inhoud/contents

INHOUD/CONTENTS
Tydskrif van die
Journal of the
Departement Musiek
Department of Music
Volume 28.2 2000
3
Editorial/ Redaksioneel
Composers/Komponiste
In memory of Johann Sebastian Bach (1685-1750)
JS Bach’s keyboard fingering practice
Kurt Weill and his century: A Celebration
Kurt Weill: A Biography
Rupert Mayr
Wim Viljoen
Kim Kowalke
Kim Kowalke
4
30
36
38
Personalia
Profile: Unisa music examiners (19) Bedana Chertkow
Ricordare XXVII
Tribute to Lionel Bowman (2)
Prof JJA van der Walt: 75
Joubero Malherbe
Ella Fourie
Fanie Jooste
41
43
47
53
In memoriam
‘n Ruiker aan Henriette Pauw (08.02.1917-08.05.2000)
Gabriel Gideon Cillié (13.07.1910-15.06.2000)
Denise Joan Raubenheimer (28.12.1946-02.08.2000)
Frederik Johannes (Derik) van der Merwe (11.07.1924-02.08.2000)
Japie Human
Pieter van der Westhuizen
Liezel de Lange
Dorothy Venter
55
59
62
63
Stefans Grové
65
71
74
76
Resensies/Reviews
CD-resensies/CD Reviews
Nuwe publikasies ontvang/New publications received
Kamerorkes van Suid-Afrika (KOSA)
Die Eerste Unisa Nasionale Stykerskompetisie
Stefans Grové
Stefans Grové
Onderwysaspekte/Teaching Aspects
Some advice to young singers
Die legato-lyn in sang
You too can teach singing!
Singing teaching - facts and fantasies
Fiançailles pour rire - Francis Poulenc (1899-1963)
Vocal misuse and abuse in singers
Virginia Oosthuizen
Magdalena Oosthuizen
James Conrad
Désirée Talbot
Elizabeth Heyns
Colleen Philp
1
77
79
96
101
104
115
George van der Spuy gesels oor sang
An aesthetic, critical and educational survey of the integrated
arts approach at the Lady Grey Arts Academy with special
reference to vocal training
Botes Gresse
Finding the free voice
Nellie du Toit
Artikels/Features
Music Education in the context of the African Renaissance
challenge
Making connections through the Arts
with Commerce and Technology
PROmt Trust
The sound of silence
‘n Historiese perspektief op die beskerming van musiekmet spesifieke verwysing na Suid-Afrika
124
129
135
Marguerite Barker-Reinecke
139
139
Rod Harrod
Marianne Feenstra
141
145
Marita Groenewald
150
Toekennings/Awards
Richard Cock
Niel Immelman
Yvonne Huskisson Campbell
James Khumalo
Roelof Temmingh
Angelo Gobbato
Emmarentia Scheepers
154
157
157
158
161
162
163
Oorspronklike Komposisie/Original Composition
b
Gebed vir klarinet in B en klavier
Braam du Toit
2
165
Editorial/Redaksioneel
Andrew Porter wrote the following in 1987 in The
New York Times: In much the same way that Handel
can be claimed as Britain’s greatest opera composer,
Kurt Weill might be claimed as America’s master
musician, master musical dramatist, and large soul
who found song for the people of his adopted country, learned its idioms, joined them to his own, and
composed music of instrumental importance. Already in 1943 Weill himself said that I never felt the
oneness with my native country that I do with the
United States; the moment I landed here I felt as
though I’d come home. The Weill (1900-1950) contributions to celebrate his birth centenary and fiftieth death year by Kim Kowalke are published with
the necessary permission of the Kurt Weill Foundation in New York.
Virgil Thompson believes that there is also an American ‘connection’ with J S Bach whose 250th death
year we celebrate this year: The closer the performing conditions for Sebastian Bach’s concerted music are approximated to those of early eighteenth
century provincial Germany, the more that music
sounds like twentieth-century American swing. The
articles of Rupert Mayr and Wim Viljoen are therefore of particular relevance.
The main ‘theme’ in this Musicus
is the wide range of articles about
singing which you will undoubtedly
read with interest. (Volume 29.2 of
2001 will concentrate on aspects of
string teaching.)
ous recipients of special awards to your attention.
This is especially important in this point in time
where performance of music in subsidised form is
under threat.
In die rubriek Personalia word daar oor verskeie
persoonlikhede geskryf. Ons betuig ons innige
simpatie met die families en naasbestaandes van
die volgende persone wat onlangs oorlede is en wat
‘n noue verbintenis met Unisa se Departement
Musiek gehad het: Mev Henriette Pauw
(musiekeksaminatrise), prof Derik van der Merwe
(musiekeksaminator)mej Denise Raubenheimer,‘n
senior personeellid van die Departement Musiek
asook prof Gawie Cillié.
In die resensie en aktiwiteit-rubrieke kan u oor
verskeie aangeleenthede lees. Dis ‘n bewys dat daar
wel positiewe aktiwiteite ter bevordering van
musiek in Suid-Afrika bestaan. Daar is steeds ‘n
geweldige behoefte vir kunstenaars om op te tree,
om hul kunstenaarskap op laserskyf vas te lê en vir
jong musici om deel van kompetisies te wees.
U word uitgenooi om enige vrae ten opsigte van
probleme wat u met die
uitvoering van voorgeskrewe
stukke ondervind, aan die
redaksie te stuur. Dit sal deur
kundiges beantwoord word,
soortgelyk aan die huidige
Klaviervrae.
Om ten slotte weer tot Johann
Sebastian Bach (1685-1750) terug
te keer, ‘n aanhaling van George
Bernard Shaw:
Bach belongs not to the past, but
to the future, perhaps the near future.
Geniet hierdie uitgawe!
A special feature to this edition is
the three contributions by the
speakers at a recent workshop initiated by the honourable Minister
Kader Asmal at the Johannesburg
International Airport. We bring vari-
3
Composers/Komponiste
In memory of Johann Sebastian Bach
(1685-1750)
Rupert Mayr
Another anniversary, anied by all the great comother name! Last year
posers who lived after
there were Poulenc and
him?
