Pianist Pieter Jacobs an outstanding performer!

Die gehoor was in ekstase met hierdie pianis, wat sy doktorsgraad by Yale Universiteit ontvang het, se uitstaande vertoning! Daar word tereg na hom in artikels verwys as “manjefiek”. Om ‘n program van hierdie omvang en uiteenlopende styltydperke sonder bladmusiek te doen, is beslis ‘n groot prestasie!

The concert opened with the Beethoven Sonata no 17 in D minor, “Tempest”, which may refer to the work of Shakespeare by the same name.  In the first movement, Largo, almost tragic, he successfully captured the passionate character with impressive dynamic contrasts. Then followed a sweet and soothing interpretation of the Adagio. The third movement, Allegro with its recurring theme, was perfectly handled on different alternating sound levels!

Hierop volg Brahms : Rhapsodie Op 79. ’n Rhapsodie is ‘n intense, soms ekstatiese genre en vereis n improvisatoriese benadering wat die hele omvang van die klavier behels. Hiermee het die pianis uitstekend geslaag en veral die uitdagende tegniese lopies in No 1, gemerk Agitato, wat gejaagd beteken, verdien vermelding!

No.2 het gesorg vir ‘n totale kontras, baie passievol met perfekte tydberekening in die komplekse ritmiese raamwerk.

After a short break, the audience was transported to a fantasy world with a dreamy performance of Debussy’s Balade. In this piece, composed in 1890, Pieter created a colourful, romantic free-flowing feeling in total contrast to the preceding works. With the energy of Schuman’s Arabesque with its highly decorative, semi-improvised runs, he once again displayed masterful technical skill that flowed comfortably between “light” and “gloomy”.

Laaste op die program was die transkripsie van die ”Chaconne” van Bach se partita vir solo-viool. In hierdie indrukwekkende werk is die kuns om ‘n volmaakte balans te vind tussen die uitbeelding van die soloviool en die gewigtige klavierharmonieё, wat byna die idee skep van ‘n multi-orkes, met ‘n herhalende baslyn. Pieter Jacobs het puik daarin geslaag !

Hy is beloon met ‘n luide staande applous en het die gehoor ten laaste bederf met die geliefde Valse, Op. 64 no 2 van Chopin.

Petro Botha

UBUNTU BRASS QUINTET. 24 April 2026 Wat n belewenis!

Hierdie ensemble geniet dit beslis om saam musiek te maak en hulle entoesiasme was aansteeklik!

Die program het luidkeels afgeskop met die bekende en geliefde Trumpet Voluntary, waarna die kalmer Pachelbel Canon gevolg het met ‘n baie interressante verwerking deur Walter Barnes. Die werk vra vir uitdagende asembeheer, wat uitstekend hanteer is en gesorg het vir ‘n baie ritmiese klimaks! Die groep se intonasie en suksesvolle samespel het beĭndruk!

Handle’s beloved Largo was performed almost tenderly, creating excellent dynamic differences that demonstrated good control on a brass instrument. The exuberant Hallelujah Chorus by Mozart, deserves mention - the interweaving of the melody between instruments was carried out with great care, as it was originally written as choral music and great differences in dynamics are required.

Daarop het die Locus Iste, ook ‘n koorverwerking, gevolg, waar die sagter dele uiters begaafd uitgevoer is met perfekte spoed, tydsberekening en frasering. Die skuiftrompet het ‘n musikale toertjie volvoer in My Heart ever Faithful!

Die 2 mars-agtige werke van Bizet, Farandole en Toreadore was voorwaar feestelik en energiek, terwyl Just a Closer Walk gewys het dat koperinstrumente ook nostalgiese/deernisvolle oomblikke kan optower.

A very touching, humorous Frere Jacques arrangement followed, leaving the concertgoer with a smile over a melody from everyone’s youth! Amazing Grace really touched the heartstrings, where the melody was successfully woven between the “voices”, with the stalwart tuba carrying everyone as if in a safety net.

