Classical Capturing every musical thought

Capturing every musical thought

From their sublimely shaped opening statement, Zanta Hofmeyr (violin), Morkel Combrink (viola) and Wessel Beukes (cello) delivered a performance that captured and conveyed the beauty of each musical thought in Bach’s intricately crafted score. This performance explored Bach’s contrapuntal weaving with understanding and tangible exhilaration.

The Goldberg Variations, fourth part of the Clavier-bung, are traditionally performed on the keyboard, but Dmitry Sitkovetsky’s transcription for string trio lifts the veil on Bach’s contrapuntal genius. All credit to this trio for sharing this arrangement with festival-goers.

The trio’s attention to terraced dynamics, with some atmospherically hushed pianissimo playing, showed their understanding and appreciation for the baroque style; while their well-controlled expressivity, especially in subdued passages, allowed the viola to poignantly enter the thematic conversation.

Artistic purpose
Here, in the intricately woven polyphonic texture, judiciously balanced motivic interplay revealed this ensemble’s single-minded artistic purpose. Each unfolding variation – carefully wrought cameos – brought an added delight, though some modulatory phrases required more careful listening and controlled intonation.

The trio revealed their musical perceptiveness in a stable rhythmical underpinning of motorically conceived variations and in purposefully shaped sequential patterning. Easily communicating their musical intentions, and their playing marked by a uniformity of attack and consideration for the score, this trio is a well-merged musical force.

Beukes’s impassioned contribution showed his complete identification with the score and Bach’s expressive idiom. Each finely turned ornament and artistically crafted pointed phrase added a significant dimension to the ensemble’s interpretation. This complemented the virtuoso scoring of Combrink’s flamboyantly delivered part; his playing the hallmark of finesse and flair.

Hofmeyr’s clean playing and detailing of each constructional crevice displayed her command over this idiom. Her attention to detail and careful presentation was showcased in some lovely spun-out melodic phrases, with delineated inner rhythms.

The Rhodes Chapel, especially with lighted candles, proved to be the perfect venue for this celebration of Bach’s music. Combined with the trio’s relaxed ambience, this programme is one to be cherished.

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