The harp is one of those instruments you form an immediate connection with. Its sound is instantly recognisable and easy to be swept up in – beautiful bell-like tones, rich resonance and sparkling clarity. Over the past 10 years, I’ve found myself returning to the instrument as a composer again and again, and it’s no coincidence that this creative path aligns with me meeting my now wife, harpist Emily Granger.

Tristan Coelho. Photo © Keith Saunders

I had written a couple of works for harp before meeting Emily – highly experimental pieces where my lack of understanding of the instrument shone through. As a young student, I remember getting absolutely roasted by a harpist for writing their part as if they were a pianist. I thought it sounded OK, but it was an important lesson.

Thankfully, over the last decade, almost by osmosis, I’ve learned more about ‘good’ harp writing. Hearing countless hours of Emily practising has helped me become aware of the sweet spot – approaches that sound beautiful and work naturally with the instrument’s strengths. I love writing for the harp because it...