Stilbaai Musiekvereniging / Music Society

How the SMS was started

2012-01-30T15:09:00.003+02:00

Late in 2004 theHeeses and the Meijs were playing bridge and Chris idly asked whether therewould be ten or more people in Stilbaai who would cough R1 000 each per year sothat we could bring live classical music to Stilbaai. The idea was kickedaround and the consensus was that no ten such blokes existed but that manywould support the idea. The discussion lapsed.

Lo and behold, inJanuary of 2005 Amanda invited a number of people to discuss the issue andasked me (Chris) to explain it, which I did. After a discussion, it was decidedthat I would draft a constitution and that we would meet at Wouter and Connie’splace for a formal meeting.At that meeting aresolution was passed to found the Stilbaai Music Society and the constitutionwas adopted.

Mike and Louisehad previously invited an honours B. Mus. student from Stellenbosch to playbefore a group op guests and they kindly agreed to permit the Society toadvertise this as its first concert. The concert took place in their lounge.

From this smallbeginning we now have more that eighty members, we own half a piano, we have awarded a study stipend and count anumber of international artists as friends of the Society. We have had ourflops. Despite these, we have brought pleasure and musical excellence to alarge number op people in Stilbaai who would otherwise not have had theopportunity to hear these artists perform.

Chris Heese
(Uit Nuusbrief 10 2011)

Nuusbrief 1/2012 Newsletter

2012-01-27T11:55:00.000+02:00

Nuwejaarswense.

Die bestuur van SMV wens al ons lede ‘n strelende, harmonieuse enmelodiese nuwejaar toe en vertrou dat die hoogstaande aanbiedings wat ons beoogom

vanjaar aan te bied, in u smaak sal val.

It is indeed a small miracle that our humble hamlet, Stilbaai, consistentlycompetes with the big cities to bring you artists of international repute toperform here in our

own back yard. Thank you all for your support to make thispossible!

The year programme is on this page, but is still subject to change so please

check the blog on a regular basis to make sure you do not miss a concert!

Capella Concertante.

Die Oostenryksegroep tree op in die Kerksaal-Oos op Saterdag18 Februarie om 19.30. Kaartjies is beskikbaar by die komitee en by CUPZCafé in die Fynbossentrum teen R50 vir lede en R60 vir nie-lede.

This Chamber musicensemble was formed in the autumn of 1986 by a group of enthusiastic musicteachers of Upper Austria and has toured successfully to many countries,including Belgium, Hungary, Italy, Greece, Brazil, Chili, Namibia and SouthAfrica. They consist of:

KarinEldenberger—Soprano

Isolde Pirker—Flute

Esther Savel—Oboe

MathiasKreischer—Clarinet

HubertEckelbauer—Horn

Markus Pressenhuber—Bassoon

ToniNeulinger—Double bass.

Hulle is ewe tuisas klassieke kamerorkes of met meer moderne musiek. Hulle program sluit ietsvir almal in en bestaan uit o.a. werke van Mozart, Kreisler, Lehar, Strauss,Rossini en Robert Stoltz.

Membership

Ourthanks to all those members who have already paid their subs. Without it wejust cannot bring you the quality of musicians that we aim to bring toStilbaai.

Dues are unchangedfor the 8^th consecutive year, R100, and can be paid to any member ofthe committee or may be paid into the SMS bank account directly. If you wish touse the bank facility, please enter your name in the space left for a referencenumber. This allows our new treasurer, Euchi, to identify the payee.

Theaccount details are as follows:

Bank:ABSA

Accountholder: Stilbaai Musiekvereniging

Accountnumbert: 913 791 3517

Branchcode: 334-613

Bestuurslede:

Danie Joubert- Voorsitter. 028-754-2833

Mike Steytler- O/voorsitter 028-754-1181

Louise Steytler – Sekretaris 028-754-1181

Euchi Yazbek- Tesourier 028-754-3553

Bettie Niehaus – Programme 028-754-2157

Marian Smit – add lid 028-755-8211

Serena Nagel – add lid 028-754-3648

Nuusbrief 9 2011 Stilbaai Musiekvereniging/Music Society Newsletter 9 2011

2011-11-21T16:08:00.001+02:00

Finale uitvoering van die jaar

Om 19h30 op Saterdag 26 November 2011 tree die Heydeburg Ensemble inKerksaal-Oos op. Die ensemble bestaanuit ’n fluitspeler, ’n tjellis, ’n violaspeler en ’n violis. Die lede is almallede van die bekende Heydeburg Simfonie-orkes van die Noordelike voorstede vanKaapstad.

AGM

The AGM will be held immediately after theconclusion of the programme. Members need to note that the Chairman, ChrisHeese, and the Treasurer, Max Döckel, are not available for re-election.

The agenda is as follows:

1. Constitution of meeting.

2. Minutes of the previous AGM

3. Consideration of chairman’s report

4. Consideration of financial report

5. Determination of membership fees

6. Election :

· Chairman

· Vice-chairman

· Secretary

· Treasurer

· Programme fixer

· Music appreciation co-ordinator.

7. General

8. Conclusion

Voorsittersverslag

Hierdie is die agste jaarverslag wat ekbevoorreg is om aan te bied. Die tyd het aangebreek om die leierskap oor te drana nuwe hande. Verenigings- ook die SMV, kort nuwe denke, nuwe doelwitte en ’n nuwe dinamiek. Ek wil by voorbaat mydank uitspreek teenoor die lede, wat getrou elke jaar my weer aangestel het,maar veral teenoor die lede van die bestuur wat, ondanks my nonsens, daaringeslaag het om ’n waardevolle diens aan die gemeenskap van Stilbaai tebied.

Van die hoogtepunte oor die afgelope agt jaarwas die kore, veral die ontvangs van die Drakies, die aankoop van dievleuelklavier en die toekenning van die Voorsitterstipendium aan Megan Prins.

Ons het oor die periode meer as 50 konserteaangebied. Ek kan slegs twee onthou wat nie op peil was nie. Hierdie jaar hetons 6 konserte en 3 waarderingsaande gehou. Die konserte het in so ’n matebyval gevind dat ons bywoning oor die jaar toegeneem het, al het ons dietoegang moes verhoog. Kunstenaars se optree gelde neem om verstaanbare redestoe en hierdie tendens sal voortduur.

Ten slotte – weer eens my dank aan diebestuur. Hulle het hard gewerk. Hulle het ook vriende geword.

Puik Uitvoering van die Tygerbergse Kinderkoor

2011-09-12T15:47:00.000+02:00

Saterdagaand, 10 September, het die TKK die Stilbaaiers vergas met 'n puik uitvoering in 'n stampvol Gemeenskap-saal. Dit was 'n Gala-aand waarna Stilbaaiers al lank uitgesien het.

Wat 'n ervaring om sewentig van hierdie jong koorlede, almal onder 14 jaar, te sien en te hoor optree, onder die stok van Hennie Loock, wat 40 jaar al die koorleier is, en sy vrou Theresa wat die begeleiding waargeneem het.

Hierdie koor het al verskeie internasionale kompetisies gewen en word gereken as die 4de beste in die wereld! Die program het 'n wye variasie gebied wat ingesluit het: geestelike werke, Amerikaanse Gospel, traditionele werke in Xhosa, sentimentele liedjies in Afrikaans en Engels, (o.a. “A Nightingale sang in Berkely square”), ‘n medley van liedere uit Les Miserables asook die dramatiese uitvoering van Tjak, 'n Baliese Aap gesang (Monkey Chant) met aksie en handgebare.

Baie van hierdie meer kontemporêre werke skep 'n besondere uitdaging vanweë disharmonieë en sinkopasie, wat meesterlik vertolk is deur hierdie koor. Hulle het hulself individueel hierin ingeleef. Vir my was die hoogtepunt die Hosanna van Knut Nystedt, en Aglepta deur die sweedse komponis Arne Mellnoe. Die woorde van die lied is van ‘n ou paljas:"To leave a enemy without an answer, say these words to him: “Aglaria Pidhol garia Ananus Qepta" and blow in his direction; then he will not know which way he is headed and cannot answer you". Aglepta is gekomponeer vir ‘n koorkompetisie in 1969, en is so moeilik dat net een van die deelnemende kore dit kon baasraak. Dit is verstommrnend dat Hennie Loock hierdie uitdagende stuk met sulke jong kinders, met soveel sukses, kon uitvoer en het die spontane staande ovasie uit en uit verdien.

Dit was beslis 'n aand waarin mens kon jouself kon verloor en meegesleur word deur die suiwer klanke van hierdie groep jong kinders. Vir ons almal 'n besondere gebeurtenis. Hulle kan maar weer kom!

Marian Smit

HA!Man – ‘n belewenis vir Stilbaai gehoor

2011-08-13T11:57:00.003+02:00

Die HA!Man is Francois le Roux – tjello en klavier kunstenaar, liedjieskrywer, ontwerper. Hyhet ‘n klassieke agtergrond en kan konvensionele stukke met vaardigheid uitvoer soos hy deeglik bewys het, maar hy beskryf homself eerder as ‘n spontane improviseerder. Daar was nogtans ‘n onderliggende struktuur aan die vertoning Woensdagaand, 3 Augustus in Stilbaai. Dit het sag, stadig en ondersoekend begin, met sy eie fluit- en stemklanke begelei deur ‘n elektroniese ‘orkes’ en die tjello – alles bekwaam beheer en verskaf deur le Roux.

There followed a short bridging section of more conventional cello playing, after which le Roux swung into improvisation, gypsy-like. His music had a South American feel, with echoes of the Argentinian composer, Piazzolla. Then he demonstrated his skill on the piano, starting with simple meandering and developing into a strong, more technically demanding section, accompanied by wordless singing and vocal sounds. Back on the cello, he played an excerpt from the Bach Cello Suites, straight, then with some impish, quirky improvisations. He also played some Borodin, with improvisations. The rest of the programme was his own innovation using cello, piano, voice, body, and demonstrating his creativity and skill. He can certainly play the cello – double- and treble stopping, and using the bow to create a fascinating range of effects. He included a ‘full orchestra’ rendition of variations on Sarie Marais, and ended with a sermon-story as background to the last item, which was his song Afrikaner is my Naam.

