Translate

Saturday, September 1, 2018

Lisa se Klavier


On Sunday afternoon, the 8th of July, the Stilbaai audience was treated to a very special concert by Liza Joubert, Ragtime Plus. Lisa was born and educated in Stellenbosch. She was the first resident accompanist at the Beau Soleil Music Centre in Cape Town. Before relocating to the Western Cape in December 2014, she was an accompanist for the Drakenburg Boys' Choir and performed nationally and internationally with the choir. She is a sought after collaborative pianist, adjudicator and teacher.

Haar talent het vir Koos Kombuis só beindruk dat hy ‘n wen-liedjie oor haar geskryf het: Lisa se Klavier en haar program Ragtime Plus, is ‘n projek waarmee sy al sedert 1998 aan en af besig is. Sy sê self:”Ek hou baie daarvan om gehore ‘n bietjie uit te daag met nuwe musiek. Ek speel baie keer musiek wat ek wens ek êrens op ‘n program kon hoor, maar nie het nie. Nou speel ek dit sodat mense nie eendag doodgaan en nooit daardie wonderlike goed gehoor het nie - en dit omdat ek dit nie vir hulle gespeel het nie!”

Ragtime Plus, is an informative and highly accessible programme about an inspiring, yet lesser-known genre of piano music. Works by Joplin and Gershwin as well as music by Abdullah Ibrahim, Henry Cowell and James Scott illustrate the colourful history of ragtime. It is an ongoing and ever-evolving project for Lisa, which changes as she finds new pieces and new information to present to different audiences.

Liza  het voor n stampvol saal en 'n baie entoesiastiese gehoor opgetree met hierdie solo opvoering. Van die stukke wat sy gespeel het, is immer-groen lewendige stukke soos Maple Leaf Rag,  I Got RhythmRagtime NightingaleThe Wedding, Ragtime Souvenirs, The Entertainer, om net n paar te noem.  Die vier rags wat The Garden of Eden beslaan: Old Adam, The Eternal Feminine, The Serpent’s Kiss, Through Eden’s Gates is staande toegejuig. Wat deurgaans opgeval het, is die energie en passie  waarmee sy elke stuk gespeel het. Sy het die gehoor in die palm van haar hande gehad.

What a remarkable talent! What a wonderful programme! What an incredible afternoon! Watch out for further performances and put it on you bucket list.  




Hungarian Trio

On a lazy autumn afternoon in May, The Hungarian Trio entertained a receptive audience to a very user-friendly programme of popular music. Nerina von Mayer (flute), Gabor Jeney (violin) and Donat Pellei (double bass)  from Cape Town are well known musicians who can change the mood of any occasion with their joint talents. Their extensive repertoire includes music from Classical to Jazz, from Baroque to Pop.

Die program is afgeskop met 'n interessante verwerking van Bach se "Jesus bron van my verlange" en gevolg deur Lehar se "Meine Lippen sie küssen so heiss", Richard Strauss se "Di Rigori" uit Die Rosenkavalier, en die immergroen "Blou Donou" deur Johan Strauss. Richard Strauss was veraf familie van Johan en dié se seun Johan Strauss Jnr. was weer meer bekend as sy pa! Hy het die meeste van die bekende Strauss walse geskryf.

The next item was "Rumanian Folk Dances" by Belà Bartok. Before radio and TV, people amused themselves by making music - and the music reflects the seasons and emotions that go hand in hand with nature. The first dance played was a sad autumnal song in a minor key, followed by light fairy footsteps of early winter snow, played by the flute, followed by deep nostalgic tones that recalls a long cold winter and then a joyful dance heralding the coming of spring.

Die tweede helfte van die program is ingelei deur die Hongaarse Rapsodie van Liszt, wat groot byval gevind het by die gehoor. Dit is gevolg deur ligter werke soos Andrew Lloyd Webber se "All I ask of you" en "Jealousy Tango". Met die uiters gewilde "Lord of the dance het Nerina se tegniese vaardigheid op die fluit tot sy reg gekom. Die middag is afgesluit met nog 'n Strauss wals.

It was a most enjoyable concert by charming musicians. Perfect for a Sunday afternoon.

Morgan Szymanski & James Grace does it again

The Mexican guitarist Morgan Szymanski and well known South African, James Grace, teamed up again for a concert in Stilbaai earlier this year. And what an experience it was to listen to these two great classical guitarists.

Morgan Szimansky speel kitaar van hy 6 jaar oud is. Hy het o.a. studeer aan die royal College of Music in London onder Carlos Bonell en Gary Ryan waar hy sy meestersgraad met onderskeiding verwerf het in 2004. Die Classical Guitar Magazine" het hom bestempel as " n speler bestem vir toekomstige glorie".

James Grace, one of South Africa's leading classical artists, is currently Head of Classical Studies at the University of Cape Town's Music Scool. He also studied in London at the RCM and was the first South African to receive the prestigious Tagor Gold Medal presented to the most outstanding student of the year. In South Africa he has received numerous awards like  KANNA, Fiesta, and SAMA.