Strauss, now it’s Bach. In
To refresh our memories,
between we have other
let us devote some
days–political days, methoughts to the ‘real’
morial days, days of the
Bach, the master whose
tree, days of the dolmusic is full of surprises!
phins, days of the child,
Let us approach him from
of the old, of the young
viewpoints valid in any
and so the list goes on
situation, time or society.
and on. Do such days
Let us begin by looking
mean anything or are
at Bach the Master of
they but a modern trend
the Dance. The strong
to propagate one or the
rhythmic drive in much
other topic? Apart from
of his music appeals to
speeches, resolutions,
all–young or old, expert
memoranda and empty
musician or amateur,
promises, what is the filover of classical music or
nal result? Have we even
Jazz and Pop fanatic. Ungot time to think about
fortunately, we don’t find
Portrait by Elias Gottlieb Haussmann (1747)
the various topics? To be
it in the little dances
more specific, what do
taught to beginners but
we musicians and music educators really do about
we cannot fail to find it in the fast movements and
anniversaries? What can we do? What do we wish to
especially in his orchestral suites. Is it surprising
do? What does Bach mean to us? Is he just the comthat music of this kind lends itself so easily to jazzedposer of teaching material? Of Inventions, French
up versions? While purists may object to ‘distorSuites, Preludes and Fugues, the D Minor Toccata,
tions’ of this kind we better remember Bach’s own
sonatas or arias–always just too difficult for most of
arrangements of music by Legrenzi, Corelli, Vivaldi
our students? Do we bother to see more than the
and many more which he practically re-wrote accorrect execution of an ornament or to hear the
cording to his own liking. We also ought to rememnext entry of the subject somewhere in a middleber Bach’s personal love for dances fashionable at
part of a fugue? Is this really the only message we
his time: Gavottes, Bourrées, Menuets, Passepieds
get from a composer whose music forms part of the
which he wrote to entertain friends and family. He
cultural world-heritage and was admired and studreally hit the popular taste and so it is hardly sur-
4
prising that many of his tunes survived a long time
after his death in the standard repertoire of German dance bands.
How often do we think of Bach the Performer? As
a virtuoso on the organ and the harpsichord, as a
violinist and teacher well able to instruct his pupils
in the art of ensemble playing? In our teaching experience do we ever imagine Bach being surrounded
by pupils scratching the violin or trying to find their
way on the keyboard? Perhaps we ought to recall
his letter to the Leipzig authorities complaining
about the boys entrusted to his care, ten of which
he considers ‘totally unmusical’.
Bach’s intimate knowledge of the violin dates back
to the years he spent as boy soprano and violinist at
St Michael’s in Luneburg. Later Bach the Violinist
became concert master to the orchestra of the Duke
of Weimar by which time he ranked among the foremost virtuosos on German soil. Interest in the potential of the instrument, however, reached specific heights only in his Köthen period when it led
to six Sonatas for Cembalo certato e Violino solo
and Sei Solo a Violino senza Basso accompagnato.
Libro primo. da Joh.Seb.Bach.ao 1720–to quote
from the original Manuscript. The first collection
changes–for the first time ever–the function of the
harpsichord from a mere continuo to an ‘obligato’
or second melody instrument and thereby marks an
important stage in the rise of the classical Duo sonata. Only shortly later, Bach applied the same
‘certato’ technique to his Three Sonatas for Viola
da Gamba and to three of his six Sonatas for Flute
and Harpsichord.
The unaccompanied set, divided into three ‘Sonate’
and three ‘Parthie’ represents one of Bach’s greatest contributions to violin music. While the ‘sonate’
adhere to the four-movement design of the Sonata
da chiesa, the Parthie differ from each other with
traditional suite movements being replaced by other
dances. Moreover, Bach’s interest in contrapuntal
textures leads to the inclusion of genuine fugues
and culminates in the masterful Giaccona that closes
Parthia No.2.
To compensate for the absence of a harmony instrument. Bach uses multiple stops or relies on a melodic idiom which, though limited to a single line,
clearly implies definite harmonic progressions.
‘Scordatura’ practice, commonly found in works of
his forerunners, only appears in the Six Suites for
Cello solo. While in Suite No.5 the discant string is
tuned down a tone, an altogether different tuning
was required in Suite No.6 to cater for the ‘Violoncello piccolo’, the extra string of which expands the
normal range by a fifth.
Bach’s interest in the violin also resulted in several
concertos for violin and orchestra of which, regrettably, only a small number survived. In their structure he followed the model of Antonio Vivaldi from
whom he copied the three-movement outline, the
lyricism of slow movements and in particular the
modulatory Rondo form of the first movement, a
structure Bach also used for other of his works including the Six Concerts avec plusieurs instruments
dedicated to Christian Ludwig Margrave of
Brandenburg.
Concertos, in those days, were played by a small
ensemble only, with the soloist expected to join
and lead the first violins. When writing his
‘Brandenburg’ concertos, therefore, Bach kept the
conditions at the Court firmly in his mind and scored
the works according to the standard of the various
players. Thus the concertos differ from each other
not only in the choice of solo instruments but also
in the position and function allocated to the various soloists. Concerto No.3 in G Major, for example,
resembles the multichoric canzona technique of the
Venetian period with three groups of three string
instruments each, either combining forces or ‘competing’ with each other. Concertos Nos.2, 4 and 5,
on the other hand, lend special emphasis to particular solo instruments such as the trumpet, the
violin or even the harpsichord, an innovation indicative of Bach’s own interest in an instrument he
played with equal perfection as the violin and for
which he wrote a great number of concertos and
several collections of solo works.