I think le Roux’s aim in this one-man performance was a sensual treat for himself and the audience – and for me he certainly succeeded!

Janet Stonier

WESTHUIZEN DUO

2011-07-16T11:54:00.004+02:00

Stilbaaiers het Donderdagaand, 14 Julie, ’n besondere belewenis ervaar om na twee briljante pianiste se DUO’S te kon luister.

Die van der Westhuizens, Pierre en Sophia, het mekaar reeds op universiteit ontmoet, en speel sedertdien saam klavier. Hulle is beide professore in klaviermusiek in Cleveland Ohio VSA en het al verskeie ere-toekennings ontvang. Hulle gee dikwels uitvoerings in Amerika en elders, en toer tans in Suid Afrika, vergesel deur hulle 2 kindertjies.

Die program het bestaan uit musiek van die romantiese era wat letterlik ‘n Europese toer van Duitsland, Rusland, Frankryk en Spanje behels het. Die duette is almal oorspronklik geskryf vir vier hande en dikwels uitgevoer as agtergrond- of ontspannings musiek by geleenthede.

Sommer uit die staanspoor het hulle die gehoor bekoor met hulle gemaklike interaksie.

Die program was as volg saamgestel:

1 .F Schubert Fantasie in F min Op 103: Hierdie werk het almal dadelik meegesleur met sy bekende melodieë en liries-spelerige passasies van cache-cache met soek en vind .

2 .S Rachmaninoff Ses stukke Op 11: Dit begin met ‘n tipies Russiese tema gevolg deur ‘n vloeiende wals, dan ‘n emosioneelbelaaide romanse en eindig met ‘n vinnige vurige scherzo.Die werk bevat opwindende passasies van vreugde en opwelling gevolg deur donker depressiewe uitinge. Weliswaar ‘n tegniese uigdaging wat briljant bemeester is.

3.J Brahms Hongaarse danse: Vyf verskillende danse, elk met sy eie kenmerkende ritmiese motief. Met elkeen kon jy jouself inleef.

4. Maurice Ravel Rhapsodie Espagnole: Hierdie Franse komponis beeld sy liefde uit vir Spanje maar met ‘n Franse inslag. Die werk word ingelui met die Prelude van die nag waarin fyn sensitiewe komponente van herhaalde note voorkom wat die atmosfeer van die nag weergee. Dit word gevolg deur danse, Malaguena, Habanera en eindig met Feria, die lawaai van ‘n Spaanse mark. Hierdie werk was ‘n hoogtepunt wat uiterse tegniese en ritmiese vaardigheid vereis en waar vier hande dikwels oor en onder mekaar speel, maar die temas deurlopend behou word.

Die twee kunstenaars het ‘n fyn aanvoeling vir mekaar in hulle samespel. Die resultaat: ’n briljante uitvoering!

Marian Smit

Nuusbrief 5 2011 Newsletter 5

2011-07-10T15:37:00.004+02:00

A music evening with John Stonier

John presented members with a soufflé of vignettes: offerings of the operatic music of the Italian masters and their favorite gastronomic delights. Those who attended, could not help but be charmed by the presentation. After the programme, John and Janet further titillated our taste buds by offering members a taste of Italian cuisine.

Once again members were privileged to enjoy the hospitality of Mike and Louise. On a bitterly cold night, their house was filled with the warmth of a hearty welcome and simple Stilbaai good fellowship. What the Society would do without their contribution is hard to imagine.

Die Westhuizen Duo

Die SMV bevestig dat die vermaarde Westhuizen Duo op 14 Julie 2011 ’n uitvoering gaan gee van klaviermusiek. Die uitvoering sal plaasvind in Kerksaal-Oos om 19h30. Hierdie twee pianiste is tans beide professore in musiek aan die Universiteit van Heidelberg in Illinois, VSA.

HA Man is visiting Stilbaai on the 3^rd of August. Those of you who have had the privilege of being entertained by this Cellist-impersonator are fully aware of the treat in store for us.

The Tygerberg Children’s’ Choir.

This world renowned choir is to perform in Stilbaai in September. Since choral programmmes are exceedingly well attended, the choir will perform in the Community Hall.

Mike has had a very disappointing response to our call for those people willing to host choir members to let him know that they are willing to do so. We are sure that our members will eventually put up the children. It does however, make Mike’s life a lot easier if hê does not have to solicit hospitality. Please inform Mike of your intentions!

Verenigingsake

Die Bestuur het vir Marianne Smit geko-opteer. Ons weet sy sal ‘n waardevolle bydrae maak en ons bedank haar by voorbaat daarvoor.

Ons vertrou ons sien vir u en enige gaste wat u mag hê by die Westhuizen Duo op 14 Julie in die Kerksaal Oos.

Klassieke kitaarspelers oorrompel Stilbaai

2011-05-24T12:35:00.004+02:00

Twee jong musici het lede van Stilbaai se musiekvereniging op 14 Mei in vervoering gehad.

Die atmosfeer vir ’n intieme aand van musiek is paslik in die Ooskerksaal geskep met Morné Kahts se gevoelvolle vertolking van die meesleurende Barcarole-agtige Julia Florida deur die romantiese komponis Augustin Mangore. Die jong Kahts, ’n student aan Kaapstad Universiteit, het ons daarna verder vergas met dieselfde komponis se La Catedral waarvan veral die eerste beweging Saudade die gehoor betower het. Dit was egter veral Villa-Lobos se bekende Prelude nr 1 in E mineur wat die luisteraars entoesiasties laat handeklap het.

En toe die Bach-fuga - vir Morné die mees uitdagende solo van sy uitvoering. Die manier waarop hy met ’n kitaar elk van die afsonderlike stemme so klinkklaar en melodieus deurmekaar kon laat vleg, was net verstommend. Die bekende Asturias-Leyenda van Albeniz het groot byval gevind asook twee verfrissende komposisies van Roland Dyens (Tango en Skal en A Night in Tunisia) waarin sterk aangesluit word by verskeie jazz-idiome.

Die eerste duet van die aand volg as Morné saam met die jong Chloe Murphy ons so-te-sê laat mediteer op die maat van Andrew York se Sanzen-In, geïnspireer deur die gelyknamige tempel in Japan. Daarna speel die twee drie verdere Francis Kleynjans duette Three Romances. Kort en verkwikkend.

Chloe toon hierna haar eie virtuositeit met William Walton se Three Bagatelles, waartydens haar gevoelvolle en tegnies vaardige weergawe van Ala Cubana veral beïndruk het.

Terwyl die voorlaaste item op die program ons terugneem na die romantiese tydperk: die Mozart-agtige komposisie Rondo II uit die Rondo Brillianti van Dionisio Aguado (1784-1849) ruk die laaste item ons weer terug na die kontemporêre Dyens met sy jazz-agtige komposisie Libra Sonatine. Hierin word ons vergas op sinkopasie, rasgueados, en vinger-en-hand perkussie op die klankkas. En dit alles opwindend uitgevoer deur Morné wat erken dat dit sy geliefkoosde komponis is. As toegif kry ons toe die bekende Summertime gesing en begelei deur Morné.

Die programnotas en mondelinge kommentaar wat van tyd-tot-tyd deur die twee kunstenaars gelewer is, was baie handig en het getuig van hulle grondige kennis.

Reon Meij

ANTONY PEEBLES RECITAL 30TH MARCH 2011

2011-03-30T17:36:00.002+02:00

Since its inception nearly a decade ago the Stilbaai Music Society has afforded the community wonderful opportunities to enjoy and appreciate the artistry of a great variety of instrumentalists, choirs and ensembles. Few, however, were more successful than pianist Antony Peebles whose virtuosic playing, while not technically faultless, displayed consummate skill and musicianship and entertained an appreciative audience on 30^th March.

The programme started with two works by Liszt, to honour the 200^th anniversary of his birth. In the first, Litany, a transcription of a song by Schubert, Mr Peebles captured the unexpectedly gentle and moving nature of the song most beautifully. The second, the Piano Sonata in B minor, displayed the characteristic double fortissimo, chords, runs and scales associated with Liszt and the extreme difficulty of the piece seemed to require almost more than ten fingers –but Mr Peebles managed with aplomb.

After the demanding nature of the Liszt Sonata, the second half of the programme was made up of a selection of well-known works by Chopin, some of whose themes have been painfully commercialised – as in the song “I’m always chasing rainbows” from the Fantasy Impromptu. The Chopin works were enthusiastically received, though a few passages were perhaps a little too stridently fortissimo for some tastes.

The audience was treated to three encores, one of which was an amusing piece composed by the pianist himself to demonstrate to children how a sonata is constructed. Spontaneous chortles of delight were heard as members of the audience recognised “Here we go round the mulberry bush” and “God save the Queen” as the themes!

Mr Peebles deserves particular thanks for two aspects in addition to his playing: for his elegance in dress and stage presentation, as befits a formal recital; and for his eloquent illustrated introductions to each piece, which helped the audience to focus on essential elements of the music.

Thank you, Antony Peebles, for a memorable and satisfying evening of music.

John Stonier

Nuusbrief 1 2011 Newsletter

2011-03-05T14:29:00.002+02:00

Groot kore van die wêreld

Op Sondag 21 November 2010 het lede van die SMV weer eens die voorreg gehad om te luister na ’n aanbieding deur prof. Denis Van Rensburg, hierdie keer oor die onderwerp: groot kore van die wêreld. Hy het uitstaande opnames van vier verskillende kore gespeel en met sy gewone kundigheid toegelig. Die kore wat hy gekies het, was baie uiteenlopend van aard en die aanbieding het gelei tot ’n lewendige bespreking.

