AHJ, Vol. 5 No. 3, Summer 1976

ursts of sound with isolated fragments. It was a stunning
technical display of harpistic virtuosity which
showed the dedicated, intelligent musicianship of
Madame Bartholomee. She also played a composition
by her husband, Pierre Bartholomee, titled Fancy,
a rollicking, engaging work which the audience found
greatly to its liking. Fully contemporary in concept,
it showed the present day composer as a man of imagination,
force and humor. Later in the program, Madame
Bartholomee played Berio's Sequenza II, showing
great insight into the composer's musical intent. There
is no doubt but what Francette Bartholomee is one of
today's outstanding interpreters of contemporary music.
Dressed in a charming silk batik dress of contemporary
design in delicate shades of rose and blue, with her
flaming red hair which hung to her waist and her sensitive
face, she was a modern-day Botticelli maiden.
The latter part of the program was given by the duo
of Sara Vos, harp, and Henk Vox, flute. They presented
Jurriaan Andriessen's Padovana di Don Chisciotte
(1792), W. F. Bon's Riflessioni (1971), Pierre de
Breville's Une flute dans /es vergers, and Rob du Bois'
Per Due (1968~the Bon and the du Bois having been
dedicated to the Vos-Duo.
Wednesday morning, August 20, Francette Bartholomee
gave a lecture-demonstration on contemporary
and avant-garde music for the harp. The audience
was able to ask questions and request that certain portions
of her previous evening's music be repeated and
explained. That afternoon, Satu Salo, Finland, played
Nino Rota's Sarabanda e Toccata and was joined by
Mariet van Dijk, violoncello, and Guus Ghijsen, violin,
to present lbert's Trio.
Chantal Mathieu, France, presented an unscheduled
short program showing herself to be a powerful young
artist, projecting her interpretations with great musicality.
She had driven in from Germany with her harp in
the back of her station wagon on her way to Paris where
she was to give a recital.
Another unscheduled appearance was that of
Madame Berghout herself. Speaking informally after
one of the afternoon presentations, she sat down at the
harp to demonstrate the different interpretations one
might present of a piece using variations of dynamics,
tempo, or rhythmic nuances to produce different moods.
Madame Korchinska then insisted that she play Sergiu
Natra's Prayer for us. At first reluctant, she hesitated,
then said, her eyes sparkling, "Yes, I shall play for you
if you insist, for I always tell my pupils that they must
play when asked-and besides, this is a very nice harp."
It was a rare privilege to hear Madame Berghout
playing thus, informally and intimately, for it was apparent
that the piece had deep meaning for her both
musically and spiritually. Her audience in their response
reflected their admiration and love for her which she
had evoked not only through her arduous work for the
advancement of the harp, but also for her great artistry.
The audience was deeply moved.
The Juilliard School
Peter Mennin, President
Instruction In Harp:
SUSANN McDONALD
JANE WEIDENSAUL
D Bachelor of Music
0 Master of Music, Doctor of Musical Arts
D Diploma, Postgraduate Diploma
D Professional Study Plan
D Scholarships Available
D Pre-College Division
LINCOLN CENTER
NEW YORK, N.Y. 10023
(212) 799-5000
46
AMERICAN HARP JOURNAL