PALÁCIO TIRADENTES: Maria – Elizabeth Bezuidenhout & John Rojas – November 2023. Entry on the website of Palácio Tiradentes, the historic headquarters of the Legislative Assembly of the State of Rio de Janeiro (Alerj). As part of the XIII RIO WINDSFESTIVAL program, international musicians John Rojas (oboe) and Elizabeth Bezuidenhout (piano and voice) performed at Espaço Dom Manuel, on the ground floor of the palace and elsewhere in Rio de Janeiro. See more on the DEO4 Performances and Highlights Section.
Website Photo credit and use: Caio Villardi and Octacílio Barbosa
PALÁCIO TIRADENTES RECEBE ÚLTIMO CONCERTO DE 2023 DO PROJETO MÚSICA NO MUSEU
A Assembleia Legislativa do Estado do Rio de Janeiro (Alerj) recebeu, na noite desta quinta-feira (23/11), mais uma edição do projeto Música no Museu, maior série de música clássica do Brasil. O espetáculo faz parte da programação do XIII Rio Winds Festival e contou com os instrumentistas internacionais John Rojas (Oboé) e Elizabeth Bezuidenhout (Piano e Voz). O evento aconteceu no Palácio Tiradentes, sede histórica do Parlamento fluminense.
A diretora de Cultura da Alerj, Fernanda Figueiredo, expressou o significado especial de sediar esse evento: “É uma honra receber mais uma edição do Música no Museu, que democratiza a música clássica no Brasil e atrai pessoas para conhecer a história do Palácio”.
O projeto “Música no Museu” completa 26 anos de contribuição para a cena cultural brasileira, Sérgio da Costa, idealizador e diretor do projeto, comentou sobre o início do projeto, destacando sua expansão não apenas pelo Rio de Janeiro, mas também por cidades como Paraty, Teresópolis, Petrópolis, Búzios e Vale do Café, além de apresentações internacionais na Índia, Austrália e Nova Iorque.
“Ficamos contentes de a Alerj levar ao público esses concertos gratuitos, democratizando o acesso à cultura e dando oportunidade de assistir a shows de músicas clássicas e visitar espaços nobres como o Palácio”, comentou Sérgio.
A última composição, uma homenagem ao Brasil, encerrou a noite de maneira tocante. O músico John Rojas afirmou sua gratidão pelo convite, ressaltando que essa era sua primeira vez na capital. “Estou muito agradecido. O Palácio tem uma acústica incrível e as pessoas são muito receptivas e calorosas”, comentou.
O Rio Winds Festival vem sendo realizado há 13 anos ininterruptamente sempre no mês de novembro, com a curadoria do oboísta Harold Emert, ex-integrante da Orquestra Sinfônica Brasileira (OSB), e conta com a participação de expressivos nomes de instrumentos de sopros do Brasil e exterior.
Programa:
1) Grant Mclachlan
2) Madelen Dring
3) Norman Edwards
4) M.E. Bezuidenhout
5) Composições das Tribos Zulu e Xhosa
6) Composições Africanas
Acompanhe a programação da série em outros espaços através do site:
https://www.musicanomuseu.com.br/.
Foto: Caio Villardi e Octacílio Barbosa
Alerj – Palácio Tiradentes – Site Oficial do Palácio Tiradentes (palaciotiradentes.rj.gov.br)
Translated via internet to English.
The Music at the Museum project, the largest classical music series in Brazil, is holding another edition at Palácio Tiradentes, the historic headquarters of the Legislative Assembly of the State of Rio de Janeiro (Alerj). As part of the XIII RIO WINDSFESTIVAL program, international musicians John Rojas (oboe) and Elizabeth Bezuidenhout (piano and voice) will perform this Thursday, at 6pm, at Espaço Dom Manuel, on the ground floor of the palace. Entry is free.
“Inserted in the Cultural Corridor of the Center of Rio, the Tiradentes Palace, headquarters of the Legislature, has also become a hub for culture and art. It is a great joy to welcome Music at the Museum and offer quality programming in a democratic way for the population. We invite everyone to watch this beautiful spectacle”, celebrates Alerj’s Director of Culture, Fernanda Figueiredo.
The Rio Winds Festival has been held for 13 years without interruption, always in the month of November, curated by oboist Harold Emert, former member of the Brazilian Symphony Orchestra (OSB), and with the participation of significant names of wind instruments from Brazil and exterior.
Follow the series schedule through the website: https://www.musicanomuseu.com.br/.