Dat die gehoor die aanbieding geniet het, was nie altemit nie. Die bestuur bedank graag vir Mike en Louise Steytler wat die rol van gasheer en gasvrou met hulle gewone grasie vervul. het.

The concert programme for 2011

Any changes and/or updates will be posted on the Music Society blog so keep watching this space.

Anthony Peebles se program

Schubert: “Litany” getranskribeer deur Frans Liszt

Liszt Sonata in B mineur

POUSE

Chopin Fantasie-Impromptu

Chopin Ballade no 1 in G mineur

Chopin Nokturne in G mineur

Chopin Scherzo no 3 in C kruis mineur

Hierdie is voorwaar ’n aand vir die Chopin-fynproewer.

Music Society matters

Artists are, for understandable reasons, charging more for performances. As a consequence, the Society has decided to raise general ticket prices to R50 for members and R60 for non–members. Tickets for children remain at R10 per ticket. In order to finance our concerts, we use membership fees to subsidize performances. We are therefore extremely eager to receive our membership dues. These remain at R100 per person. Members are requested to pay their dues to any member of the committee or to make a direct payment into the account of the society.

The account details are as follows:

Bank: ABSA

Account holder: Stilbaai Musiekvereniging

Account number: 913 791 3517

Branch number: 334-613

Should you make a deposit, please enter your name in the space reference/verwysing. This allows Max to identify who has made the payment.

We look forward to seeing you at all the events. It promises to be a musically rewarding year.

2011 Program

2011-02-11T14:29:00.003+02:00

Die Musiekvereniging se program vir 2011 is uiteindelik beskikbaar. Ons is, soos vorige jare, bevoorreg om kunstenaars van formaat uit die buiteland te kan hoor en sien optree, o.a. Anthony Peebles van Brittanje en Pierre van der Westhuizen uit die VSA - beide pianiste van formaat. Ons het ook die Tygerbergkinderkoor wat in Junie in Stilbaai 'n draai kom maak en Raoul Beukes kom besoek ons in Augustus. Dis 'n program om na uit te sien en ons raai u aan om sommer noual die datums vas te maak. Die program soos ons dit nou het word hiernaas aangetoon.

Musiekwaarderingsaande is nog nie gefinaliseer nie, maar ons hou u op datum.

Harp and Oboe Recital

2010-10-31T22:41:00.003+02:00

Stilbaaiers attending the Stilbaai Music Society concert on Thursday evening 21 October 2010 were treated to a unique musical experience at a recital given by two worthy artists, namely Kobie du Pessis (harp) and Thekla von Dombois (oboe). I say unique because it is very seldom that one is able to actually watch – as well as listen to – a harpist from close-up. For who, in their right mind, would want to travel the world with a harp in their luggage! Thank goodness Kobie did. She entertained us, not only with fine playing, but by giving us the opportunity of watching her hands as they swept across the strings, caressing them, stroking them and plucking them as required by the music.
For most of the programme Kobie was joined by Thekla who produced the haunting sound so characteristic of a well played oboe. It was clear that their ensemble playing was born of a symbiotic understanding of the timbre of each instrument giving rise to a pleasurable evening of chamber music. Such was the playing that I wished we were seated in an intimate rococo-style and beautifully appointed salon in an Italian nobleman’s palace! This feeling was highlighted by Part I of the programme that comprised mainly entertaining music from the Baroque era. Part II, after the interval, was made up of mostly lively music from the twentieth century.
The highlight of the evening for me was a piece by the French musician Bernard Andres (1941-) entitled Algues – 7 Pièces pour Houtbois et Harpe (algues: seaweed washed up on shore). Before it started the audience was asked not to applaud until the end of the work and what a difference that made! Each of the seven pieces had its own nostalgic character and the total silence in the hall between the pieces contributed greatly to the emotional impact of the music.
Both artists deserve our congratulations for providing a memorable evening of music. Both instruments are extremely difficult to play well and it is to the credit of our guests that they made it look so easy. The Music Society also deserves our congratulations for mounting the recital.

John Stonier

The Castrati of the 17th to early 19th Century

2010-09-29T12:16:00.004+02:00

On a rather cold and wet Sunday evening, a group of Society members had the pleasure of listening to Connie de la Bat describe the historical development of the era of castrati (17th, 18th and early 19th centuries), and the role of these performers in music, particularly in Italy.
What is difficult for contemporary audiences to understand is how such an inhuman mutilation of young boys (to prevent their voices breaking at puberty) could have lasted as a practice over so long a period. The main pressure for the system stemmed from a ruling by the Vatican prohibiting females from singing in places of worship. At various times this prohibition extended to theatres as well. Consequently castration was confined mainly to Italian states under papal control.
Adult castrati’s voices displayed a singular power and range so their performance in stage and opera productions was much in demand. Many composers, including Handel and Mozart, composed works for specific individual castrati, some of whom enjoyed ‘super-star’ status. Connie pointed out, however, that relatively few of the thousands of seven- to nine-year old boys castrated each year had successful performing careers or achieved fame.
What is important to stress is that no clear recording exists of the actual voice timbre produced by castrati. Connie emphasised that no contemporary male or female singer can reproduce the castrati sound – it is not the same as the falsetto or male alto sound.
Connie’s gentle presentation with selected audio-visual illustrations reflected wide reading and a particular interest in a neglected area of the history of music and was much appreciated by those present.

John Stonier

Young Choon Park

2010-08-26T22:04:00.008+02:00

Stilbaai, Kerksaal-Oos. On Saturday 14 August, a disappointingly small audience of about 65 people had the privilege of listening to a virtuoso piano performance by the gifted South Korean born pianist, Young-Choon Park.

Young-Choon’s slender, petite build and enigmatic smile belies an intensity, energy and resolve which is not only apparent in her self-assured stage presence but also in the way she has managed her life and career since early childhood. She first began studying the piano at the age of four, gave her first full recital at seven and played Beethoven’s Piano Concerto No.1 with the Seoul Symphony Orchestra at the age of nine. At 12 she enrolled with the Julliard School of Music in New York before graduating with highest honours from the Hochschule in Munich. With the UK as her base, she is currently a busy concert pianist giving over 50 concerts each year in Europe, Scandinavia and the United States.

Her programme began with four Sonatas by Domenico Scarlatti. These Sonatas form part of Scarlatti’s Essercizi, the only Sonatas published under the composer’s supervision. It was mainly to these pieces that Scarlatti owed his fame as a composer in the eighteenth-century. Although they were not necessarily composed as a set, Park performed them as such – a good choice as they are all characterized by Scarlatti’s crisp and happy style which afforded Park the opportunity of demonstrating her impressive dexterity and versatility as well as her ability to imbue runs and finger-exercise-like passages with delicate feeling.

The Scarlatti was followed by Schubert’s Sonata in A minor op 42, D.845. Franz Schubert’s sublime and beautiful piano sonatas are regarded by some as the greatest musical discoveries of the 20th century, and indeed for many of us this was the high-light of Young-Choon Park’s performance. Her approach was individual and refreshing, demonstrating real passion and style as well as technical proficiency.

After the interval Frédéric Chopin (born in 1810) was fittingly commemorated with Park’s interpretation of his Sonata No.3 in B minor op. 58. This sonata has four movements, the slow movement often being likened to a nocturne, with its subtle melodies and innovative harmonic progression. In the rousing finale which brings one of Chopin’s most difficult works to a thrilling and magnificent close, the performer once again demonstrated her considerable and brilliant piano virtuosity.
Mozart’s Rondo alla Turca was a fitting and delightful encore.
Reon Meij

London Song Circle

2010-08-26T21:50:00.003+02:00

"Ons is darem bevooreg om so gereeld lewendige musiek-uitvoerings van sulke uitstaande gehalte te hoor hier op Stilbaai!”, sê Ada Hamers hier skuins agter my by nou-die-aand se musiekuitvoering. Dis Woendagaand, 28 Julie. Ons luister in die Kerksaal-oos na ’n uitvoering deur die London Song Circle, ‘n groep bestaande uit die Suid-Afrikaanse sopraan Erica Eloff, die nederlandse mezzo-sopraan Margriet van Reisen en hulle begeleier (en ook solis) op die klavier, Mark Nixon.

Ek kan nie anders as om met Ada saam te stem nie. Met die wegvalslag reeds vul hierdie drie se weergawe van Duets and songs by Henry Purcell (arranged by Britten) die saaltjie met volheid en volume - amper te oorweldigend.

Hulle verplaas ons terug na ‘n soiree in ‘n statige British Manor Country House. Ons almal grand aangetrek. Stately chairs, barokagtig. Prim en proper. Mark vra dat ons slegs aan die einde van ‘n groepie liedere moet handeklap. Ons luister mooi maar vind dit maar moeilik. Ekself kan nie help om hande te klap aan die einde van Erica se meesleurende weergawe van Schumann se ontroerende Widmung nie. Die res van Schumann se lieder (en veral Mein Herz ist Schwer) is ewe meesleurend en puik uitgevoer deur Erica.

En toe Margriet met vier lieder van Brahms. Wat ‘n wonderlike volronde en diep stem het hierdie mezzo-sopraan nie! Baie dankie vir ‘n besondere ervaring! Ons het veral Schwestern en Klӧsterfraulein geniet!

Na pouse is dit Mark wat ons beskeie ou vleuelklaviertjie laat snak na sy note met sy uiters professionele weergawe van Chopin se bekende Scherzo nr 2 in B mol mineur, op 31. Dalk moet iemand ‘n “top of the range” Yamaha vleuelklavier aan die Musiekvereniging skenk!

En toe het Erica met die Pieter de Villiers se bekoorlike toonsetting van sewe Boerneef gedigte, ‘n hoogs musikale uitvoering met groot aanvoeling gedoen.

