I hope to be able to acquire that same sound someday in my playing. Since 1997, I've been working on my own to develop a style a technique for the harp to facilitate a fluid dexterity on the harp like that on guitar and piano. To play some of these pieces written for 5 fingers and chromatics has proven to be quite a challenge. I've had to invent some rather unconventional fingerings and damping methods to accomplish the sound that I'm looking for. Not to mention pedal acrobatics.
Enharmonic pedals help tremendously.
1998, Improvisation is the lesson for the year. For the purpose of flexibility, I've thrown out my previous methods used for performing a classical piece and begun a new way of reading a playing jazz music on the harp. I'm practicing sight-reading and not marking my music. I move only the pedal necessary at the time, then put it back after use. I ceased looking at the music primarily horizontally but have moved to looking at it primarily vertically by chords with a flowing melodic line.