In a spectacular Sunday afternoon classical music concert in Lagos, remarkably talented young instrumentalists deliver breathtaking performances, leaving their audience spellbound and inspired. Okechukwu Uwaezuoke reports
F
uelled by passion and precision, Mmesoma Ozumba’s breathtaking rendition of Franz Liszt’s “Liebestraum No. 3” is a tender awakening of the Hungarian master’s Romantic-era masterpiece. Inspired by Ferdinand Freiligrath’s poignant poem “O Lieb, so lang du lieben kannst”, the music swells with an aching beauty, Ozumba’s fingers dancing across the keys with effortless precision. In this captivating performance, Liszt’s genius and the young pianist’s remarkable skill entwine, conjuring a moment of sublime beauty that lingers long after the final note fades.
Amidst the subtle nuances of anticipation, Chibuikem Nwamara’s electrifying rendition of Chopin’s “Waltz Opus 18 No. 1” sparks a transcendent energy and sets the tone for the rest of the performance, igniting the modest Adeniyi Jones, Ikeja, Lagos-based Grail Centre hall with an otherworldly ambience. As the phrase swirls, rising and falling in melodic motion, the unassuming setting blurs, transporting the audience to the grandest of concert halls, where music reigns supreme. The 15-year-old’s performance is a dazzling display of sophistication and poise, leaving the audience entranced and eagerly anticipating the remaining 28 offerings.
In a sublime convergence of talent and dedication, the entire piano soloists’ collective dexterity is met with effusive applause, their individual brilliance belied only by the unassuming nature of their amateur status. Otito Okeakpu’s rendition of Purcell’s “Toccata”, for instance, is a study in precision, each note a masterstroke of refined artistry that showcases the Baroque master’s intricate style. Then, Kachikwulu Ozumba’s gentle touch coaxes J.S. Bach’s “Minuet in G” into vibrant life, imbuing the music with a soft, golden light that highlights the composer’s enduring legacy. Furthermore, Chinazom Nwamara’s interpretation of Clementi’s “Sonatina in C” is a nuanced exploration of texture and emotion, revealing the pianist’s deep understanding of Classical music’s subtleties. And there is Chiedozie Nwamara’s wistful take on “Beauty and the Beast”, which is an enchanting reverie, while Ekene Agina’s spirited rendition of Schubert’s “Scherzo in D Flat” is a breathtaking display of technical virtuosity that defies expectations. Collectively, these performances demonstrate that true artistry knows no bounds, as the pianists transcend their amateur status to deliver interpretations that would leave even the most discerning classical music enthusiasts in awe.
Tethered to the universal language of music, a constellation of talented instrumentalists adds lustre to the concert, their performances a triumphant celebration of the power of music to transcend and uplift. The Joseph siblings – Prince, Elizabeth, Victor, and Amarachi – weave a spellbinding mosaic of sound with their enchanting rendition of Charles Gounod’s “Ave Maria”, their harmonies merging in a rich, euphonious unison that seems to transport the audience to a realm of serenity. Adaeze Nwamara’s guitar interpretation of Bob Marley’s classic, accompanied by Nwaife Akhidenor’s and Kunle Arofin’s soulful vocals as with Edikan Abia’s subtle input with the recorder, brings a welcome burst of energy and joy to the afternoon’s proceedings, its infectious rhythms and melodies resonating deeply with the audience. Chiamaka Nwamara’s cello performance of Beethoven’s “Minuet in G” is a highlight of the afternoon, its delicate beauty and precision-crafted nuances showcasing the young musician’s remarkable skill. Her duet with her brother Chiedozie on “Edelweiss” by Richard Rodgers is a delightful showcase of sibling chemistry, their musical bond palpable and infectious. As the pièce de résistance, the rousing finale – Johann Pachelbel’s “Canon in D”, performed by a talented quartet, brings the Sunday afternoon treat to a glorious close, its soaring melodies and lush harmonies weaving a final, spellbinding spell that lingers long after the music fades.
Highlighting the importance of nurturing young talent at the end of the concert, David Nwamara, chairman of Orpheus Company Limited, delivers a heartfelt plea to parents, urging them to help their children fulfill their potential. He reminds them that serving others is a fundamental aspect of serving a higher purpose. As the audience is swept away by the concert’s infectious enthusiasm, even the most discerning classical music aficionados can’t help but be impressed by the young instrumentalists’ and vocalists’ raw talent. What’s truly remarkable is that most of these gifted youngsters have achieved this level of artistry without formal music training – a shining proof of their innate ability and dedication.
