Long Walk to Freedom

Concert 8

Long walk to freedom

Louise Lansdown and Emma Farnsworth - violas

Elliot Tingley - cello

Tony Alcock - double bass

PLEASE NOTE THAT THE LUNCH AT JEREMY’S RESTAURANT AFTER THIS CONCERT HAS BEEN CANCELLED. THE OPTION TO BOOK THE LUNCH IS NO LONGER AVAILABLE. THE PERFORMANCE @11.00 IS CONTINUING AS PLANNED. THANK YOI FOR YOUR UNDERSTANDING.

Hendry’s Bakery (in the same building as the concert) will be selling home baked croissants, pies and coffees before the concert so come and chill on the balcony before the concert and enjoy some fabulous food!

The final concert of the festival takes place at The Central Private Hotel (now known as Garfield’s Place) in the Pink Drawing Room. With the title Long Walk to Freedom this concert remembers the struggle, and in particular highlights the Rivonia Trial with four movements from Monthati Masebe’s “Trials that Trail” for solo viola and Grant MacLachlan’s Yihle Moya and Shosholoza for solo double bass. There are two new commissions and world premieres in this concert, both by South African composers Gqeberha based Jan-Hendrik Harley and Stellenbosch based Arthur Feder. Harley has composed a short suite for solo double bass ‘Molly’ (the name of Tony and Louise’s house in Prince Albert) in honour of Tony Alcock’s 60th birthday and Feder a duo for viola and double bass inspired by the Karoo. The festival finishes with three Argentinian and Uraguayan Tangos arranged for two violas, cello and double bass by cellist Elliot Tingley.

Programme

Grant MacLachlan (1956*)

Yihle Moyà and Shosholoza for solo double bass

Monthati Masebe (1995*)

Trials that Trail for solo viola

Golden (Arthur Goldreich)

A healthy Grave (James Kantor)

Kathy (Ahmed Kathrada)

Madiba, Dlomo, Yem-yem (Nelson Mandela)

Arthur Feder (1987*)

World premiere, new commission for viola and double bass

”in die stilte van die Karoo”

Jan-Hendrik Harley (1980*)

Molly Variations for solo double bass. New commission and world premiere **

Gerardo Matos Rodriguez (1897-1948)

La Cumparsita

Astor Piazzolla (1921-1992)

Two Tangos (arr. for two violas, cello and double bass by Elliot Tingley)

Libertango

Oblivion

Programme Notes

Astor Piazzolla (1921-1992)

Born in 1921 in Mar del Plata near Buenos Aires, Astor Pantleón Piazzolla spent much of his childhood in New York learning the bandoneon and piano where he took an interest in Jazz and Classical Music, particularly the works of Bach, which would have a strong influence on his composing later in life. In 1946, after returning to Argentina and setting up his own orchestra, Piazzolla began experimenting with the Tango style. Although not initially very popular with Tango traditionalists in Argentina, Piazzolla was widely admired in America and Europe, and over time Piazzolla became popular in Argentina, particularly with new Tango composers, and his music started featuring in movies and tv shows. Oblivion being one such piece that was composed in 1982 and used in the 1984 Italian movie Enrico IV. A prominent feature of Piazzolla’s writing is his infusion of Jazz harmonies, syncopated rhythms and melodic complexity of the classical style. These can be heard in both Oblivion and Libertango as there is constant syncopation in the bass parts while the melodies float and mix on top in a semi improvised fashion creating a unique and wonderful texture that, in combination, is able to explore and express a wide range of natural emotions from heartache to fiery passion throughout all of Pizzolla’s work.

Gerardo Matos Rodriguez (1897-1948)

Born in Montevideo, Uraguay in 1897, Gerado Matos Rodríguez wrote one of the most well known Tangos ever written, La Cumparsita (the little parade) in 1916. He took it to Roberto Firpo who said “He left a very modest score with me. It was ‘La Cumparsita.’ I played it on the piano and liked it. After some adjustments to the score I released it with extraordinary success.” And when Firpo took the Tango to Buenos Aires, the success was repeated. After a brief time being forgotten and after words were added without Rodríguez’s consent, the piece resurged in popularity, but what followed were two decades of lawsuits over royalties until 1948 when a binding contract was signed and Rodríguez was able to put an end to the lawsuits. A charming example of the style of Tango before Piazzolla revolutionised it, La Cumparsita has become a national piece in Uruguay. Its harmonies are much more in the western classical style and are much easier on the ears and there is also less syncopation in the bass line, typical of early Tangos. But none of this detracts from it being one of the most popular tangos in history. In a way, its simplicity and easy listening nature helped it to reach far and wide in a variety of audiences.