Service:
What: Rio Winds Festival
Where: Tiradentes Palace. Dom Manoel Space (Ground floor). Rua Primeiro de Março, s/n – Praça XV – Centro
When: Thursday (21/11), at 6pm. Access for wheelchair users via Rua Dom Manuel, s/n, behind the palace.
EXCERPTS OF INTERVIEWS WITH COLLABORATING ARTIST – Sharmaine Thérèsa Pretorius (SHARM.T.P) DURING 2021 – AND DEO4.
John Rojas and Maria-Elizabeth Bezuidenhout had many significant collaborating events with different artists. The talentful couple are notoriously publicity shy.
During 2021 they started collaborating with South African, high – end, process – artist Sharmaine Thérèsa Pretorius. Read more about their projects during 2021. The amazing projects of DEO4 and the artist made headlines.
Their combined work exhibited:
- Oita Ikebana Sakura: The Precious Slipper – An Ode to Mizuki (008172). A Zoetrope, set to the music of Deo4Musicians’ “Heimwee”. The work was exhibited at ALCHEMIC BODY | FIRE . AIR . WATER . EARTH 2021 – LONDON CONTEMPORARY ART FAIR (The Line – ITSLIQUID).
- (Natural Miah Alshurb, The Fountain of Excellent Memories in Mother’s Eyes, Ayin, Zayin, Feeds our Thirst, The Rose Revisited, Help Mother Download Only Excellent Memories, The Eye of The Fountain is The Breast That Feeds Us: It Flowers We Flower). A Zoetrope, set to the music of Deo4Musicians’ “Thula Baba”. The work was exhibited at the Group Exhibition – Florence International Biennale of Contemporary Art and Design: XIII FB THEME 2021 – Eternal Feminine – Change.( XIII FLORENCE BIENNALE 2021 – DAY 6) https://www.youtube.com/watch?v=cf-ZSnMgTXM
- Time Epiphany: Epiphany – COFFEE TIME – Mach Meter, GONE WILD (9163) A, UNVEILING TIME – THE ULTIMATE – ALTIMA – Currency. [Music: Opera From Scratch 2017 – The Second Sight, performed by Maria-Elizabeth Bezuidenhout and composed by Jessie Downs.] The work was exhibited at the headquarters of – M.A.D.S. Gallery – a decentralized reality – in Milan, Italy and Fuerteventura, Canary Islands, Spain. The works of art are visible thanks to augmented reality. https://www.madsgallery.art/item/10af08ca-e443-406f-a403-b2e08e539ae7/artist/sharmaine-the%CC%81re%CC%80sa-pretorius https://www.jessiedownsmusic.com/
Read more:
ITSLIQUID – Italy – November 2021 –
Luca Curci talked with South African artist Sharmaine Thérèsa Pretorius (SHARM.T.P) during ALCHEMIC BODY 2021, at THE LINE Contemporary Art Space and during CONTEMPORARY VENICE 2021 – THE SECRET GARDEN, at Misericordia Archives, about her work and collaboration with DEO4Musicians which featured in London and Florence, Italy recently. The artist’s work: “Nafurat Miah Alshurb” – The Fountain of Excellent Memories in Mother’s Eyes – “Ayin – Zayin” has recently been exhibited in New Mixed Media form at the Group Exhibition – Florence International Biennale of Contemporary Art and Design: XIII FB THEME 2021 – Eternal Feminine – Change.
It is a mesmerizing Zoetrope, accompanied by world renowned soprano Maria-Elizabeth Bezuidenhout and oboe player John Rojas of Deo4Musicians’ interpretation of the African Lullaby called “Thula Baba”.
[Listen to the African Lullaby called “Thula Baba” by Maria-Elizabeth Bezuidenhout and oboe player John Rojas of Deo4Musicians] here:
Her work has also been seen in Northern Ireland at Pepney Gallery recently and her work the Zoetrope film titled: Oita Ikebana Sakura: The Precious Slipper – An Ode to Mizuki (008172) set to the music of Deo4Musicians’ “Heimwee” is currently on show at ALCHEMIC BODY | FIRE . AIR . WATER . EARTH 2021 – LONDON CONTEMPORARY ART FAIR (The Line – ITSLIQUID) – November 04 to November 25, 2021. https://www.itsliquid.com/review-alchemicbody-2021.html
[Listen to the song called “Heimwee” by Maria-Elizabeth Bezuidenhout and oboe player John Rojas of Deo4Musicians] here:
https://www.itsliquid.com/interview-sharmaine-theresa-pretorius-sharm-t-p.html
2. ART Habens Art Review, Special Edition (Dec 31, 2021)(Page 146 to 147 and 162 and 163) – An Interview With Sharmaine Thérèsa Pretorius) https://issuu.com/arthabens/docs/biennial.ed.xxv Read more about the Zoetrope, set to the music of Deo4Musicians’ “Thula Baba”.