As the notes of Johann Pachelbel’s “Canon in D” still linger in the air, the concert’s timing (Sunday, April 27), exactly a week after Easter Sunday, seems not to be a happenstance. Perhaps it is a poignant reminder that the concept of renewal and rebirth remains a prerequisite for attaining true humanity. The Easter narrative’s call for a symbolic resurrection from the material worlds to the eternal spiritual realm echoes as a mournful theme song of the present era, whispering truths that transcend time. Amidst the chaos of modern life, individuals are called upon to awaken to a new life, one in which he harmonises the hitherto discordant notes of his existence and aligns it with the whole. Hence, as humanity navigates the complexities of these times, the quest for true fulfilment becomes a refrain, reminding all that sustenance for the soul lies beyond the material realm.Brilliance and Echoes of Excellence
In a spectacular Sunday afternoon classical music concert in Lagos, remarkably talented young instrumentalists deliver breathtaking performances, leaving their audience spellbound and inspired. Okechukwu Uwaezuoke reports
F
uelled by passion and precision, Mmesoma Ozumba’s breathtaking rendition of Franz Liszt’s “Liebestraum No. 3” is a tender awakening of the Hungarian master’s Romantic-era masterpiece. Inspired by Ferdinand Freiligrath’s poignant poem “O Lieb, so lang du lieben kannst”, the music swells with an aching beauty, Ozumba’s fingers dancing across the keys with effortless precision. In this captivating performance, Liszt’s genius and the young pianist’s remarkable skill entwine, conjuring a moment of sublime beauty that lingers long after the final note fades.
Amidst the subtle nuances of anticipation, Chibuikem Nwamara’s electrifying rendition of Chopin’s “Waltz Opus 18 No. 1” sparks a transcendent energy and sets the tone for the rest of the performance, igniting the modest Adeniyi Jones, Ikeja, Lagos-based Grail Centre hall with an otherworldly ambience. As the phrase swirls, rising and falling in melodic motion, the unassuming setting blurs, transporting the audience to the grandest of concert halls, where music reigns supreme. The 15-year-old’s performance is a dazzling display of sophistication and poise, leaving the audience entranced and eagerly anticipating the remaining 28 offerings.
In a sublime convergence of talent and dedication, the entire piano soloists’ collective dexterity is met with effusive applause, their individual brilliance belied only by the unassuming nature of their amateur status. Otito Okeakpu’s rendition of Purcell’s “Toccata”, for instance, is a study in precision, each note a masterstroke of refined artistry that showcases the Baroque master’s intricate style. Then, Kachikwulu Ozumba’s gentle touch coaxes J.S. Bach’s “Minuet in G” into vibrant life, imbuing the music with a soft, golden light that highlights the composer’s enduring legacy. Furthermore, Chinazom Nwamara’s interpretation of Clementi’s “Sonatina in C” is a nuanced exploration of texture and emotion, revealing the pianist’s deep understanding of Classical music’s subtleties. And there is Chiedozie Nwamara’s wistful take on “Beauty and the Beast”, which is an enchanting reverie, while Ekene Agina’s spirited rendition of Schubert’s “Scherzo in D Flat” is a breathtaking display of technical virtuosity that defies expectations. Collectively, these performances demonstrate that true artistry knows no bounds, as the pianists transcend their amateur status to deliver interpretations that would leave even the most discerning classical music enthusiasts in awe.
Tethered to the universal language of music, a constellation of talented instrumentalists adds lustre to the concert, their performances a triumphant celebration of the power of music to transcend and uplift. The Joseph siblings – Prince, Elizabeth, Victor, and Amarachi – weave a spellbinding mosaic of sound with their enchanting rendition of Charles Gounod’s “Ave Maria”, their harmonies merging in a rich, euphonious unison that seems to transport the audience to a realm of serenity. Adaeze Nwamara’s guitar interpretation of Bob Marley’s classic, accompanied by Nwaife Akhidenor’s and Kunle Arofin’s soulful vocals as with Edikan Abia’s subtle input with the recorder, brings a welcome burst of energy and joy to the afternoon’s proceedings, its infectious rhythms and melodies resonating deeply with the audience. Chiamaka Nwamara’s cello performance of Beethoven’s “Minuet in G” is a highlight of the afternoon, its delicate beauty and precision-crafted nuances showcasing the young musician’s remarkable skill. Her duet with her brother Chiedozie on “Edelweiss” by Richard Rodgers is a delightful showcase of sibling chemistry, their musical bond palpable and infectious. As the pièce de résistance, the rousing finale – Johann Pachelbel’s “Canon in D”, performed by a talented quartet, brings the Sunday afternoon treat to a glorious close, its soaring melodies and lush harmonies weaving a final, spellbinding spell that lingers long after the music fades.
Highlighting the importance of nurturing young talent at the end of the concert, David Nwamara, chairman of Orpheus Company Limited, delivers a heartfelt plea to parents, urging them to help their children fulfill their potential. He reminds them that serving others is a fundamental aspect of serving a higher purpose. As the audience is swept away by the concert’s infectious enthusiasm, even the most discerning classical music aficionados can’t help but be impressed by the young instrumentalists’ and vocalists’ raw talent. What’s truly remarkable is that most of these gifted youngsters have achieved this level of artistry without formal music training – a shining proof of their innate ability and dedication.
As the notes of Johann Pachelbel’s “Canon in D” still linger in the air, the concert’s timing (Sunday, April 27), exactly a week after Easter Sunday, seems not to be a happenstance. Perhaps it is a poignant reminder that the concept of renewal and rebirth remains a prerequisite for attaining true humanity. The Easter narrative’s call for a symbolic resurrection from the material worlds to the eternal spiritual realm echoes as a mournful theme song of the present era, whispering truths that transcend time. Amidst the chaos of modern life, individuals are called upon to awaken to a new life, one in which he harmonises the hitherto discordant notes of his existence and aligns it with the whole. Hence, as humanity navigates the complexities of these times, the quest for true fulfilment becomes a refrain, reminding all that sustenance for the soul lies beyond the material realm.
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