A classical guitar & a talented musician -Priceless!
Back in the last century, when I became an Ontarian, some of my published articles would mention a 'triple-threat'. For theatre people, that meant singer, dancer and performer. Today I witnessed the classical music equivalent. OLIVER MANNING is an arranger, a composer and an amazing artist.
Utilizing a handmade Evan Kingma instrument, the afternoon event at St. Thomas Anglican Church was an eye-opener and an ear treat.
Confession: given my personal background, the guitar is an instrument not often emphasized by a formal orchestra, so my knowledge of same is somewhat lacking. Naturally, I sat down in the front row, less than a metre from the soloist. Close enough to see the strings vibrate and his fingers intricately move. Being impressed would be an understatement.
Manning, a Welshman, is twenty-five years old, and his interest in music began when he was only nine. Now an internationally known performer, he and I found a few historical moments that dovetailed. My notebook was closed when discussing these events; therefore, they are never to be revealed.
The programme opened with three preludes by Villa-Lobos, a turn-of-the-century composer whose Bachianas Brasileiras is familiar to just about everyone who listens to (or collects) classical recordings. Manning demonstrated a meticulous and deliberate methodology in both technique and timing. The latter emphasized each individual note and enhanced the clarity of the instrument. More about it later.
The work was followed by six short movements from Alexandre Tansman, a contemporary of Villa-Lobos. The first portion is entitled Entrée, but given that in today's usage that describes one's 'main course', I think the piece was much more of a 'hors d'oeuvre'!
The enthralled audience was then served a four-movement Partita No. 1, composed by Stephen Dodgson, a more modern musician. Watching Manning's fingers, especially in the second movement, Molto Vivace, showed how the work epitomized the definition assigned to it.
The Allegro tempo is fast, just below 'presto'. But in between is con moto, so a conductor or soloist can play around with the pace. Manning aced his interpreting speed.
Only negative: Manning, in his discourse, referred to "The Beatles"! Shocking and almost scatological to a cultural snob like yours truly.
The post-interval work was a piece entitled Nocturnal that the maestro related to the late Julian Bream, a contemporary of this aged scribe. It afforded a serious challenge for intricate fingering and diverse tempi. The motifs ranged from sombre to almost popular-styled cadenzas. The tonal effects were magical, and his guitar 'talked'.
Manning asked if I could see the instrument's musical 'colour'. I failed this test, dear readers. However, I am colour-challenged (blue/green), so a weak excuse.
One thing we were of a single mind on was getting young people into the arts so that the next and subsequent generations will have their own Oliver Mannings. And maybe their own Danny Gaisins too.
As promised above, want to buy your own guitar? I know a guy who IS a guy, and I can probably get you your own instrument in a couple of months. Only setback: the waiting time to get on the list is "Five Years"!
Evan Kingma of Grimsby will handmake it, especially in the 200-year-old Spanish style. He learned the trade in Spain and started creating his line at age nineteen. He won't touch electronics, and his creations are truly works of art, but without 'bling'.
And now for novices (like me): guitars have six strings and are keyed E, A, D, G, B and E, from lowest to highest.
Finally, a note about the venue. St. Thomas Anglican is a perfect spot for such an event. The acoustics are surprisingly more than just acceptable, the decor does not overpower, and the glass windows are pure artistry.
The next event is in November. Being on their mailing list is never having to say 'oops'.