In this interview, we talk with Arpa Martinez, a harpist and visionary musician known for redefining the sound of Venezuelan joropo through his unique fusion with rock and other genres. With masterful harp skills and a bold creative spirit, he brings traditional folk music to new horizons, captivating audiences with every performance. He shares how his unexpected journey with the harp began, the inspiration behind his genre-blending style, and his path to becoming a full-time artist dedicated to his craft.
How did you discover your passion for music, and especially for the harp?
For music… I feel like it’s something strange because I’m the only musician in my family. I started with the guitar. After about a year and a half of playing guitar, I saw some friends at the conservatory playing folk music with a harp. Since we always listened to “llanera” music at home—which is the folk music of my country—the harp caught my attention. I started playing and learning a bit with a friend who was an artist at the time. But it happened that he wanted to become a bassist. That’s how we started: I would learn a song on the harp, and he would learn it on the bass, and then we would switch. Since I played guitar, I also started with the bass in the group. So, when we had to play a song we didn’t know, we would switch instruments until, eventually, I stayed with the harp, and he stayed with the bass.
And what does playing this instrument mean to you? Do you think it was the best thing that could have happened to you, or was it pure coincidence?
I feel like it could have been a coincidence, but I do think it was the best thing. I am an engineer, but I’ve never worked as an engineer; I’ve always worked as a harpist for many reasons: because I like it more, I feel better… in fact, it always earned me more money than engineering. So, from any perspective, I prefer the harp over any other occupation or profession.
What type of music do you like to perform or compose?
My favorite music to perform is joropo, which is the folk music of my country, Venezuela. That’s what I started with, and I spent years playing joropo until I began to fuse it with many other genres: jazz, blues, bossa nova—so many things. The fusion with rock, though, was what people liked the most and what made me known, especially because Metallica signed me to a contract and included me in their 40th anniversary. So, that’s what got the most attention. But I’ve been playing joropo with many other fusions for years now, and honestly, I love that fusion I created. Now it feels like the ideal sound for me because it carries joropo and rock. It’s something I feel is mine—something I created. Joropo, of course, has been around for many years, and rock too. But that fusion didn’t exist, and now that it does and people like it, I feel incredibly happy to be able to work with that as well.
What kind of artists or bands have inspired you to make music?
I really like Chick Corea. I also really like Yanni. I’ve always loved Raúl Di Blasio’s music; in fact, I play his music. I’ve also been very influenced by an artist from my country named Carlos Orozco, who is one of the most important harpists not only in Venezuela but in the world. And, talking about more commercial tastes, lately, I’ve really liked the Mexican artist Carin León.
And how did you find out about Make Music Day?
I think I saw it on Instagram. It seemed like a good opportunity for me because when I came to the United States thanks to Metallica, I got my residency through them, but I didn’t have a proper job. So, I started playing with a mariachi band; I played mariachi harp, and that was it. But then I wanted to go back to doing what I do: solo harp. I needed people to know me, to see me, and I saw an opportunity there. My intention to participate in Make Music Day was basically to get exposure, for people to see my work. And it worked, because, in fact, I have played several times at that art gallery where I first performed thanks to Make Music Day. Since then, I’ve gone back to play a few more times. It’s about building your work in a new city for me, so people can see that I exist, that I’m here, that there’s someone playing the harp and doing that kind of music.
How was the experience at Make Music Day?
It was amazing, really amazing. Because it wasn’t just me; there was a symphonic quartet in another room—since it’s a very large art gallery—and a pianist, I think… I don’t quite remember. The cultural aspect was special, and the audience accepted it and enjoyed being there, listening to you… that’s something really good for a musician.
How important is it for you to have Make Music Day in a community?
It’s super important because it supports culture, which is one of the things that sometimes gets the least attention, at least in my country. It’s something that musicians and culture need. It’s important that it’s supported so it keeps growing and people keep coming to see us. Because you know, sometimes you play, and it’s not so much for the money but for people to listen to you, to see you. And having a program like this that encourages musicians and invites the community to see local artists is important.
What projects are coming up for you?
Right now, I just finished my second jorockpo album. This is my second album; I finished it during this trip, which was for that: to finish the second album and give a concert. So, what I want is to be able to play this everywhere, whether it’s in the United States or anywhere else. The idea is to perform in many places and let people know about this project.
And finally, one last question: what advice would you give to young musicians who are just starting their musical journey?
To fight hard for what they want, but with a lot of responsibility and seriousness. Music can give you many things, even a lot of recklessness if you want… But I think the only way to move forward is to have a clear objective, a clear goal, and always work with responsibility and seriousness to achieve all of that.