3. Al-Tiba9 Contemporary Art (February 9, 2022): 10 Questions with Sharmaine Thérèsa Pretorius
“….Personally AND publicly for me, it was to have been chosen to participate in the Group Exhibition – Florence International Biennale of Contemporary Art and Design: XIII FB THEME 2021 – Eternal Feminine – Change, during 2021. It was a juried exhibition. The work on exhibition (Natural Miah Alshurb, The Fountain of Excellent Memories in Mother’s Eyes, Ayin, Zayin, Feeds our Thirst, The Rose Revisited, Help Mother Download Only Excellent Memories, The Eye of The Fountain is The Breast That Feeds Us: It Flowers We Flower) was my first public experiment with a hybrid digital Zoetrope set to the music of world-renowned musicians; medical doctor/soprano Dr. Maria-Elizabeth Bezuidenhout and John Rojas oboe player. The song is a Zulu lullaby known throughout Africa, “Thula Baba”. It is about the spontaneous, authentic experience of a woman who chooses to save herself for her husband one day, to find the best possible father for her future children and her first-night flowering, the conception of her first child, and her singing a lullaby to him still in the womb and the shock and joy of birth….” https://www.altiba9.com/platfrom-interviews-for-artists/sharmaine-pretorius-painting-drawing
PEOPLE’S POST
St Francis parish revived with the sound of music,12 October, 2021.
Racine Edwardes @RaeEdwardes
Ruan Strauss Kalis
“Boasting a handful of concerts annually and parishioners who “are very fond of good music”, St Francis of Assisi Anglican parish in Simon’s Town is happy to announce the revival of its music programmes since the start of the national lockdown in March last year.
The first organ recital since the end of 2019 will take place at the church next Sunday (17 October) and promises to be a treat for music lovers and the church’s regular parishioners.
Ruan Strauss Kalis, the performing organist and director of music, explains that the past three years of becoming better acquainted with the church and the community have prepared him for the upcoming line-up of musical events.
He said: “Armed with good experience, a positive outlook and stubborn determination, the parish of St Francis will once again have a flourishing music ministry, with many concerts in the pipeline, as well as exciting recording projects such as the complete organ works of Bach and 24 concertos by Vivaldi, which I’ve transcribed for organ solo as a project, all centred on the historic Hill & Son pipe organ St Francis proudly possesses.”
Plans in the pipeline are a sign of good things to come, since churches have been able to open their doors to more people since the country was place on alert level one of lockdown last month.
Kalis explains the lockdown was hard on residents, but the church sought to assist where it could.
He says: “Everybody suffered financial loss; community and charity projects, such as the food distribution and schooling for children suffering hardship, came to near standstill.
“This clearly has a negative impact on the people who rely on our help to get by. A small thing, for example, such as our tea after a Sunday morning service, where parishioners would get together to socialise and catch-up with one another, and provide support where needed, is now no more, which seems to have the effect of people ‘drifting apart’.”
A little known fact about the restrictions placed on churches during the hard lockdowns, Kalis adds, was the ban on congregational singing.
He continues: “On the plus side, however, a new genre of music was born! In an attempt to bring variety into the musical offering during services (when one is not allowed to sing, one quickly becomes aware of the aurally taxing nature of the organ’s tone!) I created what I now loosely call the ‘piano hymns’.”
For these piano hymns, he composes a poetical setting of a popular hymn intended for a piano solo piece.
“To my astonishment this was more successful than I could ever have hoped. It’s tough work, though, composing a piano hymn for every service, but it is such a special moment in the service and adds to the unique charm of this historic parish church with its scenic setting and warm-hearted people.”
While the pandemic has certainly affected the attendance at the church, Kalis hopes the new musical shows promised for the future will assist to liven spirits and keep the church alive.
On Sunday, he will perform various pieces along with oboist John Rojas and cellist Jessica Scott.
Visitors will hear one of the Vivaldi Concertos transcribed for an organ solo serving as the official “launch” of the 24 concertos to come, which is followed by “one of the greatest organ works of all time”, the ‘Passaglia’ by Bach.
