Wikipedia:Articles for deletion/Heidi Krutzen


 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result was keep. Star  Mississippi  18:21, 8 February 2023 (UTC)

Heidi Krutzen

 * – ( View AfD View log | edits since nomination)

Not meeting GNG or WP:MN. Sources are simple concert announcements or links to her performances. Does not appear to have gained critical attention, no charted singles, no media coverage, no musical awards won. Oaktree b (talk) 17:01, 24 January 2023 (UTC)
 * Note: This discussion has been included in the deletion sorting lists for the following topics: Bands and musicians, Women, England,  and Canada. Skynxnex (talk) 17:40, 24 January 2023 (UTC)
 * Comment I found reviews and discussion of her work online and at GScholar:


 * "Local harp star Heidi Krutzen puts strings to the solstice", The Georgia Straight, 2015 e.g. "Heidi Krutzen’s big Christmas present came early: a contract naming the Vancouver musician as the new principal harpist of London, England’s Philharmonia Orchestra. [...] There’s obvious spinoff potential, too, for Krutzen’s three Vancouver groups: the Krutzen/McGhee Duo, Trio Verlaine, and Couloir, her innovative duo with cellist Ariel Barnes."
 * "Couloir's Heidi Krutzen and Ariel Barnes return home for border-crossing VSO concert", The Georgia Straight 2019, e.g. "Although their duo Couloir formed in Vancouver, harpist Heidi Krutzen and cellist Ariel Barnes now find themselves working mostly in Europe, with Barnes having taken a position with the Nürnberger Symphoniker and Krutzen plying her trade with London’s Philharmonia Orchestra."
 * "Disasters of the Sun (CD Review)", CAML Review/Revue de l'ACBM, 2007, "The virtuosic eight-minute Commentia requires a performer who can respond to the work's substantial variety of textures and registral changes, as well as the extensive number of extended harp techniques. Harpist Heidi Krutzen tackles these passages with utmost aplomb."
 * "A Few Things Happened at Convention 2004", Flutist Quarterly (Vol. 30, Issue 1), "She and her harpist, Heidi Krutzen, played from their hearts. The new repertoire on their Thursday concert was gorgeous [Canzone di Petra by Underhill, and Taheke (Waterfall) by Farr] and made me buy their CD immediately. Their rendition of the Mozart Flute and Harp Concerto at the Gala Concert was the single most extraordinarily exquisite performance of that piece I've ever heard, and it was the talk of the convention." (etc)
 * "Stravinsky: Myths and Rituals 4, Philharmonia, Salonen, RFH", The Arts Desk, 2016, "The core of Orpheus is his dance-song for Hades’ tormented inhabitants, a homage to Bach’s cantatas and passions which is typically spare – perhaps the reprise shared between Jill Crowther’s cor anglais and harpist Heidi Krutzen, the dominant colourist of the work, was even more ineffable than the initial duet for two oboes"
 * "“Sing O Muse": Salonen explores Stravinsky inspired by Greek myth" Bachtrack 2016, "Heidi Krutzen’s performance on the harp was technically excellent and emotionally touching."
 * "Kindred spirits: Holst and Vaughan Williams paired by John Wilson and the Philharmonia Orchestra", Bachtrack 2017 "Luke Whitehead’s mellow contrabassoon and Heidi Krutzen’s expressive harp playing were beacons along the way to the work’s widescreen finale."
 * "An anniversary and a departure: Esa-Pekka Salonen and the Philharmonia", Bachtrack 2020, "Heidi Krutzen supplied gossamer chords on the harp."
 * "Classical: Sterling works from Couloir, Radvanovsky's Tosca prime musical events for fall" Vancouver Sun 2022, "As there aren’t that many harp/cello duos in the repertoire, Couloir has a sterling reputation for doing new works including, on this trio of concerts, Valeri Kitka’s Don’t Excite the Recollection, and a commission from almost a decade ago, Caroline Lizotte’s Close for Couloir."


 * At the WP Libary, there is also:


 * A review of "Wine Dark Sea" in American Record Guide Jan/Feb2014, Vol. 77 Issue 1, p210, e.g. "These players (Ariel Barnes, cello & Heidi Krutzen, harp) are excellent in all respects and the recording is rich and full."
 * "More than The Nutcracker." Musical Opinion, Apr-Jun2022, p33-34, "I choose to celebrate: Heidi Krutzen, harp..."
 * Fanfare. May/Jun2020, Vol. 43 Issue 5, p346 "Ariel Barnes, cello, and harpist Heidi Krutzen perform as the duet Couloir. It is clear that while they bring some of their individual thinking to their playing, they are capable of having a shared sense of purpose in their interpretations. They are musicians of great sensitivity and superb technical abilities."
 * A review "Fin de siècle: the music of Debussy & Ravel" (Trio Verlaine) in Pan: The Flute Magazine Jun2009, Vol. 28 Issue 2, p50-51, "Lorna McGhee is joined on this CD by two excellent musicians: her husband, the viola player David Harding, and her long-term recital partner, the harpist Heidi Krutzen..."