5
poraries. Owing to the early death of his parents
One collection in particular makes us aware of Bach
staying with his oldest brother Johann Christoph,
the Husband and Father caring not only for the
he secretly copied all the manuscripts in his
material but also the artistic and spiritual needs of
guardian’s possession and thus had his first introhis family. How else could he write those charming,
duction to works by Pachelbel, Froberger, J K Kerrl
short and easy pieces found in the two Clavierand other early masters of the ‘Clavier’. Later, as
Büchlein for Wilhelm Friedemann and Anna
choirboy at St Michael’s in Lüneburg, he not only
Magdalena Bach? The collections also include the
continued his normal schooling in Latin, classical
15 Praeambula and 15 Fantasias that he later
Greek, Rhetorics, History, Mathematics and basic
changed into the well-known 2-part Inventions and
Hebrew but also acquired
3-part Sinfonias ‘by which
first-hand insight in the
lovers of the clavier... are
huge repertoire of sacred
shown a plain way not only
music ranging from
(1) to play neatly in two
Palestrina, Orlando di
parts, but also, as they
Lassus,
Prätorius,
progress (2) to treat three
Utendal, Vulpius and othobbligato parts correctly
ers to Andreas Hammerand well’–to quote Bach’s
schmidt, Samuel Scheidt,
inscription on the title
Johann Hermann Schein,
page. The educational purHeinrich
Schütz,
pose of these pieces, howCarissimi,
Merula,
ever, was not limited to
Monteverdi and many
mere playing but also inmore. Equally important
cluded their function as
was the friendly contact
models for composition. In
he established with the
consequence they abound
local organist Georg
in devices of contrapuntal
Böhm who, in turn, pertechnique such as canon,
suaded his young friend
fugue, invertible counterto visit the famous Jan
point or thematic inversion.
Adams Reinken, organist
Invention No.1 in particuThe ‘Marienkirche’ in Lübeck
at St Kathrin’s in Hamlar is a masterpiece of muburg. During this visit
sical economy with each
Bach also introduced himself to Vincent Lübeck, yet
phrase evolving from the initial five-note motif. Inanother prominent organist and composer of those
vention No.6, by contrast, points at developments
years.
to come. While its staggered rhythm turns into a
major device of pre-classical pianistic idiom, its
Music of a totally different kind came to the young
structure already contains the basic features of
man’s attention when he visited the nearby court at
sonataform with clearly marked exposition, develCelle. Like other rulers of the time, Duke Georg
opment and recapitulation.
Wilhelm von Lüneburg greatly admired French culture and thus desired to imitate, though within the
As teacher not only of his sons but also of others
limited means at his disposal, the splendour of
entrusted to his care, Bach expected the same enVersailles. To this end he regularly invited French
thusiasm, diligence and interest as he showed in
artists and even had his own orchestra which was
his own studies. Already in his childhood Bach The
made up of mostly French players. During his visit
Student never missed an opportunity to acquaint
young Bach was not only able to hear French dances,
himself with the music of forerunners and contem-
6
sonatas and concertos but also to study and copy
works by the leading French clavecinists, an experience that, many years later, was to provide the background for his own contributions to Suite literature.
Studies also continued once he left school. The
Bible-Sonatas of Johann Kuhnau, for example, inspired Bach not only to an early keyboard sonata
but also to his Capriccio sopra la lontananza del
suo fratello dilettissimo, his only and charming excursion into programme music. Of greater importance, undoubtedly, was a lengthy visit to Dietrich
Buxtehude, Lübeck’s leading organist. The harmonic freedom of his music which opened new possibilities for motivic elaboration turned into a major source of inspiration for the young man. His interest, however, was by no means limited to German masters only, but included composers from
other countries. The Clavier Suites by Charles
Dieupart, a French composer living in London, may
well have served as the model for some of the English Suites. Even greater was the influence of Jan
Pieter Sweelinck, Girolamo Frescobaldi and
Domenico Scarlatti, copies of whose music Bach
acquired at various stages of his life.
By far the most important publication to come into
Bach’s hands was Andreas Werckmeister’s treatise
on Musical Temperament which presented a ‘mathematical instruction how to produce a well-tempered intonation on the clavier’. This system allowed not only for an entirely new approach to existing musical forms but also opened the field for
practically unlimited chromatic progressions in the
service of highly intensified expression.
Chromatic progressions appeared for the first time
in madrigals of the late 16th century as a means to
musically express feelings of suffering and pain. Easily managed in vocal music, they caused problems
when transferred unto the keyboard. Existing systems, especially the widely used ‘mean-tone’ tuning, didn’t allow for unlimited modulations without sacrificing the ‘purity’ of intervals. In consequence, their use had to be justified by musical
rhetorics and the teachings of the ‘Affekten Lehre’.
In Frescobaldi’s Toccate di durezze e ligature, for
example, impurities of pitch created a pseudo-mystical atmosphere well suited to the mysterious transubstantiation of bread and wine into Christ’s body
and blood during High Mass. In a similar manner,
chromatic passages in chorale settings or variations
became acceptable as a rhetorical symbol for the
pain and suffering of Christ.
Werckmeister’s new system thus gave Bach the
Modernist ample opportunities to explore the practically unlimited possibilities of a chromatic idiom
much to his liking. No longer forced to reserve chromatic progressions for situations linked to textual
demands, he felt at liberty to apply the new idiom
to whatever form he wished. This gave rise to works
such as the Chromatic Fantasia and Fugue or led to
lengthy chromatic passages in, for example, the
Fantasia and Fugue in G Minor (BWV 542) or the
‘Grave’ section in the Toccata, Adagio and Fugue
in C Major (BWV 564). Passages of this kind, however, are not restricted to large works only but also
appear in short movements. The Sarabandes of both
English Suite No.3 and Partita No.6, for example,
were bound to surprise or even shock Bach’s contemporaries not used to sequences of durezze e ligature within a mere dance-suite.
Coupled to interrupted cadences and suspensions,
chromaticism also turned into one of Bach’s favourite
means to systematically delay the entry of the perfect cadence terminating a harmonic progression
thereby lengthening melodic lines by internal drive
rather than mere repetitive means. The importance
of this innovative approach can hardly be overestimated as it laid the foundation for further developments in 19th century music and actually anticipated the revolutionary chromaticism associated
with Wagner’s Tristan and Isolde.
The most famous and best-known work proving the
practical use of Werckmeister’s system are the fortyeight preludes and fugues of The Well-tempered
Clavier. In addition to systematically covering all
twelve keys and modes they show the impact of the
7
in turn, provided the model for Bach’s Well-Tempered Klavier.
tempered system on traditional styles and forms.
