In a concert originally scheduled for October 31, 2012, Bulgarian-born French-based harpist Suzanna Klintcharova took the stage at Weill Recital Hall nearly two months later. Hurricane Sandy had caused an 80-ton boom from a crane to become unsecured and swing wildly across from Carnegie Hall at a height of nearly 1000 feet. Countless concerts had to be cancelled. Some will not be rescheduled, and others have been pushed back as late as June 2013. One must commend Ms. Klintcharova for rescheduling after what had to have been a terrifying experience; not only the storm itself, but being unable to leave the city after all airports were closed as well.
Ms. Klintcharova was introduced by the Bulgarian ambassador to the United Nations, who referred to her as a friend and a national treasure. It was gratifying to see an artist honored in such a way – I would be very surprised if any American artist got a similar introduction in Sofia from one of our own ambassadors.
In a program that would be a welcome antidote after such a storm, Ms. Klintcharova presented a selection of rather conservative works. This in itself was not a bad thing, but it was a bit puzzling considering that in her biography it is stated that she is very much interested in contemporary music and improvisation. The most recent work on the program was written in 1970 and not exactly on the cutting-edge.
Opening with two Sonatas (K. 132 and K. 531) by Domenico Scarlatti (1685-1757), Ms. Klintcharova showed her meticulous attention to detail. The Grand Sonata for harp by a composer much better known for his extensive violin output, Giovanni Battista Viotti (1755-1824), followed. Other than an awkward moment in the Allegro Brillante, Ms. Klintcharova navigated the technical hurdles with apparent ease and captured the sparkling nature of the work without any grand gestures or histrionics. It was an intelligent approach from a sensitive and thoughtful musician.
The second half began with Lolita the dancer, more commonly known as Lolita la danseuse, the third piece from Images-1st suite, Op. 29, written in 1925 by the French composer and harp pedagogue Marcel Tournier (1879-1951). Ms. Klintcharova captured the essence of a temperamental diva with her incisive playing; Lolita pouts, she flirts, she stomps her feet, she laughs and cries, and she soars all in the space of three minutes. It was a delight. Archipel 5A, composed in 1970 by André Boucourechliev (1925-1997), Bulgarian-born but considered a French composer, followed. Archipel 5A is the harp part from a larger work, Anarchipel, for six players, composed in the same year and separated as a stand-alone work. It is an aleatory work that the composer owes much to his time spent in the United States exploring the form and his encounters with proponents of chance elements in music, such as John Cage. Ms. Klintcharova is as much at home in this form as in the more conventional. Her performance took the spirit of a dream, albeit a rather tormented, uneasy dream. It was skilfully conceived and executed in its details. As a finale, another nod to the impressionistic style of Tournier, the less frequently performed Sonatine No. 2, Op. 45, was played with elegance and refinement. The appreciative audience called Ms. Klintcharova back to the stage with loud applause. As final thanks for her audience, she played the Moderato movement of the Sonata in C minor by Giovanni Battista Pescetti (1704-1766), as transcribed for harp by Carlos Salzedo. A beautiful piece, it was played beautifully as well, and Ms. Klintcharova closed the evening in fine style.
