{"id":105333,"date":"2022-10-17T10:59:16","date_gmt":"2022-10-17T08:59:16","guid":{"rendered":"https:\/\/woordfees.co.za\/uncategorized\/klassieke-musiek-oorsig-1\/"},"modified":"2022-10-17T10:59:16","modified_gmt":"2022-10-17T08:59:16","slug":"klassieke-musiek-oorsig-1","status":"publish","type":"post","link":"https:\/\/woordfees.co.za\/en\/classical-music\/klassieke-musiek-oorsig-1\/","title":{"rendered":"Klassieke musiek: Oorsig 1"},"content":{"rendered":"\t\t
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OORSIG<\/h6>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Klassieke smorgasbord bied iets vir elke smaak\n<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Willem Bester<\/b>
Foto’s: Llewellyn de Wet<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Ouverture<\/b><\/p>

Endlersaal<\/b><\/p>

In <\/span>Handel at Home <\/span><\/i>het Erik Dippenaar, artistieke hoof van die Cape Town Baroque Orchestra, \u2019n program van kleiner werke deur G.F. Handel (1685\u20131759) gelei. Vir baie mense sal di\u00e9 komponis hoofsaaklik bekend wees vir sy veel groter operas en oratoria \u2013 veral <\/span>Die<\/span><\/i> Messias<\/span><\/i>, wat gereeld plaaslik uitgevoer word. Dippenaar het kortliks die agtergrond van die vokale musiek in die program geskets: hoe, tydens Handel se studiejare in Rome, opera tydelik verbied is, maar sulke kleiner werke\u00a0 toegelaat is \u2013 as\u00a0\u2019t ware vir \u201ctuisgebruik\u201d. Omdat komponiste van die tyd ook dikwels onder groot tyddruk moes komponeer, was dit ook praktyk om musiekmateriaal te herbruik. Dit was daarom pret om kiemvorms van bekende koordele uit <\/span>Die Messias<\/span><\/i> in die program te herken.<\/span><\/p>

Die soprane Lynelle Kenned en Hlengiwe Mkhwanazi het drie duette, \u201cNo, di voi non va\u2019 fidarmi\u201d (HWV189), \u201cQuel fior all\u2019alba ride\u201d (HWV192) en \u201cVa, va speme infida pur\u201d (HWV199) verruklik saam met Dippenaar (klawesimbel) en Cheryl de Havilland (baroktjello) uitgevoer. Kenned en Mkhwanazi is albei bedrewe vertolkers van vokale Barokmusiek. Hulle klankkleure het goed gemeng en hulle hantering van die styl \u2013 met goeie beheer van die reguit stemtoon, sonder om stut in te boet \u2013 was uitmuntend.<\/span><\/p>

Ingo M\u00fcller (barokhobo) is \u2019n opwindende nuwe (ingevoerde) lid van die plaaslike vroe\u00ebmusiekgemeenskap, soos duidelik was in die Sonate in F-majeur (HWV363a). In die kantate vir sopraan, hobo en continuo, \u201cMi palpita il cor\u201d (HWV132b), was dit opvallend hoe goed die timbre van die barokhobo met di\u00e9 van Kenned gemeng het. M\u00fcller en Kenned het die verraderlike lopies met groot gemak en dinamiese begrip gehanteer.<\/span><\/p>

In die Prelude en Air uit die Klawesimbelsuite nr. 5 in E-majeur (HWV430) het Dippenaar weer eens gewys hy is \u2019n baie begaafde klawesimbelspeler. Die w\u00eareld se tegniese vaardigheid sou niks wees nie sonder \u2019n goeie stylbegrip \u2013 en di\u00e9 het Dippenaar boordensvol. Omdat die klawesimbel vergeleke met moderne instrumente meer beperkte moontlikhede het vir dinamiek, het Dippenaar se tydsberekening en fyn benadering tot artikulasie uitgestaan. Knap gedaan aan iedereen!<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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French Piano Trios<\/b><\/p>

Endlersaal<\/b><\/p>

Die program van <\/span>French Piano Trios<\/span><\/i> het geopen met die Suid-Afrikaanse premi\u00e8re van Ernest Chausson (1855\u20131899) se Klaviertrio in G-mineur, op. 3, uitgevoer deur Megan-Geoffrey Prins (klavier), Annien Shaw (viool) en David Pinoit (tjello). Dit is \u2019n aantreklike werk, harmonies opwindend, ferm in die Romantiek geskoei, maar ook met duidelike kenmerke van wat ons vandag as \u2019n Franse styl ken. Shaw en Pinoit verdien vermelding vir hulle gebruik van \u2019n slanke toonkleur. In parallelle melodiese materiaal het \u2019n mens egter gedink die intonasie is effens onseker, maar dit is geensins \u2019n wens dat dit met vibrato toegesmeer moes wees nie.<\/span><\/p>

Die program is afgesluit met Maurice Ravel (1875\u20131937) se Klaviertrio in A mineur, M. 67, nog \u2019n aantreklike en opwindende werk. Prins het uitgestaan vir sy omvangryke spel, en Shaw en Pinoit se begrip van dinamiek en gebruik van die fluitregister was ewenees goed. Dit was \u2019n indrukwekkende vertolking en aan die einde het \u2019n mens nog gesoek.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Late (and last) works by Schubert, Brahms and Debussy<\/b><\/p>

Endlersaal<\/b><\/p>

Meer beskrywend kan die konserttitel skaars wees. \u2019n Mens het die idee gekry dat die pianis Luis Magalh\u00e3es dit \u2019n bietjie as \u2019n herbeskouing van sy eie loopbaan sien: Hy het genoem dat wanneer jy ouer word, jy nie meer so versigtig is nie.<\/span><\/p>