Met die laaste klompie liedere van Roger Quilter en Benjamin Britten was dit asof die woord weer tot sy reg gekom het. Veral Benjamin Britten se Mother Courage was ‘n hele ervaring. En baie dankie vir die toegif! Offenbach se Barcarolle bly altyd ‘n populêre wenner!

Reon Meij

Nuusbrief 6/2010 Newsletter

2010-07-19T22:29:00.004+02:00

London Song Circle

Ons eersvolgende konsert vind plaas op Woensdag 28 Julie 2010 om 19h30 in die Kerksaal-Oos. Op daardie aand bied die vermaarde groep, die “London Song Circle” bestaande uit: Erica Eloff – Sopraan, Margriet van Reisen – ‘n Nederlandse Mezzo-Sopraan en Mark Nixon – Klavier, ‘n program van sang aan. Hier volg 'n kort uittreksel uit hulle promo vir die Nederburg Konsert:

“The acclaimed London Song Circle, comprising Dutch mezzo-soprano Margriet van Reisen and leading South African classical musicians, pianist Mark Nixon and soprano Erica Eloff, will be performing works by Henry Purcell, Robert Schumann, Sergei Rachmaninov and Benjamin Britten. The programme will also include the op. 61 by Johannes Brahms, a selection of mazurkas by Frederic Chopin and songs for women's voices by Roger Quilter.

Although they have both pursued successful careers abroad, Eloff and Nixon are no strangers to local audiences having regularly returned home to perform. Both furthered their studies overseas after completing their initial music degrees at the universities of Potchefstroom and Cape Town respectively.

Nixon established the London Song Circle in order to promote the appreciation and understanding of art-song. In 2003 a previous incarnation of the group toured South Africa to great critical acclaim, giving concerts, broadcasts, master classes and lectures, and the current trio will continue to tour South Africa following their Nederburg recital. "

Hier in ons geweste tree die groep op in Robertson, George en Mosselbaai.

CD’s

Erica en Mark bemark hulle jongste CD tydens die konsert. Vir lede wat graag aan kompetisies deelneem, bied hulle ’n fantastiese prys aan. Die prys is ’n luukse safari vir twee in die Pafuri Wild Kamp in die Noorde van die Kruger Wildtuin, aangebied deur Wildernis Safari’s. Die prys word toegeken aan die persoon wat die gelukkige lootjie hou. Elke CD aankoop tel as een lootjie vir die trekking. CD’s sal beskikbaar wees by die konsert. So ook ’n gedrukte brosjure wat die bemarkingsaksie uiteensit. Wild liefhebbers, maar ook liefhebbers van sang word aangemoedig om ’n CD te koop. Die prys is R130 per CD.

John Stonier se aanbieding

John se aanbieding oor die ontstaan van opera is op 20 Junie gehou by die Steytlers. Dit was ’n besonderse aand. John het bykans al die lede van sy gesin wat toe in Stilbaai was, opgekommandeer en met sy gewone sjarme, ’n voortreflike oudio-visuele aanbieding gelewer. Die aand is egter gekenmerk deur meer as blote tegniese afronding. Die inhoud van sy voordrag was, soos gewoonlik, akademies uiters professioneel versorg en gevolglik was die kommentaar van die baie lede wat die aand bygewoon het, besonder positief. Mike en Louise se ontvangs was natuurlik ewe gul en die hele aand was genoeglik.

____________________________________________________________________

A Music Evening with John Stonier

2010-06-17T14:59:00.003+02:00

On 20 June 2010 at 19h30 John Stonier will be presenting a music appreciation programme at Mike and Louise’s home on the origins of opera. I asked him to give me an indication of what he intended, and his response is vintage John. Herewith the verbatim response:

“I’m not certain what it is you want from me but here are a few pointers for you to consider. Please pick and choose what you feel is relevant for your Newsletter. My only plea is that you don’t give the impression that I am some kind of fundi!

Some while ago I was asked to choose to talk on some topic. In the end I felt that the ‘Origins of Opera’ may be of some interest. I am not really an opera boffin – there are many others in the Society who are far more knowledgeable than I am. However, I had done some reading about the early origins of opera and I was willing to share what I had gleaned from the reading.

In essence I thought to go back to the late sixteenth century when a number of musical activities started to come together that eventually saw the light of day in what we now call ‘opera’. I plan to list and describe a number of features of those early stages and to illustrate what I can on CD and DVD.

Unfortunately, most of the early music leading to opera is not on record – in fact it has been lost – but I have found some things that should give an idea of what was taking place at that time. I plan to end screening some DVD extracts from the first operas of the early 1600s that are still staged today.

Members must not expect a presentation from an erudite musicologist since I am far from being that but rather the members will get some pointers from someone who has an interest in music and enjoys exploring appropriate reading.”

Members who attended his previous presentation, will know enough to ignore his protestations of being an ignoramus. See you all there.

Die aand toe u ’n besonderse geleentheid misgeloop het

2010-06-07T10:55:00.002+02:00

Ek moet saamstem met Mozart: Die Koning van Instrumente is voorwaar die pyporrel. Dit het ons Saterdagaand 22 Junie beleef in Stilbaai se NG Kerk tydens ’n orrel-uitvoering deur besoekende orrelis Christiaan Carstens van Humansdorp. Lede van Stilbaai se Musiekvereniging asook die publiek kon luister hoe ’n groot verskeidenheid unieke klanke soos selde tevore uit ons beskeie kerkorrel ontsluit word. Die sleutel tot ons heerlike belewenis was die kreatiewe wyse waarop Christiaan die beperkte stelle orrelregisters van ons relatief klein kerkorrel ingespan het.

Alreeds met die eerste note van Buxtehude se uitdagende Toccata en Fuga in F, het Christiaan getoon dat hy ’n formidabele musikant is: nie alleen met treffende registrasie nie, maar met sekure vinger- en pedaalwerk. Met die daaropvolgende twee komposisies van J S Bach (Pastorale, BWV 590 en Concerto in G, BWV 592), wat hyself as die tegnies mees uitdagende deel van sy program beskryf, toon hy ’n besonderse volwasse vertolking en beheersdheid. Knecht se heel romantiese Sonata in C majeur was eintlik ’n noodsaaklike ontspanning na al die sware musiek!

Vir diegene wat dink orrelmusiek is net “kerkmusiek”, die eerste van die weinige stukkies ware “kerkmusiek” volg toe eers: Johann G Walther se meesleurende stel variasies op die koraal “Meinem Jesu lass ich nicht” waarvan die laaste variasie met die uitkomende melodie in die pedaalnote ‘n triomfantelike einde gee. En net hierna, ’n sprankelitem waarin die veelsydigheid van die Koning van Instrumente na vore kom, Louis C Daquin se reeks variasies op ‘n kerstema: ”Noël: Grand jeu et duo”.

Vir my was die hoogtepunt van die aand Alexandre Guilmant se bekende Preludio uit Sonate nr 3 in C, op 56. Heel verrassend is die program afgesluit met Nigel Ogden se komposisie An Art Deco ”Three Piece” Suite wat eintlik niks anders was as lekker ou regte engelse dance hall musiek nie.

Die enigste rêrige vals noot van die aand was dat daar net 51 mense was om hierdie besonderse geleentheid by te woon.

Reon Meij

Nuusbrief 4 van 2010

2010-05-19T20:25:00.002+02:00

Ons derde konsert vind op Saterdag, 22 Mei 2010 om 19h30 in die NG Kerk plaas. Vanjaar het ons die voorreg om die vermaarde orrelis, Christiaan Carstens te ontvang.

CHRISTIAAN CARSTENS studied at the Universities of Stellenbosch, Port Elizabeth and South Africa where he obtained the degrees B.Mus. (Hons.) in Piano Performance, M. Mus. in Organ Performance, as well as Teachers’ and Performers’ Licentiates – all with distinction. In 1994 he participated in the Haarlem International Organ Academy in the Netherlands where he received tuition from internationally known organ pedagogues. During 1995-1996 Carstens furthered his music studies with prof. Jan Raas at the Hogeschool voor de Kunsten in Utrecht, the Netherlands, where he also gave highly acclaimed recitals.

Back in South Africa he received the Unisa Concert Diploma – the first candidate to do so. Christiaan Carstens performed with the Eastern Cape Philharmonic Orchestra on various occasions. He is organist of the DRC Humansdorp and teaches Music and History at the Nico Malan High School, Humansdorp.

Ons vertrou dat u almal na hierdie vermaarde orrelis se uitvoering sal kom luister. Orrelmusiek het immers ’n majestieuse dimensie wat ons nie andersinds in Stilbaai kan geniet nie.

Ons eerste konsert van die jaar sou op 18 Maart 2010 gewees het. Die pianis, Lisa Joubert, sou die geadverteerde program aangebied het. Drie dae voor die optrede het die bestuur, soos gebruiklik, gebel om die finale reëlings te bevestig. Op daardie stadium is ons in kennis gestel dat die optrede gekanselleer is. Toe is daar reeds oor die R500 se onkoste aangegaan.

Die bestuur teken by die lede apologie aan vir enige ongerief verduur.

Membership fees.

Members are reminded that membership fees are long overdue. Dues may be paid into the SMS bank account directly. Please contact a comittee member for banking details. Thanks to all the members whose fees have already been paid. It is highly appreciated and is essential to maintain the high quality of artists we continually try to draw to Stilbaai.

We are keen to recruit new members. Should you meet anyone who has a love for music, please encourage them to join. If furthermore, anybody shows the inclination to join the Committee, please inform us directly. We are of course also looking for younger people who can become involved in the management of the affairs of the SMS. Being a bunch of senior citizens, we are concerned about the future of the Society. By younger, we mean anything under seventy! Please don’t be shy. If you are prepared to take on a little work on a regular basis, please come forward.

