On the first Sunday of November, when Cape Town’s late-spring gardens are at their most generous and the afternoon light turns soft and golden, Christ Church Constantia will host a concert that feels less like a formal occasion and more like a warm welcome. At 3pm, Peter Martens and the Cape Town Philharmonic Orchestra’s cello ensemble — a group known as Cellissimo — will take their places in the historic church, transforming stone and wood into a living instrument. The concert is one of those rare community events that offers both escape and connection. You do not need to be an expert on classical music to be moved by it. You only need to sit back and listen. The church, set in the leafy surroundings of Constantia, is an ideal venue for a string ensemble; its acoustics have the rare ability to make a single cello sound as intimate as a conversation, while allowing a group of six to wash over the audience like a wave. There is something deeply satisfying about attending a concert in a space like this. It is not a vast, impersonal hall. It is a place where you can see the faces of the players, watch their bows move together, and feel as though the music is being made just for you. That is the spirit of this Sunday afternoon. It is about community, artistry, and the simple pleasure of hearing six extraordinary musicians play with one heart. The late-afternoon start means the concert will end while the sun is still up, leaving time to linger outside, greet friends, and carry the music home with you. It is, in every sense, a gentle way to ease into November. And for anyone who has been feeling the pace of modern life, it is also a reminder that some of the best experiences do not need to be hurried. They simply need to be given time. This concert gives you that time, an afternoon set aside for beauty in one of Cape Town’s loveliest corners.
To understand just how special this concert will be, it helps to know a little about the group itself. According to Christ Church Constantia, Cellissimo is a home-grown derivative of the famous twelve celli of the Berlin Philharmonic, an ensemble that has become legendary in the world of classical music. The Berlin twelve were celebrated for their lush, powerful sound and their ability to play across a huge range of repertoire, from Baroque suites to modern film scores. The idea of creating a local version is a tribute to that tradition, but it is also something wonderfully original. This is not a replica; it is a Cape Town response, shaped by the musicians who lead and perform in our own orchestra. The cello is often described as the instrument closest to the human voice, and a group of six cellos creates a sound that is at once rich, warm, and astonishingly versatile. It can murmur softly, sing with passion, or thunder with drama. In the hands of players like these, it can tell stories that words cannot reach. Leading the ensemble is Peter Martens, a maestro who is not only a conductor but also a cellist himself. That matters, because he directs the group from within the music, shaping phrases and dynamics by playing alongside his colleagues rather than standing apart from them. It gives the performance a democratic, collaborative feel. The six cellists are not just following instructions; they are making music together, breathing together, and listening to one another with the kind of attention that only comes from years of shared experience. That is what audiences will hear on November 1: not six individual players, but one living, breathing instrument with many voices. There is a quiet confidence to such an ensemble, a sense that each member trusts the other completely. When a group like this performs, you are not just hearing notes on a page. You are hearing trust, friendship, and devotion made audible.
Cellissimo’s program is a perfect example of why chamber music remains so endlessly popular. It is a selection of sparkling works, carefully chosen to show off the instrument’s versatility and to take the audience on an emotional journey. The programme begins in the world of grand opera with Rossini, whose effervescent melodies have the sparkle of champagne. Then comes Wagner, whose music carries a weight and drama that sound extraordinary when played by a cello ensemble. The inclusion of South African composers Hofmeyr and Allan Solomon adds a warm local flavour and reminds us that great music is not only written in distant capitals; it lives and breathes here at home. Bizet and Puccini bring the passion and tenderness of the opera stage into the church, while Bruch contributes a lush, romantic sensibility that suits the cello’s singing tone so well. As the concert progresses, the music moves into new territory with a tango by Gardel, the legendary Argentine composer whose piece “Por una Cabeza” has become one of the most recognised melodies in the world. The programme ends with music by Vangelis, the Greek composer whose sweeping electronic and orchestral scores took film music into new realms. To hear such a broad repertoire performed by six cellos is a rare treat. The arrangements allow familiar melodies to take on new colours and textures. A piece written for full orchestra can suddenly feel intimate and direct; a simple tune can swell into something magnificent. The concert is designed to reach people where they are, whether they come looking for favourite opera tunes, film themes, or simply a beautiful hour of music. You may arrive not knowing what to expect, but you will leave with at least one melody lodged in your memory. There is also something wonderfully democratic about a cello ensemble. The players are all equals, and the music passes through the group in a way that makes each of them a soloist at different moments. That gives the entire program a lively, conversational feel. It is hard to remain unaffected when you hear these instruments singing together — perhaps because the cello’s register is so close to the human voice, every phrase feels as though it is speaking directly to you.
