Books that redefine the universe

By Sinead Fletcher

  • Sinead Fletcher is a third year fine arts student at the University of Johannesburg who recently took part in the Arts Writing course facilitated by Robyn Sassen.
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A man for all books: Professor Buzz Spector. Photograph by Sinead Fletcher.

“MAKE YOUR OWN book, Buzzy,” was the instruction that a three-year-old Buzz Spector remembers most clearly as the trigger that started his illustrious career as a book artist.  Arguably one of the superstars of the Booknesses Colloquium and Exhibition – currently on show in Johannesburg – Spector spoke to My View whilst he was in South Africa for the opening and conference hosted at the end of March.

His mother’s instruction came with his first 16-page, brown craft paper book that was sewn with red yarn. This was the paper in which his three-year-old’s sister’s diapers, freshly delivered from the laundry came wrapped in. Spector explains that this moment and this investment of a kind of creative autonomy, planted the seeds of interest which began his exploration and fascination with the book.

These days, armed with qualifications in the field from the Southern Illinois University in Carbondale, and the University of Chicago, Spector, who is currently a professor of art at the Sam Fox School of Design and Visual Art at Washington University in St Louis, enjoys exploring the making of artists books by way of altering already established archival, record keeping encyclopaedias and almanacs, which boast graphically and typographically identical layouts. Working with great writing – philosophical or fiction – is a difficult process, he says,  as it requires him to explore and read the texts carefully and deeply.

Not every book that makes for great reading served his purposes though. Many do not “suit my method,” he says, explaining that he can go many years before finding books which are suitable for his forms of book alteration. The criteria which Spector follows to find his ideal book include the institutional nature of the text, the quality of paper that the text is printed on, the sturdiness of the binding, the physical properties of the dust jacket and the presence or absence of mould or mildew.

“All of these concerns, from root materiality to critical reading, have to be in play for the work to begin.”

Spector knows South African art making well. He considers Willem Boshoff, who he’s known since 1995 a “kindred spirit”. Articulating great admiration for the work of William Kentridge, Spector also mentioned that recently he has become more aware of books made by artists such as Stephen Hobbs and Stephan Erasmus.

Having worked at a few paper mills, over the years, including Dieu Donné in Brooklyn, New York, Spector says he has been “impoverished” with his selections of paper thus far and is now “looking for the buffet” after being exposed to the work of Mary Hark and other young South African artists.

Describing the Booknesses Colloquium as having had a quality of urgency that showed both in the enormous emotional investment of professionals associated with the University of Johannesburg people – David Paton especially – and in artist book collector Jack Ginsberg’s desire to enable the exhibit to spark a transformative social interest in South Africa, he said this urgency was reflected a sense of caring and desire which, within the international community, he explains, “promotes urgency in reawakening our interest to go out and promote our practise.”

Spector spoke of the multiple panels in the Colloquium, which focused on a rich mêlée of books-related issues, including the notion of the book’s relevance to culture as well as the problem of the book being exhibited as a stillness of form whose “meaning arises in motion.”

  • The Booknesses exhibition, comprising the collection of Jack Ginsberg and curated by David Paton, is on show at the FADA Gallery on the Bunting Road Campus of the University of Johannesburg and the UJ Gallery on the Kingsway Campus, until May 5. Contact David Paton on: dpaton@uj.ac.za or 082 888 4859. Or visit website: http://www.theartistsbook.org.za/
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Journey to humanity’s heart, with a lens

By Israel Bansimba

  • Israel Bansimba is a third year fine art student at the University of Johannesburg, who took part in the arts writing course facilitated by Robyn Sassen earlier this year.
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MAN with an eye for dance: Seasoned dance photographer, Denis Rion. Photograph courtesy youtube.com

THE MAGIC OF making a photograph work, according to Nantes-based veteran dance photographer Denis Rion (59), happens in the way in which it can capture light and movement. He was seduced by the medium at a young age and realised early on that this would be a lifelong affair. Rion was in South Africa for this year’s Dance Umbrella, as he collaborated with Gaby Saranouffi and Moeketsi Koena on their work Corps. He chatted to My View about his career behind the lens and in front of dancers.

“Dance is a fundamental element of the culture and identity of each country I have visited,” he says, speaking of how his career has taken him all over the world. He is interested in capturing gestures and movement and his work’s resonance with the dance world felt natural from the start. His work has been characterised by his desire to capture and reflect on the idea of ‘the other’.