Lente Louw en Albie van Schalkwyk

2010-05-19T19:51:00.002+02:00

Die indrukwekkende jong, opkomende sopraan, Lente Louw, meesterlik begelei deur die pianis Albie van Schalkwyk, het Stilbaaiers in vervoering gehad met musiek uit die boonste rakke.
Reeds met haar eerste aria uit Händel se Simson en Delila, was dit duidelik dat Lente se gekontroleerde volume die Kerksaal-Oos sou vul soos selde tevore. Daarby het haar uitstekende stembeheer en tegniese vaardigheid getuig van die Bel Canto-onderrig wat sy van Emma Renzi ontvang het. Die musikale tweespraak tussen haar en Albie was sensitief en professioneel en sy eie tegniese vaardigheid deurgaans opvallend.
Ons is veral meegesleur deur hulle gevoelvolle vertolking van Purcell se Dido en Aennaneas waarin daardie haunting refrein "When I am laid to rest" die eensaamheid van ‘n sterwende en verlate Dido, ’n mens so aangryp. Ook die aria "Dove sono" uit Mozart se Huwelik van Figaro, was 'n hoogtepunt.
Ek sou wel ‘n effens duideliker diksie wou gehad het in "O, waly waly" van Benjamin Britten maar aan die ander kant kon ek elke woord hoor van die pragtige Duitse lieder van Schumann. Wel gedaan Lente en Albie!

Reon Meij

Nuusbrief / Newsletter 1 2010

2010-02-03T22:36:00.002+02:00

Die Bestuur wens u almal ‘n voorspoedige en lekker musiekjaar toe. Ons program vir 2010 is amper voltooi en is te siene in die linker kolom. Bettie onderhandel tans met die Tygerbergkinderkoor vir 'n optrede in November, al is die konsertprogram reeds vol.

Reon is currently negotiating with a view to inviting speakers for our music appreciation evenings, including old favourites, John Stonier, Renée Rust and Denis van Rensburg.

Voorsitterstoekenning:

Lede is bewus daarvan dat die SMV by sy algemene jaarvergadering besluit het dat ’n toekenning vir uitsonderlike prestasie gemaak kan word aan Megan Prins. Hy is reeds daarvan in kennis gestel, maar het nog nie die toekenning ontvang nie. Reëlings word tans gemaak vir ‘n toepaslike geleentheid. Dalk sal die eerste Musiekwaarderingsaand juis hiervoor geskik wees. Dié van u wat nie die geleentheid bywoon nie, sal wel in die plaaslike pers kennis neem van die seremonie.

Membership Fees.

Members are reminded that membership fees are now due. The fee has been retained at R100 per annum. This is probably the Best Deal in Town. Fees have not been adjusted upwards since the inception of the society.

Fees may be paid to any member of the Committee or directly into the Society's account. Should you wish to make a payment in the Bank itself, you are requested to fill in your name in the space designated as Reference Number. This allows Max to identify the payee.

Werwing.

U sal dalk nuwe bure hê, of weet van nuwer intrekkers wat ’n liefde het vir musiek. Moedig hulle spesifiek aan om aan te sluit. Ons soek natuurlik ook vir jonger mense wat by die bestuur betrokke wil raak sodat ons die voortgang van die Vereniging kan verseker nadat ons oues ons rakleeftyd bereik het.

Chris

Music Society AGM concert 26 Nov 2009

2009-12-08T11:00:00.003+02:00

The Committee is to be congratulated on the brilliant idea of including, at the AGM, an interlude of music performed by members of the Society. While the performers made no pretence of being recitalists, their unselfconscious willingness to perform added a delightful measure of charm to the evening as did their engaging modesty.

The programme, introduced by Bettie Niehaus, included the following items:
 Reon Meij set the tone with his musical rendition of Bach’s well-known Prelude in C major. Marian Smit impressed us with one of Mozart’s early sonatas.
 Bettie Niehaus’s performance of the final movement of Beethoven’s Piano Sonata Op 13, ‘Pathetique’, captured the audience’s imagination especially as Bettie had pointed out that the movement was marked Rondo indicating that Beethoven keeps returning to the main melody throughout the movement.
 Bettie and Naomi van Scalkwyk then played a Spanish Dance duet - I wonder how many of us were taken back to our own days of duet playing!
 In his popular inimitable way, Dougie Yasbek entertained us with Viva Espanja and La donna e mobile
 A pleasing contrast was then given by Marian who entertained with a delicate Arabesque by Debussy.
 This was followed by Fritz Kreizler’s ever popular violin piece Liebesträume (arranged for piano) played by Bettie and which had many in the audience nodding to the music.
 The programme ended with the bright and lively In an English Country Garden, as a duet, played once again by Bettie and Naomi.

Of significance was the members’ own use of the Society’s recently acquired boudoir grand piano, symbolising as it did, the realisation of a long cherished dream.

For me, and probably for many, it was an evening of great pleasure and high nostalgia. The small audience was treated to a unique village occasion – what a pity so many other members denied themselves a most memorable evening!

John Stonier

Andrew Lloyd Webber-aand

2009-11-25T12:21:00.005+02:00

Sondagaand 8 Nov. was 'n plesieraand maar ook 'n leeraand in die snoesige atmosfeer van die Stilbaai-restourantjie La Donna. Dennis van Rensburg het ons ingelei in baie van die geheimenisse van Andrew Lloyd Webber - wie aan meeste van ons wel bekend is - altans so het ons gedink.
Dié aand het ons benewens ou bekendes, soos "Memory", "Any dream will do" en "Pie Jesu", Webber-musiek gehoor wat baie van ons nog nooit vantevore gehoor het nie. En baie dinge oor die man geleer wat verrassend nuut was. Soos:
- dat hierdie seun van 'n bekende musikus, op 3-jaar oud reeds viool gespeel het
- as elfjarige reeds sy eerste musieblyspel geskryf het
- die blyspel "Joseph” reeds op negentien gekomponeer het
- in 1992 tot ridder geslaan is
- in 1997 die Academy Award vir beste musiekblyspel (Evita ) verwerf het
- en 7 Tony en 3 Grammy toekennings gekry het
- en dat hy baie ryk (biljoenêr ryk!) geword het (en steeds ryker en ryker word) uit al hierdie komposisies en produksies.
Een ding is seker: Dennis is ‘n uitstekende aanbieder wat hom nie net deeglik ingrawe in sy aanbieding nie, maar sy DVD’s en die snitte daaruit duidelik met groot sorg selekteer. Dankie ook aan Vicom wat die uitstekende apparatuur gratis voorsien het en La Donna vir die intieme kuierplek en koffie agterna. Voorwaar ‘n genoeglike aand!

Clarinet Recital: Matthew Reid & Pieter van Zyl

2009-11-03T15:12:00.007+02:00

Review:Concert –
28 Oct. 2009

The audience – sadly smaller than one would have hoped – was treated to a wonderful recital by two skilled musicians, Matthew Reid, clarinet and Pieter van Zyl; piano. Rather cleverly, they opened their programme with the theme from the film ‘The Mission’ and the familiar bitter-sweet melody immediately won over the audience.

The rest of the first half included a movement from Beethoven’s Violin Sonata op. 24 nicknamed ‘Spring’ and transcribed for clarinet. The beautiful theme and the interchange between the two instruments were special features that highlighted the feel that each player had for the music – something that pervaded all their playing. A movement from the Brahms Clarinet Sonata No 2 in E flat followed and its dreamy, musing, song-like quality was a feature captured by both players. A shift from nineteenth century music to the twentieth century included the more strident clarinet sonata by Poulenc which gave the first half a nice balance.

The second half featured music of an altogether different character with romantic music by Fritz Kreisler, exciting Balkan gypsy music and three examples of Benny Goodman swing.

Apart from the music, the evening was made all the more appealing by the warm and unassuming way in which the artists engaged with the audience and they were finally congratulated with enthusiastic applause and a standing ovation. It was a pleasure listening to them so thanks to the artists and congratulations to the Stilbaai Music Society for mounting an evening of worthwhile chamber music.

John Stonier 29 October 2009

Cutt Glas

2009-10-09T10:28:00.004+02:00

Met a capella sang in kabaretstyl het Cutt Glas op 26 September 'n gehoor van om en by 450 mense in Stilbaai se Gemeenskapsaal vergas. Die vyf dames se uitvoering het groot byval gevind, met hier en daar 'n puris of twee wat gemor het, want Stilbaai Musiekvereniging het hiermee effens afgewyk van die gewone klassieke musiekresep. Die groep se musiek was, soos gewoonlik, ‘n mengsel van jazz, pop, rock & roll en klassieke musiek, deurvleg met vlymskerp, pittige en humoristiese sosiale en politieke kommentaar wat met die groep se gebruiklike professionaliteit uitgevoer is. Die klankstelsel het daartoe meegehelp dat sommige van die dames se woorde soms half verdrink is deur die harde musiek. Wat my egter veral weereens beïndruk het, was die ongelooflike tempo waarteen wysies en stemme en woorde met repartee in-mekaar en deur-mekaar vleg, om 'n pragtige klankryke geheel te vorm - sommer so sonder begeleiding, behalwe dié verskaf deur hul eie stemme. .
Reon Meij

STELLENBOSCH UNIVERSITY CHOIR EXCELS

2009-08-25T11:33:00.002+02:00

The Stellenbosch University choir delighted an enthusiastic audience packing the Stilbaai Community Hall on Saturday 22nd August. Their superb singing demonstrated why they are internationally acclaimed and have been invited to represent South Africa at the World Choir Games in China next year.
The students’ response to André van der Merwe, their conductor, was impressive. He obviously has outstanding rapport with his choir, and he interacted warmly with the audience, highlighting aspects of the programme. This was much appreciated, although his rapid speech was indistinct from the back of the hall – and anyone not understanding Afrikaans would have been at a disadvantage.
The complex music chosen must have required intensive preparation. The choir sang from memory and very sensitively, especially in passages with sustained chords; and produced excellent dynamics. The balance between parts was mostly very good – they had obviously been trained to listen to each other. We enjoyed the treble-like quality of the female voices, and the timbre of the basses.
The programme was largely contemporary, except for a Heinrich Schütz setting of Psalm 98 which required cori spezzati – split choir – in this case into four, managed superbly by the choir. They also displayed great skill in coping with the dissonances characteristic of modern music as in the difficult works by the Phillipino composer, John Pamintuan. The juxtaposition of two versions of Ave Maria by contemporary Estonian and Polish composers was interesting.
The programme ended more lightheartedly with two South African volksliedjies, enjoyed by both students and audience, and a traditional Spiritual. Former choir members from the audience joined the choir for the encore.

