The world of Arts

The bubbly cello girls and a guy

Gwen Herat

THEATRE: Romance was in the air with a silent palpitating expectant crowd on July 5 when The Cantando Cello Ensemble took their bow on boards of the Lionel Wendt Theatre, directed by Dushyanthi Perera.

But the night belonged to pianist, Soundari David.

Although I would not call the performance highly professional, the musical kit was on high level and in a matter of time, they would even hold the attention of Rohan de Sarem.

Exploration of sounds from many a splendoured cello girls and a single guy bubbling with enthusiasm, the youthful cellists bowed the repertoire of their chosen masters in no amateur way. Sweeping across the genres from Bach to Dvorak, they held on to the meaning of classicism in music. Even the solo artists rose to the occasion with confidence and maturity.

Immaculate fingers

Shostakovich whom I always consider to be a high profile but complexed composer, came out romantically perfect on the chords of charming Savini Chandrasinghe to whom the whole episode was untiring because of the Herculean backing of Soundari David’s immaculate fingers sweeping across the keyboards.

A new work by our own composer and pianist, Eshantha Pieris, rich, low, rarely exposed received a thundering ovation from the audience. The score was savoured with an ethnic effect that produced the sounds of many tantalising drum beats, thumped on the chords by the cello girls.

Their coordination related to each other with warmth and passion and very lively. The girls yielded in an abundance of understanding Pieris’ score as Eshantha Pieris conducted the group softly, gently until it reached its crescendo.

Rather mystique in imagination, he enthraled me has he did to many in the crowd. A member of the ‘Old Joes’ choire’, Pieris has the knack and the drive to inspire and involve young minds to music.

Tamara Holsinger playing solo on cello is heading her way to a great future judging by the way she presented D. Popper’s Hungarian Rhapsody Op. 68.

Chopin Enigma

Fredrick Chopin’s (1810-1849) orchestration quality is always found in romantic ballet. Les Sylphides was one of them that was rich and haunting and was beyond the grasp of the composer himself.

Almost two centuries later in the packed auditorium of the Lionel Wendt Theatre, a keyboard virtuoso quietly let her fingers gently caress the Ballade in G Minor which Chopin had scored with three bore Ballades.

Soundari David’s brilliant keyboard style mesmerised the audience. She was the reason that the crowds rolled into see tonight’s performances, among others. All music lovers in the country have accepted and admire her virtuosity and she was able to translate the great composer’s music without a blemish.

Chopin is the alluring, vivacious composer among many of his kind and someone’s whose music I listen to after others have retired to bed. The soothing passionate sounds of strings and piano, could lull anyone to sleep.

Among many of Chopin’s genius were the 2 sets of 12 Etudes and the 24 Preludes along with four Ballades he composed during his short life. No wonder Soundari David was influenced by the vibrance of his scores that she opted this solo tonight and played as though someone possessed, softly breathing out romance-poems.

The Ensemble’s playing of J.S. Bach’s Tocata and Fugue in D minor BWV 565 was a fitting opening number, warmly played by the group.

Dvorak’s Largo from Symphony No. 9 (New World) and arranged by Lohar Niefind brought back memories when I played it with my teacher tapping my knuckles because I could never play it well. Largo is a wonderful number and the Contando Cell Ensemble paid a great tribute to it.

All in all the crowds had a wonderful, electrifying evening of entertainment.

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