Die Chopin Projek 6th June 2025

Zanelle Britz, (basviool), Catherine Stiff (2e viool), Rosamund Roth, (tjello),
José Diaz (klavier), Jana Smit (altviool) en Zoë Coetzee (viool).

 How exciting and fresh to experience a performance, in Stilbaai, by José Diaz and a Quintet of young, very gifted musicians loaded with enthusiasm.

The “Chopin Project” is a long standing dream of the famous pianist José Dias. His introduction to the concert was wide ranging and very informative. He correctly refers to Chopin as the “poet of the piano”, and this clearly reflects in his performance of the music.

It seems that the composer himsel, instead of performing with a symphony orchestra, from time to time chose to perform his concerts with chamber musicians. Om the night of the concert, Dias’s arrangement and performance of the two Chopin concerts with the quintet was so rich and colorful that a symphony orchestra was hardly missed!

Die verskillende tema-verwerkings, wat baie groot tegniese en musikale eise aan die kwintet stel, is met groot grasie uitgevoer! Hulle musikale "samespel" het beinderuk!

Die Klavier Konsert no 1 in E min. is eerste uitgevoer. In die Allegro maestoso beweging was die dramatiese wisseling van melodieë tussen partye duidelik hoorbaar. In die Romanza kon die luisteraar die perfekte dialoog tussen klavier en orkes ervaar en in die bekende Boeredans was die speelse wisselwerking tussen instrumente ook treffend!

In Piano Concerto no. 2 in F min., the movement marked Maestoso, we could hear more dramatic operatic elements and in the Larghetto and Allegro vivace movements, the intermingling of well known nocturne melodies were introduced to great effect. 

Dit was voorwaar n aand om te onthou. Sielskos. Ons sien met verwagting uit na die uitbou en voltooiing van José Diaz se Chopin Projek. 

Gustavo Romero - one of the world's great pianists

 Concert on 21^st March 2025: Gustavo Romero.

It was a great privilege to hear a master piano virtuoso of his caliber in Stilbaai.

Right from the opening bars of the Scarlatti rendition, this Mexican American pianist proved his uncanny focus and his light touch, and his technical brilliance was impressive

His rendition of the Chopin Ballades contained more contrasts, from emotions of tenderness to exuberance and gave justice to the meaning of “ballade”, being both poetically and narratively in character

He excelled in his clear rendition of the ‘Valley of the Bells” in which the bells could clearly be heard as well as with the bubbling humor in his performance of “Morning Song of the Clown” by Maurice Ravel.

Gustavo Romero, however, reached the pinnacle of his performance that night with his flawless execution of Chopin’s ever popular Sonata no.3 in B min, to which he brought a new dimension of depth and feeling. From the skittish ‘scherzo-molto vivache’ to the nostalgic and poignant depth of the ‘largo’, he captivated the audience and the ‘finale-
presto’ had them on their feet, with loud and enthusiastic applause.   

And all without any sheet music!!!  What a performance!! 

Gypsey, Passion, Seduction and… a touch of Alcohol. 22 February 2025

Our first concert for 2025 with the talented mezzo soprano, Violina Angelov-Hobbs and the brilliant accompanist Tertia Visser-Downie will long linger in our minds as a fond memory, not only because of the beautiful music and the flawless performances by the artists, but also because the large audience enjoyed Violina’s sense of fun, sprightliness and acting abilities, while Tertia carried the night with her inimitable style and presence. It was an entertaining evening of well-loved music.

Violina (oorspronklik van Bulgarye)  het haar debuut gemaak in 1999 in die “Huwelik van Figaro” van Mozart, en sedertdien glansrolle wêreldwyd vertolk. Sy het die gehoor bekoor met haar verstommende omvang, volume, warm stem en passievolle vertolking van uiteenlopende momente in opera en lieder. Soos veral in die dramatiese  “Carmen” van Bizet - 'n rol wat sy lankal haar eie gemaak het.

In die swaarder  “Mon Coeur” van Saint -Saens het sy  weer die nodige empatie en patos gewys.

Die gehoor het lekker geskrik vir die uiters vermaaklike oomblik in “I’ve dined so well”  toe sy haar  totaal “oorgegee” het aan pret! Haar seun, Peter Angelov, het haar in 2 items bygestaan met begeleiding op die akkordion.

Tertia Visser het, behalwe vir haar simpatieke en puik begeleiding, ook gesorg vir afwisseling met verskeie indrukwekkende klaviersolo’s van geliefde werke!

It was a very successful and enjoyable evening - the perfect way to start the New Year. The Stilbaai Music Society is rightly proud of the caliber of artists we present to our members and visitors and aim to maintain this high standard in the future.

