| Testimonials |
| Marguerite Lynn Williams marguerite@mlwharp.com 773-791-7520 Chicago Harpist ~ Marguerite Lynn Williams ~ Professional musician in Chicago, IL~ Providing elegant harp music for wedding ceremonies and special events. Harp Lessons, party entertainment, classical, jazz, Celtic and chamber music. |
| "Thank you so much for your beautiful playing at our wedding! We couldn't have asked for anyone better! The music was perfect and we thank you for making our special day even more beautiful!" Courtney and Ron Lombardi "You were fantastic at my party!!! You just knew what to play to please the guests and to create a special atmosphere. Several of the professional musician guests raved about your skills and selections. Thank you very much!" Cheryl Ganz "Thank you so much for your wonderful music! I'm sorry I wasn't able to greet and thank you myself; but your work was everywhere and we received many, many compliments! Thank you again and good luck with all your engagements...I hope your summer affords you time to relax too... It was wonderful working with you..." Sincerely, Wendy and Trent Hickman "Thank you for all of your help in planning and performing the music at my wedding ceremony. I've received many compliments about you and your flutist and was extremely happy with the music. Thank you for being so flexible and easy to work with, you eased my mind when so many things were happening!" -Sophie Kwak "Marguerite, you added the perfect touch to our wedding. I really appreciated the chance to select all of my own music for the ceremony with you. Thank you so much for making our special day perfect!" -Amy Johnson "Bravo! Our guests loved the old-time jazz favorites that you played at our party. You left them singing tunes all night long. I never knew a harp could sound like that! Thank you." -Eddie Duckworth "The highlight of my wedding was the gorgeous music you provided. Thank you so much for being a part of my day." -Suzanne Schmortz "Thank you for your lovely performance at my wedding on July 24th...my guests have told me how truly beautiful it was. I am forever grateful for your contribution." -Jacki (Ziskind) Galauskas "You were a pure professional. Every detail was perfect. I've received so many compliments on the music you provided." -Meredith Smith Marguerite, I just wanted to say thank you sooo much for such a beautiful job at our wedding on August 7th - I just wanted to give you a special thank you and let you know I will definitely recommend you to all my friends getting married. Thanks again for such a wonderful job, -Alexis (Pryor ) Mangiardi "Thank you for being such a wonderful teacher. You've really helped me to achieve many of my dreams by teaching me college audition music and orchestra parts. I wouldn't have made it without you. I'll miss being your student when I go to college, but I'll always remember how you impacted my playing." -Brittany Viola, harp student University of Illinois Champaign-Urbana |
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CHICAGO TRIBUNE
By John von Rhein | Tribune critic
November 28, 2008
"The Lutoslawski Fourth Symphony, the Polish master's final work, represents both a tightening
and easing of his musical grammar over his previous symphony, which the CSO premiered in 1983.
Its musical argument is developed over an orchestral palette replete with pungent instrumental detail
and luminous sonorities. The musical shapes and gestures move in waves, like the tides, their rigor
softened by the subtle use of aleatoric procedures.
This brilliantly crafted music literally reveals something new every time you hear it. It benefited
from Haitink's incisive attention and the atmospheric playing of his orchestra. Former principal
clarinet Larry Combs—now "ringer" Larry Combs—led the parade of fine first-desk soloists,
including violinists Robert Chen and David Taylor, trumpeter Chris Martin and harpist Marguerite
Williams."
MIAMI HERALD
September 28, 2006
New World soars under Alasdair Neale's baton
---------------------
By Lawrence Budmen
Benjamin Britten's Young Person's Guide to the Orchestra brought grandeur and subtlety in equal
measure. An extended harp solo was a bravura tour de force. The violins shone in brilliant cascades
of tone in a beguiling waltz variation. From the broad statement of the Purcell theme to the final
scintillating fugue, Neale offered an impress display of authoritative conducting and orchestral
virtuosity
SOUTH FLORIDA SUN-SENTINEL
December 20, 2006
Tilson Thomas' Notturno a beguiling chamber piece
--------------------
By Lawrence Budmen
Michael Tilson Thomas' forays into musical composition have yielded mixed results. But his
Notturno for Flute, Harp, and String Quintet was a winning concert etude at the New World
Symphony's chamber music concert on Sunday at Miami Beach' s Lincoln Theater. Written for the
formidable flutist Paula Robison, Notturno is a tribute to the Italian operatic tradition, cast in the
form of a two-part "aria" with a slow section and a cabaletta.
