They brought out the splendour of ‘serious music’
The two outstanding concerts which featured violinist Stefan Milenkovich and his collaborator pianist Rohan de Silva provided much that resonated beyond the few hours spent at the Lionel Wendt Memorial Theatre. The audiences on both nights (May 28 and 29) were eager to listen and were willing to absorb the delightful elements that these spectacularly gifted artistes were able to share with such generosity of spirit.
Most of the ‘bill of fare’ centred on the masterworks of the 19th century, the only 20th century work was by Debussy. Given the space of time that separates these significant works from the present, it could easily be that such music and their context can be a source of puzzlement in the manner of their form and execution, as well as the structure and the dynamic. They constitute a “classicism” that stands apart and could appear to languish in a stultified atmosphere not necessarily in sync with present trends or sounds. It was this very barrier which the artistes effectively dismantled. Rather than ‘present’ their art and leave matters to the audience to evaluate or savour, they reached out to the audience in a spirited inclusivity, by speaking with the audience, explaining the muse of the composer and sharing their enthusiasm for what they do. What an amazing effect this had! Rather than have an audience of bystanders watching politely until it was time to applaud, here we had the audience revelling in the experience.
It was not only with regard to the performances either, but, questions were invited from the audience, which I felt was a welcome departure. The remoteness of ‘classical’ music, its supposed inaccessibility among contemporary audiences and the troubling matter of ‘relevance’ were all well taken care of and resolved with this winsome procedure.
Each individual who heard them would have had a personal encounter that to each would have been special. All the elements were on display, but importantly, were understood because their relevance was laid before the listener. One of the most vital of the elements was the amazing rapport enjoyed by Stefan and Rohan. Intuitive would be one expression that arises in the mind, but, more than that, the discipline and control over the idiom and the instruments they play were too wonderful to behold. In the Debussy, for instance, Rohan’s masterful touch and the pedalling which he brought to bear on the sumptuous resonance of the chords was scintillating. We were informed that this work represents the ‘culmination’ and assertion of all that Debussy stood for in his compositional style and in the innovation that the Frenchman contributed in the transitional period 19th century to the turn of the 20th. The mix of the orient and the occidental modes was effectively communicated by the pianist, and Stefan’s violin lines rode splendidly over this as evocatively as they could be played. This, as an example, is what the splendour of ‘serious music’ is all about.