“The trio, consisting of oboe, cello and organ, will then perform a transcription I have done of the heart-rending aria by Bach, ‘Erbarme dich, mein Gott’ from the St Matthew Passion.”
And this is just a taste of the musical extravaganza planned for Sunday….” https://www.news24.com/news24/community-newspaper/peoples-post/st-francis-parish-revived-with-the-sound-of-music-20211011
CAPE TOWN PHILHARMONIC ORCHESTRA – 2021
Autumn Cyber Symphonies Concert 1, April 15, 2021.
Mahler Rückert-Lieder Brahms Symphony No. 4 in E minor, Op. 98
Venue: Cape Town City Hall
Conductor: Bernhard Gueller
Soloist: William Berger (baritone)
Concertmaster: Farida Bacharova
Oboes d’Amore
John Rojas ^
Gustav Mahler set a total of 10 poems by the German Romantic poet, Friedrich Rückert, to
music as orchestral Lieder. A cycle of five of these poems is known as the Kindertotenlieder
and the remaining five, known as the Rückert-Lieder, form part of the Sieben Lieder aus letzte
Zeit. (The remaining two of the seven lieder are based on texts from a volume entitled Des
Knaben Wunderhorn.)
Johannes Brahms
(1833- 1897)
Symphony No 4 in E minor, Op. 98
We must always remember that Brahms had a comprehensive knowledge of the Renaissance
and Baroque periods in music and in fact it was a cantata by Bach that was the inspiration for
the extraordinary finale of his Fourth Symphony. In many of his works, he strove to combine
the strict architecture of the baroque with what the writer Malcolm MacDonald has described
as “the supercharged passion of the romantic era in which he lived”. The Symphony No 4,
completed in 1885, is a spectacular example of Brahms’s genius in this regard. https://www.cpo.org.za/new/wp-content/uploads/2021/04/prog-notes-autumn-cyber-symphony-series-concert-1-may-20-24.pdf
SILVER MOUNTAIN MUSIC FESTIVAL – 2019
The magical Grootvadersbosch Valley is alive with the sound of music, 14 – 17 June 2019.
As Capetonians, we are well aware of the beauty of the Overberg, but many of us are probably unaware that nestled between Heidelberg and Swellendam lies a gem: the Grootvadersbosch Valley and its enchanting forest. Those in the know escape to the magical valley to mountain-bike, trail-run, swim and kloof. And now this majestic region welcomes some of the Cape’s best musicians to awaken its hills with the sound of music…
Music and majesty
The fourth annual Silver Mountain Music Festival programme includes an impressive lineup of artists, including:
- Conductor Richard Cock
- Pianist Rocco de Villiers
- Baritone Bongani Kubeka
- Violinist Lucia Scott
- Percussionist Ronan Skillen
- Oboist John Rojas
- Bassist Shaun Johannes
And, in addition to the awe-inspiring musical array, this year’s programme also highlights the natural beauty of the region, its rich cultural heritage and the good old country hospitality that the region is known for. As such, the agenda includes a night hike in the forest, star-gazing, lavender picking and farm picnics with sheepdog-herding displays. View the full Silver Mountain Music Festival programme.
Sijnn Wines will be present throughout the festival, so guests can enjoy the various recitals with a glass of vino to hand.
The Grootvadersbosch Conservancy is a biodiversity hotspot, home to the forest emperor butterfly, a subspecies of the ghost frog; a special chameleon; a host of bushbuck; bird species; baboons; and even leopards! The Conservancy works with private landowners to manage a number of environmental projects including alien-clearing, environmental education and river-monitoring and restoration. They work with local communities to expand their unique forests by planting special forests with indigenous species such as stinkwood, yellowwood, red alder and ironwood. https://insideguide.co.za/cape-town/events/silver-mountain-music-festival/
INSEARCHOFAGOODLIFE:
Music from heaven at Oude Libertas, March 8, 2014.
https://www.insearchofagoodlife.co.za/stabat-mater-poem-attributed-jacopone-da-todi/
Last night, on Friday 7 March 2014, we again visited the Oude Libertas Amphitheater in Stellenbosch. The event was Stabat Mater, composed in 2008 by Welsh composer Karl Jenkins. Stabat Mater is a 13th–century Roman Catholic poem, meditating on the suffering of Jesus Christ’s mother, Mary, during his crucifixion. The title is an abbreviation of the first line, Stabat Mater dolorosa, meaning the sorrowful mother was standing. The composer incorporated the language of the period and lines are sung in Aramaic and early Arabic. One of the two ancient texts Are you lost out in darkness? comes from the Epic of Gilgamesh, the world’s oldest written story. This story was recorded on clay tablets in the 7th century BCE and is from the ancient Babylonian civilisation which is today Iraq.