Characteristic of Rion’s dance photography is the black background. He explains this, deeming that blackness as neutral: “If the background is the decor, there is the subject plus the decor, but I’m only interesting at the subject, that’s why I use the black background in general.”

On his website, he comments: “My photos offer a still picture of what is most live in us: flesh and emotions, materials and colour, which highlight the magnificent force of movement and gesture, the richness of the diversity of body expression, like a journey to the heart of humanity.”

  • Rion’s work can be seen this week with the performance of Corps, danced by Gaby Saranouffi and Moeketsi Koena in Infecting the City, April 5, 7 at Artscape, Cape Town. Visit infectingthecity.com/2017/

How to put on that tutu and dance, in spite of everything

By Assent Menwe

  • Assent Menwe is a third year fine arts student at the University of Johannesburg. She took part in the arts writing course facilitated by Robyn Sassen.
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PAINTING and dance, courage and tutus: Tamara Osso. Photograph courtesy http://www.thatspace.co.za

TAMARA OSSO’S NEW work, Tutu, which debuted at the 29th Dance Umbrella earlier this month, is backed by a tale of escaping and reorganising social, cultural and personal structures and a focus on the complexity of the ease or difficulty with which the body moves. Osso spoke to My View about painting and dance, tutus and tradition, paralysis and movement earlier this month prior to the performance of her work at the Nunnery.

The work, choreographed by Shanell Winlock-Pailman and Laura Cameron is directed by Osso. It comprises four danced characters: the aloof woman, the busy lady, the man who doesn’t want to be seen and the unstable man. It is performed by Winlock-Painlman and Cameron as well as Nathan Botha and Kgotsofeleng Moshe.

Osso’s inspiration to write the story behind this piece came from her own practise in visual art and her love for movement: in addition to her dance credentials – she learnt classical ballet as a child and has been associated with several contemporary dance companies in South Africa, including Ballet Theatre Afrikan, Free Flight Dance Company, La Rosa Spanish Company and Moving Into Dance Mophatong – she graduated with a Fine Arts degree from Wits University in 2014. Blending her visual art with her dance-based endeavours, Osso is intent on creating a dance language which is fresh and unique.

Expressing frustration with her ideas that have often been forced to leap beyond the boundaries of being paintings, she says that some of her paintings were compromised because she felt an urgent need to express herself through bodily movement as well as with paint on canvas.

But this frustration and sense of urgency to use as much of her energy as possible in creating her work, rests also on her personal circumstances. The mother of a young boy with hemiplegia which is a condition that causes one side of the body to be paralysed, Osso focused Tutu specifically around not being able to move properly. Her gesture reaches from the personal into the universal: We can all relate to feeling physically limited or stuck; effectively our sense of stability in the world is one of the powerful factors that makes us relate to ourselves and how we experience life.

Under Osso’s directorial hand, Tutu describes how we all move differently; some faster and more slowly, based on our personal vulnerability.

Forever Bach

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A well-mannered clavier: Pianist Joanna MacGregor. Photograph courtesy youtube.com

HEAD OF PIANO at the Royal Academy of Music in London, Joanna MacGregor (b. 1959) knew from her early childhood that piano was her first love. Prior to her arrival in Johannesburg, she responded to questions from My View about the flamboyance and fierceness but also the humour of folk traditions, the magic of the mazurkas of Chopin and the inimitable brilliance of Bach. She performs a recital for the Johannesburg International Mozart Festival in partnership with the Johannesburg Musical Society, on February 4.

“I played all kinds of instruments when I was young – guitar, violin, recorder, percussion – but I always knew the piano is like a universe,” she says. “And that’s partly because it represents so many different styles of music: Classical, gospel and blues, jazz and contemporary music.”

Her mother taught her music when she was a very little girl, she won a scholarship to study at South Hampstead High School as an 11-year-old and went on to Cambridge and the Royal College of Music. But it was in accompanying people – engaged in everything from choral work to dance, cabaret to amateur performances of pop songs – that she was able to diversify her approach to music and develop her wide range of musical interests.

MacGregor is known as a teacher with a great sense of proactively making music fun for children, a composer of music for theatre, and a playwright. On a lark, she wrote a radio play about Parisian avant-garde 1920s composer Erik Satie in 1990, entitled Memoirs of an Amnesiac, which starred Jim Broadbent in the character of Satie, which went on to bag a Sony Award.

MacGregor is married to theatre director Richard Williams and she loves the tool of the written word almost as much as she loves that of the musical note. As a teenager, she earned an income writing music for theatre productions, which later developed into writing for film and television as well.