Hul program het begin met n Rondo (duet) van Carulli waar die tema aanvanklik herhaal word en dan verder ontwikkel. In die tweede deel lei die een kitaar, terwyl n beweeglike nabootsing van die tema die ander eggo. Tàrrega se "Herinnerine aan die Alhambra" bly steeds n groot treffer en is entoesiasties toegejuig deur die gehoor. Die "Danza Espanola" deur Manuel de Falla het gevolg. Dit is n baie ritmiese stuk met sterk aksente wat die baie energie van die twee kitaarspelers verg.

Julius Oliva's dreamy "Flower on the water" formed a beautiful contrast, with its soft flowing melody in cantabile style - rendered with sensitivity by the artists. The love song "Estrillita" by Manuel Ponce was originally composed for the piano but Morgan Szymanski very successfully arranged it for two guitars. It was sheer pleasure to listen to this well known melody. The  evening came to a close with two more recent Mexican pieces by Celso Machado and the lively "Jongo" by Paulo Bellanati which again showed that both guitarists were totally in tune with their instruments and with each other.

Vir liefhebbers van kitaarmusiek was dié uitvoering 'n sielsverrykende ervaring deur twee uitstaande musikante. En dan is hulle boonop sag op die oog!  Ons sal hulle graag weer hier wil ontvang!

Monday, February 12, 2018

Nikolaas Kende & Jolente de Maeyer


Op Sondagmiddag 4 Februarie het die Stilbaai musiekliefhebbers die voorreg gehad om na twee besondere begaafde jong musikante uit België te luister - Nikolaas Kende, klavier,  en sy vrou Jolente, viool. Die twee is staande toegejuig deur die entoesiatiese en waarderende gehoor. Die onderstaande brief van een van ons lede, sê alles!

My Word! Fancy hitting the jackpot twice in a row – certainly as far as I am concerned! What appealed to me so much was the fact that the programme was beautifully arranged with substantial works worthy of engaging the listener rather than the pretty ‘party pieces’ in which some musicians feel may be suitable for a local audience.
              The two artists certainly know a thing or two about packaging a recital. Starting with a Mendelssohn Sonata with a plethora of engaging melodies is typical of Mendelssohn who, himself, explained that his life and lifestyle was such that he had no need to enter the realms of ‘Sturm und Drang’ (Storm and Stress) which many other composers used to express intensity of emotion – notably Beethoven.
              Then came a charming Romanza by Lodewijk Mortelmans (passionate about Belgian music) to prepare us for what was to come during the second half of the recital.
              Then came one of the great works for violin and piano by Beethoven referred to as the Kreutzer Sonata. The last one he wrote for violin and piano and one in which Beethoven himself stated that it was composed to be rather like a violin concerto and we were certainly treated to an astonishing performance of immense difficulty. I wondered if everyone noted that the pianist played the whole work without referring to the score but all from memory. I was blown way as I realised that!
              So well done Stilbaai Music Society for presenting another stunning and worthwhile recital by two consummate artists.
Kind regards
John Stonier

Wednesday, January 17, 2018

Schubertiade

n Program van Duitse kunsliedere is op Sondag 3 Desember 2018 deur 'n groep kunstenaars uit George in Stilbaai aangebied.

Elizabeth Potgieter, (sopraan), Heinrich Jonck (tenoor), Dalene Brits (klavier) en Elize Munro (klarinet) was die musikante wat die program van Schubert liedere voorgedra het.

The program depicted four themes: Nature, water, love, and eventide. In every theme there were exceptional songs either because of  the feeling and atmosphere they created, or for sensitive rendering thereof by the singers.

Nature: "Der Musensohn" was a lively, cheerful song about the advent of spring, admirably sang by the tenor and highly appreciated by the audience. "Im Frühling", sung by Elizabeth was likewise a chirpy song - (like a little bird I would like to sing all summer long) - which suited her voice extremely well.

Water, see en meer: "Auf dem Wasser zu singen" - soos swane gly die bootjie op die meer ... en so ook my gees. Met hierdie pragtige lied het die sangers gewys waartoe hulle in staat is - tegnies uitstekend en beheersd! Die begeleiding is hier iets besonders waar die fyn nootjies die beweging van die water uitbeeld.  Die immergroen "Die Forelle", gesing deur die sopraan was 'n treffer en "Am See" het verras deurdat die tenoor die lied afsluit in falsetto!

Liefde: "Der Hirt auf dem Felsen" begin met n dramatiese klavier inleiding gevolg deur die nostalgiese klanke van die klarinet. Hier het Elize hààr tegniese vaardigheid kon wys.  Weereens was dit met groot entoesiasme deur die gehoor ontvang.

Eventide: here the song that moved us most was "Nacht und Träume" which as the title suggests, was a sad, nostalgic song beautifully interpreted by Heinrich Jonck.  Keep him in mind - he is a very talented young singer as this extract from a letter from one of our staunch members, John Stonier, suggests: " What I particularly enjoyed was Jonck’s presentation of the lieder allocated to him. He seems to be one of those people who sings ‘with his whole body’. So often one sees singers standing with arms at the side and doing nothing more than open their mouths but he had the capacity to inject into his singing something more than merely using his vocal cords. "

Simpatieke begeleiding en uitsonderlike asembeheer deur die sangers het hierdie konsert werklik iets besonders gemaak.