Stabat Mater was beautifully performed by the Libertas Choir, founded and conducted by Johan de Villiers, professor of Mathematics at Stellenbosch University. The mandate of the choir is to foster peace, goodwill and reconciliation across racial and cultural divides through a shared passion for excellent music. Talented Zorada Temmingh was the organist. She is known as one of the country’s foremost organ improvisers. Hopefully we will be able to attend one of her organ recitals soon.
Star of the show, soloist Minette du Toit-Pearce, gave one of her best performances ever. Her voice is mesmerizingly beautiful. Her performance of a movement entitled And The Mother Did Weep which comprises a single line sung in English, Latin, Greek, Aramaic, and Hebrew, was breathtakingly beautiful. The ancient reed sound produced by the cor anglais, enhanced the Middle East sound of the music. The cor anglais, or English horn, is a double-reed woodwind instrument in the oboe family. It was excellently played by John Rojas.
Deon’s favourite was her rendering of Incantation, sung in Arabic. We could find only on song sung by Minette on Youtube. You can listen here to her wonderful voice singing Na die Storm.
After a hectic day it was wonderful to slip into a weekend mood with the help of the usual picnic on the lawn at Oude Libertas and then listening to music performed by South Africa’s talented and world class musicians. What a privilege it is to live in the Western Cape with all its beauty.
Ave Verum
Hail, true Body, born of the Virgin Mary, who having truly suffered, was sacrificed on the cross for mankind, whose pierced side flowed with water and blood:
May it be for us a foretaste [of the Heavenly banquet] in the trial of death.
O sweet Jesus, O pious Jesus, O Jesus, son of Mary, have mercy on me. Amen.
HERALDLIVE
Join festival of sound: 27, September, 2013
The concert hosted by the Eastern Cape Philharmonic Orchestra (ECPO) will be conducted by Gerben Grooten and John Rojas and includes two newly commissioned works by Cape Town composer Grant McLachlan.
Grooten, conducting the orchestra for his second consecutive year, said he was really impressed at the standard of music the province had to offer.
“People in this area really don’t know their potential. I love working with these kids – it’s amazing. This year when teaching the musicians, I focused more on togetherness. These days, children don’t listen. They hear but they are not listening. But with art and music, you need to listen.
“All of the musicians here know how to play music. I’m interested in teaching them how to play together. It’s not just about the music but in the values we instill in the children,” he said.
“I give credit to all the music teachers who work so hard to get students to this level. I think the talent people will get to see on Sunday, rates among the best in the country.
“I see passion and skill in these children that make me happy to be part of an organisation like this,” he said.
The Youth Orchestra’s programme, conducted by Grooten, includes something for everyone – March and Waltz of the Flowers from Tchaikovsky’s Nutcracker Suite; the third movement of Mahler’s Symphony No 1; and a suite from Lord of the Rings, in addition to Grant McLachlan’s City Slickers Suite.
ECPO manager Gill Barnett said the documentary City Slickers was produced for the Discovery channel – telling the story of two African penguins.
“It’s a wonderfully moving story. The beautiful music from the documentary seemed to be a fitting piece for the orchestra, given Port Elizabeth’s reputation as a penguin-loving city. McLachlan turned the original chamber music into a work for full orchestra, vividly depicting the penguins swimming through the ocean, and venturing onto land at night,” she said.
The Youth Wind Band programme, conducted by Rojas, includes works by wind band composers David Shaffer and Jan van der Roost, and John Warrington’s Original Dixieland Concerto, subtitled “One of the real Dixieland classics for concert band”.
McLachlan’s composition for the wind band is African Surprise which features bird songs at dawn interrupted by a trumpeting elephant.
The concert forms part of the annual Youth Orchestral Experience – where teenagers from all areas of the Eastern Cape get an opportunity to showcase their talents under the guidance of some of the best youth conductors and teachers in the country.
Tickets for the festival concert can be purchased at the Feather Market box office before the concert on Sunday.
Seating is unreserved and tickets are R25 for adults and R15 for pupils and students.