 * And there appear to be more reviews for various works, so keep seems supported per WP:MUSICBIO, because she appears to be a musician who has been a reasonably prominent member of two or more independently notable ensembles, and the article can be further developed with the independent secondary coverage of her career over time, which also supports her WP:BASIC notability. Beccaynr (talk) 06:04, 25 January 2023 (UTC)

Please add new comments below this notice. Thanks, Seraphimblade Talk to me 03:37, 1 February 2023 (UTC)
 * Keep as per the reliable sources coverage identified above including articles in newspapers and magazines that show a pass of WP:GNG so that deletion is unnecessary in my view, Atlantic306 (talk) 23:54, 25 January 2023 (UTC)
 * Keep per Beccaynr.  starship .paint  (exalt) 12:27, 27 January 2023 (UTC)
 * Delete: Per Nom. This is essentially a resume lacking independent significant coverage of the subject to warrant a stand alone article, we refer to as a BLP? Added comments: The long list of supposed references above includes "the new principal harpist of London, England’s Philharmonia Orchestra" and that she belongs to three groups, the "Krutzen/McGhee Duo, Trio Verlaine, and Couloir", or another one that the subject plays for "London’s Philharmonia Orchestra". An interview (Couloir's Heidi Krutzen and Ariel Barnes return home for border-crossing VSO concert) does not advance notability. How about a posting to "Dear NFA members". Fanfare (magazine); harpist Heidi Krutzen perform as the duet Couloir, A review of "Wine Dark Sea", "Heidi Krutzen’s performance on the harp was technically excellent and emotionally touching." "Sing O Muse": Salonen explores Stravinsky inspired by Greek myth"), "Stravinsky: Myths and Rituals 4, Philharmonia, Salonen, RFH" provides passing mention, as with "An anniversary and a departure: Esa-Pekka Salonen and the Philharmonia ("Heidi Krutzen supplied gossamer chords on the harp." All of the added sources are basically the same. Maybe there is enough coverage in one of her groups to warrant a "group" article but a biography is meant to be more than a person's accomplishments, which would be personal information (like date of birth, where she is from, etc...), not just that she plays the harp (missing any awards), and where she plays it at. -- Otr500 (talk) 18:06, 28 January 2023 (UTC)
 * Based on my expansion of the article, she also appears to have notability supported per WP:CREATIVE because of her collective body of works with multiple reviews. Information about where she is from is in the article, her WP:DOB is not widely published, where she plays her harp is described and sourced (and there are more sources available, including on ProQuest, about her various performances). The different reviews from a variety of sources focused on various Philharmonia performances help show she is a 'reasonably prominent' member of this group, per WP:MUSICBIO, and the critical coverage of Trio Verlaine and Couloir seem to similary support her prominence in those groups as well.
 * I think it is expected that a BLP will focus on the subject's career and career development, because this is the focus of the coverage that makes them notable. She also apparently has won awards, but I have not fully tracked down all of the sources related to this - I think what has been developed from sources listed here and additional sources added to the article demonstrate significant secondary coverage over time to at minimum support WP:BASIC notability as a harpist. She is not notable for being born on a certain date or being from Vancouver, etc - she is the principal harpist for a notable orchestra and has a long career as a harpist with extensive critical reception. Beccaynr (talk) 19:36, 28 January 2023 (UTC)
 * Also, it appears Krutzen was a student of Judy Loman, per this WholeNote source, i.e. Schafer composed seven major works for the harp, five of them for Loman and two for her students, Lori Gemmell and Heidi Krutzen. The CD, titled Ariadne’s Legacy, will be available from Centrediscs, the record label of the Canadian Music Centre but this seems to need some further research to help develop this aspect of the article, and there is another review of one of Krutzen's works with Trio Verlaine mentioned but not immediately available in a different WholeNote source  released their first CD Fin de Siècle – Music of Debussy and Ravel back in 2008 (reviewed in these pages by John Keillor in May of that year), and there is a WholeNote review not yet included in the article for a work that represents the results of the 2018 Azrieli Commission Prize and features B.C. duo Couloir, Heidi Krutzen (harp) and Ariel Barnes (cello), as soloists. . Beccaynr (talk) 20:15, 28 January 2023 (UTC)
 *  Relisted to generate a more thorough discussion and clearer consensus.


 * Keep. Plenty of reliable independent sources to establish notability. Shawn Teller (talk) 05:36, 1 February 2023 (UTC)


 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.