician, having appeared as soloist with the Royal Northern Sinfonia and the National Girls Choir of Scotland. She is a member of the innovative Bardic Trio [with Tenor,Jamie MacDougall & Guitarist, Matthew McAllister] who have just released their debut CD, Clyde Duo [flute & harp] and Echo Chamber Ensemble [flute, viola & harp] performing in recitals across the country, including at the St Magnus Festival, Edinburgh International Festival, Cottier Chamber Project, Lammermuir Festival, Sound festival and Celtic Connections.

Sharron has appeared on many recordings with the BBC Scottish Symphony Orchestra, Royal Northern Sinfonia, Royal Scottish National Orchestra, Scottish Chamber Orchestra, Scottish Opera and most recently with the Scottish Festival Orchestra on the album ‘The Lost Songs Of St Kilda’ which was number 1 in the classical music charts for 5 weeks. 

Sharron is in demand as a teacher, she is a Lecturer of Pedal Harpat the Royal Conservatoire of Scotland,in both Senior & Junior departments and a regular harp tutor for the National Youth Orchestra’s of Scotland. Sharron is co-creator of the first ever Scottish pedal harp summer school at the Royal Conservatoire of Scotland. 

Sharron has almost 20 years experience as a function and wedding harpist,during her time in London,holding posts as harpist in residence at the Landmark Hotel, Trafalgar Hilton and the London Wetlands Centre, and playing regularly for events at The Hilton Park Lane, Waldorf Hotel, Harrods, Victoria and Albert Museum, Madam Tussauds, The Tower of London, Hampton Court, Earls Court, Warwick Castle and at the top of the BT Tower. Since re-locating to Scotland she has played at numerous venues including The Balmoral Hotel, Doune Castle, Airth Castle, Grand Central Glasgow, Norton House Hotel and Marr Hall.

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We were treated to a fine harp cadenza by Sharron Griffiths.
Tam Pollard, Where is Runnicles

The harp of Sharron Griffiths glittered in texture.
Fife Today

Pleyel’s new pedal-free, chromatic harp occasioned such a need and Debussy’s commissioning resulted in Danses sacrée et profane. There are typical Debussy trademarks such as parallel and whole-tone harmony, and some lovely lush string writing as the work emerges from faux-ecclesiastical modality into more coquettish profanity. The soloist, the excellent Sharron Griffiths, has been very impressive in this festival.
Alan Coady, Bachtrack

My nearest instructor in this was the fantastic harpist Sharron Griffiths, ably assisted by Ravel. Who better to illustrate the harp’s contribution to colour, diction and punctuation than this master orchestrator.
Alan Coady, Bachtrack

Danse sacrée et danse profane by Debussy was shot through with warm immediacy and silvery movement.
The Scotsman

Dear Jamie. 
Thanks you for a splendid recital today. The textures that you all produced were most attractive and the programming was lovely for a summer concert. I am so glad you were in touch and that we were able to help. I would like to pass on congratualtions to both your harpsit and guitarist - a combination that worked so very well.
Many thanks once again and 'haste ye back'. Yours, Roger Williams 

Last night’s early evening concert was a relaxed affair. The title itself – Jamie MacDougall and Friends – suggested as much. But it was the thread of folk music, and a manner of presentation to match it, that gave an air of congeniality to the hour-long programme.
At the centre of things was MacDougall himself, a Scots tenor with a couthie charm, talking us through a musical journey that began in Mexico and Paraguay, and ended in Scotland by way of England and Wales. Helping him on his way were guitarist Matthew McAllister and harpist Sharron Griffiths. In various combinations, they coloured songs by Mexicans Francisco Pichardo and Manuel Ponce (his heartfelt Por ti mi CarazoĢn the most compellingly delivered) with an elusive passion, as well as Paraguayan instrumental numbers by Augustin Barrios and Alfredo Ortiz.
English and Welsh folk song arrangements by Britten – accompanied respectively by guitar and harp – gave MacDougall plenty of opportunities to slip into appropriate character modes, and to force out their charm above Britten’s rather stylised accompaniments.
But the real treat of the evening was Eddie McGuire’s exquisite arrangements of songs by Robert Burns, one of them – Ae Fond Kiss, with its clever conversation of harmonics announcing the theme in the instrumental intro, and the unforced boldness of its harmonic underlay – an absolute corker. Another gem was the Slave’s Lament, shot through with a weird Orientalism that captured the sultriness of the text – McGuire at his best.
MacDougall & Friends - Cottiers Theatre, Glasgow Published on 13/06/2013 02:57 


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