While freely meandering chromatic progressions
help to create expressive, almost romantic moods,
a new modulatory design replaces the static variation technique of earlier times.
For his Preludes Bach The Innovator used a variety of forms and styles. Merulo’s Toccata form, for
b
example, survives in the E Major Prelude (Vol. I/
7) with the polyphonic ‘insert’ being followed by a
double-fugue. While typical Toccata design still
b
shows in the B Major Prelude (Vol. I/21), other
preludes approximate the character of an ‘Etude’.
(Vol. I/2, 5, 6, Vol. II/6). Quieter figuration patterns, by contrast, either
resemble
a
Lute
Praembulum (Vol. I/1) or
reveal a violinistic origin.
(Vol. II/15).
The pairing Prelude and Fugue is the final product
of a process that began early in the 17th century
with Claudio Merulo who inserted an imitatory section into the non-imitatory texture typical of the
early Toccata and thereby combined an instrumental form independent from
pre-existing models with
a form originating in the
vocal polyphony of the
late 16th century. In subsequent developments of
this structure, both comMany Preludes have the
ponents fully participated
style of Inventions and
in the changes that afSinfonias and thereby prefected each of the two
pare for the fugue which
forms. While the quasifollows. Textures range
improvisatory Toccata secfrom two (Vol. I/11,
tion tended towards key13,15) to three or more
board virtuosity, the
voices. (Vol. 1/4, 9, 18).
imitatory insert mirrored
In the A Major Prelude
b
the emergence of the
(Vol. I/19) and the B Mivariation-ricercare and nor Prelude (Vol. II/22)
canzona. The overall
mere invention technique
structure, however, regives way to regularly
mained unchanged with
structured fugues. By conthe two components still
trast, the luxuriant sound
being firmly interlocked.
of the C and F Major PreThis form underlies, for
ludes (Vol. II/1, 11) owes
In 1720 JJ Ihles portraits JS Bach as a 35 yearold when he
was at Cöthen
example, the Toccata in F
its effect to continuous
Sharp Minor by Buxtehude
short-phrased imitation
where Toccata and
between different voice
recitativic sections alternate with a typical Variaparts rather than to genuine contrapuntal elaboration Ricercare. It also forms the basis for Bach’s
tion.
Toccata in D Minor or the opening movement of
Partita No.6 even though in both works genuine
While the Preludes in E and B Minor (Vol. I/10, 24)
fugues replace the variation-ricercare. The separadisplay an obvious affinity to the first-movement
tion of the two components then appeared for the
texture of Trio-Sonatas, the lyrical, melody-domib b
first time in a Toccata and Canzona by F T Richter
nated style of the Preludes in E , B (Vol. I/8, 22)
#
and was firmly established in J K F Fischer’s Ariadne
and F minor (Vol. II/14) resembles that of slow soMusica of 1715, the 19 Preludes and Fugues of which,
nata movements.
8
In the first volume of his Well-Tempered Clavier,
Bach relied on traditional forms. In the second volume he was increasingly influenced by Italian composers. Figurations typical of Scarlatti’s pianistic
idiom, including an occasional crossing of hands,
#
b
abound in the Preludes in G Minor, B and B Major (Vol. II/18, 21, 23). Even more important are
innovations affecting structural aspects. The Preludes in C and A Minor (Vol. II/2, 20), though retaining all the characteristics of a two-part Invention, show the subdivision into two repeated parts
b
typical of dance movements. The Preludes in E and
E Minor (Vol. II/8, 10) represent a further step in
this development as they combine invention style
with the basic elements of an early sonata form: a
clearly implied though not firmly established second tonal centre in the ‘exposition’, a modulatory
middle-section and a recapitulation albeit of a relatively free nature.
Brilliant pianistic idiom dominates the Prelude in
D Major (Vol. II/5). The work is all the more interesting as it not only intermingles the characteristics of a Gigue with a fully developed sonata form
(exposition, development-like middle-section and
regular recapitulation) but also shows a key sequence close to that of the modulatory Rondo with
Tutti entries on Tonic, Dominant, Relative Minor
and Tonic level.
A form greatly favoured by Bach is the French Overture. He used it to open his orchestral suites. In
both his Partita No.4 and the Overture in the French
Style he transferred it to the keyboard. In a truly
singular way it secures the unity of Prelude and Fugue
in G Minor (Vol. II/16). The dotted rhythm and rich
texture of the Prelude lend this part the character
of a slow introduction, logically to be followed by a
fugue of almost orchestral idiom.
Next to Scarlatti, Antonio Vivaldi was another Italian whose music greatly affected Bach. The modulatory rondo-form, in particular, assumed major
importance in movements of bigger dimensions. He
transferred it to the keyboard–for the first time
ever–in the Prelude to his English Suite No.3 and
frequently used it for the Preludes of his organ
b
works. It also underlies the Prelude in A Major
(Vol. II/17) where Tutti entries on Tonic, Dominant,
Relative Minor and Subdominant level alternate with
Solo passages that provide the modulatory links.
Its most important role, however, is its influence
on the structure of Bach’s fugues which, except for
their smaller dimensions, follow lines identical to
those of the concerto with subject (or Tutti) entries in different keys linked together by modulatory episodes (or Solos) of a reduced texture. The
perfection of the fugue to a practically unsurpassable
level was one of the greatest achievements of Bach,
The Architect. While Bach’s predecessors relied on
variations rather than modulations as the only available means to add contrast to their keyboard fugues,
Bach, by accepting Werckmeister’s tempered tuning, was able to use practically any alternative keycentre and introduce rich chromatic colouring if he
so wanted. In addition he made full use of the entire repertoire of polyphonic devices such as canonic
or free imitation, stretta, invertible counterpoint,
inversion, retrograde inversion as well as rhythmic
augmentation and diminuition.
His fugue subjects show an enormous variety of styles.
