(Matilda
Lloyd)
Matilda Lloyd soared above the orchestra with regal splendour. (Review
by Dr Martin Goldstein)
The second concert of the KZNPO’s Spring Season
on November 7, 2019, celebrated 25 years of democracy in South Africa. It
comprised of a carefully selected programme which showcased the rich
multicultural heritage celebrated in our country.
The acclaimed conductor Daniel Boico conducted
with a sympathetic touch. He was actively involved in sculpting the sound
production. He knew how to elicit the right sound without being too flashy in
his movements. At the same time, he clearly inspired the orchestra and imparted
his sense of excitement.
The orchestra played Overture to Thina sizwe (2006) by Mokale Koapeng
(1963-); Partita Africana (1999-2006)
by Hendrik Hofmeyr (1957-); Trumpet Concerto, Hob. VIIe: 1 in E-flat Major
(1796) by Joseph Haydn (1732-1809); “And the Glory of the Lord” from The Messiah (1741) by George Frideric
Handel (1685-1759); Uz’ungangilahli Jehova (Do not abandon me, Lord) by Newman
Sibisi (1946-); Nkosi Sihawukele (Kyrie Eleison) and Mvana kaNkulunkulu (Agnus
Dei) from Zulu Mass in B-flat by
Qinisela Sibisi (1963-); Ruri’, ruri’, ketso tsa Rabohle by Michael Mosoeu
Moerane (1904-1980); “Sing the Lord Ye Voices All” from The Creation (1797-1798) by Joseph Haydn (1732-1809); “Blessed are
the men who fear Him” and “Thanks be to God” from Elijah (1846) by Felix Mendelssohn (1809-1847).
(Daniel Boico)
In the Koapeng, the orchestra displayed a
coherent interplay of the themes between the various sections of the orchestra
which required good timing.
In the Hofmeyr, the orchestra demonstrated the ability to play from very different
genres. They succeeded in making sense of a dense thematic texture with stark
juxtapositions of contrasting moods. The Click
Song, made famous by Miriam Makeba, was integrated into the work at the
end. The choice of this work for the programme was a fitting way to celebrate
the cultural diversity inherent in our democracy.
Haydn’s much-beloved Trumpet Concerto in E-flat
major was composed for the “keyed” trumpet invented by Anton Weidinger
(1766-1852), an Austrian trumpeter. The keyed trumpet was a forerunner to our
modern valved trumpet.
In the orchestra’s performance of the work, the
internationally-acclaimed British trumpeter, Matilda Lloyd, soared above the
orchestra with regal splendour. She had a nice sense of timbre and a light
touch. Her ethereal sound was underscored by very finely articulated running
scales and arpeggios, which were masterfully executed. In the cadenza of the
first movement, Allegro, she never
faltered in her attention to technical perfection. In the Andante, the strings captured the rustic feel and the purity of the
trumpeter’s sound came to the fore. Her playing throughout was characterized by
great neatness – almost a motherliness - in her doting attention to detail.
Overall, Lloyd demonstrated a good dynamic and articulatory palette.
Handel’s “And the Glory of the Lord” from The Messiah (1741) is noted as one of
the high points in any performance of the oratorio. Certainly, it was one of
the highlights of this concert. The Durban Symphonic Choir gave an
awe-inspiring rendition of it. The tempo was well chosen and there was good
coordination of the thematic entries.
Do not abandon me, Lord by Newman Sibisi
(1946-) is endowed with luscious, rich chords. The stretti were well-executed by the orchestra and the choir exuded
much power. The soloists had a refined, cultivated sound.
In the Kyrie Eleison from Zulu Mass in B-flat by Qinisela Sibisi (1963-), the soloists showed
dignified restraint. There was an incredible impulse in the choir, which
carried well in the modulatory passages. In the Agnus Dei, there was pastoral
tranquility and a gentle flow.
In the Moerane, the percussion on the off-beat
was well-executed. The harmonies conjured up a Victorian opulence.
It is said that Haydn’s experience of hearing
Handel’s oratorios in Westminster Abbey was the chief stimulus for his
composition of The Creation. One can
certainly hear the Baroque influence in this work and the technical challenges
are no less daunting. Much to their credit, the choir managed the challenging fugato passages well. This entailed
tricky rhythmic coordination of a complex polyphonic texture. The Soprano,
Khayakazi Madlala, is to be complimented on her considerable skill and
proficiency. Also, the Boy-Soprano, Joshua Littleton, sung with unique and
ethereal beauty. The choir produced an astounding volume in the powerful,
homophonic passages and this was certainly a fitting close to a most inspiring programme.
– Dr Martin Goldstein
The
next two concerts of the Spring Symphony Season take place on November 14 and
21, 2019, at 19h30 in the Durban City Hall. Booking is at Computicket. To link
direct to the KZN Philharmonic’s website click on the orchestra’s banner advert
on the top of the page or visit kznphil.org.za
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