The piece opens with a hazy Impressionistic recitative featuring strong echoes of Debussy and Ravel;
neo-Baroque melody soars through the musical mist, reminiscent of Handelian opera. In the final
section, the flute essays a lilting theme to rollicking plucked string accompaniment that intentionally
recalls the Sextet from Donizetti's Lucia di Lammermoor. A series of brilliant variations concludes
the work with pizzazz. Notturno proves Tilson Thomas an inspired melodist, and his high-flying
flute pyrotechnics and suave string writing are beguiling. A quotation of Funiculi, Funicula in
acerbic harmonics adds a witty touch.
The glistening purity of Robison's tone delighted the ear, her rapid-fire flute acrobatics
complemented by harpist Marguerite Lynn Williams' elegant glissandos. Violinists Cecilia
Weinkauff and Hannah Cho, violist Andrew Wickesberg, cellist Naomi Gray and bassist Jory
Herman offered stellar accompaniment, by turns misty and astringent.
Robison also offered her own transcriptions of three Italian serenades, lovely salon pieces by
Caccini, Alessandro Scarlatti and Tosti. (La Serenata, a tenor favorite, proved just as enchanting as
a flute aperitif.) The sparkling insouciance of her playing was captivating. Williams's stylish harp
accompaniment on Caccini's Amarilli was particularly fetching.
By John von Rhein | Tribune critic
November 28, 2008
"The Lutoslawski Fourth Symphony, the Polish master's final work, represents both a tightening
and easing of his musical grammar over his previous symphony, which the CSO premiered in 1983.
Its musical argument is developed over an orchestral palette replete with pungent instrumental detail
and luminous sonorities. The musical shapes and gestures move in waves, like the tides, their rigor
softened by the subtle use of aleatoric procedures.
This brilliantly crafted music literally reveals something new every time you hear it. It benefited
from Haitink's incisive attention and the atmospheric playing of his orchestra. Former principal
clarinet Larry Combs—now "ringer" Larry Combs—led the parade of fine first-desk soloists,
including violinists Robert Chen and David Taylor, trumpeter Chris Martin and harpist Marguerite
Williams."
MIAMI HERALD
September 28, 2006
New World soars under Alasdair Neale's baton
---------------------
By Lawrence Budmen
Benjamin Britten's Young Person's Guide to the Orchestra brought grandeur and subtlety in equal
measure. An extended harp solo was a bravura tour de force. The violins shone in brilliant cascades
of tone in a beguiling waltz variation. From the broad statement of the Purcell theme to the final
scintillating fugue, Neale offered an impress display of authoritative conducting and orchestral
virtuosity
SOUTH FLORIDA SUN-SENTINEL
December 20, 2006
Tilson Thomas' Notturno a beguiling chamber piece
--------------------
By Lawrence Budmen
Michael Tilson Thomas' forays into musical composition have yielded mixed results. But his
Notturno for Flute, Harp, and String Quintet was a winning concert etude at the New World
Symphony's chamber music concert on Sunday at Miami Beach' s Lincoln Theater. Written for the
formidable flutist Paula Robison, Notturno is a tribute to the Italian operatic tradition, cast in the
form of a two-part "aria" with a slow section and a cabaletta.
The piece opens with a hazy Impressionistic recitative featuring strong echoes of Debussy and Ravel;
neo-Baroque melody soars through the musical mist, reminiscent of Handelian opera. In the final
section, the flute essays a lilting theme to rollicking plucked string accompaniment that intentionally
recalls the Sextet from Donizetti's Lucia di Lammermoor. A series of brilliant variations concludes
the work with pizzazz. Notturno proves Tilson Thomas an inspired melodist, and his high-flying
flute pyrotechnics and suave string writing are beguiling. A quotation of Funiculi, Funicula in
acerbic harmonics adds a witty touch.
The glistening purity of Robison's tone delighted the ear, her rapid-fire flute acrobatics
complemented by harpist Marguerite Lynn Williams' elegant glissandos. Violinists Cecilia
Weinkauff and Hannah Cho, violist Andrew Wickesberg, cellist Naomi Gray and bassist Jory
Herman offered stellar accompaniment, by turns misty and astringent.
Robison also offered her own transcriptions of three Italian serenades, lovely salon pieces by
Caccini, Alessandro Scarlatti and Tosti. (La Serenata, a tenor favorite, proved just as enchanting as
a flute aperitif.) The sparkling insouciance of her playing was captivating. Williams's stylish harp
accompaniment on Caccini's Amarilli was particularly fetching.
Excerpts from recent reviews:
