Poulenc’s compositions have a unique character that makes them immediately identifiable. Bright tonal colours, striking rhythms and graceful melodies are part of his stylistic identity.
Poulenc’s compositions have a unique character that makes them immediately identifiable. Bright tonal colours, striking rhythms and graceful melodies are part of his stylistic identity.
But there’s also an underlying honesty to his music that effortlessly wins over an audience. An evening of such wonderful French music in the hands of seven accomplished musicians was always going to be something special.
And what a treat it was! The concert opened with the wonderful sonata for clarinet and piano. The hauntingly beautiful slow movement was exquisitely performed by Jenny Truter-Brand.
This was the highlight of the concert for me. Supported by Tinus Botha’s inimitably light touch on the piano, the work spanned a delightful mixture of profound maturity to almost whimsical folly.
Interestingly this was Poulenc’s final composition, the work being premiered by Benny Goodman and Leonard Bernstein just a few months after the composer’s death in 1963.
The trio for oboe, bassoon and piano closed the first half of the concert. The combination of the two double reed instruments is unusual, but they complement each other well.
Hilary Paterson, Penelope Ives and Catherine Foxcroft created a superb atmosphere with subtle yet dexterous ensemble playing.
Liesl Stoltz’s consummate professionalism was clearly evident in the sonata for flute and piano, a work which Poulenc described as simple but subtle.
Boris Mohr joined the other four wind players for the final work of the evening – the sextet for wind quintet and piano. After the more intimate works earlier in the programme I found the sextet almost too rich for my senses.
But the combination of instruments created beautiful tonal colour as thematic material was passed from player to player.
The Grahamstown Music Society is to be congratulated on having the vision to stage this outstanding concert.
The fact that five of the seven performers are currently based in Grahamstown highlights just how musically privileged we are.
The new tiered seating and comfortable chairs in the St Andrew’s College Drill Hall, complete with chandelier à là René Schalker, have created a proper yet intimate theatre atmosphere. This was a wonderful evening of high-class music.