The extended multi-sectional subjects often found
among of his earlier organ fugues no longer appear
in the Well-Tempered Clavier. Nevertheless, some
subjects are of considerable length and even include
contrasting motifs as, for example, those of the
b
Fugues in E and B Minor (Vol. II/10, 22). Others
owe their length to internal repeats and/or sequential chains. Subjects of this kind contrast strongly
with those of the Fugues in A Major (Vol. I/19) and
b
D Major (Vol. II/3) the brevity of which causes an
immediate ‘stretta’.
A number of subjects follows patterns typical of
earlier periods. While some fugues are based on
the authentic mode of the Hexachordum Durum,
(Vol. I/1, 5, 11, Vol. II/1, 7, 17) others suggest the
plagal mode. (Vol. I/9, 23). Subjects in a minor key
often include a move to the flattened sixth, a progression which dates back to a motif frequently found
9
ments play a prominent role in the Fugue in A Major (Vol. I/19). Throughout the first part the subject or portions thereof serve as countersubjects,
undergoing only minor adjustments for the purpose
of modulatory episodes. The appearance of a new
and totally different countersubject marks the beginning of the second part where strettas no longer
dominate the progressions. By subdividing the fugue
in this manner, Bach returns to a compositional technique of earlier times.
in Gregorian melodies in the Protos or authentic
Dorian. It appears in a purely melodic form (Vol. I/
8, 22) or in a harmonic context, implying a progression from the Minor Tonic triad to the diminished
7th on the 7th Degree (Vol. I/16, Vol. II/12, 20).
Incidentally, subjects of this shape not only feature
within the Well-Tempered Clavier but were much
favoured at the time.
Harmonic implications also appear in subjects of a
b
triadic nature as, for example, in the Fugues in A
Major (Vol. I/17) and G Major (Vol. II/15), both of
which continue the idiom of the preceding Preludes.
The playful mood of those and similar subjects finds
strong contrast in others
that are characterised by
expressive chromatic progressions (Vol I/14, 18).
The most advanced stage,
in this respect, is
reached in the complete
12-tone theme that underlies the Fugue in B
Minor (Vol. I/24).
Consistent strettas also feature throughout the
b
Fugue in D Major (Vol. II/3). Here, however, they
only play a minor role within a texture that uses a
multiplicity of contrapuntal devices for a
motivic development
anticipating classical
principles. Once again,
the particular shape of
the subject easily lends
itself not only to immediate imitation but also
to continuous changes
by means of inversion,
rhythmic augmentation
and diminuition. A
counterline, loosely related to the closing
phrase provides additional material for the
episodes.
Even though all fugues
adhere to a common outline with exposition,
middle-entries in different keys and an eventual
return to the home key,
they differ widely in their
details. Often they
Thematic elaboration of
merely continue along
a different kind underuniform lines (Vol. I/3, 5,
JS Bach statue in Leipzig
lies the Fugue in C Mi7) systematically elabonor (Vol. I/2) which, apart from the ostinato motif,
rating various elements taken from the subject itutilises both the descending tetrachordal line and
self. At other times, they introduce a variety of conthe hexachordal frame as elements for
trapuntal or other compositional devices. In this
countersubject and episodes.
respect the ‘mood’ of a subject in no way influences
the course the fugue is to take. In spite of its playEpisodes need not necessarily be entirely based on
ful opening, for example, the Fugue in G Major (Vol.
motifs derived from the subject but can also be reI/15) not only introduces an exact inversion of its
lated to one or more of the countersubjects as, for
subject but also places both the original and inverted
example, in the Fugue in F Minor (Vol. I/12) which,
versions into stretta relationships. Facilitated by the
owing to the equal importance given to subject and
angular shape of its subject, stretta-like develop-
10
countersubject, approximates the character of a
double-fugue. This close relationship finds further
support in a texture mostly written in invertible
counterpoint which allows middle-entries and episodes to retain identical material while merely interchanging individual voice-parts.
raries, his playing was phenomenal. His pedal technique, in particular, impressed everybody and, according to his obituary, ‘he was able to execute with
his two feet passages which some, by no means unskilled clavierists could hardly play with five fingers.’
Occasionally, fugues of a complex structure follow
on preludes of an emotional nature. Both the five#
b
part fugues in C and B Minor (Vol. I/4, 22) share
not only in a ‘Ricercare’ idiom but also in an exceptionally rich texture. In the former this is caused by
the addition of new thematic material. In the latter
a similar affect is achieved by frequent strettas with
subject entries following each other in ever shorter
time-lags.
A compendium of different styles and forms, Bach’s
organ music not only provides organists with material for just any occasion but, by covering all the
periods of his life, reflects his development from a
learner to one of the superb masters of composition. His earliest works date back to the time when
he began his musical career as organist at Arnstadt,
in those days a charming and small city. As his duties were rather limited, he had enough time for
further studies including a visit to Buxtehude in
Lübeck from which he returned full of new ideas.
The ‘new style’, however, irritated his superiors and
thus he gladly accepted appointment as organist at
St Blasius in the ‘Free Imperial City of Mühlhausen’.
Complexities reach a particular climax in the Fugue
b
in E Minor (Vol. I/8). In addition to all the standard devices of contrapuntal technique, including
rhythmic augmentation, diminuition and even a
change into dotted rhythm, its expressive subject
undergoes constant melodic variation. Moreover, at
several points different versions of the subject are
superimposed on each other in a stretta-like manner.
An even more complex structure underlies the
b
Fugue in B Minor (Vol. II/22). Although the subject never undergoes any rhythmic changes both its
original form and its inversion are used for strettas
and a variety of canonic imitations ranging from
canons at the 7th, 9th and 6th to a double-canon at
the 3rd and 7th between original and inverted form
of the subject. Additional features are a continuous
motivic development of fragments from the subject and a chromatic countersubject that further
intensifies the rich texture.
