(Pieter
Schoeman)
Violinist of the first rank performs in
concerto dedicated to him by Roelof Temmingh. (Review by Michael Green)
The
penultimate concert of the KZN Philharmonic Orchestra’s spring season was
significant for two reasons: the
presentation of a new violin concerto by a South African composer who died in
Durban recently, and an absolutely outstanding performance of one of the great
symphonies.
Roelof
Temmingh was born in the Netherlands and came to South Africa in 1958. He died in Durban last May, aged 65. He was a prolific
composer in the modern style. His earlier work was avant-garde but his later
music was more accessible. About two years ago, he completed his violin
concerto, dedicated to his friend Pieter Schoeman, a South African violinist
who is now leader of the London Philharmonic Orchestra.
Pieter Schoeman was the soloist with the
KZNPO in the Durban City Hall, and the conductor was Lykele Temmingh, resident
conductor of the KZNPO and brother of the composer.
The concerto has two movements and runs for
about 30 minutes. The first movement opens rather mysteriously and fairly soon
some rhythmical dissonant chords from the brass instruments introduce a long,
eloquent recitative for the solo violin.
The trombones, trumpets and horns feature
strongly in the first movement, which is generally rather dark and solemn. The
second movement is more lively. The solo violin has a virtuoso role, and it was
very well played by Pieter Schoeman, who is obviously a violinist of the first
rank. Lykele Temmingh conducted with the insight and sympathy one would expect.
Audience reaction ranged, as far as I could
determine, from respectful interest to puzzled hostility. But it was, at least,
a very interesting experience, and there were the strong local connections.
Music of a very different kind made up the
rest of the programme, which was under the baton of the visiting Hungarian
conductor Tibor Boganyi. Rimsky-Korsakov’s Russian
Easter Overture opened the concert, and after the interval we had a resounding
performance of Tchaikovsky’s Symphony No. 6, the Pathétique.
Boganyi’s expressive and vigorous
conducting drew forth some glorious sounds from the orchestra in this beautiful
and emotional music. When the symphony had come to its quiet and sad close, the
audience sat in rapt silence for some moments before bursting into enthusiastic
applause.
A performance like this emphasises that
recorded music is no real substitute for a good orchestra in a concert hall. It
also reminds us that we have a really valuable asset in the KZNPO and that we
should give it all the support we can. - Michael Green
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