In order to do justice to the performance of the Vienna Symphony Virtuosi one needs a far bigger platform than a short column in a newspaper.
In order to do justice to the performance of the Vienna Symphony Virtuosi one needs a far bigger platform than a short column in a newspaper.
“It seemed so effortless” and “The music just happened by itself” were just some of the comments by members of a very small but appreciative audience.
From the first opening sounds of Kaiser Leopold I’s Balletti Prima Aria it was clear that the musicians were experienced performers.
The clearly enunciated pulse, perfectly executed ornaments and basso continue throughout the work were impressive and the work ended with an energetic interpretation of the Gigue.
In Haydn’s Trumpet Concerto the warm sound of the traditional Austrian rotary valve instrument added to the player’s flawless and effortless execution of the fast semi-quavers to make this a very pleasant experience.
This was a good musical preface to Haydn’s Divertimento in C-major for piano, a “small sonata with entertainment value”.
The pianist faithfully stuck to the characteristics of the Classical period and his treatment of dynamic levels was most satisfying. His effortless approach to the performance of this short work gave the listener the opportunity to truly engage with the music. The seldom performed Sonatina for Trumpet and Piano by Anton Diabelli, illustrated the player’s ability to create beautiful musical lines.
In this work, which is a shortened arrangement of the composer’s Piano Sonata in G, the performer again made full use of the warm sound of the rotary valve instrument. Well-executed articulation and intervals made the Scherzo a pleasure to listen to. The work culminated in a wonderfully humoristic Rondo.
From the opening notes of Mozart’s Sonata for Flute and Piano it was clear that the flautist had enormous technical ability. He achieved wonderful contrast between the movements of diverse emotion as he created beautiful phrasing and a good sound in the difficult low register of the instrument.
The effect of the cryptogramatic sequence of notes in Arnold Shoenberg’s Six Little Pieces for Piano was enhanced by masterful use of the pedal. The pianist drew on the silences in this work to add to its transparency and he allowed the timbre of the instrument to emphasize the composer’s long-life love for Romantic music. J
enö Takács composed solo works for a vast number of instruments, including all the brass instruments as well as a Sonata for Contra-bassoon. In his Exile Pieces for Trumpet and Piano the performer is challenged to achieve contrast between the very beautiful Al’Ungarese, simplistic Hungarian Wedding Dance and the surprising American Rhapsody. This was superbly achieved by well-controlled vibrato to some great energy in the rhapsody, which is based on a Scott Joplin ragtime melody.
The composer cum jazz musician, Werner Pirchner’s work for solo flute has certain elements of a flute study in a jazz idiom. The soloist succeeded in establishing the perfect style and unity by clearly articulated syncopation and glissandi balanced with a beautiful sound throughout the register of the instrument.
The jazz feel in Gulda’s “Play piano play” was clearly established by the soloist’s ability to use the rhythmic patterns within the 6/8 metre to great effect. By clearly articulating the quavers in the left hand he allowed just enough prominence for the melody to be most effective.
Erwin Schulhoff’s love for the Late Romantic Orchestral Colour is clear in his Flute Sonata. This work, which was composed shortly before his Double Concerto for Flute, Piano and Orchestra was well performed and his sound complimented the dreamy character of some of the movements.
This concert was a wonderful celebration of a vast variety of Austrian composers by the visiting artists.
I just hope that the next Music Society concert by the master guitarist James Grace will be better attended by the public and music students of Grahamstown.
