‘Hofmeyr se Britten-triomf’

‘Hofmeyr het duidelik met oorgawe in die Britten gedelf. Die viool-intrede in die eerste deel na die vreemde perkussie-inleiding was uiters sensitief gebalanseerd, en oombliklik is die oorkoepelende, omvattende element van die concerto(en bepaalde vertolking) gevestig. Die werk gly deur hewige kontraste, deur lig en skaduwees, fisiek gemanifesteer in die groot orkesbesetting teenoor ´n viersnaar-solo-instrument. Soos die orkes het di´e instrument oneindige moontlikhede, en Hofmeyr het die “grenslose” musiek uitmuntend oopgevlek. Lenige frases in lang , ononderbroke passasies het as´tware ontkiem.’

‘Kan ´n mens di´e luierende klanke in die afloop van die Passacaglia-slot as “stil musiek” beskryf? Hofmeyr se spel in die epiloog was aangrypend. Dis ´n vertolking wat lank in die gedagtes sal rondmaal, baie spesiaal.’ - Beeld , 9/6/2009

(Translation: ‘Hofmeyr´s Britten triumph’

‘Hofmeyr delved into the Britten with abandon. The violin entry in the opening section, following the strange percussion introduction, was extremely sensitively balanced and immediately conveyed the overarching, enveloping elements of the work and this specific interpretation. The work flows through huge contrasts, light and shadows, physically manifested in the large orchestration against the single four-stringed solo instrument. Similar to the orchestra, the violin also has infinite possibilities and Hofmeyr excelled in portraying the ‘unlimited, boundless’ music. Slender phrases in long, continuous passages literally germinated organically.’

‘Could one perhaps describe the tolling sounds in the closing passages of the Passacaglia as ‘still music’? Hofmeyr’s playing in the epilogue was very moving. This is an interpretation that will linger for a long time in one’s mind, very special.’ )