For further information, contact Barnett on (041)581-7747. https://www.heraldlive.co.za/lifestyle/leisure/2013-09-27-join-festival-of-sound/
RGHS MAGAZINE 2013
Rustenburg High School for Girls magazine, 2013
“September 9, 2014 — John Rojas, Head of Woodwind at the Beau Soleil Music Centre, presented a lecture-demonstration on the oboe and bassoon.” https://issuu.com/rghs/docs/2013/75
COOL CLASSIC KIDZ & CAPE PHILHARMONIC ORCHESTRA OUTREACH AND EDUCATION
Cape Philharmonic Youth Wind Ensemble (CPYWE), 2009 & 2010.
Cool Classic Kidz Club to be launched at Artscape, 11 February 2012
The Cape Philharmonic Youth Wind Ensemble made its debut before a local audience on 1 May 2004 and has become a well-established group participating in many concerts with the CPO but also performing on its own. Some of the CPYWE’s highlight performances in the past years have included participation in the Artscape Wind Band Festival (2006) and its international debut at the First Cape Town International Summer Music Festival (November 2006) and subsequent festivals. The ensemble also performed during the Mayoral Welcome (an event which welcomes dignitaries attending the Opening of Parliament) in Feb. 2007 and at the Western Cape Department of Cultural Affairs and Sport’s Artistic Showcase at Artscape in May 2007. In 2005 & 2007 the ensemble performed with the visiting Dutch group Brass Band Schoonhoven (BBS) at the V & A Waterfront and in Bands in Concert at Artscape (the latter concert also featuring Windworx). The CPYWE is privileged to have Sean Kierman, the retired head of Brass (UCT) as its conductor. Sean Kierman started the wind band movement in South Africa in the 1960’s and brings a vast amount of experience to this programme. We have also welcomed international guest conductors to the CPYWE podium, namely Christian Kohler (Germany, 2007 & 2008) & Dr John Stanley (USA, 2009). John Rojas, Head of Winds at Beau Soleil Music Centre conducted the CPYWE at the showcase concerts in 2009 & 2010. Showcase concerts take place quarterly at various community venues. The CPYWE undertook its first tour in 2010 where it participated in the Mandela Bay Festival of Sound, in Port Elizabeth. The ensemble received a Certificate of Participation as well as the Best Ensemble as Voted by Peers. https://cpooutreachandeducation.wordpress.com/about/cape-philharmonic-orchestra-outreach-and-education/ Cool Classic Kidz Club to be launched at Artscape 11 February 2012 | Cool Classic Kidz (wordpress.com)
SANLAM NATIONAL MUSIC COMPETITION 2008:CHRONICLES
Abstract Published Online:1 Jan 2009
Writer: Leon Hartshorne
The adjudicators, Ms Diane Coutts, Mr John Rojas and Ms Anmari van der … Lizanti van Sittert and Steven Chang with Mariaan Nieuwoudt of Cape Town, Leon. https://journals.co.za › doi › pdf › EJC83028 https://hdl.handle.net/10520/EJC83028
IOL ENTERTAINMENT
The Messiah, 08, April, 2004.
Featuring: Philharminia Chour of Cape Town, trained by Margaret Barlow. Cape Philharmonic Orchestra, conducted by Donald Hunt
Venue: City Hall
Soloists: Luise Horrocks, Sophie Harmsen, Wilhelm Theunissen, Brad Liebl
This is probably the first time that Mozart’s orchestration of Handel’s The Messiah is being performed in Cape Town. It refreshingly blows new life into a piece of music that has been performed to death.
The Messiah is a milestone in the history of Western music, having been written in an era that had a biblical worldview of everything – even the performing arts! It speaks of Christian hope in triumphant sound, taking its text from Old Testament prophecies concerning the promised Christ.
Where Mel Gibson’s movie The Passion of the Christ, leaves one emotionally exhausted and physically repulsed, this music stirs one’s soul to joyful praise. Gibson’s movie emphasises the physical aspects of Christ’s suffering while virtually ignoring the spiritual anguish; but this score looks beyond the immediate, and focuses on the glorious king and his eternal kingdom.
Mozart has added subtle touches to Handel’s original score, and even introduces a piece or two of his own. He has sagaciously cut out a few items – which may upset those well-versed in the usual recordings – but Handel’s three-hour version could do with some editing in the first place.
The obvious use of flutes brings a lighter hue to the work. But the harmonic support and tonal fullness created by clarinets and horns is probably the most endearing aspect of this orchestration. Wind counter-melodies – for example, in Emmanuel, God With Us – were beautiful to hear.
Strings give a turgid performance, creating exciting rhythmic drive and veracity. Obvious attention is paid to articulation and opening attacks of phrases.