“Really, it was a way to earn money and space to practice,” she adds, referring obliquely to her diversity of skills which include conducting and curating festivals. “And once I started touring a lot, from my mid-20s onward, I stopped.”

One of the first artists chosen for the Young Concert Artist Trust in 1985, MacGregor has, over the prolific trajectory of her career, performed in more than 70 countries with the world’s best orchestras and conductors of the ilk of Pierre Boulez, Sir Simon Rattle, Sir Colin Davis, Michael Tilson Thomas and more. But her enthusiasm for the quirkiness of Satie has lingered as has her interest in the theatre. From Brian Eno to Mozart, oud performances and lute compositions to collaborations with electronica artists, MacGregor’s enthusiasm for all things that feed the rich fabric of music is boundless.

Awarded an OBE in 2012, MacGregor is a frequent British radio and television broadcaster. Currently she is working on the score of a ballet choreographed by Kim Brandstrup, alongside the writer Marina Warner.

Her repertoire in Saturday evening’s concert engages with the folk theme of the Mozart Festival. “The origins of dance connect across Piazzolla’s tangos and Chopin’s Mazurkas, as well as Satie’s Gnossiennes, Ligeti’s Opus 1 Music Ricercata tussles with all kinds of Hungarian folk music, in his inimitable way: funny and furious at the same time,” she says. But ultimately it is the jazziness of Bach that keeps her focused all the time.

“Bach is like the Godfather of the piano canon,” she says. “By playing him I can instantly hear other composers too, from Mozart and Piazzolla to Theolonius Monk and Arvo Pärt. And it’s so rewarding technically, musically and spiritually.”

MacGregor is celebrated for her Bach interpretations and recordings, particularly the famous Goldberg Variations, which she performed under invitation from Sir John Eliot Gardiner to perform at the Royal Albert Hall in 2013 and his Well-Tempered Clavier which she filmed for BBC television.

She speaks in her fabulous North England accent, allowing the words to thrill and sparkle over one another in her enthusiasm and knowledge of the intricacies of the music, but when she sits down to play, as the many YouTube videos online demonstrate, the notes simply take over.

The Universe in a Musical Chord

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OH, the things you can do with a keyboard: Johannesburg Mozart Festival’s Composer in Residence for 2017, Neo Muyanga. Photograph courtesy panafricanspacestation.org.za

MUSIC WASN’T THE first life choice of this year’s Composer in Residence for the Johannesburg International Mozart Festival. It was physics. Indeed, Neo Muyanga (b. 1974), calls music the mistress he serves under duress. He told My View about music’s grammar, 14th century madrigals and what ‘folk’ means, as well as his two works which debut in Johannesburg on February 5.

“I generally wanted to think outside of boxes that were on offer to me …” he describes the trajectory of his life, spiced by his bravery to experiment and hunger to learn, and punctuated with his ability to listen to silence. During the 1990s, he worked as a journalist for Radio 702. At the time, in collaboration with Masauko Chipembere, he formed BLK Sonshine, an acoustic duo. “It was a huge stress relief because in the daytime, I would spend my time covering protest marches or being shot at; at night I would work it all out through harmony and be back the next day for more bullets.”

Born in Soweto, Muyanga grew up singing in choirs. He elected to study madrigals at a college in Trieste, Italy; his career path was never predictable. “I started learning music theory with someone who was my history teacher in high school; I spoke to her the other day and she referred to me as ‘self taught’,” he remembers how this teacher opened doors for him that he didn’t know existed.

He learnt music theory on the piano, but not how to play it. “In Italy, I joined an avant-garde rock band – a strange place for a Soweto boy to be – and there was an amazing guitarist in it, who was also a talented economist. At some point, he decided he wasn’t going to make it as a guitarist, so he gave up the guitar and went with economics. I was so upset about this, I decided I would never ever need a guitarist in my life again. So I started playing guitar myself. I practiced like a demon for some months and became good, quickly.”

Muyanga describes his gravitation toward playing the piano as the fruit of a dream. After leaving journalism, he worked in production, where he developed his chops as a sound splicer. In the transition between reel-to-reel and digital, there was much to learn.

“While I was doing that, at some point, I dreamt I could play the piano. The next morning, on the keyboard, I thought ‘Let me just try this …’ It worked.” A miracle? “No,” he says. “I understood how chords work. Something in that dream connected what I had as chord theory with a melodic impulse I was developing as a song writer. That’s the thing about music’s language: it contains the whole universe. Once you learn the grammar, you can apply it and learn other languages by applying your linguistic skills.”

