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