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Friday, September 27, 2019

TRIO GOEDE HOOP 15 September 2019

 
Tersia, Cheryl, Matthew
Befaamde kunstenaars van Trio Goede Hoop, Matthew Reid (klarinet), Cheryl de Haviland (tjello) en Tersia Visser Downie (klavier), het vir betowerende klanke gesorg om die Musiekvereniging Stilbaai se Lentekonsert ‘n onvergeetlike gebeurtenis te maak.

The programme was compiled impeccably in order to have variety and appeal. The musical scores came from well-known composers like Beethoven, Rachmaninoff and Camille Saint Saens, and lesser-known composers like Vittorio Monti and Piazollo. Interesting and alluring pieces by such composers made us sit upright, listening attentively.

The poignant cello Sonata by Rachmaninoff, the only one he has ever written, gave one goose bumps and was gripping. So was the Second movement (Adagio) of Beethoven’s Trio the Gassenhauer – a highlight of the entire evening.

Die musiek is deurgaans gekenmerk deur n fyn balans van klank  terwyl die tegniese vaardigheid van die musikante opmerklik was in die vlugvoetige vingers van die pianis, die ongelooflike asembeheer en perfekte note  - laag en hoog – van die klarinetspeler en die strelende suiwer klanke wat  die tjellis kon optower om of die onderbou-diepte te verskaf of om die leiding te neem en te “sing”.

The feet of the audience were itching to dance to the folk music played in Hungarian pubs wonderfully captured by the king of the tango, Piazolla. One couldn’t help wishing to be able to dance the tango! The audience was transported to Jewish folk music when three pieces of the Klezmer collection were played. The audience stamped their feet and clapped profusely to the infectious rhythms.

Throughout the evening the audience could listen to music that was perfectly executed – some stirred ones heart strings, whilst the others were rhythmical pieces making you feel wonderfully alive.

Die program is afgesluit op 'n hoe noot deur die verwerkings van Joodse volksliedjies wat gewoonlik by troues gespeel word.  Die aangrypende lied vir die bruid en bruidegom is opgevolg deur verskillende danse terwyl die sirkeldans, waaraan die bruid en bruidegom deelneem, gesorg het vir die afsluiting van ‘n meesterlik saamgestelde program.

Kom asseblief weer Trio Goede Hoop – dit was ‘n belewenis duisend!

Esmarie





Palissander bekoor weer

Die Palissanderkoor uit Pretoria, o.l.v. Sarita Hauptfleisch, het op 28 Augustus weer n besoek aan Stilbaai gebring. Die koor is in 1992 gestig en het sederdien 'n toonaangewende koor in Suid-Afrika geword. Hulle het met groot sukses al in talle lande in Europa opgetree. Sarita het die koor gestig met die doel om sielsmusiek te maak. Hulle kernwaardes is passie, oorvloed, vreugde, respek en aanvaarding. Elke jaar word 'n sentrale tema gekies: hierdie jaar is dit "A message in a Bottle", wat die hegte verwantskap tussen mens en water ondersoek, water wat lewe gee en lewe reflekteer.

Sarita Hauptfleisch
All the songs had to do with water, eg. Kawouno wan gi pi, (Watersong), Canto a lemanja, The sky is crying on the sea, There will come soft rain, Miracle tree, and more. The extremely complicated works consisted mainly out of sounds without words - voices copying sounds of nature, water, stillness. The male voices were outstanding - without text, only sounds! The base voices formed a solid foundation for the airy sopranos and altos that seemed to glide above. Harmonies and sounds melted together in a beautiful oneness filled with emotion.

Die slotlied, "Bridge over troubled Water" was n hoogtepunt wat baie deur die gehoor geniet is. Die begeleidende instrumente is slim ingespan en het iets besonders aan die klanke toegevoeg. Jammer dat daar min kontras tussen die liedere was.  Mens sou graag wou hoor wat hulle in verskillende kategoriee van koorsang sou voortbring, want feit bly staan, hulle is besonders! En dit was n fees van kleure en klank!

Louise, Bettie












Sunday, June 30, 2019

Little Winds Quintet



This year Stilbaai residents have been spoilt by the Musical Society with exceptional musical performances. The concert by Little Winds Quintet, on 9 June 2019 was one of the highlights!
Len, David, Simon, Bridget, Shaun



