Francis Olaku tells us why classical music concerts are where it’s at.
On a day to day basis I’m usually bombarded with an innumerable amount of Facebook advertisements. A couple of days ago I clicked on an ad that mentioned a concert with Marina Nadiradze (a famous pianist) and Cristian Grajner de Sa (a famous violinist). After asking Nadiradze for the address for the concert, the cliché “countdown” clock started ticking in my head in anticipation.
Then came the concert day. Light showers permeated across Canterbury, but nothing was going to stop me from going to this concert.
The concert was in St Peter’s Methodist Church. This remote location of the church gave it a sense of mystery. Apart from church services, no one really knows what goes on in there. The place also seems sound-proof as I never hear anything when I walk past that place. I then walked in already late (it wasn’t intentional I promise), and sat down. Clearly, the only one in the audience underdressed for such an event, I probably stuck out like a sore thumb.
Then the Mozart Sonata started. Nadiradze’s effortless style coupled with Grajner’s intensity left me enthralled from start to finish.
After what seemed like the end of each song, I naturally wanted to clap but the rest of the audience seemed as if they had gone deaf. Then I realised that the claps were to come after the last song in each Sonata. Finally, the thunderous applause I had been looking for came in.
As you can tell I’m clearly not a veteran of Classical music concerts, and like the average person, would probably benefit from listening to more of it. But, I’m lazy. Sure, there are classical artists that I listen to from time to time such as Chopin, Yo-Yo Ma etc. And I did once watch an André Rieu concert on TV, but I had never been to a classical music concert, and what an experience it was.
Next was a Sonata by the artist Franck whose work I had not heard before, but am now inclined to listen to. It amazed me how, despite Nadiradze playing in this delicately effortless way, it contrasted to Grajner’s intense – yet still effortless, playing. Both were in perfect harmony with each other. No instrument overpowered the other. You could almost hear the violin sing when it reached its highest notes. It was breathtaking.
Lastly, they performed a large work by Wieniawski. I don’t know how many songs were in this opus but it went on for a long time, and I have no complaints. It was amazing. A great end to a fantastic start.
If Nadiradze and Grajner have any albums I’ll be sure to buy them. Just kidding – University students can’t afford anything, so I’ll YouTube converter them instead.