From South to Vienna Ida Pelliccioli on the piano

Op n heerlike lenteaand, 12 November 2024 is die Stilbaai gehoor betower deur Ida Pelliccioli se klavierspel. Ida, 'n wêreldbekende pianis, het al oral in Europa, Kanada en Suid-Afrika opgetree. Sy is gebore in Italië en het studeer in Nice en Parys en is een van die min pianiste wat leiding ontvang het van die beroemde Kubaanse konsert pianis Jorge Luis Prats.  Sedert 2021, gee sy klas aan die Paryse Konservatorium.

Her programme which was accompanied by interesting information about the pieces to be performed, was inspired by the forgotten music of composer Manuel Blasco de Nebra. (1750-1784).

She began with three short sonatas by the Italian composer Domenico Scarlatti (1685 – 1757).  The first and third of which were at a sparkling, lively tempo, flamenco style, whilst the second was slower and more introspective. However all three were played by Ida with plenty of gusto and attack. 

Daarna volg 2 Fantasieë deur Wolfgang Amadeus Mozart (1754-1791). Hierdie 2 stukke het weereens sterk kontrasteer. Mozart was n groot bewonderaar van Bach en het na ‘n konsert van Bach se fugas gesê:”Ek sal nooit weer kan konponeer nie!” Tog het hy, inspireer deur Bach, Fugas aangepak - soos die Fantasia and Fugue in C maj, baie dramaties en opwindend uitgevoer deur Ida. In boeiende kontras daarmee volg die meer nostalgiese Fantasia in C min. waar Ida se fyn aanvoeling vir emosie na vore gekom het.  

Then followed two pieces by the forgotten Spanish composer Manuel Blasco de Nebra (1750 – 1784), whom Ida described as “the Spanish Scarlatti”. When he died his sisters sold his impressive collection of 1833 pieces for harpsicord, organ and pianoforte – 172 pieces being his own works, which has now been revived. An interesting fact is that he used the binary form, using only 2 movements in his Sonatas thus the sonatas, Sonata no. 10 in C maj. and Sonata no. 1 in C min., were each in two movements: an adagio, followed by a more lively allegro. Again Ida’s virtuosity was impeccable.

De Brada se werk word soms vergelyk met dié van Schubert en daarom word die genoeglike program afgesluit met Franz Schubert se Drei Klavierstücke D946. Al 3 stukke is in Rondo formaat, d.i. ‘n hooftema afgewissel met kontrasterende seksies. tipies ABACA of ABACABA. Die stukke is baie intiem romanties met ongewone harmonieë en pragtige, roerende melodieë. Die uitvoering was intens en meesleurend, uitgevoer deur n wêreldklas pianis wat duidelik toegewyd is aan haar werk en haar spel – en dit alles sonder bladmusiek!!

At the end of the performance Ida was rewarded by sustained applause and a standing ovation from a very appreciative audience, provoking not 1 but 2 short encores – Scarlatti's Sonata K.43 en de Nebra's Sonata 9 in A min. – both fast, nimble and energetic.

What a beautiful, rewarding evening with which to end 2024’s Music Society concert programme. 

Louise

 

Franz Trio: "Musique pour faire plaisir" Music to please

 

The Franz Trio was founded in 2017, is based in Berlin and consists of Avigail Bushakevitz, violin, Constance Ricard, cello, and Ernst-Martin Schmidt, viola.  Avigail was born in Israel but grew up in George with her brothers Ammiel and Benjamin, both exceptional musicians in their own right. From a very early age Avigail showed talent to become a very accomplished violinist. After studying at Julliard, she moved to Europe where she met Ernst. They are married with 3 children. Constance joined them to complete the Trio. Their shared interest in history, literature and music as well as their respective backgrounds from South Africa, France and Germany allowed them to build a unique trio sound. 

Met die intro van die “Trio pour violin, alto et violincello” van die komponis, Jean Cras, was dit reeds duidelik waarom die term “fenominaal “ met betrekking tot hierdie groep musikante op almal se lippe was! Die werk het afgeskop met ‘n dramatiese tema op die tjello en dit was duidelik dat ons hier iets “vars “ en alternatief gaan ervaar – uitmuntend volgehou met boeiende en byna onheilspellende klank van die Franz Trio.

Die tweede deel “Lent” het iets byna “teer” uitgebeeld, met die laaste beweging “Tres Anime” ‘n akrobatiese vertoning op tjello met perfekte nabootsing van temas deur die viool en altviool  en indrukwekkende samespel!

Daaropvolgend die “Trio a cordes” van Jean Francaix. Hierdie werk was meesal baie vining en tegnies uitdagend, uitstekend hanteer deur die Franz Trio met uitsonderlike vreemde effekte en betowerende klanke op die snare uitgetoor!  Die “scherzo” was borrelend en die komiese oomblikke treffend uitgebeeld, terwyl die ”andante” weer strelend en kalm was.

The Beethoven "Serenade in D major" shone throughout with impressive ensemble work!

The rich sounds of the three musicians enchanted the audience and it was very clear why the Trio is so popular in the concert halls of Europe. This performance was definitely a spectacle of rhythmic and musical perfection. Bravo!

Petro