The musicians who will bring this programme to life have spent years mastering their craft, and together they form an ensemble that is both disciplined and deeply expressive. The cellists are Matthias Ender, Peter Martens, Dane Coetzee, Ashlin Grobelaar, Eddie McLean and Rosamund Ender. In a chamber setting like this, you come to know the personalities of the players. Some sit forward, leading with a bold, confident sound; others provide a gentle foundation, their bowed lines threading through the ensemble like roots under the earth. The first cello carries the melody, the others answer, echo, support, and challenge. It is a conversation in sound, and like all good conversations, it is alive with intention. Each of these musicians has a unique musical fingerprint, shaped by years of study, performance, and personal interpretation. When they sit down together, those individual voices do not disappear; they blend into a richer whole. There is no conductor in front of them, waving a baton. Instead, there is eye contact, subtle shifts of weight, the rise and fall of bows moving in perfect synchronicity. Under Peter Martens’s guidance, the ensemble has developed a sound that is instantly recognisable: rich, focused, and deeply alive. There is something moving about watching musicians who clearly love what they do. They lean into the music, glance at one another, and react to every phrase. No two performances are ever exactly the same, because a live concert is a moment in time, shaped by the hall, the audience, and the moods of the players. On this particular Sunday, in the gentle light of Christ Church Constantia, that moment promises to be something special. For the players, it is an opportunity to reconnect with the community and share the music they have spent their lives preparing. For the audience, it is an opportunity to witness that passion up close, to see the concentration on their faces and the slight smile when a phrase comes together perfectly. It is an intimacy you simply cannot get from a recording, and it is exactly what makes chamber music so powerful.
Tickets for this extraordinary afternoon are just R180, a very reasonable price for the chance to hear musicians of this calibre in such an intimate setting. Those who wish to secure seats in advance can do so easily through Quicket, the online ticketing platform that many local events use. For those who prefer to plan at the last minute, tickets will also be available at the door, though it is always wise to arrive a little early if you intend to rely on that option. The church is a popular venue, and a concert like this is likely to draw a good crowd from Constantia and beyond. You can also call Anne on 082 218 0100 to ask questions, make bookings, or get more details about the concert. Anne’s number is the friendly, human touch that makes a small community event feel exactly like that: a community event. There is no need to travel far, no need to dress up formally, and no need to understand the finer points of music theory. Just find a seat, let the afternoon unfold, and allow yourself to be carried along by the music. Consider bringing a friend or a family member who may not normally go to classical concerts. This is exactly the kind of event that turns people into lifelong listeners. The repertoire is accessible, the setting is welcoming, and the musicians are not set apart on a distant stage but right there in front of you. At R180, it is also an affordable treat — less than a dinner out, and far more memorable. And because this is a community concert, every ticket goes towards supporting something real, not a remote corporate machine but the living, breathing music culture of Cape Town. The musicians who perform in the Cape Town Philharmonic Orchestra are part of our local fabric. They teach, they mentor, they share their gifts in schools and churches and small venues like this one. Showing up is a way of saying thank you, and of making sure that more music like this can happen in the future.
Beyond the concert itself, this event is a little reminder of how connected a community can be. The Constantiaberg Bulletin, the local news source that has been spreading the word, continues to offer stories from the Constantia valley and surrounding areas. If you would like to keep up with all the goings-on in this vibrant part of Cape Town, you can find the Bulletin on TikTok and Instagram @ccmonlineza. Following those pages is a simple way to stay in the loop, discover other cultural events, and celebrate the people and places that make the area so special. The concert on November 1 is exactly the kind of story the Bulletin loves to share: a group of gifted local musicians, a historic church, and an audience coming together for no other reason than to enjoy something beautiful. It is a reminder that even in a busy world, there is still space for stillness and song. When the cellos begin, the chatter will fade, the doors will close on the outside world, and for a while, nothing will matter but the music. Peter Martens and the six celli of the Cape Town Philharmonic have spent years honing their art so that audiences can have moments like this. To be present is to take part in something larger than ourselves. So mark your calendar for Sunday, November 1. Set aside 3pm. Book a ticket through Quicket, call Anne, or simply get to the door early. Find a seat in the soft light of Christ Church Constantia, close your eyes, and let the music do what music has always done: touch the heart, lift the spirit, and remind us of our shared humanity. It is the kind of experience that stays with you long after the final note has faded. You might find yourself humming a tune on the way home, or talking about the concert for days afterwards. That is the beauty of live music, and it is waiting for you in Constantia this November.