(Aristide
du Plessis)
Aristide
du Plessis produced an incredible resonance in his vibrato technique and a
magnificent tone. Over and above this, he appreciated the various innate moods
of the work and knew how to portray these convincingly. (Review by Dr Martin
Goldstein)
The Friends of Music recital on September 17,
2019, featured one of South Africa’s finest cellists, Aristide Du Plessis,
accompanied by a suitably capable pianist, Jan Hugo. They performed the Sonata
for Cello and Piano in G Minor, op.5:2 by Ludwig van Beethoven (1770-1827), the
Sonata for Cello and Piano in E Minor, op.38 by Johannes Brahms (1833-1897) and
the Sonata for Cello and Piano, op. 40 by Dmitri Shostakovich (1906-1975).
Between1796-1800, Beethoven embarked on a
concert tour of various cultural centres including Prague, Dresden, Leipzig and
Berlin. On reaching the latter destination, he appeared before the King of
Prussia, Friedrich Wilhelm II, and with the king’s first cellist, Jean Louis
Duport, he performed the two op.5 cello sonatas, which were in fact written for
this occasion.
Du Plessis would have compared well with
the king’s first cellist, certainly doing the Beethoven justice. He maintained
a balanced control of the tone. The vibrato was not excessive and throughout,
there was a lovely singing tone and purity of sound.
The finale of Brahm’s Sonata for Cello and
Piano in E Minor, op.38 is based on a theme which parodies the two mirror
fugues (Contrapunctus 16 and 17) from Bach’s Art of the Fugue. This movement
evidenced how far Brahms had progressed in his integration of both strict
contrapuntal technique and sonata form from his earlier attempts at the
genre.
Du Plessis was certainly very much in tune
with the underlying sentiment of the work, providing a helpful introductory
explanation for the audience. In the Allegro non troppo, there was a heroic air
to the performance. In the Allegro, there was good agile octave work in the
piano and the cello carried the “heroic” phrase melodies convincingly,
displaying an understanding of the fugal theme concept.
Shostakovich’s Sonata for Cello and Piano,
op. 40, was composed at the suggestion of his cellist friend and recital
partner Viktor Kubatsky. For several years, Shostakovich had suggested that the
Soviet composers not neglect chamber music and the cello sonata marked a new,
more restrained classicism in his style.
Notwithstanding the composer’s attempt to
conform to more traditional compositional norms, du Plessis saw through to the
essence of the work and, in the Allegro non troppo, he displayed an
understanding of the longing inherent in the Slavik-style melody. He produced
an incredible resonance in his vibrato technique and a magnificent tone. Over
and above this, he appreciated the various innate moods of the work and knew
how to portray these convincingly. In the Largo, there was a lovely sadness and
du Plessis imbued his playing with much intent.
The Prelude Performer, Wandile Nsele (tenor)
began his performance with Come Away,
Come Away Death by Roger Quilter. He produced a sonorous, tranquil tone.
Overall, he had a pleasing demeanour and communicated well with the audience,
both through his singing style and his body language. In the Amor ti Vieta from Fedora by Umberto Giordano, Nsele soared above, displaying good
reserve and strength. The Neapolitan Folk
Song by Mattinata was lively and happy and, again, there was a pleasing use
of body language. Nsele was clearly at ease on stage and invested his words
with great feeling. A level-headed and stable performer, he has much to offer
the operatic world. – Dr Martin Goldstein
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