Being composer in residence for this festival doesn’t bring Muyanga to self-consciously self-identify as such. “I think I’m always becoming, and I will remain, I hope, ever young. I am always a beginner at whatever I try to put my mind to. I don’t think one can be taught composition,” he adds. “You can be taught music theory. You can be taught about taste and proportion, but you become a composer through life experience … it doesn’t just happen because you’re a genius,” he laughs quietly.

In being composer in residence, he is “stretching the confines of this conversation about folk music,” he refers to the theme of this year’s festival ‘That’s All Folk(s)’. “In Europe and the west, ‘folk’ talks to Joan Baez, Bob Dylan, Pete Seeger … there’s a particular kind of activism, rhetoric and personality that belongs there. We don’t have that as a comfortable space in southern Africa. And I work from the premise of Soweto, which gave me voice, which gives me perspective, constantly.

“Even though I don’t think what I write is ‘Sowetan’, I happen to be from there. It is my lens. And I like to look at what this peri-urban modernity, hipness under duress means over the colonial period.”

This year’s festival closes on a high, with Mozart to Muyanga, a concert featuring Tata and Qukezwa by Muyanga.

Based on Hade Tata, a work he developed with pianist Renee Reznek, which enjoyed its world debut at the festival in 2015, Tata “started out as an orchestration of a piano work but it got the better of me and I started recomposing. So it’s a different piece to the Hade Tata Renee performed, but it relates to the conversation I had with her; it developed out of a commission from Sandra de Villiers at Opera Africa, to write an opera based on the life of Nelson Mandela, using Themba Msimang’s libretto, a dramatisation of A Long Walk to Freedom. I refused: there seemed little reason for me to replicate it. The movie was out. The book was in the world.

“I was more interested in replicating a platform to explore Mandela’s psychological terrain. So, the piece is not specifically to do with the man; it’s about who he was in society and history.”

Qukezwa is based Muyanga’s opera which is based on Zakes Mda’s Heart of Redness and first saw light of day in 2015 at the Fugard Theatre. A revised version of it is on this year’s Grahamstown National Arts Festival – Muyanga is this year’s featured artist for that festival, too.

“In Qukezwa, I’m trying to understand what opera can be in a South African voice. South Africa is the world’s premier training ground for opera singers. We train young black singers from marginalised communities. Everywhere else, opera is a preoccupation of the elite, but in South Africa, it’s the beloved thing to do for the poorest; something about that speaks volumes about South Africanness. I’m trying to find where this particular voice relates to our colonial contingency and how it might have valuable things to say to South Africa and to the world about making community.”

“Mozart to Muyanga” is on February 5 at 3pm at The Edge, Waverly. Performed by Muyanga (piano), Florian Uhlig (piano), Miseka Gaqa (soprano), Noluxolo Jebe (alto), Vusumuzi Nhlapo (tenor), Joshua Pule (bass), and the Johannesburg Festival Orchestra, it comprises Mozart’s Piano Quintet in E-flat Major (K 452), Muyanga’s Tata and Qukezwa and Beethoven’s Piano Quintet in E-flat Major (Op 16). Visit www.join-mozart-festival.org

How to turn a requiem inside out

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A miscellany of praise singers: Requiem for the Living touches on myriads of cultures and perspectives. Photograph courtesy of artslink.co.za

“PLATO SAID TEACH your children music because that way they will learn all the patterns of existence,” says composer Rexleigh Bunyard, who not only sees music in different colours, but she dreams it too. “I don’t think there’s anything supernatural about this. I think this about your psyche rearranging patterns. We come into the world with archetypal patterns and we put them on the outside,” she tells My View about Requiem for the Living which enjoys its world debut in Gauteng this weekend.

“It’s like teasing out wool,” she explains how she uses germinal chords that have been irresistible to her, as a starting point. “I pull them apart, horizontally, vertically, and suddenly the whole composition opens up and it almost writes itself.”

Another part of this work, one movement of which was performed in Johannesburg in 2008, is “a very slowed down kwela, derived from the tortoises in Camille Saint-Saëns’s Carnival of the Animals. Those tortoises are dancing the can-can. It’s such a precious image, that tortoises would attempt to do something as incredibly feminine and extravagant as the can-can. So I decided to create the dance of the universe, of Shiva, with kwela, connecting us to the earth of Africa, but slowed down to such a degree that you don’t hear it necessarily as a kwela, although it has some of the rhythm.