‘n Baie treffende, humoristiese, Frere Jacques- verwerking het gevolg, wat die konsertganger met ‘n glimlag gelaat het met ‘n melodie uit almal se jeug!

Die gehoor was op hul voete toe die “encore” ons aangryp met die massiewe klank van die “Highland Cathedral” en ‘n bekende Stilbaaier (en lid van die musiekvereniging) Jimmy, instap met sy doedelsak! Dit was ‘n groot bederf en is ontvang met waarderende entoesiasme!

Kortom – n heerlike suksesvolle aand wat almal met n warm gevoel om die hart gelaat het.

Petro

 

Gustavo Romero betower!

 

Breathtaking! That's how concert pianist Gustavo Romero's concert on March 13 was described.

His programme was ushered in with three Russian composers who were themselves outstanding pianists in their day – as highlighted by Romero. 

Eerste aan die beurt was Rêve Angélique (Angélique se droom) van Rubinstein, wat hy met die warm linkerhand-melodie en vloeiende regterhand byna teer soos water laat opbou het tot ’n klimaks.

Hierna volg die sangerige Canzona Serenata van Nikolai Medtner, treurig en vol emosie.

Dit word afgesluit met die baie ritmiese, uitbundige, moderne klanke van Prokofiev se Danza Op. 32 no.1.

Die Rachmaninof-variasies op ’n tema van Chopin Op. 22 was absoluut briljant! Romero het die verskillende genres en style van die variasies skitterend vertolk en dinamies gevleg deur die style en periodes, wat Rachmaninof baie slim verwerk het. Daar bestaan baie opnames van hierdie werk, maar dit was beslis die beste wat ek al gehoor het.

Die Scriabin-preludes is uitgevoer met akademiese presiesheid, perfekte tempo en tydsberekening.

Die Firebird-suite van Stravinsky was soos vuurwerke – tegnies uitdagend en kragtig met stylvolle afwisseling tussen uitbarstings en kalmte. Dit was deurgaans uiters boeiend tot by die Finale.

Romero's astonishing musical and emotional colouring led to a spontaneous standing ovation by the appreciative audience. As an encore, he treated us to the lesser-known Enchanted Nymph from Levitzki.

What really impressed was that he performed the whole concert without any sheet music and with intense focus and concentration. 

What an exceptional artist!

-       Petro Botha

 

Breathtaking! That's how concert pianist Gustavo Romero's concert on March 13 was described.

His programme was ushered in with three Russian composers who were themselves outstanding pianists in their day – as highlighted by Romero. These were Rêve Angélique (Angélique's dream) by Rubinstein, the Canzona Serenata by Nikolai Medtner, and Prokofiev's Danza Op. 32 no.1.

The Rachmaninov Variations on a theme from Chopin Op. 22 were absolutely brilliant! The Scriabin preludes were performed with academic precision, perfect pacing, and timing.  And Stravinsky's Firebird suite was like fireworks .

Romero's astonishing musical and emotional colouring led to a spontaneous standing ovation by the appreciative audience. As an encore, he treated us to the lesser-known Enchanted Nymph from Levitzki.

Musical Moments 22 Jan 2026

• 'Musical Moments'   het die konsertjaar van die Musiekvereniging ingelui.

Trio met Niёl Rademan, Bariton & akkordion, Zanne Stapelberg, Sopraan en Elna van der Merwe by die klavier.

Dié Trio het die gehoor vermaak met gunstelinge uit 'n verskeidenheid 'Musicals' oud en nuut. Die program het al die regte elemente bevat om ou herinneringe by elkeen in die gehoor op te roep

Most of us have fond memories of The Sound of Music and the My Fair Lady hit

'I could have danced all night' and Zanne's interpretation succeeded in taking us back to all we experienced at that time, while Niel's heartfelt interpretation of Sunrise Sunset from The Fiddler on the Roof, skilfully accompanying himself on the accordion, was easily one of the highlights of the evening.

