Classical Genius
Sello S Alcock speaks to a rising star on the international piano circuit

Up-and-coming young pianist Ben Schoeman sits at the piano and tilts his head sideways – animated. He switches from an intense stare to his trademark sideways bop and says about the piece he is playing: “Ah, it’s so difficult.” His words are forceful, but a smile plays on his lips. Schoeman has his back to an entrance that leads to the lounge of his home in Brooklyn, Pretoria.

His grand piano faces a spacious area filled with homely couches and a large window overlooking a tree-lined garden. On a coffee table are newspaper clippings and neatly stacked letters. Among them is one Schoeman is particularly proud of – a letter from Arts and Culture Minister Pallo Jordan congratulating the 24-year-old. On another table across the room, rolled up certificates still in their protective cardboard are neatly placed in a line, the pride of Schoeman’s educationist mother.

He plays a piece that is discernable, even to an ear that is not classically inclined, because it contains a hint of jazz. It is a composition by prolific South African pianist Surendran Reddy and was composed for the 11th Vodacom Unisa International Piano Competition. The composition, for which Schoeman bagged a special prize for his rendition, was noted for its complexity and punishing length.

It is a piece characteristic of the brand of music that the composer has aptly coined “clazz”. Titled Toccata for John Roos, the music is a fitting tribute to a man Schoeman considers the pride of the South African classical music industry. Roos, who was on the adjudication panel for the piano competition, is considered the most prominent South African in the international classical music scene and can be found on the adjudication panels of most major international piano competitions.

 

Schoeman se spel vul meesters se kreatiwiteit aan {Afrikaans}

Beethoven: Klavierkonsert Nr 4, JPO, Linder, Parktown
Thys Odendaal, Beeld, 27/10/2009

Die Suid-Afrikaanse pianis Ben Schoeman soek in sy vertolkings na die sinryke betekenis wat komponiste deur hul musiek probeer bepaal; in die dieperliggende labirinte van die menslike gees, die satiriese, komiese en so meer.

Insgelyks is ’n geskakeerde weergawe ook ’n prioriteit; om note op ’n blad as meer as net klankkolletjies te sien.

Dit is wanneer ’n vertolkende kunstenaar bewondering afdwing; as die kreatiwiteit in die vertolking die oorspronklike, kreatiewe inspirasie van die komponis se kunswerk aanvul.

In sy weergawe van die Klavierkonsert no. 4 van Beethoven was dit van die opvallende kenmerke in Schoeman se spel.
Dit is dalk ten beste geïllustreer in die eerste beweging, Allegro moderat o. Sy beheer van die kontraste, soms sterk uiteenlopend en andersins uiters subtiel, is prysenswaardig.

’n Mens roep in herinnering die rekapitulasie van die openingstema – die aanvanklike, majestueuse toonskakering word verfyn tot delikaat gemoduleerde spel.

Dit mag wees dat hy die lirisme van die Andante te brandend wou belig en die lig- en-skadu-spel ’n enkele oomblik of twee effens oneweredig aangedoen het.

In die slot-Rondo was die vivace-dinamiek met ’n veerligte aanslag en ragfyne vingerwerk in ’n uitbundige momentum oorgedra.