Special mention must be made of John Rojas on harpsichord. His playing is crystal clear and is meticulously accurate. Yet there is a pleasant restraint in terms of his orchestral contribution.
Donald Hunt knows what he wants from orchestra and choir, and is well-acquainted with the Mozart score. He has decided against Mozart touches here and there, preferring to stick to the original.
Several items are taken a pace noticeably faster than one is used to. Generally they work well and add to the excitement of the performance. However, the choral Behold, the Lamb loses its solemnity and the vocal depth and broadness of this item is diminished.
The Philharmonia Choir of Cape Town has a veritable history of 80 years work in the Mother City. They have had the privilege of working with top-of-the-range musical directors and international conductors. They have a repertoire stretching from Orff and Elgar to Bach and Mozart.
Margaret Barlow is the current musical director. Sopranos are laser sharp and pitch accurate, even on very high notes. Altos are warm and rich, and the basses are strong.
She is especially blessed with a healthy tenor section that doesn’t fade into oblivion during countrapunctal moments. Glory to God In the Highest provides the choir with their highlight. They make ample use of the contrasts between male and female writings, the differing dynamic levels and emotional import of the words. Add to this Mozart’s fuller orchestration (horns especially) and the result is glorious.
Other fine choral moments include All We Like Sheep Have Gone Astray with its hauntingly sombre final minor chords; and the a capella purity and tranquillity of Since By Man Came Death.
Of the four soloists, Wilhelm Theunissen impresses the most. He is a tenor of exceptional beauty and lyricism, in the same league as Ian Bostridge. He sets the standard in the opening, Comfort Ye My People, with precise diction and glorious use of dynamic power, especially on sustained notes.
His use of falsetto in Come Unto Him is most effective as well.
But his best is reserved for the poignantly sensitive Thy Rebuke Hath Broken His Heart. He virtually uses microtones by linking one note to another in deliberately paced feminine cadences.
Brad Liebl is a baritone of established reputation in Cape Town. He has ample opportunity to show off his vocal prowess with several fast melismatic passages. He has a strong sense of melodic and phrase direction. Behold, I Tell You a Mystery is sung with strident passion and stirring emotion.
Soprano Luise Horrocks has a wonderful tone quality. However, her diction was not as clear as the other soloists and her pitching was not always accurate, as in For Unto Us a Child is Born.
Sophie Harmsen (contralto) is a relative newcomer on the musical scene in Cape Town. She has a rich, deep chest register and is developing a glowing quality in upper registers. In ensemble work she mellows into the background in comparison with the other solo voices. Her finest moment was the beautiful aria, Emmanuel, God With Us.
CAPE ARGUS TONIGHT
Music Delivers Skilful Passion, 08, April, 2004.
The Messiah: Philharmonia Choir of Cape Town and Cape Philharmonic Orchestra.
Venue: City Hall
Reviewer: Carl Fourie
Die Kaap is (weer) Russies,,,2.
Opera Choir of Cape Town and Cape Philharmonic Orchestra.
Venue: City Hall
Reviewer: Gottfried Maas
An Afrikaans review of an evening of symphony enjoying the music of Louis-Hector Berlioz (11 December 1803 – 8 March 1869) Le carnaval romain, ouverture pour orchestre (Roman Carnival Overture), Op. 9. Composed in 1843 and first performed at the Salle Herz, Paris, on 3 February 1844. Overtures by Hector Berlioz – Wikipedia
AND
Sergei Sergeyevich Prokofiev (27 April [O.S. 15 April] 1891 – 5 March 1953) Alexander Nevsky is the score composed by Sergei Prokofiev for Sergei Eisenstein’s 1938 film Alexander Nevsky. The subject of the film is the 13th century incursion of the knights of the Livonian Order into the territory of the Novgorod Republic, their capture of the city of Pskov, the summoning of Prince Alexander Nevsky to the defense of Rus’, and his subsequent victory over the crusaders in 1242. The majority of the score’s song texts were written by the poet Vladimir Lugovskoy. Alexander Nevsky (Prokofiev) – Wikipedia
Balke Bewe, Werke Toeganklik,,,2.
Opera Choir of Cape Town and Cape Philharmonic Orchestra.
Venue: City Hall
Reviewer: Gottfried Maas
An Afrikaans review of an evening of symphony enjoying the music of 3 songs composed by
Aram Ilyich Khachaturian 6 June [O.S. 24 May] 1903 – 1 May 1978) from Gayane, a four-act ballet.