John & Janet Stonier

Nuusbrief 6 2009 News letter 6

2009-08-06T23:22:00.004+02:00

Die Stellenbosch Universiteitskoor
Vir dié van julle wat julle eerste gesofistikeerde musiektreë onder die leiding van Gawie Cillié, Philip MacLachlan of Johan de Villiers gegee het, is die besoek van die Stellenbosch Universiteitskoor ’n smullekker, opwindende vooruitsig. ’n Uitvoering van een van die wêreld se voorste kore, een wat oor die jare heen ’n internasionale reputasie sonder weerga opgebou het, is ook vir dié wat nie ’n eie emosionele band met die koor het nie, ’n geleentheid wat nie misgeloop mag word nie.

The choir has attained high honors in the past few years.

· In July, 2004, it was adjudged the overall winners in the category “youth choirs” at the World Choral Festival in Bremen, Germany.
· In the same year, it was acclaimed for its performance of Hendrik Hofmeyr’s Sinfonia Africana with the Cape Town Philharmonic Orchestra.
· In 2008 it won first prize in the open category “Musica Sacra” at the fifth World Choral Festival in Graz.
· The choir has made a number of CD’s, all which have been favourably received by music critics.
· Currently the choir has an outreach programme, sharing musical knowledge and experience with children from disadvantaged backgrounds.

Die Koor o.l.v. Andre van der Merwe, tree op Saterdagaand, 22 Augustus, om 19h30 in die Stilbaai Gemeenskapsaal op.

Andre van der Merwe is a conductor and composer. He hails from Durbanville. He is recognized internationally and has been asked to judge choral competitions in a number of countries, most recently in England, Sweden, Germany, Wales, Japan and China.

Hy is tans koorleier van drie kore en is, naas sy koorwerk, ook bekend as regisseur en toneelspeler. In hierdie hoedanigheid het hy reeds verskeie toekennings ontvang.

Kaartjies is beskikbaar by La Donna en Bestuurslede. Ons is oortuig dat almal wat die aand bywoon, elke oomblik sal geniet.

Stilbaai Music Society’s piano initiated at spectacular concert

2009-05-26T09:47:00.004+02:00

The performance by Tertia Visser-Downie (piano) and Philip de Vos (words and song) of their recital “Pictures of the Heart” and “Pictures at an Exhibition” on Sunday 24 May was a red-letter evening for Stilbaai Music Society. The long-desired piano was the third celebrity on the stage, and gave a creditable performance as Visser-Downie put it through very spirited paces.

“Pictures of the Heart,” de Vos’s funny, sad, clever, evocative poems and songs, set to music by Albie Louw and accompanied by Visser-Downie, constituted the first part of the programme. Both artists performed with charm and aplomb, and Albie Louw’s melodious score reflected the mood and theme of each verse.

Louise had compiled informative programme notes on Moussorgsky and the original piano composition of “Pictures at an Exhibition.” This mood-capturing version, surprisingly modern in sound, is very seldom performed and it was a treat to hear the technically and physically demanding work played by an accomplished, sensitive pianist. Much of it, said Visser-Downie, is scored fff, and fortunately the new piano stood up to the pounding. De Vos’s little verses, in English and Afrikaans, with which he introduced each picture, captured the atmosphere and even the rhythm of the pieces. While they may have disturbed purists, many of us found the interruptions and personal interpretation actually focused attention and enhanced appreciation. Altogether it was an exciting performance, and much appreciated.

J. & J. Stonier 25 May 2009

2009-05-25T14:32:00.010+02:00

Modeste Mussorgsky produced his Pictures at an Exhibition in memory of a close friend, Victor Hartmann, who died in 1874, aged only 39. In 1875 an exhibition was held of Hartmann works. Mussorgsky was so deeply moved that he wrote a suite of piano pieces depicting 10 of Hartman's pictures. These include: The Gnome, Children playing in a park, a Chicken ballet, The Catacombs, the House of the witch Baba Jaga, and the Gate of Kiev. Mussorgsky clearly chose these pictures because of the different moods they invoked, which in turn gave rise to a wide and varied musical expression.
The pictures are woven together by a “promenade” theme which forms a bridge between the ever changing moods of the pictures. By alternating 6/4 and 5/4 time, the regular metric “walking” pace is thrown off-balance and cleverly suggests the hesitant gait of an art-lover strolling through a museum.
Listening to the work, one imagines grand imposing pictures of exquisite delicacy and blazing glory. In fact the graphics are modest, conventional and barely remarkable. The drawing of the chicks shows two dancers stiffly modeling plain ballet costumes of egg-shells topped with a few feathers. The witch's hut is merely an ornate clock. Even the Kiev Gate, subject of the towering finale, is but a brick archway decorated with wrought iron, tiles and stained glass.

Alcoholism and severe depression cut short Mussorgsky's life. Fame came only after his early death at age 42, when well-meaning admirers indulgently undertook to edit his operas in order to correct what they thought to be artistic flaws, lapses of inspiration and overall carelessness. Only in more recent times have the originals been revived to display their frank elemental power.
The Pictures at an Exhibition met a similar fate. The score remained unpublished until 1886, five years after Mussorgsky's death. But then, almost immediately, something quite extraordinary happened – while the original version was largely ignored by pianists, over two dozen composers felt compelled to orchestrate it, by far the most famous was by Maurice Ravel. The potent combination of Mussorgsky's varied moods and Ravel's vibrant orchestration have made their Pictures hugely popular with both critics and audiences
The piano version suddenly became popular again when Sviatoslav Richter performed the piece in Sofia, Bulgaria in 1958. Intense, full of nuance, supremely poised and Russian to the core, Richter's masterful performance fully vindicated Mussorgsky's work as a masterpiece in its own right.
(Abbr. from Classical Notes: Modeste Mussorgsky, Pictures at an Exhibition by Peter Gutmann, 2002) Researched on May 15, 2009

Nuusbrief 4 2009

2009-05-25T08:59:00.014+02:00

Die klavier is hier !! Voortaan sal ons dit in die NG Kerksaal-Oos vir konserte aanwend. Baie dankie aan almal wat ons in hierdie grootse poging om 'n goeie instrument te bekom, gehelp en ondersteun het.

Die klavier word op 24 Mei ingewy met "Prente by ’n Uitstalling" van Moussorgski. Tersia Visser-Downie is die pianiste en sy word bygestaan deur Philip de Vos wie spesiaal tekste geskryf het om Moussorgski se toondigte te begelei. Hy lees sy verse tussen elke klavier-beweging van hierdie interessante en briljante klavierwerk. Die 10 toonverse sluit in: Kuikenballet, Die Ou Kasteel, Katakombes, Die Heks Baba-Jaga, en Skinderbekke Die produksie is beide liries en humoristies en is ’n uitstekende kombinasie van woordkuns en klassieke musiek.

Goeie nuus - Cutt Glass is gefinaliseer vir 23 September. Teken dit sommer noual aan!

Concert: Megan Geoffrey Prins

2009-05-06T16:38:00.010+02:00

On Saturday 18 April 2009 an appreciative audience was treated to a worthwhile evening of music as Megan Geoffrey Prins, second-year student from the University of Stellenbosch, impressed us with his exhilarating piano playing.

The performance opened with one of Rachmaninov’s seven Musical Moments (No 4) – a dramatic and demanding piece, particularly for the left hand. It has a symphonic quality to it and the explosive nature of the piece clearly required the resonance of a concert grand piano. Prins displayed incredible dexterity in this and all the items in the programme, particularly in A. Volodos’s Concert Transcription of the well-known Mozart Rondo alla turka. The standing ovation that Prins received at the end at the end of the programme elicited another of Volodos’s transcriptions – Mendelssohn’s famous Wedding March from Midsummer Nights’ Dream – an equally demanding and exhilarating performance.

Other works requiring great dexterity included Liszt’s Transcendental Etude No 10. Liszt was himself a virtuosic pianist of tremendous power and while listening to the fortissimo sound produced by Prins, I pictured the apocryphal image of the piano strings snapping because of the percussive nature of Liszt’s own playing!

The highlight of the evening for me was Prins’s rendition of Beethoven’s much loved and accessible Piano Sonata, Op 57 often referred to as the Appassionata Sonata. Having exemplified his skill and dexterity in the other works he played, it was good to hear Prins display some delicacy of touch which hinted at his burgeoning musicality which most of the other works did not really allow for. There seems little doubt that with a continued commitment to music, and with maturity, he has the potential to become a noteworthy figure in the competitive world of concert pianists.

Dougie Yasbek, tenor, and Bettie Niehaus accompanist entertained the audience with a series of popular songs that provided a different dimension to the evening. Yasbek’s easy stage presence, attractive voice timbre and excellent control were especially pleasing attributes.