“But it is the basis and it is the connection to a feeling that a lot of our history and our ancestors are somehow embedded in the African landscape … The journey in the requiem is a turning away from death to the life, but in order to be able to do this, you reach to the very depths. It’s a rebirthing.”

Bunyard, who was educated in Cape Town, Paris and Pretoria, has taught music part time at Roedean School for almost 20 years. She explains the work’s focus on the child, on regaining the child spirit, rediscovering the original wholeness of the self. It draws attention to the plight of children who suffer abuse, neglect and illness. It also supports the bereaved: children who have lost their parents, parents who search for their missing children, visit their graves, sit in their hospital rooms, and others who have no children, but long for one.

“Music was always there,” she recalls, thinking of her own childhood. “I remember watching from the crack in the door as a very small child. I was supposed to be in bed and my parents would have parties and they would play Benny Goodman and Bing Crosby music.

“I used to try out my sister’s piano pieces when she was at school. My dad picked up that I was musical. He would whistle to me – he had a beautiful whistle, like Roger Whittaker,” she says, speaking also of her father’s violin making skills.

“My first music lessons were spent with me playing with the teacher’s cat. And then they brought Hermann Becker to teach me. He was a little old Eastern Cape music teacher, who called himself ‘Professor’. He would play my pieces once for me – I would memorise them and practice them from there. I have an audiographic ear.”

Her musical path, however, was not a smooth one; after not playing for many years, she was teased back into musical relevance with an impromptu improvisation session with Francois Le Roux, the Ha! Man at the Theatre on the Square in Sandton, in 2008. “I thought I was just going there to listen to a ‘cellist. And Francois called people to be up on the stage. He was fantastic. He said, would somebody like to play with him. And I said, I’ll go. My family was shocked. I hadn’t performed since 1987, when I was a concert pianist. He played a note and something amazing happened.”

Never having nursed a dream to be a professional improviser, Bunyard adds “since I was about 11, I always wanted to compose. Teachers deterred this dream, saying that it wasn’t one for girls, as was conducting,” she grins mischievously. “So, I took conducting lessons … a conductor works from the outside in. A composer starts from nothing. We start from the inside and work outwards. It’s a different mechanism and a totally different kind of composition.

“I’m curious to see what somebody else does with this requiem,” she adds, praising Rick Muselaers, an expert choral conductor from the Netherlands, who will conduct it. “He may expose an earlier Rexleigh who wrote the work between 2002 and 2006 during a particularly dark time.”

“It’s very eclectic,” she explains how she has reworked the order of the traditional requiem. “It’s a mixture of Christian theology and my own perspectives. And praise singers in different languages: French, English, Afrikaans, isiXhosa, Sesotho, Hindi, Mandarin, Cantanese, Portuguese and Hebrew. I was inspired to bring in the notion of praise singing by Zolani Mkiva, who performed at Nelson Mandela’s inauguration. It was unbelievable. It’s a celebration of life.”

“It’s very layered,” she grins, acknowledging the multiple ideas the work touches. “I’ve told the conductor he can bring out the layers he wants to hear. The basic structure will still be there… it’s a bit like life. You can bring some things into focus, but not everything at once. It’s would be too intense. The work is a bit like a drawing by a small child who got hold of the whole box of crayons and has now used them ALL UP,” she says, fiercely. “I had a marvellous time with it!”

  • Requiem for the Living, has its world premiere on August 27 at 8pm at Johannesburg’s Linder Auditorium, and at Unisa’s ZK Matthews Hall, Pretoria on August 28 at 3pm. Conducted by Rick Muselaers, its soloists are Ryan Hoffmann, Claudia Pike, Olusegun Soyemi and James Venables and its choirs are Gauteng Opera and the Horizons Project. Visit reqliving.org and see an excerpt of the work from 2008: https://www.youtube.com/watch?v=yYhreMTWAZU&feature=youtu.be

Give yourself over to romantic abandon and introspection

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REACHING the strings of the soul, unfiltered: Alessandro Taverna. Photograph courtesy alessandrotaverna.com

BRITISH MUSIC CRITICS describe Italian pianist Alessandro Taverna (33) as the natural successor to Italy’s Arturo Beneditti Michelangeli (1920-1995) who arguably headlined the 20th century in pianistic skill and verve. Since winning the prestigious Minnesota International Piano Competition in 2009, Venice-born Taverna’s career has taken off exponentially, with awards, international concerts and significant recording opportunities. He performs this Saturday evening for the Johannesburg Musical Society, and graciously responded to an email interview with My View.