AND
the suite from Roméo and Juliette by Sergei Sergeyevich Prokofiev (27 April [O.S. 15 April] 1891 – 5 March 1953).
CAPE TIMES
Adventurous mix of old and new a big success, 13, September, 1999.
Symphony Concert: CTSO Conducted by Bernhard Gueller. Bach: Orchestral Suite No 1 in C Major; Ives: The Unanswered Question; Dvorak: Symphony No 9 in E minor, Op 95(From the New World).
Venue: Cape Town City Hall
Reviewer: Deon Irish
”The performance featured some fine solo work – particularly from John Rojas( oboe and cor anglais) and Peter Amon(horn); as also another splendid contribution from a very much on-form sello section.”
The four orchestral suites BWV 1066–1069 (called ouvertures by their composer), are four suites by Johann Sebastian Bach from the years 1724-1731. The name ouverture refers only in part to the opening movement in the style of the French overture, in which a majestic opening section in relatively slow dotted-note rhythm in duple meter is followed by a fast fugal section, then rounded off with a short recapitulation of the opening music. https://en.wikipedia.org/wiki/Orchestral_suites_(Bach)
The Unanswered Question is a musical work by American composer Charles Ives. Originally paired with Central Park in the Dark as Two Contemplations in 1908, The Unanswered Question was revised by Ives in 1930–1935. As with many of Ives’ works, it was largely unknown until much later in his life, and was not performed until 1946.
Against a background of slow, quiet strings representing “The Silence of the Druids”, a solo trumpet poses “The Perennial Question of Existence”, to which a woodwind quartet of “Fighting Answerers” tries vainly to provide an answer, growing more frustrated and dissonant until they give up. The three groups of instruments perform in independent tempos and are placed separately on the stage—the strings offstage. https://en.wikipedia.org/wiki/The_Unanswered_Question
The Symphony No. 9 in E minor, “From the New World”, Op. 95, B. 178 (Czech: Symfonie č. 9 e moll “Z nového světa”), popularly known as the New World Symphony, was composed by Antonín Dvořák in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered in New York City on 16 December 1893. It is one of the most popular of all symphonies. In older literature and recordings, this symphony was – as for its first publication – numbered as Symphony No. 5. Astronaut Neil Armstrong took a tape recording of the New World Symphony along during the Apollo 11 mission, the first Moon landing, in 1969. The symphony was completed in the building that now houses the Bily Clocks Museum in Spillville, Iowa. https://en.wikipedia.org/wiki/Symphony_No._9_(Dvo%C5%99%C3%A1k)
REPOSITORY- UNIVERSITY OF PRETORIA
Der Fliegende Hollander – CAPAB – KRUIK, 29th March until 12th April, 1986
Conductor/Dirigent CHRISTOPHER DOWDESWELL
Oboes/Hobos: John Rojas (Co-Principal/Medehoofspeler). Sharon Fligner-Lindquist
Cor Anglais: Sharon Fligner-Lindquist, John Rojas
THE VISUAL AND DRAMATIC CONCEPTION OF
WAGNER’S DER FLIEGENDE HOLlANDER
By Professor Giinther Schneider-Siemssen
While Wagner’s music for Tristan und Isolde belongs to the later period of his work
and has an erotic and cosmic nature, Der Fliegende Hollander is an earlier work in
which the influence of Verdi is sometimes felt. This work is of great importance in
Wagner’s development and he himself wrote: ‘This was the first traditional tale
which so affected me that I felt I had to put it to music”.
Originally Wagner wanted to make Der Fliegende Holliinder a one-act opera in
three scenes to show the urgency of the story. However, he later decided that it was
technically impossible to change the scenes with the required rapidity and therefore
finally decided on a three-act opera with intervals.
A further point of consideration was that Professor Dickie asked me, because of the
financial problems at CAPAS, to try to use the elements of the “Tristan” production
as much as possible. I found this to be an interesting challenge and sincerely believe
that the public will not be aware of the use of the “Tristan” sets and, indeed, this
helps to continue the Wagner style which we have been trying to create in
Cape Town.
The action of Der Fliegende Holliinder takes place on the Norwegian rocky coast
between the fjords and the cliffs. The character of this landscape is very similar to
the seascapes around Cape Town where ships have been wrecked or had to seek
shelter from the storms. https://repository.up.ac.za/bitstream/handle/2263/56405/Der_Fliegende_Hollander_Capab_Kruik.pdf?sequence=17&isAllowed=y
(Photos and Music Copyrighted By DEO4MUSIC)