John Stonier 21 April 2009

2009-03-31T18:53:00.001+02:00

Gehalte Jazz in Stilbaai
Die drie-en-tagtig-jarige pianis, Albie Louw, het lede van die Stilbaai Musiekvereniging Sondagaand 15 Maart in vervoering gehad met ....jazz! Nie soseer deur wat hy te sê gehad het oor waar jazz vandaan kom nie, maar die manier waarop sy ratse vingers self die storie van jazz vertel het. En veral die meesterlike wyse waarop hy, soos die aand aanstap, al meer en meer een geword het met Mike en Louise Steytler se vleuelklavier. In die begin was Dave Brubeck se bekende Take Five ietwat stamelend, maar mettertyd het hy vlam gevat met sy vermaaklike variasies alá verskillende komponiste en pianiste op Words en teen die einde het hy met sy keurspelle uit My Fair Lady, Sound of Music en West Side Story die gehoor in die holte van sy twee ratse hande gehad. Ook besonders was sy vertolking van twee van sy eie komposisies. ‘n Hoogtepunt was egter toe hy en Dougie Yazbek spontaan Anemacoré en The Bells are Ringing uitgevoer het. So professioneel dat ‘n mens net nie kon glo dat die twee nog nooit saam gerepeteer het nie! Voorwaar ‘n besonderse aand!

Nuusbrief 2 2009

2009-03-04T23:06:00.009+02:00

Albie Louw kom kuier

Albie se laaste besoek was besonder gewild en die Bestuur het besluit om hom te vra om ons lede wat nie spesifiek met Jazz bekend is nie, daaraan voor te stel. Albie het aanvanklik alles op gehoor gespeel, maar sy suster het hom leer musiek lees. Van St 2 – 10 kry hy formeel les in klassieke musiek, en lê reeds in st. 8 sy finaal af. Hy is sy lewe lank betrokke by ligte musiek, volksliedjies, klassieke musiek – ook boeremusiek, as lid van Oom Pietie se Orkes. Hy was, is en bly ‘n passievolle en begaafde pianis.

Hy praat en speel ondermeer met ons aan die hand van die volgende temas

· Hoe jazz in die VSA ontstaan het
· Hoe dit gewild geword het
· Watter basiese instrumente gewoonlik aangewend is
· Die invloed van jazz op moderne klassieke musiek
· Die invloed van jazz op Suid-Afrikaanse ligte musiek
· Die ritmiese patrone van jazz.

Klavier: Die SMV het so pas met die NG Kerk onderhandel met die oog daarop om vir Kerksaal-Oos ‘n klavier te bekom wat geskik is vir gebruik deur ‘n konsertpianis. Ons kunstenaars het al by herhaling vir ons gesê dat die saal se akoestiek uiters geskik is vir klein ensembles, en, tensy die betrokke konsert ‘n groot gehoor gaan trek, beoog ons om die meeste van ons konserte voortaan daar te hou.

‘n Groepie van ons het 'n klavier, ('n Bluchner, gemaak in 1952 in Oos-Duitsland) gaan besigtig in Humansdorp en ons adviseur, die stemmer Leon van Wyk, het die instrument fyn deurgegaan, sy voorgeskiedenis op die internet nagegaan, en vir ons oor prys geadviseer. Ons vertrou dat u, die lede, jare lank genot sal put uit uitvoerings op die instrument.

Programme 2009: Please note that the programme has been amended and some concert dates have been changed.

Nuusbrief 1 2009

2009-02-10T20:31:00.007+02:00

Die nuwe jaar is reeds in volle gang. Die program van die Musiek-vereniging begin eersdaags met ‘n gefluit en vandaar af stu dit onverpoosd musikaal voort.

Op komende Sondag, 15 Februarie, is daar ‘n illustrasie van, en uitvoering op ‘n penniefluitjie met die oog op musiekopleiding. Ons hoop om beide skole die volgende dag daarby te betrek.

In March the well known pianist, Albie Louw is presenting a programme introducing jazz to our members. His last appearance here was extremely popular and since space is limited, members are encouraged to reserve seats.

Membership Dues: Members are reminded that membership fees are now payable. The fee is R100 per member.

The Program for 2009 is now available. As you can see this surely is a programme not to be missed. Members are reminded that they get priority if demand for tickets is high. Furthermore, except in exceptional circumstances, members do not pay to attend the appreciation evenings.

2009

2009-01-15T14:41:00.002+02:00

Goeie wense aan al ons Musiekvereniging lede. Mag 2009 vir julle 'n besondere jaar wees vol verrassings en vreugdes en vrede.

Our best wishes to all our Music Society members. May your 2009 be a special year filled with joy and peace.

Ons is tans besig om die Jaarprogram vir 2009 saam te stel en ons hoop om weer 'n groep uitstaande kunstenaars Stilbaai toe te lok. Soos in die verlede poog ons om in die musieksmaak van al ons lede te voorsien. Hou dus ons blog dop vir die Program of maak 'n draai by La Donna waar die Jaarprogram binnekort aangebring sal word.

Drakensberg Boys Choir Concert

2008-12-05T19:43:00.010+02:00

This was probably the most spectacular evening of music that the Stilbaai Music Society has mounted since its inception. An appreciative audience packed the Community Hall to enjoy the music presented by a magnificent choir and it was no surprise that its performance was greeted with acclamation and a final spontaneous, well deserved and extended standing ovation.

Since its founding in 1967 the choir has developed an international standing and this became apparent the moment 100+ talented singers opened their programme in the most moving way: the hall was in darkness, recorded pealing bells sounded and the choir entered from the back, each boy carrying a lighted candle and singing the well-known Processional Carol Once in Royal David’s City with its thrilling descant in the last verse. Thus began an imaginative, highly professional and charming presentation of the choral achievements of these boys.

What was impressive was the extraordinary scope of the works that the choir handled so effortlessly. It ranged from a 16th Century carol sung in Latin a cappella (unaccompanied) through great choruses from Handel’s Messiah, to difficult modern compositions by minimalists John Tavener and Arvo Pärt, as well as contemporary African carols and a Gospel-style arrangement of Save the Children

The choir members knew every piece by heart so there was no distraction from their concentration on what the conductor required. The unobtrusive conducting and control by Johann van der Sandt was masterly. While the original choir had been made up of trebles only, more recently it has retained those boys whose voices have started to shift from treble to lower registers – alto, tenor or baritone. This has allowed for the use of a far greater range of music and harmony. The balance between the parts was effective, the diction clear and a particular feature was the boys’ ability to sustain their notes in chords and musical lines where unusual and testing dissonances featured. It was clear that the boys thoroughly enjoy their singing and participate fully in the presentations that involve body movements. Of special note was Dream a Dream in which the choir separated into groups that moved into various positions throughout the hall, continuing to sing but without missing a beat or sliding off key – a remarkable achievement.

The evening was brought to an end with the hall plunged in darkness and the boys slowly lighting candles one from another, creating a warm glow. Then the choir sang a special arrangement of Silent Night with tuned tinkling bells playing the melody and providing a Christmassy atmosphere.

All that remains is to congratulate firstly the Drakensberg Boys’ Choir, the School and all those associated with it on creating a musical heritage of which all South Africans can be proud, secondly the Stilbaai Music Society for taking the initiative to provide a most memorable evening of music, and thirdly the Stilbaai commercial and residential community for generously hosting the boys and their teachers.

John Stonier26 November 2008.

Nuusbrief 12 2008

2008-11-30T07:38:00.005+02:00

Kersseisoen: Stilbaai Desember 2008

Ons staan aan die vooraand van daardie tyd wanneer die permanente Stilbaaibewoners plegtig vir mekaar tot siens sê, want sien: die kinders kom – en die kinders se kinders. En daar is immers niks lekkerder vir ‘n ouma as kleinkinders nie. Veral omdat jy weet jy kan die goedjies teruggee vir hulle ma’s as hulle te lastig word.

Then, in January, we say hello again and go on with our privileged lives. This year, however, before that happens, the Stilbaai Music Society has arranged a special treat - the Drakensberg Boys’ Choir.

Die Drakies kom doen hulle tradisionele Kersprogram in Kaapstad gedurende die Kersseisoen. In hulle reklame-brosjure lees ons iets van waarna ons kan uitsien:

"Noël 2008 promises to bring an exciting array of festive music. Our new Music Director, Dr. Johann van der Sandt will be conducting this exciting mixed repertoire, bringing a message of good faith to the Advent and Christmas Period. Featuring Arvo Pärt's Bogoroditse Djevo, extracts from GF Händel’s Messiah, Barry Manilow’s Because it’s Christmas as well as Save the Children.

‘n Kenmerk is dat die koor deurlopend lede werf. Seuns met goeie stemme wat nog nie gebreek het nie, kan na die uitvoering ‘n stemtoets doen met die oog op opname in die koor. Die skool kom – al 102 seuns asook ‘n ondersteunende personeel wat die toergroep op 113 te staan bring. En ons huisves hulle vir twee dae. Die Bestuur kon aan geen beter Kersgeskenk aan sy lede en die breë gemeenskap van Hessequa dink as om hierdie geleentheid te benut nie. Hulle koormeester, Dr. Johan van der Sandt, is natuurlik aan Stilbaaiers bekend – dis hy wat ‘n paar jaar gelede “Singkronies” (‘n koor van volwassenes) - hierheen gebring het en die aand ‘n skitterende uitvoering gelewer het.

Om teleurstelling te voorkom, koop u kaartjies vooruit.

Duo Paganini Concert: Stilbaai, 15 October 2008

2008-10-20T12:40:00.002+02:00

Congratulations to the Stilbaai Music Society for mounting an evening of wonderful music by two superb but modest and charming guests: Ian van Rensburg, violin and Søren Bodker Madsen, classical guitar - both highly trained and acknowledged masters of their instruments.

The varied programme enabled the audience to enjoy the musical artistry of the outstanding ensemble Duo Paganini – named after one of the greatest violin virtuosi of all time, Niccolò Paganini (1782 – 1840). South African born Ian van Rensburg and Danish born Søren Bodker Madsen have been playing together for ten years and the sympathetic and sensitive response of one to the other was clearly evident.

