My music was included in the first Narada/Sona Gaia compilation, and was featured in a Narada collection of harp music, Faces of the Harp.
I was released from my record contract with Narada when interest in folk harp music began to fall in the 1990s. Other market pressures included the rise of world music, and a commercial strategy that emphasized artists’ own genetic heritage. Players of the Celtic Harp needed to be marketed as “Celtic,” and my forbears all came from Eastern Europe.