Part 1 Instruments
The five instruments in the quintet were the Flute, masterfully played by Bridget Rennie-Salonen, the Oboe : Shaun Little; Clarinet: David Little, leader of the group; Bassoon: Simon Ball and Horn: Len Worthington-Smith.
Hierdie samestelling van instrumente, met hulle groot verskille in klank, is ‘n wenner aangesien hulle mekaar op ‘n besondere wyse aanvul en so die samespel verryk. 
Die Dwarsfluit het sy oorsprong in Asië. Dit was eers van hout gemaak en het later kleppe bygekry. Boehm het die klepmeganisme in die middel van die 9e eeu vervolmaak en so het die modern dwarsfluit ontstaan. Dit word nou meesal van silwer gemaak, maar behoort nog altyd tot die familie van houtblaasinstrumente. Die sagte, helder klank van die fluit maak hierdie instrument besonder geskik vir musiek met n dromerige, ligte, lugtige gevoel.
The Bassoon (Fagot in Afrikaans) gives depth in the ensemble with its low tones. In Prokofiev’s Peter and the Wolf, the theme of the grandfather is played by the bassoon.
In contrast, the Oboe is a soprano instrument. The double reed principle of the oboe is acoustically very complex and quite difficult for a player to master. The “reedy” sound has been described as being perhaps the most tender and expressive in all wind-music.
Die Franse horing, ‘n moeilike instrument om te speel, se klank word voortgebring deur die lippe wat op ‘n tregtervormige mondstuk vibreer. Die ryk warm klank van die horing kan maklik uitgeken word en gee ook besondere diepte aan die gesamentlike klank van die ensemble.
The Clarinet is usually made of wood and has a single mouthpiece. The most common clarinet is the soprano clarinet pitched in B flat. Its mellow sound makes it a firm favourite of many music lovers.
The particular sound of an instrument – the timbre - is often described in terms of colour with the idea that the colour of sound helps to “paint a picture”.  A Bassoon e.g. is "dark" in tone, a Flute is “light”.  Die Little Winds kwintet kry dit meesterlik reg om hierdie uiteenlopende klanke en kleure tot ‘n eenheid saam te snoer tot ‘n ryke klankondervinding. 

Part 2  Musical Periods
The musical pieces played were carefully selected by the quintet. They chose a varied and entertaining selection of chamber music of different genres, ranging from Classical, Romantic to modern masterworks. The pieces from Ligeti, Ibert and Piazolla were selected from music written in the 20th century - modern and sometimes it does sound dissonant. The most catching of the three modern pieces was Adios Nonino by Piazolla – a rhythmic tango with a tender, intimate and nostalgic section.
The Quintet Op 56 in B flat by Danzi was composed in the Classical period and is noted for its elegant melodies. The “crowning glory” of the concert was the Divertimento No14 in B flat by Mozart – also from the Classical period. Divertimento is a light-hearted musical genre. Most Divertimento examples date from the 15th century and were usually composed for a small ensemble. Set-piece compositions, with style and technique, characterised this classical style for over 40 years.

The Romantic era (1820-1900) heralded an emotional way of composing. During the closing years of the 18th century the world was changing beyond all recognition – the rule of kings was swept away by the revolution and freedom was the order of the day. Music had to say something, it had to tell a story. Composers in this period were highly influenced by their emotions and imagination and thus composed more expressive music. The Little Winds Quintet played the Scherzo from Midsummer Night’s Dream from this period. Mendelsohn left a legacy of music that will continue to speak to the human heart for all time. The next Romantic composition was composed by Paul Taffanel. This piece of music won a composition prize and was perfectly delivered by the quintet. Also from this period came the well-known ballet music from “Faust”. It was originally composed for a whole orchestra but was later arranged for a quintet.

Die gehoor het hulle waardering betoon met ‘n staande ovasie. Dit was nou waarlik ‘n genotvolle belewenis om na sulke knap musikante te luister wat oor jare heen leer saamspeel het sodat elke klank tot sy reg kan kom. Wat ’n voorreg was dit nie!
Dankie Stilbaai Musiekvereniging!


Sunday, May 19, 2019

Twee viole en ‘n klavier 5 Mei 2019



‘n Bekende ensemble met Zanta Hofmeyr (viool), Miro Chakaryan (viool) en Olive Sandilands (klavier) het hulle uitstaande talent met ons kom deel op Stilbaai op Sondag 5 Mei 2019. Die musiekvereniging kry dit reg om besondere kunstenaars hier te laat optree en hierdie konsert was weereens ‘n hoogtepunt.

At first glance the program seemed strange because of mostly unknown composers. Only Shostakovich and Sarasate rang a bell but it soon became crystal clear that the performed musical pieces were carefully selected. Most of the composers were violinists themselves and thus demanded outstanding technical ability. Zanta explained that both she and Miro shared a passion for their instruments, have known one another for 30 years and have played together quite extensively.

Leclair se sonata in ‘n mineur toonaard, kom uit die Barok tydperk en volg die tipiese vaste vorm van ‘n sonata. Twee teenstellende temas word na mekaar voorgestel in die uiteensetting. Daarna word die temas verwerk in die ontwikkeling en dan aan die einde in die vinnige rekaputilasie, herhaal. Hierteenoor volg die Konsertcaprice van Halvorsen wat geskep word sonder om ‘n vaste vorm te gebruik. Herkenbare melodieë met variasies soos byvoorbeeld die ou Halleluja lied “As Hy weer kom”, klink in hierdie stuk uit die klassieke tydperk op. Baie interessante speltegnieke word hierin gebruik – die snare word gepluk, maar ook oormekaar getrek om luistergenot te verhoog. Die gehoor het hulle genotvolle belewing en meelewing luid te kenne gegee met elke meesterstuk!