The programme opened with a Sonata for Violin and Guitar by Venetian composer Tomaso Albinoni (1671-1751) with attractive melodic lines that must have featured in many chamber music contexts at the time and subsequently. This was followed by two Centoni Sonatas (meaning ‘a medley of tunes’) for Violin and Guitar by Paganini who, renowned for his own performing skill on the violin, composed music that only he and very few of his contemporaries could manage! However, the use of Paganini’s special techniques was made to look so easy by the skilful and musical Duo Paganini. A dramatic change of atmosphere followed with a ballad for Guitar composed and played by Søren Bodker Madsen. Its twentieth-century atmosphere was apparent and I had the feeling that it could best be described as a beautiful ‘Song without Words’.

The second half of the recital opened with a work by the contemporary Argentinean composer Astor Piazzolla (1921- ) – an exciting, vibrant tango incorporating an appealing theme. This was followed by two characteristic Spanish Dances by composer/violinist Pablo de Sarasate (1844-1908). The recital ended with a ‘fun’ piece entitled ‘Banjo and Fiddle’ by the American William Kroll (1901-1980).

The two artists were rewarded with a well deserved standing ovation.

John Stonier

Nuusbrief 10/2008 Newsletter

2008-10-07T14:08:00.005+02:00

Duo Paganini, die uitstaande viool- en kitaar-ensemble vanuit Denemarke tree op Woensdag 15 Oktober om 17:30 in die NG Kerksaal-Oos in Stilbaai op. Ian van Rensburg (viool) en Soren Bodker Madsen (kitaar) het vir hulle naam gemaak in die buiteland, en hulle word telkens deur musiekkritici met hoë lof begroet.

From their CD, Duo Paganini, I got the following interesting info: The combination of violin and guitar is somewhat unusual in concert circles. Nicolo Paganini was the first to take this partnership seriously and bring it to the concert halls. Paganini (1782-1840) was an almost self-taught virtuoso and artistic personality from Italy who created an enormous stir with his wonderful tones and new string effects. He also composed a number of works for guitar and violin.

The concert master of the Aarhus Symphony Orchestra in Denmark, Ian van Rensburg, and the guitarist Soren Bodker Madsen, formed Duo Paganini in 1998. Both were trained in Vienna, and Ian van Rensburg has also studied at the Julliard School of Music in New York. Since 1998 they have built-up an extensive concert repertoire which stretches from early baroque to contemporary music.

Their programme for the 15th of October is diverse and promises to have something for everyone.

Drakensberg Boys Choir

We are delighted that this renowned choir will be performing in Stilbaai on 25 November and we urge you to diarise this date. The full choir of 105 boys will be performing. We are very fortunate that the Hessequa Municipality offered the Ellensrust Caravan Park for their accommodation for the period of their stay. Our grateful thanks go to the Mayor, Mr Chris Taute and to the Municipal Manager, Mr Johan Jacobs for this kind offer.

31 Augustus Musiekwaardering

2008-09-19T19:50:00.011+02:00

The Dancing Ladies – Langeberg, Hessequa

Renee Rust gesels oor Boesmandans, -trans en -rotskuns

2008-09-19T19:50:00.005+02:00

Soos in ‘n trans luister-en-kyk ons almal die aand van 31 Augustus na Renee Rust. Sy neem ons as’t ware op toer deur ‘n aangrypende wêreld van San mitologie, rotskuns, musiek, trans en dans. Die goed is alles met mekaar verweef in die geestewêreld van die San: die één kan nie sonder die ànder nie.
Musiek en dans is die media wat die San help oorgaan na ‘n staat van trans waartydens hulle die geesteswêreld betree. Soms glip hul in dié wêreld in deur ‘n denkbeeldige opening ‘n rots of swem hul deur ‘n poel water. Daarna vlieg hul tot by ‘n plek waar hulle insigte kry oor siekte, dood, droogte, reën ens. Wanneer hulle terugkeer is hulle in staat om allerhande positiewe dinge te doen soos reën maak of siekes genees. Soos die trans verdiep sien hulle progressief al meer-en-meer fantastiese vorms en beelde. Dit is veral hierdie beelde en vorms wat later as hulle weer by hul volle positiewe is, uitgebeeld word in kunswerke op rots.
Die meeste van ons het die aand geweldig geniet en baie leersaam gevind, al het ‘n paar van ons agterna gekla dat ons eintlik ‘n bietjie meer Boesmanmusiek sou wou gehoor het.

Reon Meij

Appassionata - die toneelstuk

2008-09-19T19:50:00.003+02:00

Die produksie Appassionata het mens met verskeie weerspekende gevoelens gelaat: Een: dêmmit maar die Tertia kan wragtag klavier speel! Twee: Beethoven is darem ‘n absolute meester! Drie: alhoewel die toneelgedeelte nie in dieselfde ‘klas” as die klavierspel was nie, was die teks slim genoeg om die kyker darem te laat meeleef en identifiseer. Vier: ‘n mens bewonder Tertia Downie se veelsydigheid, maar sy bly darem eerstens ‘n uitnemende pianis en daarna wel ‘n bekwame toneelspeler! Johan Nel se spel was onberispelik en ‘n mens sê veral dankie vir sy suiwere artikulasie en moeitelose projeksie in ‘n saal waarvan die akoestiek soms party woorde van minder ervare akteurs maklik insluk. Neil Rademann, as jong regisseur, het hom uitstekend van sy taak gekwyt. Vol punte vir die innovasie om die akteurs deur ‘n teaterkleedkamerspieël met die gehoor te laat praat.
Dis ‘n produksie wat my soms kokend, soms warm, soms lou maar nooit koud gelaat het nie.
Amanda Meij

Presentation of Appassionato on Friday 12 September 2008

2008-09-18T12:10:00.007+02:00

Stilbaai Music Society needs to be applauded once again for mounting another successful public concert.

The concert opened with the playing of the Piano Sonata in F minor, No 23, Op. 57 by Beethoven – nicknamed ‘Appassionato’. The pianist on this occasion – Tertia Downie – gave the audience a commanding performance of one of Beethoven’s most complex and demanding piano works. It is worth noting the following:
¨ The name ‘Appassionato’ was not given to the work by Beethoven himself, but by his publisher and it certainly is regarded as appropriate.
¨ Beethoven was himself a virtuosic pianist and wrote 32 sonatas for the piano mostly for his own concert performances.
¨ Beethoven is a key figure in straddling the music of the Classical and Romantic eras – the characteristic feature of the latter being that the composer sets out to express his/her own emotions and feelings. There is therefore a shift from the more formal structures of the Classical era to music that is coloured by personal emotions ranging from anger and rage through struggle or melancholy, to delight and calm pensiveness.
¨ This shift referred to was certainly highlighted in Tertia Downie’s performance of the Piano Sonata No 23 with its powerful dissonances evoking dark and enigmatic feelings – certainly in the 1st movement. The 2nd movement had far less intensity and provided the listener with attractive lyricism before moving into a savage, impassioned 3rd movement. Beethoven – as do all composers of the Romantic era – leaves the listener to decide what emotions are evoked, which implies that there does not need to be one “correct” interpretation of such a work.

John Stonier

Appassionata Uitvoering

2008-09-18T12:10:00.003+02:00

Tertia Downie speel die Sonata in F min. no 23, Op 57 van Beethoven

Critique

2008-09-05T20:34:00.000+02:00

Götzis Male Voice Choir from Austria 4th August 2008

A large audience gave this visiting choir of 45 members an enthusiastic welcome in the Community Hall on Monday last. The choir hails from the Voralberg region and was founded in 1900. The programme was divided into two sections – with more serious works during the first half and popular items after interval. It was good to listen to a cappella (unaccompanied) singing by an ensemble of men with an impressive range of voices from deep resonant basso profundo to the lightest of lyrical tenors. The audience was treated to wholesome sounds and much energetic singing. This was particularly evident during the second half with works from Franz Lehar’s operetta The Merry Widow, a Negro Spiritual – Steal Away, ending with a selection of traditional African songs of which the arrangement of N’kosi Sikelel’ iAfrika was noteworthy with its background of an effective drone and evocative animal sound effects reminiscent of the African wild.
In the end it is the enjoyment or otherwise of the audience that matters most and judging by the rapt attention and spontaneous applause the concert obviously gave immense pleasure. Our thanks to the Stilbaai Music Society for taking the trouble to mount yet another evening of worthwhile live music.

John Stonier

Nuusbrief 9/08 Newsletter

2008-09-05T10:07:00.000+02:00

Music lovers can look forward to Appassionata: This acclaimed play was written by Pieter-Dirk Uys for his sister Tessa Uys who was a pianist of note. It was received with great enthusiasm by fans and critics alike at the KKNK. Don’t miss this performance. Remember the date: Friday 12th of September at 19h00 in the Community Hall in Stilbaai. Please note that the tickets are R60 for non-members and R40 for members of the Society.

In ‘n resensie wat tydens die KKNK verskyn het lees ons:

"Dis ongelooflik dat só ’n goeie pianis só kan toneelspeel ook,” is Esther Kotzé (59) van Johannesburg se reaksie op Tersia Downie se spel in Appassionata. Dit is die nodige kombinasie van dié talente wat Niël Rademan, die regisseur van die stuk, se soektog na sy hoofrolspeler bemoeilik het. Uiteindelik is die pianis Tertia Downie, wat haarself as “amptelik ’n begeleidster” beskryf, die hoofrol van die diva Maria Rousseau aangebied. Sy was as student op Stellenbosch by die dramadepartement se kabarette betrokke, maar dit is haar eerste keer op die verhoog as professionele aktrise. In die rol van Maria se man, Dawid, is Johann Nel, wat vroeër vanjaar ’n Fleur du Cap-toekenning vir sy rol in Festen ontvang het. Rademan beskryf hom as “ ’n wonderlike, betroubare en uitstekende akteur wat Tertia besonder goed lei”.
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