Elna van der Merwe se uitmuntende, vaardige klavierbegeleiding was die goue draad wat die program tot 'n eenheid saamgebind het. Alhoewel nie altyd op die voorgrond nie, het sy met haar soepel lopies en dinamiese interpretasie, presies die regte ondersteuning aan die sangers gebied en daarin geslaag om die dramatiese uitbeelding deur die sangers, te verskerp. Haar bydrae het grootliks bygedra tot die sukses van die aand.

The special piano arrangement of 'Can you feel the love tonight', which was performed with thoughtful emotion, deserves to be mentioned.

'Over the rainbow', performed by Zanne with great passion touched the heartstrings - despite her sporadic note uncertainty. Her rendition of the song was made especially poignant with her very comfortable and natural interaction with the youngest member of the audience.

Twee duette wat uitgestaan was 'Phantom of the opera' en 'Come what may'.

Die duet 'Love changes everything' was 'n baie gepaste afsluiting vir die aand en het die gehoor entoesiasties op hul voete gehad!

Gewis nie net die trio se gunstelinge uit die musiekblyspele nie, maar ons almal s'n! 

 

Prente by n Uitstalling Moussorgsky 10 Oktober 2025

                                              Philip de Vos & Tertia Visser-Downie

Die konsertjaar van die Stilbaai Musiekvereniging het behoorlik op 'n hoё noot afgesluit met hierdie prettige uitvoering van Schuman en Mussorgsky.

Die konsert is ingelei met Robert Schuman se werk 'Scenes from my childhood'
(Op.15). Dit is 'n werk vir soloklavier bestaande uit 13 dele wat verskillende herinneringe uit die komponis se kinderjare uitbeeld en wissel van vrolike emosies tot hartseer oomblikke.

Dit was puik vertolk deur die bekende en begaafde pianis Tertia Visser.

The music was illustrated by lyricist Philip de Vos' own quirky rhymes, which he recited between movements. These rhymes describe poignant and sometimes humorous memories.

The second part of the evening's program was "pictures at an Exhibition" by Modest
Mussorgsky: A Suite for Piano, consisting of ten movements. The recurring "promenade theme" varies to suit the "painting" in question. The pictures - of widely varying subjects - offer the pianist the opportunity for diverse musical interpretation!

Hierdie 10 klavierdele, baie uiteenlopend, dramaties en tegnies uitdagend, is puik en met groot gemak, deur Tertia Visser uitgevoer. Sy het daarin geslaag om met haar uitstekende vertolking van al die verskillende 'kleure', die betrokke prent se storie treffend uit te beeld.

The composition was created in 1874 and completed in just 3 weeks. It was inspired by an exhibition of Mussorgsky's then friend, the artist Victor Hartman. The fact that some of the paintings no longer exist, adds an element of mystery to this dramatic work. 

Die meester wat toor met  woorde, Philip de Vos, bekoor met sy soms baie komiese uitbeeldings en woordspel – 'n genotvolle begeleiding deur die uitstalling vir die luisteraar. Die groot waarde lê daarin dat die musiek, wat eintlik baie abstrak is, deur Philip se oё nuwe lewe en betekenis kry en vir die luisteraar meer toeganklik raak. 

After the great success of "Carnival of the Animals" , which resonated with audiences in Europe and the USA, Philip, for his 70th birthday, wrote accompanying verses for this brilliant piano work by Mussorgsky. Philip read each picture's verse just before Tertia played the movement. The result was lyrical and humorous - an excellent combination of the art of the word and classical music!  The whole performance was furthermore supported by a beautiful power point presentation of the paintings themselves - put together by one of our members.  It definitely added to the enjoyment and appreciation of the whole experience. 

Dit was 'n baie spesiale aand wat die gehoor met 'n glimlag op die gesig en groot applous op hul voete gehad het!