Standing Tall: Celebrating Kathleen Bride’s Legacy at Eastman

By Jonathan Heath

 

In Eastman’s 104-year history, only three harpists have served on its faculty. When Kathleen Bride joined their ranks in 1989 as professor of harp, she became the third—and felt the full weight of that legacy. Fortunately, a welcoming department and a class of eager students helped ease her into a role that would evolve into a remarkable 36-year tenure. Now, following her retirement at the close of the academic year, Eastman celebrates the enduring influence she leaves behind. Bride has not only upheld the school’s standard of excellence—she has expanded it, infusing the harp program with her own distinctive flair and unwavering dedication.

A luminous presence within the musical world, Bride’s artistry resonates with the shimmering clarity of her instrument. A graduate of Marywood College (now Marywood University) and The Juilliard School, she has performed across the globe—at competitions, festivals, conferences, and with major symphonies—garnering acclaim as a harpist who brings out the expressive power of an instrument that could be considered as much sculpture as tool.

But perhaps Bride’s most enduring legacy lives in the studio and classroom. Her students speak of her not only as a master of technique, but as a mentor and guide—someone who helped them tune not just their instruments, but their artistic intuition. Under her careful direction, generations of young harpists have found their voice, each string plucked with intention and heart.

At the unveiling of her retirement portrait on the Cominsky Promenade this May, Joan and Martin Messinger Dean Kate Sheeran described Bride as a cherished member of the Eastman family—one whose music and mentorship will be deeply missed.

Just as the harp stands tall on stage, so too has Kathleen Bride, drawing listeners closer with sweeping glissandos and cascading lullabies. She leaves an indelible mark on Eastman’s history—and on the future of the harp. As she prepares for retirement, I spoke with Professor Bride about her fondest memories, her proudest moments, and her hopes for the next chapter.

Kathleen, what are your first memories of joining Eastman in 1989?

“My first memories are of a welcoming String Department and the cordial colleagues whose studios were adjacent to mine on the same hallway. They were so kind and outgoing and made sure my questions were answered regarding the workings of the school. I came from the Manhattan School in New York City where, as a conservatory, things operated on a completely different wavelength! It took some time to catch on, but there was always help at the ready. For this I was extremely grateful.”

What professional moments from the past 35 years stand out?

“While teaching at Eastman, I continued offering master classes across the United States, Europe, and Korea. My students were always curious about students in other countries, but in the end, all the students were eager to learn and grow as musicians. Weaving a professional career while teaching—two sides of the same coin—requires energy, patience, and a desire to share not only what you know and love, but also what every student needs to understand about their instrument and the wider musical world. Mixing performance and teaching requires you to ‘split the screen’—be fully engaged when performing and having the same engagement when teaching. It can be exhausting, but the one skill I developed was to learn how to quickly fall asleep on an airplane!”

What’s your favorite part of working with students?

“My favorite part of working with students involves the ‘a-ha’ moment. This occurs when the student finally ‘gets it’ in a lesson or in studio class. The look on their face when all the parts are put together is priceless and makes all their struggles and frustration so worthwhile. They always get a look of relief on their faces, and they walk taller and start smiling! This is truly what teaching is all about.”

You are only the third harp professor at Eastman, how has that distinction shaped your teaching?

“It was quite a mantle to assume. I felt the weight, since my predecessors had been so successful in building and maintaining superior harp classes during their tenure at the school. The students in my first years at the school were supportive and enthusiastic about heading into the future of the harp class. They worked hard in the studio and in all the orchestra and wind ensemble concerts maintaining the level of performance the harp department was known for in the past. Building on the past successes of the department meant that students worked very hard in all their professional opportunities. They started winning principal harp positions throughout the United States and abroad, continuing to keep the Eastman Harp Studio as the premiere place for harp studies in the world.”

What drew you to the harp in the first place?

“I came to the harp by accident. I loved the piano but had to fight my brother for practice time at the keyboard. I wasn’t yet ‘eligible’ to take lessons because the rule in my home was that age six was the magic year for studying an instrument. My parents, fearing sibling altercations, decided that I needed to study another instrument. We lived in a small town in Rhode Island which had a very musical population which included a harpist. Hearing her play convinced my mother that the harp was something I needed. I never looked at the piano again!”

What does retirement look like for you?

“Retirement for me just means a little more time to engage in things I really love. I need to finally complete my book on the harp technique of Marcel Grandjany, who was my teacher. I am also an artistic director of the Toronto International Harp Festival which is a huge endeavor. I think that will help to fill my calendar up.”

What do you think is so special about Eastman?

“I think student performers and scholars come to Eastman because of our reputation as a place where learning is very important. Think of the numbers of orchestra musicians, performers, writers, and college professors who have studied at Eastman. The numbers tell the story. We are a ‘human place,’ meaning our relationships to one another are of utmost importance. Our alums continue to return, and our grads have maintained the chat groups they started as first year students. Our studios are closely knit, and it feels like ‘family.’ Every relationship is different, but I feel that we are much more collegial and kinder than many other places on this planet.”

 

For a full biography of Kathleen Bride, visit our website.