Khachaturian’s Danse du Sabre performed on 10 grand pianos by 200 fingers, 40 hands and 20 pianists brought the Stellenbosch International Piano Symposium of 2022 to an exhilirating end. What a blast! And to me, these three words perfectly sum up our time at the Symposium.
Why do I say so, you may ask. I have cornered observers, students and masterclass presenters to share their experience of the five day Symposium and this is what some of them had to say.
Ben Schoeman, an international South African pianist, lecturer at Pretoria University and someone who uses his wit to soft pedal the serious business of masterclasses: “This Symposium is a unique and wonderful opportunity, as it seldom happens that so many pianists from across the country get together. Even world-wide it is a unique happening. I enjoyed working with talented, studious and inquisitive young pianists. The Symposium is a true glorification of the instrument, the complexities of its technique, the sound colours and its enormous repertoire. I thank the Stellenbosch University team from the bottom of my heart.”
Gerhard Joubert, a multiple award-winner and someone to look out for on the international stages in future: “The solo performances by Emanuil Ivanov and Antonio Pompa-Baldi were highlights for me and most of the other students. It exposed us to live expert piano playing of the highest order. Both the Bulgarian (Ivanov) and Italian (Pompa-Baldi) speak the language of music: It was also clear in their masterclasses. Although we were heavily criticized in the masterclasses, the atmosphere was always one of respectfulness and the criticism directed at conveying the music clearer and more naturally. The week was an invaluable experience which had a positive impact on our development as musicians and as human beings.”
Gisela Scriba, a well-respected music teacher in Pretoria attended the Symposium as an observer: “After being starved of personal interaction with music teachers and musicians during the past two years, the encounters and conversations at the Symposium certainly re-filled my music tank. To attend a variety of masterclasses and listen to various compositions and the presenters’ ideas regarding interpretation, was most inspiring. It is of the utmost importance for music pedagogues to share ideas and knowledge: One is never too old to learn something new. Networking is also an invaluable part of the Symposium. Here you meet likeminded people and afterwards return home with fresh tips and ideas, as well as being motivated again to continue your work of passing on your knowledge to the next generation.”
Let me tell you a little bit more about Saturday and Sunday, the last two days of the 12th SIPS. Saturday opened with Kerri-Leigh Wayne, US alumnus and wife of pianist Megan-Geoffrey Prins, who spoke on fostering engagement in beginner to intermediate piano students. She is regarded as an expert in music education and left the attendees with material they can apply in class, while students can make use of it in their assignments.
Saturday night belonged to virtuoso pianist Antonio Pompa-Baldi who’s playing transcended us to a higher level of music making. Works seldomly performed and even unknown pieces stood as proof of his masterful technique and an intensity in conveying meaning, which left the audience speechless. Could you surpass having in your midst him and the 24-year-old Emanuil Ivanov, who played on the opening night? Highly unlikely.
Three cheers to Nina Schumann and the team who decided on these two international masters for this year’s Symposium. We were truely spoiled!
The fifth and last day was met with sadness and some relief. Tiredness was creeping in and one wasn’t sure whether one can absorb more information, while intensive practising for masterclasses also took its toll.
Nevertheless, the round-table discussion on music teachers and connectivity steered by Ronella van Rensburg, elicited a huge amount of ideas on how to fill voids in the education system from primary school through to tertiary level.
Should more events such as the Symposium be presented? Perhaps starting off with only high school teachers? Focusing only on Piano? What about the other instruments? It will take some thorough exploring and consultation to find a way to iron out problems and enhance music teaching in South Africa. At least this is a start, thanks to the appointment of a few candidates to do the groundwork.
The Piano Extravaganza which concluded the Symposium has become an institution in such a way that tickets were sold out long in advance. No wonder. It was loads of fun listening to works performed by more than one pianist and on even up to ten pianos at once. The 1812 Overture by Tchaikovsky, arranged by Langner for 10 pianists on 10 pianos plus percussion - Malcolm Nay made the bass drum really sound like gunfire – was an excellent portrayal of the joy that ensemble playing can offer. The feeling of isolation that pianists can experience popped up several times during the week, and not without reason. Permitting time, partners and availability of pianos, this is a way of breaking out of the confinement that is part and parcell of solo-playing.
One aspect I haven’t mentioned before, was the lunch hour student concerts. All participants, from scholars to award-winners, had the opportunity to play one piece, which gave them concert exposure as well as giving the listeners an idea of the wealth of skill and level of artistry of the youngsters. It is quite clear that our country has a vast amount of talent and a symposium such as this plays a crucial role in cultivating it.
A heartfelt thanks the Conservatorium staff who present this kind of magic every second year.
Last but not least, thanks to the sponsors without which this classical music impetus would be impossible: Rupert Foundation, Unisa, Nederburg, Cape Town Philharmonic Orchestra, Heuer Pianos, City of Cape Town and Stellenbosch University. We are also grateful for the Gbenwa Culinary Club’s tasty Lebanese food.