Moszkowski’s suite, also in a minor key, gave the excellent pianist, Olive Sandilands, a chance to “speak for herself” with an equal part, like the violins, to play in this piece of chamber music. During the middle ages different dances were danced directly after the other. This suite (from the French indicating a sequence) is a sequence of dances giving the violins an unprecedented range of expression, intensity and nuance in the four movements.

Die Etudes van Wieniawski is eintlik as viooloefeninge gekomponeer en die viole neem om die beurt die leiding. Baie afwisseling kom hierin voor met uiters gevoelvolle vertolking van die viole. Die tweede, asemrowende vinnige beweging, het die gehoor op die punte van hulle stoele laat sit.

The highlight of the evening was the composition of Shostakovich, composed during the period when only silent films were made.  Different dances evoked different emotions. Lyrical play was followed by a rhythmical piece and then again more sad longing sounds were heard. The waltz and polka parts gave way to a lively ending and it was clear that all three musicians enjoyed themselves.

The program ended with a Sarasate composition full of joy and abandon and catching melodies. One couldn’t help but notice how even very high notes on the violin, very difficult to play, were done with precision timing and clarity.

Die luide aanhoudende applous van die gehoor het die musikante teruggeroep vir ‘n aangrypende encore – ‘n liefdeslied uit Kuba. Almal teenwoordig was dit eens dat dit weereens ‘n hoogtepunt op die musikale kalender was.
Esmarie Maré


Friday, April 26, 2019

Quator Avena - Ensemble of four saxophones




What a privilege it was to listen to world-class musicians -  young students living in Europe who are extremely well qualified, well rehearsed, well mannered and technically near perfect! Well done Still Bay Music Society, for bringing such highly acclaimed productions to this town. This time it was an ensemble of four saxophones.

Quator Avena maak gebruik van 'n sopraan-, alt-, tenoor- en bariton saksofoon. Hulle instrumente het geblink en perfekte klank voortgebring. Dit bly vreemd om  van houtblasers te praat, waaronder saksofone resorteer. Houtblaas-instrumente word met een riet gespeel daarom die kategorie, terwyl koperblaasinstrumente twee riete gebruik. 

The carefully selected programme started with a piece by Igor Stravinsky - Five easy Pieces - originally composed for the piano but adapted for saxophone. Stravinsky largely abandoned combinations and geared his choice of instruments precisely to the particular colours and effects that he sought. In this piece of music, discernible melodies echo throughout. The group used carefully choreographed movements to complement and clarify the music. It however never took over but added a surprise element to the specific rendition of Stravinsky's composition.

Six Bagatelles by Gyorgy Ligeti was next. Ligeti is an iconoclastic figure whose zany sense of humour comes through in his music. His range of music is wide and some pieces are very rhythmical with precision timing, always with great emotional intensity. The alt and baritone saxophones contributed to an eerie atmosphere in some parts. The same repetitive part throughout the piece binds the different movements together although they portray different sounds and emotions. The fourth movement sounded like a royal kinglike announcement. By this time the audience was aware of the high standard of music presented and were ready for the crowning glory of the concert: Ciudades (cities in Spanish) by Lago.

Die genot van saam musiekmaak was duidelik waarneembaar by die musikante. Elke beweging van hierdie aangrypende stuk musiek, beeld 'n spesifieke emosie of stad uit. Die eerste beweging se emosie van droefheid en lyding het nie net deur die musiek jou aangespreek nie, maar ook deur die musikante se bypassende lyftaal en bewegings. Passie en liefde is verbeeld deur die tweede beweging terwyl Monteverdi daarna "geskilder" is met vinnige lopies en teniese presieshed in die ensemble se spel. 'n Aangrypende melodielyn en treffende spel deur die sopraan saksofoon, het in die daaropvolgende beweging ons van sentimentaliteit en trane vertel. Tokyo was volgende aan die beurt om daarna af te sluit met polsende Afrika ritmes van Adesabbaba met musiek wat klink soos klokke wat beier. Die gehoor se applous was luid en lank en fluite en stampende voete het die musikante se gesigte  laat opgehelder met glimlagte van genoegdoening.

Three Preludes by Gershwin came next and the swinging jazz rhythms suited the baritone saxophone to a tee. There is no missing the freewheeling spontaneity of the piece - it is both exhilarating and totally disarming. Gershwin brought American pop music into the concert hall and achieved melodic inventions and memorability.

The musicians, all from different parts of the world, are all studying for their master degrees under P Geiss, who composed the last piece on the programme, Patchwork. It was written with the cathedral in Strasbourg as backdrop to the music. This is quite a modern piece with a surprise oral citation in between. One member of the audience named it the musical Haka of the evening! This piece was written in avant-garde style with amusing and quaint jazz sounds. Humour and harmonies popped up and the baritone's pulsating rhythms (played by Adam Cambell of South Africa) dominated at the end. 

'n Wonderlike leersame en verrassende aand is afgesluit met die gehoor wat spontaan saam met die musiek hande geklap het. 

We will remember Quator Avena for their passion for the music and pleasure playing together. No wonder they are considered one of Europe's most vibrant and talented saxophone quartets. We would love to hear them again in Stilbaai.