THE NEXT GENERATION

Saturday 26 May - 12:00

Moravian Church Greyton

R140 - tickets available at Computicket or at Tourism Info Greyton

Three of the most exciting and talented young musicians on the classical music scene will be exploring the seductive sounds of Latin America’s best-known composers, featuring Myles Roberts (flute), David Bester (violin) and Sulayman Human (piano).   The programme includes a mix of solo and ensemble works, introducing all the elements of the chamber music interwoven with the narratives by the musicians. BIOGRAPHIES BELOW

SPONSORED BY THE RUPERT FOUNDATION

David Bester

David Bester lectures at Nelson Mandela University in Port Elizabeth. He studied under Alissa Margulis (Belgium) and Suzanne Martens (Stellenbosch) – all made possible by generous grants from the Oppenheimer Memorial Trust, National Arts Council of South Africa and the Dutch Consulate in Antwerp, among others. David has performed with the Cape Town-, KwaZulu Natal-, and Gauteng Philharmonic Orchestras, Chamber Orchestra of Namur, and the Amici Quartet. His playing and teaching style was shaped by lessons with Pavel Vernikov, Ivry Gitlis, and Pinchas Zukerman.

Myles Roberts

Flutist Myles Roberts began his tuition with Vesna Milakovic, before completing his Bmus and Mmus at the Stellenbosch University with Prof. Corvin Matei. While in SA, he won a number of prestigious awards and was awarded a Lafin headjoint for most outstanding flautist at the Galway Festival in 2015 where he also had classes with James Galway. He moved to Milan in 2015 to study at the Civica Scuola de Musica de Claudio Abbado with Raffaele Trevisani, assisted by the Oppenheimer memorial trust, and now is preparing for further travel overseas. Whilst in South Africa Myles is busy with chamber music and solo performing projects.

Sulayman Human

Sulayman has been hailed by South Africa’s foremost classical music critic, Paul Boekkooi, as a pianist who brings out soloistic detail with melodic-architectural richness, combined with continuous lyricism, technical perfection and a comprehensive understanding of touch. His performance of the Adagio from the Concerto no.23 by Mozart was described by the same critic as a performance wherein the gravitas were acknowledged that is needed to bring forth the pathos of this music.