Most likely, the two volumes of the Well-Tempered
Clavier originally only reached a small number of
music lovers. Bach, The Church Organist, however, was appreciated already early in his life. Frequently he was asked to test organs many of which
were renovated or newly built according to his expert advice. Judging from reports of his contempo-
In addition to his duties as organist he also participated actively in the musical life of the city and
suggested and later supervised a complete reconstruction of the organ. Moreover, in an attempt to
modernise the choir’s rather conservative repertoire
he composed a festive motet for the inauguration
of the new city council. Further attempts along similar lines, however, met with resistance from the
side of the Superintendent who favoured Pietism, a
movement which objected to all forms of elaborate
music in the church. Firmly believing in music as
the superior means for glorifying God, Bach realised
the need to look for an appointment that would
guarantee his artistic freedom. Thus he eventually
informed the Mühlhausen Council
‘that a change has unexpectedly been presented to
me in which I foresee... the more effective pursuit
of my aims in the due ordering of church music
without interference from others, since his Ducal
and Serene Highness of Saxe-Weimar has graciously
offered me the entree to his Court Chapel and
Chamber Music.’ (Geiringer/Bach p.28)
During his stay in Weimar he fully dedicated him-
11
of the earliest examples in this respect is the Prelude and Fugue in A Minor (BWV 551) where two
fugues on different themes are framed by extended
improvisatory sections. A more advanced stage is
reached in the Toccata in C Major (BWV 566) which
closely adheres to Buxtehude’s model with free sections regularly alternating with the different stages
in the unfolding of a variation ricercare. One of the
best known examples, of course, is the Toccata
and Fugue in D Minor
(BWV 565) where two improvisatory sections frame
a freely structured fugue.
The Fantasia in G Major
(BWV 572), on the other
hand, follows the model of
Merulo. Its brilliant
Toccata passages are temporarily interrupted by a
Grave, the dense five-part
texture of which is
characterised by the constant interaction of scalar
lines and a surprising degree of chromaticism.
self to organ music. Among the first works from
this period are the Allabreve (BWV 589) and Canzona
(BWV 588) which obviously follow the model of
Frescobaldi’s Ricercari and Canzoni. Italian influence also underlies the Fugue in C Minor (BWV
574) on a ‘Thema Legrenzianum, elaboratum ...per
J S Bach’: a genuine doublefugue which ends with a
Toccata section in typical German style. A similar
but even more interesting co-existence of Italian
and German styles features
in
the
well-known
Toccata, Adagio and Fugue
in C Major (BWV 564). The
introductory Toccata–subdivided into a virtuosic
opening and a main section
in rondo form–is followed
by an Adagio in the manner of a slow concerto
movement. The work ends
with a rather loosely structured fugue based on one
of
the
long
and
multisectional themes
typical of Bach’s early
years.
Durezze e ligature also play
a major role in the first
The long pedal solo in the
section of Prelude and
opening section of the
Fugue in D Major (BWV
toccata is a device Bach
532). The movement beobviously liked to include
Portrait by Elias Gottlieb Haussmann (1747)
gins with figurative and
in works of this genre. We
recitativic passages that
find such solos not only in
lead
to
a
contrapuntal
Alla
breve. A sudden stop on
compositions from the Weimar Period, as, for exa diminished seventh chord introduces a recitativic
ample the Toccata and Fugue in F Major (BWV 540)
and highly chromatic Adagio the harmonic intenbut also among his Pre-Weimar works. Both the Presity of which finds further support in two indepenludes in C Major (BWV 531) and C Minor (BWV
dent pedal parts. The widening of the harmonic basis
549) begin with lengthy pedal solos meant to imalso shows in the ensuing fugue which modulates
mediately establish the Tonic key. One of the longthrough a variety of tonal centres with subject enest pedal solos, covering the entire range of the
#
#
tries in B Minor, F Minor, C Minor and E Major
pedalboard occurs in the G Major Prelude (BWV
in addition to those on Tonic and Dominant level.
550). Passages of this kind clearly contributed to
Its brilliant style bears testimony to Bach’s excepBach’s reputation as a virtuoso of exceptional stantional dexterity on the manuals and also points at
dard.
the emergence of a new pedal technique which includes joint-movements that allow for changes beAt that time sections either in Toccata or fugal style
tween heel and toe.
still intermingle according to older practice. One
12
Recitativic figurations and chromatic turns reach a
climax in the first movement of Fantasia and Fugue
in G Minor (BWV 542). In its chromatic freedom
the Fantasia by far surpasses any earlier attempts
and strongly affirms Bach’s particular interest in
chromatic experiments. Harmonic freedom is counterbalanced, however, by a structure which regularly alternates between recitativic-improvisatory
and imitatory passages. Considering the undeniably
dramatic character of the work it may well have
been based on the rhetorical principles of a dialogue. It is equally possible, however, that Bach simply followed the five-section design typical of German Toccata tradition. For a time arguments arose
concerning the authenticity of the specific pairing:
while the harmonic idiom of the Fantasia implies a
late date, the uncomplicated texture of the Fugue
suggests an earlier period.
Both the Toccata and Fugue in F Major (BWV 540)
and the Dorian Toccata and Fugue (BWV 538) represent the final stage in the transformation of the
traditional Toccata into the ‘Prelude and Fugue’
structure typical of Bach’s later years. While the
former begins with an introductory section that
contains two lengthy pedal solos, the latter even
abandons that last remainder of earlier times by
immediately introducing the ‘germ-cell’ that provides the basic material for the motivic elaborations dominating the movement. In their overall
design both works adhere to the typical concerto
form with Ritornellos regularly alternating with
modulatory episodes. In addition, the Dorian Toccata
contains authentic references to Oberwerk and
Positif, clearly implying required changes in the
sound qualities of the respective passages. The advanced composition technique Bach reached at that
time also shows in the masterful structures of the
ensuing fugues both of which interweave different
thematic threads in the manner of double- or even
triplefugues. In turn, this very aspect led to speculation whether the Dorian Fugue in particular still
originated in the Weimar period or belongs into
Bach’s later years.
In his Toccate, Preludes and Fugues Bach was able
to give free reign to his imagination as he was not
bound by any but musical considerations. In his chorale-based works, on the other hand, he was inevitably subjected to external forces. One of those was
the existence of an already established melody, a
cantus firmus. The other was the function of the
organ within the liturgy.