Warming to the expression of a “love affair with the piano” he says a musician is bound to his instrument in something similar to a love relationship. “Often everything in music starts with love at first sight, then comes the passion … sometimes you experience the ups and downs but what you soon understand is that you can’t help it”. He and his twin brother began music as six-year-olds.

“During the first years of my musical education, I played simply because I liked it and I liked to read as many new pieces as I could, without thinking too much about my future career,” he says. But things began to change for him as an adolescent. When he was about 13 or 14, his piano teacher began to forge in him a more mature awareness towards his performed repertoire. It was about diligence, structure and technique, he says, over and above the pressure of competitions and performing in public. He trained at both Imola and on Lake Como (both institutions are famous in Italy and worldwide for their piano academies).

Thirteen years later, Taverna won the Minnesota competition – and was awarded bronze and silver in the London and Leeds piano competitions – which effectively started his international career. Now, he looks back on that “competitions-phase” of his life “in a more disenchanted way, without denying that the competitions have undoubtedly represented a crucial moment of my artistic growth.”

Winning competitions “can play just a small part in a career, which must be planned with intelligence, the spirit of sacrifice, and by looking carefully at what’s happening around you,” he adds. “Competition by itself is not sufficient to open the doors of any career, it’s just the first brick. Building a career is a combination of many factors that we must face with wisdom and humility.”

But the notion of a big challenge comes in the form of the “necessity to match my practice sessions with the other organisational aspects related to the career: travels, relationships, etcetera … you must find a good timing for each one of these: It’s a balancing act.”

Taverna has a strong and varied repertoire and significant teaching reputation. He records and performs regularly, but his teaching is for him the most inspiring. “When you teach, you basically speak to yourself. You first see your own weaknesses in your students, before anything else,” he adds. “Teaching is probably the last stage to come in an artistic path and it’s what fills your performing with a new awareness and understanding, especially regarding the technique.

“What my teachers gave me during the years I was a pupil has come back to me since I started teaching. And indeed only now I can fully understand the meaning of those teachers’ words and what they wanted from me. Teaching shouldn’t be separated from performing: the two complement each other. Performing is for me the source of my later reflections and inspirations on my new and old repertoire and also on what my pupils play.

On August 13, Johannesburg music lovers will be privileged to hear Taverna perform four ballades by Frédéric Chopin and Franz Liszt’s Tarentella di Bravura, Mephisto Waltz and his Concert paraphrase on Verdi’s Rigoletto.

“These two composers represent two main sides of my musical soul. The romantic abandon and introspection, and the virtuosic and dramatic way to give voice on the keyboard to the most conflicting of feelings. Liszt has always accompanied me throughout my career, while the idea of presenting Chopin’s four Ballades (although they are not conceived as an organic piece) comes from the opportunity to explore the evolution of Chopin’s language in a form which is at the same time pastoral-narrative (it seems to tell the story of a people) and also deeply personal.”

Taverna’s professional repertoire stretches from Johan Sebastian Bach’s music composed in the 17th century, to that of Oliver Messiaen of the 20th century. “I wouldn’t speak about a ‘favourite’ composer,” he says, “But I feel I express myself better in a certain kind of repertoire, probably because it is better suited to my personality, to my character … and to my fingers. Among them I would certainly mention Liszt, Sergei Rachmaninov, Claude Debussy and Maurice Ravel.

“Twentieth century music and also some contemporary music has, in my opinion, the ability to unexpectedly reach the strings of the soul without filters, with the use of the harmonies and their links, the colours and the effects that arise from the extreme exploration of keyboard possibilities.”

Taverna first visited South Africa eight years ago, when he gave a masterclass at the University of the North West. “What I love most about this wonderful country is the genuineness with which music is experienced,” he says. “The summer season which follows my visit in South Africa will include concerts and masterclasses in Europe. Among the highlights of the new season, I’ll play the two Liszt Piano Concertos at La Scala in Milan with La Scala Philharmonic Orchestra. In November my new all-French recital disc will be available in the United Kingdom and Europe: this album follows my Medtner Sonatas disc, which was  well received by international critics. Towards the end of the year, I perform Mozart’s Piano Concertos K466 and K467 in Milan, Brescia and Bergamo.

  • Alessandro Taverna performs for the Johannesburg Musical Society at the Linder Auditorium on Saturday August 13. Contact 011 728 5492 or 083 228 2917 or visit jms.org.za and http://www.alessandrotaverna.com. Please note, there is no credit card facility at Linder Auditorium box office.