Endler-konsertreeks, Korngold Projek 2 | Endler concert series, Korngold Project 2

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Endler-konsertreeks, Korngold Projek 2

15 Februarie 2015

Fismersaal, Stellenbosch

Viva TwoPianists Records! Want die Korngold-projek is ’n inisiatief van hierdie maatskappy. Hulle is tans besig om die tweede CD met werke deur die Oostenrykse komponis Erich Wolfgang Korngold met voorste internasionale musici op te neem. Dit is hopelik nie die laaste van hierdie komponis nie.
In 2013 is Korngold se Klaviertrio, op 1, en sy Suite, op 23, as deel 1 van die projek voltooi met die violiste Daniel Rowland (van Brittanje/Nederland), Priya Mitchell (Brittanje), die tjellis Julian Arp (Duitsland) en die pianis Luis Magalhães (Suid-Afrika en Portugal).

Sondagaand is deel 2 in die Fismersaal opgeneem. Die eerste deel van die program het bestaan uit Korngold se Klavierkwintet in E majeur, op 15, met die violiste Daniel Rowland en Francesco Sica, altviolis Gareth Lubbe, tjellis Julian Arp en pianis Luis Magalhães.

Die musici se oorgawe aan die musiek was meesleurend, hul energie aansteeklik en hul fyn ingesteldheid op mekaar – in ’n werk wat by tye ’n redelik vinnige tempo handhaaf – loflik.

Die tweede beweging staan in sterk kontras met die eerste beweging en is rilmooi. ’n Mens het die gevoel gekry dat Daniel Rowland in sy spel één word met sy instrument – sy viool ’n verlengstuk van sy lyf. Ek het onwillekeurig gedink aan ’n gedig in Leon Strydom se bundel Geleentheidsverse, “John Williams, De Doelen” waar hy die sensuele interaksie tussen die kitaarspeler en sy instrument beskryf: “god hy aai hom/ en hy paai hom/ hy streel die nek/ die warmte van elke plek.”
Die tweede deel van die program het sonder ’n pouse direk op die eerste gevolg – die opname moes voltooi word voordat beurtkrag dit beduiwel.

Die Stryksekstet in D majeur, op 10, wat Korngold op 17-jarige ouderdom geskryf het, spreek van suiwer joie de vivre en die instrumentaliste se energieke spel het inderdaad reg laat geskied aan die lewensblyheid van die stuk.

Dit is tog jammer dat daar steeds mense is wat nie hoor wanneer uitdruklik gevra word dat selfone afgeskakel word tydens ’n opname nie, want die sekstet het skaars begin toe dit abrup beëindig word deur ’n s(k)elfoon. Het ek my verbeel dat die nimlike Rowland gesukkel het om sy selfbeheersing te behou? In die eerste paar mate na die onwelkome onderbreking was daar amper ’n woede in sy spel. Met goeie reg. Nietemin, die uitvoering was vir hierdie leek ’n kragtoer.

Endler concert series, Korngold Project 2

15 February 2015

Fismer Hall, Stellenbosch

Viva TwoPianists Records! The Korngold project is a local project initiated by this company. They are currently recording the second CD with works by the Austrian composer Erich Wolfgang Korngold with leading international musicians. Hopefully this is not the last of this composer.

In 2013 Korngold’s Piano Trio, op 1, and his Suite, op 23 were completed as part 1 of the project with violinists Daniel Rowland (from Britain and the Netherlands), Priya Mitchell (Britain), cellist Julian Arp (Germany) and pianist Luis Magalhães (South Africa and Portugal).

On Sunday afternoon part 2 was recorded in the Fismer Hall. The first part of the programme consisted of Korngold’s Piano Quintet in E major, op 15, with violinists Daniel Rowland and Francesco Sica, viola player Gareth Lubbe, cellist Julian Arp en pianist Luis Magalhães.

The musicians’ surrender to the music was enthralling, their energy infectious and the way in which they were attuned and responsive to one another – in a work that at times maintained quite a fast tempo – praiseworthy.

The second movement contrasts strongly with the first and is hair-raisingly beautiful. One had the feeling that Daniel Rowland, while performing, becomes one with his instrument – his violin an extension of his body. A poem by Afrikaans poet Leon Strydom, in his anthology Geleentheidsverse, involuntarily came to my mind. It is the poem “John Williams, De Doelen”, in which he describes the sensual interaction between the guitarist and his instrument. A free translation of the four lines that came to mind: “god, he caresses it/ and lulls it/ he strokes the neck /the warmth of each spot”.

The second part of the programme followed on the first without a break – the recording had to be completed before load shedding started.

The String Sextet in D major, op 10, which Korngold composed at the age of 17, reflects pure joie de vivre and the energetic performance of the instrumentalists indeed did justice to the joyfulness of the piece.

It is a pity, however, that some people just do not listen to a simple request to switch off their cell phones during a performance or recording. The String Sextet had hardly begun when a cell phone abruptly interfered. Was it my imagination, or did Rowland have trouble keeping his self-control? In the first few measures after the most unwelcome disruption I detected something like a fury in his performance. Completely justified. However, for this laywoman the performance as a whole was a tour de force.

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