Compositions based on pre-existing melodies date
back to the earliest stages of Western Music when
composers of the 9th and 10th centuries began to
add counterlines to a so-called Cantus firmus. As
time progressed, this developed into Masses and
motets with individual voice-parts either in a contrapuntal relationship with the cantus firmus or
freely paraphrasing the underlying tune.
At that time vocal music began to make its way
unto the keyboard. One result of this innovation
were the ricercari and canzone which formed the
basis for the development of the fugue. Equally
important were Cantus firmus arrangements providing organists with material for certain types of
the liturgy. Ever since organs were introduced in
the church, organists were expected to support the
choir whenever the need arose. A new duty was
added with the rise of the ‘alternatim practice’
which–for the sake of variety–allowed short organ
interludes to replace choral singing during alternate verses of strophic texts such as Kyrie, Gloria.
Psalms, Canticles, Hymns or others. This resulted
in short organ pieces especially on Kyrie, Magnificat
and Psalm tones culminating in collections such as
Cabezon’s Obras da musica (1578) and Frescobaldi’s
Fiori Musicali (1635).
In its early stages the Lutheran reformation in no
way interfered with existing musical practices. A
major innovation, however, was a ruling which permitted the use of sacred songs or Chorales as an
essential part of the liturgy. Sacred songs in the
vernacular already existed but had been strictly separated from liturgical purposes. To cater for the
changed circumstances it became necessary to increase the small repertoire of available tunes. To
this end some of the easier ‘Gregorian’ tunes were
adjusted to fit the German words that replaced the
13
original Latin. Alternatively, new sacred texts were
added to popular songs of the time, an adaptation
perfectly in line with the belief in the essential ‘oneness’ of both the sacred and the secular. When newly
composed tunes made their way into the service, it
was the duty of the Pastor rather than the organist
to teach them to the congregation. Thus it was only
late in the 16th century when first references were
made about the organist ‘intoning’ though not accompanying (!) what was
to be sung by the congregation. This exactly is the
point where the choraleprelude takes its origin.
of the subsidiary voice parts, using passing notes,
suspensions, anticipations or even chromatic notes
to enhance the expressive character of the music.
In the Görlitzer Tabulatur-Buch (1650) Scheidt continues this development by placing the chorale tune
into the top voice of a strictly retained four-part
texture ‘daß die Herren Organisten und Musik
Liebhaber sie... sowohl in der Kirchen als zu Hause
spielen und musicieren können’. To compensate for
the limitations of a harmonically orientated texture
Scheidt payed careful attention to the progressions
This form underlies four Weynachts Chorale from
Bach’s Arnstadt period: Gelobet seist Du, Jesu Christ
(BWV 722), In dulci jubilo (BWV 729), Lobt Gott,
ihr Christen allzugleich (BWV 732) and Vom Himmel
hoch, da komm ich her (BWV 738). Their free, often chromatic idiom departs from traditional patterns, as the runs disguise rather than prepare for
the coming harmony. In Gelobet seist Du, Jesu Christ
Interestingly enough, the Görlitzer Tabulatur-Buch
follows the example of Lucas Osiander’s Fünffzig
Geistliche Lieder und Psalmen (1586) where the
chorale melody or Cantus Firmus appears in the
Discant instead of the Tenor. According to
Osiander’s preface, this
change was to enable the
‘gemein Mann’ not only
to recognise the tune
but also to sing along
with the choir. Contrary
to expectations, howAt the beginning choraleever, ‘John Citizen’
based organ works
wasn’t yet prepared to
merely transferred the
‘sing along’ but, accordcomposition technique of
ing
to
Michael
chorale motets to the inPraetorius’ Syntagma
strument. The cantus
Musicum still found
firmus remained imbedErgötzung or satisfaction
ded in a polyphonic web
in the different sounds
either made up of indewhich alternatively emapendent counterlines or
nated from choir, organ
anticipating individual
or unaccompanied conphrases of the tune in a
gregational singing.
pre-imitation system.
Thus it was only graduThis technique reached
ally that organists began
an early climax in the choThe St.Thomas Church
to accompany the conrale-variations of Samuel
gregation but even then,
Scheidt’s Tabulatura
the old practice survived in the so-called ‘HymnsNova (1624). Textures change from variation to
with-interludes’ where organists inserted short and
variation and range from bicinia to pseudo-polyimprovisatory florishes between the individual
phonic harmonisations. Further variety was achieved
phrases of a chorale to prepare the congregation
by shifting the cantus firmus from its traditional
for the next chord.
tenor position to other voice-parts.
14
excessive chromaticism even affects the
harmonisation of the chorale and strongly clashes
with the diatonic simplicity of the melody. In Vom
Himmel hoch, da komm ich her runs continue into
the next phrase making it still more difficult for
the congregation to find the correct starting point.
Thus it is well possible that ‘arrangements’ of this
kind eventually caused the authorities to complain
about their organist’s ‘confusing’ interludes.
ing the audience by detailed elaborations of material from the chorale. Combined with exceptional
virtuosic brilliance, including the use of doublepedalling, this form reached a particular climax with
Johann Adam Reincken. When Bach came to visit
the already aged master, he is said to have spent
considerable time by improvising a chorale elaboration along similar lines, much to Reincken’s delight.
Concurrent with the gradual disappearance of the
alternatim practice the traditional Chorale variations no longer retained their liturgical function
but still played a significant role in private devotions. To cater for the different situation they
changed into chorale partitas with contrapuntal textures being replaced by figuration patterns similar
to those of secular songs. Among the composers of
such partitas the Lüneburg organist Georg Böhm
was of particular importance as he successfully
blended the structural model of Scheidt’s variations
with the melodic colouring of French Clavecin Music. Böhm, in turn, provided the ideal model for
Bach’s early Chorale Partitas which were written
for the harpsichord rather than the organ. Both
Christ der Du bist der helle Tag (BWV 766) and O
Gott, Du frommer Gott (BWV 767) begin with a
simple setting of the chorale which then undergoes
a process of increasing figuration. Sei gegrüsset, Jesu
gütig (BWV 768), the third of these partitas was revised at a later stage to include a pedal part.
