{"id":66203,"date":"2024-10-01T15:23:42","date_gmt":"2024-10-01T13:23:42","guid":{"rendered":"https:\/\/woordfees.co.za\/uncategorized\/resensie-amateurs-skitter-met-american-rhythms\/"},"modified":"2024-10-02T17:59:07","modified_gmt":"2024-10-02T15:59:07","slug":"resensie-amateurs-skitter-met-american-rhythms","status":"publish","type":"post","link":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-amateurs-skitter-met-american-rhythms\/","title":{"rendered":"Resensie: Amateurs skitter met American Rhythms"},"content":{"rendered":"\t\t
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CLASSICAL MUSIC <\/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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Amerika via die Wynland <\/span> <\/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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Produksie: <\/span>American Rhythms \u2013 Wynland Filharmoniese Orkes<\/b>
Skrywer: <\/span>Naud\u00e9 van der Merwe<\/b>
Foto\u2019s: <\/span>Mark Cloete<\/b><\/span><\/p>\n\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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Die Amerikaanse komponis Aaron Copland s\u00ea in sy 1939-boek What To Listen For in Music<\/span><\/i>: \u201cIs there a meaning to music? My answer would be, yes. And can you state in so many words what the meaning is? My answer to that would be, no.\u201d <\/span> <\/p>\n

Copland se <\/span>Appalachian Spring<\/span><\/i>, wat Sondag 29 September met oorgawe deur die Wynland Filharmoniese Orkes uitgevoer is, getuig hiervan. Di\u00e9 stuk klink soos beelde van landelike Amerika rondom die Tweede W\u00eareldoorlog. Maar hoe klink Amerika? Hoekom vereenselwig \u2019n mens dikwels die vlaktes van die Noord-Amerikaanse Weste met die soort musiek wat Copland gekomponeer het? Hoekom het baie van die komposisies vir flieks oor cowboys en crooks aan die een kant en ruimte-verkennings aan die ander voortgebou op hierdie soort klankw\u00eareld? En hoekom klink dit soos hoop en verlange? <\/span><\/p>\n

Hierdie is alles vrae met uiteenlopende antwoorde en waaroor vele boeke al geskryf is. Dieselfde kan ges\u00ea word van George Gershwin se <\/span>Rhapsody in Blue<\/span><\/i>: Dit klink soos New York, maar is dit omdat \u2019n mens dit met Woody Allen se fliek <\/span>Manhattan<\/span><\/i> vereenselwig of omdat dit \u2019n mens se verbeelding \u2019n sekere tyd in die geskiedenis oproep?<\/span><\/p>\n\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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Hoe ook al, dit is heel gepas dat hierdie produksie <\/span>American Rhythms<\/span><\/i> heet. Die Wynland Filharmoniese Orkes met Reghardt K\u00fchn as dirigent het hiermee die diverse klankw\u00eareld van Noord- en Sentraal-Amerika verken. Di\u00e9 orkes, wat in 2022 deur K\u00fchn gestig is, bestaan hoofsaaklik uit amateur- en semi-professionele musici. Dit word so in die programnotas genoem, en in albei konserte wat ek nou al van di\u00e9 groep bygewoon het, is dit ook vooraf aangekondig. Die nie-professionele musikante word vooraf gevra om op te staan en dan is daar \u2019n verwagting dat die gehoor vir hulle moet hande klap omdat hulle rekenmeesters en dokters en ingenieurs is wat ook kan note lees. Dit skep \u2019n verwagting dat dinge dalk hier gaan ontspoor. Dit vertroebel die vertroue wat \u2019n mens in die hele projek het. Vooraf word boonop ges\u00ea die gehoor \u201cmoenie perfeksie verwag nie\u201d. S\u00f3 \u2019n uitlating doen afbreuk aan die eindresultaat, want perfeksie is relatief, en die orkes speel goed! Dis dus meer as genoeg om in die program net te s\u00ea die orkeslede is amateurs. <\/span><\/p>\n

Voorafaankondigings ter syde, die program was \u2019n uitstekende keuse vir \u2019n konsert by \u2019n fees: \u2019n samehangende tema wat deurgevoer is selfs tot by die encore (\u2019n verwerking van Kander en Ebb se tema uit <\/span>New York, New York, <\/span><\/i>aanvanklik gesing deur Liza Minelli en verewig deur Frank Sinatra).<\/span><\/p>\n\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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Wang laat die musiek asemhaal. Die wonderlike \u2013 en terselfdertyd vreesaanjaende \u2013 gedagte is dat hy net n\u00f3g beter gaan word. <\/em><\/h4>\n\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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Die program het met woema begin met die Mexikaanse komponis Arturo M\u00e1rquez se Danz\u00f3n No. 2. K\u00fchn was deurgaans in beheer en die spelers het \u2019n begeesterde uitvoering gelewer. Die hoogtepunt was egter Gershwin se <\/span>Rhapsody in Blue<\/span><\/i>, met Zining (Mike) Wang, \u2019n matriekleerling aan die Ho\u00ebr Jongenskool Paarl, as solis. Wang het al menigte kompetisiepryse losgeslaan, as solis met die Kaapse Filharmoniese Orkes opgetree, en ook al begin om internasionaal naam te maak. \u2019n Mens verstaan waarom. Hy is nie net tegnies uiters vaardig nie, maar neem ook sy tyd om werklik uitdrukking te gee aan wat hy met die musiek wil oordra. Hy laat die musiek asemhaal. Die wonderlike \u2013 en terselfdertyd vreesaanjaende \u2013 gedagte is dat hy net n\u00f3g beter gaan word. Ek het <\/span>Rhapsody in Blue<\/span><\/i> al \u2019n paar keer gehoor waar die orkes en solis mekaar wil-wil verloor, maar hier het dinge glad verloop.<\/span><\/p>\n

N\u00e1 pouse het Copland se <\/span>Appalachian Spring<\/span><\/i> die spelers tegnies uitgedaag. \u2019n Mens kon soms die moeite hoor \u2013 dis baie blootstellend vir al die seksies van die orkes, en ook soms uitdagend om na te luister. Maar uiteindelik spoel van die dissonansie oor in die bekende Shaker-melodie \u201cSimple Gifts\u201d wat \u2019n tasbare gevoel van verbondenheid in die gehoor kweek. Om hierdie wa deur die drif te trek is nie eenvoudig nie, maar saam het hulle die mas opgekom. <\/span><\/p>\n

American Rhythms<\/span><\/i> het nie net as \u2019n musikale verkenning geslaag nie, maar ook as \u2019n viering van wat bereik kan word wanneer passie en toewyding bymekaarkom.<\/span><\/p>\n<\/p>\n

Geen verdere shows.<\/strong><\/p>\n\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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<\/div>\n\t\t<\/div>\n\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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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\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<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

<\/i> Naud\u00e9 van der Merwe<\/p>\n","protected":false},"author":3799,"featured_media":66101,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[511,516],"tags":[517],"class_list":["post-66203","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-classical-music","category-ink-festival-newspaper-2024","tag-ink-festival-newspaper-2024"],"yoast_head":"\nResensie: Amateurs skitter met American Rhythms - 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\/ink-festival-newspaper-2024\/resensie-amateurs-skitter-met-american-rhythms\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Resensie: Amateurs skitter met American Rhythms - 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