Putting the "Class" into Classics

 

(Recital in Enoch Sontonga Auditorium UNISA, Pretoria 27 August 2011)

 

Dawid Venter consistently produced beautiful tone with his flute over which he had an amazing technical dominion. With Ben Schoeman at the piano, theirs was a partnership of well-matched artistry, investing the music in hand with keenly perceptive qualities.

 

Already in the opening item, Bach’s Sonata in E minor, BWV 1034, Venter showed plenty of bite and assertiveness, but also adaptability to the requirements of the music.

 

There was technical and intellectual strength in their interpretation of Hendrik Hofmeyr’s Sonata per flauto e pianoforte. This strength, coupled with their virtuoso capabilities, served the music well. Venter performed charming innuendos with a winningly light and delicate effect. Schoeman’s accompaniment achieved the highest standards.

 

Dutilleux Sonatine also impressed as a solid, joyous partnership. This taxing music required the most precise execution from both instrumentalists. They scored with a performance of exceptional grace and beauty of sound, based on an unusually close reading of the score.

 

There was an assertive eloquence bordering on impulsiveness in Widor’s Suite Op 34. You had the impression they analysed as much as they felt. In the finale there were surges of heroic endeavour, they allowed for a generous deal of flexibility, giving a rendering that was at once tough and crystal-clear in texture.

 

In the Jolivet the artists displayed ebullient inventiveness coupled with exemplary technique.

 

• Tonight Magazine

 

 

 

World Symphony Series: Spring Season – 11 October 2007 

 

(Performance with KwaZulu Natal Philharmonic Orchestra)

 

...The soloist of the evening was the South African flautist Dawid Venter in Carl Reinecke’s Flute Concerto in D major, written in 1908 but very much in the nineteenth century German classic tradition. Incidentally it is Reinecke’s Op. 283. He was nothing if not prolific during his long life (he died in 1910 aged 86). This concerto is a most agreeable work, with colourful orchestration and a brilliant solo part for the flute. Dawid Venter, a tall, slender, rather academic-looking figure, negotiated the difficulties with apparent ease, producing some lovely and lively sounds and always soaring elegantly above the discreet orchestral part. He too received enthusiastic applause for an outstanding performance of a work that is something of a rarity. The concert opened with another composition that is seldom heard, Schumann’s overture to his only opera, Genoveva.

 

• Michael Green (courtesy of ArtSmart)

 

 

 

Solis Venter van wêreldgehalte - Aug 25 2003

 

Uitvoering met Pro Musica Orkes, Roodepoort.

 

Daar is van Jacques Ibert gesê dat hy 'n "eksperimenteerder rondom beproefde waardes" was. Dié Parysenaar in gees se melodieë in sy Fluitconcerto is uitgelate, met glansende, kleurryke instrumentasie en ritmes wat stu vanweë hul hoë energievlakke. Dawid Venter se bydrae was van wêreldgehalte. In sy benadering het hy verskeie eienskappe bevestig: die vindingrykheid en gehalte van die werk, die sjarme en liriese (veral in die Andante) bevalligheid. Met die vinnige tempo's waarteen die buite-bewegings gespeel is, kan die delikate maar dinamiese detail verlore raak, maar dit was in die hande van 'n uitstekende solis. Venter se asembeheer, ratse aksentuering, frasering en ekspressiwiteit wat die breër lineêre bou binne 'n beweging altyd behou, het verras; veral in die finale waar die saltarello-struktuur fyn blootgelê is.

 

• Thys Odendaal (Beeld)

 

 

 

Venter skitter in program vol kontraste - Feb 24 2004

 

Solo-uitvoering met Annalien Ball (klavier), Mount Grace, Magaliesburg

 

J.S. Bach dwing die solis - van klavesimbel tot trompet tot arie antiche - om binne sy presiese musikale konstruksies sy genialiteit te ewenaar. In die fluitspeler Dawid Venter is daar oorgenoeg blyke van die soeke na musikale essensie. Met 'n solistiese ingesteldheid beskik Venter oor 'n baie goeie tegniek, ten grondslag en noodsaaklik as jy, sê, die Fuga in Bach se Partita in c sinryk wil aanbied - die momentum vra 'n ongeïnhibeerde tegniek. Venter het nooit die musikale vloei gefragmenteer nie. Met die pianis Annalien Ball is paslike eggo-effekte in die "mini-temas" van die Sarabande geskep.

 

As duo is die beste spel in Bach en Chaminade se Concertino gelewer. Ball kon haar fluitmaat stylgewys onderskraag. In die ander werke, meer flambojant, was haar bydrae bedees en oorsimpatiek. In die Sonate no.2 van Prokofief was Venter puik - sy toonproduksie perfek neo-Klassiek - maar die klavierbydrae kon nie die werk algeheel belig nie. Die resultate van Borne se Carmen-Fantaisie en Grovlet se verrassende Romance et scherzo was min of meer dieselfde.Venter het uitermate beïndruk as solis, met 'n verdieping gewis geantisipeer in die jare vorentoe en (hopelik veel meer) solo-geleenthede.

 

• Thys Odendaal (Beeld)

 

 

Salon production a joy - Perfect to drive away the winter blues - August 8 2004

 

Concert with Salon Music, Musaion, UP

 

 ...The playing of flautist Dawid Venter must be highlighted. He offered bright tone, brilliance as well as delicacy. His feats of breath-control allied to singular fleet and agile finger-work gave that extra piquancy to his allotted music.

 

• Riek van Rensburg (Pretoria News Interval)