\u2019n Mens gee hom gelyk \u2013 en soos \u2019n mens hom ken, was daar tog \u2019n tikkie ironie in sy uitspraak \u2013 maar tog is dit presies sy beheersde dog moeitelose spel wat deurgaans opgeval het. Byvoorbeeld, in die tweede beweging, gemerk \u201candante sostenuto\u201d, van Franz Schubert (1797\u20131828) se Sonate in B-mol-majeur, D. 960 \u2013 sy laaste sonate \u2013 het dit geklink asof Magalh\u00e0es se spel stadig asem ophou en dan weer laat gaan: ni\u00e9 soos iemand wat suurstofnood het nie, maar soos iemand wat mediteer. Dit gaan oor die diepte van sy artistieke intensie.<\/span><\/p>

Verder was vier stukke deur Claude Debussy (1862\u20131918) op die program, onder meer sy <\/span>Les\u00a0soirs illumin\u00e9s par l\u2019ardeur du charbon<\/span><\/i> (\u201caande belig deur brandende kole\u201d), sy heel laaste werk vir klavier. Die titel verwys na die koue Europese winter in 1916 en 1917, gedurende die Eerste W\u00eareldoorlog, toe Debussy se steenkoolhandelaar di\u00e9 stuk as betaling aanvaar het vir sy dienste; dit is eers in 2001 herontdek. Magalh\u00e3es se stille intensiteit in <\/span>Masques<\/span><\/i> het be\u00efndruk. Die program is afgesluit met 4 Klavierst\u00fccke, op. 119, deur Johannes Brahms (1833\u20131897), ook s\u00fd laaste werke vir soloklavier.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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The Black Saint and the Sinner Lady<\/b><\/p>

Endlersaal<\/b><\/p>

As daar konsert was wat meer verdien as die sowat 50 mense in die gehoor, is dit <\/span>The Black Saint and the Sinner Lady<\/span><\/i>, so genoem na Charles Mingus (1922\u20131979) se eponieme album, wat beskou word as belangrike skakel tussen die avant-garde, en tradisie en modernisme in jazz . Mingus self het ges\u00ea: \u201cForget all my other records.\u201d<\/span><\/p>

Wat betref die kompleksiteit van die materiaal en die orkestrasie, het Martin Zenker, leier van die Charles Mingus Ensemble van die M\u00fcnchense Universiteit vir Musiek en die Uitvoerende Kunste, die gehoor gerusgestel: \u201cMost people don\u2019t like jazz until they hear it. There is nothing to understand in music.\u201d Hy het ook genoem dat die werk op die vlak van byvoorbeeld Stravinsky se <\/span>Le Sacre du printemps<\/span><\/i> is.<\/span><\/p>

\u201cThe Black Saint and the Sinner Lady\u201d is moeilik om in woorde te beskryf, en ek beperk my tot di\u00e9 waarnemings: imponerend, kompleks en verg baie bedrewenheid deur die spelers. Die Endlersaal se ruim akoestiek dra by tot my aarseling om baie te s\u00ea: Met die versterking van sommige instrumente en die natuurlike luidhuid van saxofone en trompette, was die klankoordaad eenvoudig te erg. Nuanse het verlore gegaan en die individuele instrumente het te dikwels in \u2019n ongedifferensieerde klankmassa verdwyn. Dit is jammer, want di\u00e9 werk verdien \u2019n forum waar sy konstruksie ongehinderd belig kan word.<\/span><\/p>

Die tweede helfte van die program was meer verteerbaar vir diegene wat nie so goed onderl\u00ea in jazz\u00a0 is nie, en ek sluit myself hierby in. Van die werke was \u201cFables of Faubus\u201d miskien die bekendste, veel ligter as \u201cBlack Saint\u201d, maar nie soveel minder kompleks nie. Soos dit \u2019n\u00a0jazzorkes betaam, hetelkeen op die verhoog die geleentheid gekry om te skitter in solo-improvisasie.<\/span><\/p>

Die ensemble, wat meestal uit Duitse studente bestaan, is aangevul deur bedrewe musici uit Amerika, Mongoli\u00eb en Mosambiek \u2013 inderdaad getuienis van jazz se universele aanklank. Al die Stellenbosse musiekstudente moes eintlik in die gehoor gesit het\u2026 maar hulle was kennelik elders besig, dalk met eksamenvoorbereiding.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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OORSIG Klassieke smorgasbord bied iets vir elke smaak Willem BesterFoto’s: Llewellyn de Wet Ouverture Endlersaal In Handel at Home het Erik Dippenaar, artistieke hoof van die Cape Town Baroque Orchestra, \u2019n program van kleiner werke deur G.F. Handel (1685\u20131759) gelei. Vir baie mense sal di\u00e9 komponis hoofsaaklik bekend wees vir sy veel groter operas en […]<\/p>\n","protected":false},"author":3799,"featured_media":34711,"comment_status":"open","ping_status":"closed","sticky":false,"template":"elementor_theme","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[511],"tags":[],"class_list":["post-105333","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-classical-music"],"yoast_head":"\nKlassieke musiek: Oorsig 1 - Toyota Stellenbosch Woordfees<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/woordfees.co.za\/en\/classical-music\/klassieke-musiek-oorsig-1\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Klassieke musiek: Oorsig 1 - Toyota Stellenbosch Woordfees\" \/>\n<meta property=\"og:description\" content=\"OORSIG Klassieke smorgasbord bied iets vir elke smaak Willem BesterFoto’s: Llewellyn de Wet Ouverture Endlersaal In Handel at Home het Erik Dippenaar, artistieke hoof van die Cape Town Baroque Orchestra, \u2019n program van kleiner werke deur G.F. Handel (1685\u20131759) gelei. 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