Except for the Fantasia on Christ lag in Todesbanden
(BWV 718) Bach hardly contributed to this form
during his earlier years. Fantasia elements, though
on a smaller scale, nevertheless permeate his
Weimar-dated version of Ein feste Burg ist unser Gott
(BWV 720). While the texture systematically
progresses from two to four voices, the individual
phrases of the chorale freely migrate between the
different voices, where they appear in ornamented
or plain form, occasionally even in long notes in
the manner of a cantus firmus. Owing to the free
treatment of the chorale it can hardly be considered a ‘prelude’ suitable to introduce congregational
singing. On the other hand, its brilliant style as well
as the fact that it was written for an instrument
with explicitly specified three manuals and pedal
gave rise to the speculation that Bach used it to
demonstrate the manifold sounds available on the
Mühlhausen organ which was constructed according to his own plans.
Even though Chorale variations disappeared from
liturgical practice, other chorale-bound forms continued to play an important role as, for example,
the chorale-motet which could be sung by the choir
or played by the organist. Bach’s early setting of
Vater Unser im Himmelreich (BWV 737), for example, totally corresponds to the typical features
of a Renaissance motet and thus could easily be used
for vocal performance.
Equally important were chorale-fantasias which often ‘entertained’ the congregation before and after the sermon. In the hands of some organists such
fantasias turned into brilliant showpieces, impress-
His Chorale Fugue Sopra il Magnificat (BWV 733),
which originates from the same period, has a different ancestry. Short Magnificat settings on different
‘toni’ play a major role already in the organ music
of the early Baroque period. Of more immediate
interest for Bach’s purposes, however, were the
cycles of Magnificat Versettes Johann Pachelbel
wrote for St Sebaldus Church in Nuremberg where
Vespers continued to form an essential part of the
liturgy. On four days of the week the organist had
to support the choir in the singing of the Magnificat.
On weekends he was expected to improvise on the
tune according to a rule which specifies that the
Organista modulatur super Magnificat. Consequential to these regulations, only a small number of
15
development was found in the chorale preludes of
Dietrich Buxtehude who was among the first composers to use the various compositional devices for
the purpose of a specific ‘Affekt’ or ‘mood’. The
single phrases of the chorale usually appear in the
discant where they undergo melismatic variation.
At the same time their straight form provides the
material for an imitatory or even fugal texture in
the other voice-parts. By using colouristic elements
to enhance the expressive character of the music
while at the same time
retaining the ‘neutral’
shape of the chorale,
Buxtehude successfully
combines a personal, ‘subjective’ interpretation
with a purely liturgical,
not so say academic presentation of one and the
same cantus firmus.
Magnificat settings deal with the original tune
whereas the majority introduces freely invented
themes which are subjected to fugal treatment.
In Bach’s Magnificat an imitatory rather than strictly
fugal polyphonic web provides the background to a
series of Cantus firmus entries that, however, remain limited to the first phrase of the ‘tonus
peregrinus’ or 9th tone. The complete psalmtone
only enters in the later section of the work where
it appears in long held notes in the pedal. Disregarding structural dependence on Pachelbel’s
model, both the melodic
and the harmonic idiom
stand closer to North- than
South-German tradition.
The lyricism typical of
Pachelbel’s music comes
stronger to the fore in a
number of ‘manualiter’
Bach’s five-part prelude
fughettas Bach composed
on An Wasserflüssen
around the same time. In
Babylons (BWV 653b) foltypical Pachelbel manner,
lows a similar technique.
the short Fughetta super
The first Soprano intones
Gottes Sohn ist kommen
the various phrases of the
(BWV 703), only uses the
chorale in an only slightly
opening phrase of the choornamented manner.
rale. Vom Himmel hoch da
While Alto and Tenor
komm ich her (BWV 701),
present fragments from
on the other hand, uses the
the chorale within a conentire melody in a far more
trapuntal texture, the bass
complex way: while the
Facsimile of the Second movement of the Italian Concerto
either provides a mere
opening phrase undergoes
foundation or participates in the motivic work. Of
regular fugal treatment and never changes its shape,
specific interest is the role of the second Soprano
the remaining phrases appear in ornamented form
which uses the opening lines of the chorale as an
and serve as counterpoints to the ‘theme.’ The deostinato obviously stressing the ‘mourning’ message
scending and ascending semiquaver runs prominent
of the underlying words. In a later re-arrangement
throughout the short work have an interesting parof the same setting (BWV 653) Bach reduced the
allel in other settings of the same chorale and obvitexture to four parts only and places the ornamented
ously conform to words that tell of angels coming
chorale tune into the tenor voice.
from heaven. In a way we should be justified therefore, to see in this music an early example of a development that eventually established the high
reputation of Bach the Interpreter of the Word.
Word-interpretation reaches a great climax in the
45 Short Chorale Preludes of Bach’s Orgel-Büchlein
(BWV 599-644). Bach began this ‘handbook’ while
in Weimar but most likely included further preludes
Undoubtedly, the most important model for this
16
during his stay in Cöthen. According to recent research, the title-page with the dedication to the
‘anfahenden Organisten’ may not entirely reflect
the original purpose of the collection. Whatever the
historic background may be, the Orgelbüchlein remains a continuous source of interest not only to
organists but equally much to all musical ‘amateurs
and connoisseurs’.
In their basic concept the various preludes follow
the model of Scheidt’s Görlitzer Tabulaturbuch with
the uninterrupted chorale melody nearly always in
the soprano. The major difference, however, lies in
the movement and shape of the accompanying
voices which frequently aim to ‘interpret’ the message of the words by a variety of musical devices. At
times such interpretations are quite pictorial, as in
Durch Adam’s Fall where the falling diminished
sevenths in the pedal visibly describe the ‘Fall’
whereas the chromatically meandering tenor line
refers to the ‘snake’ tempting Adam and Eve. In
Herr Gott nun schleuss den Himmel auf the conflict
between the semiquaver runs of the tenor and the
tied-over notes in the energetic pedal vividly describes the poor souls desperately trying to storm
the firmly-locked door of heaven. Perfect
pictorialism also prevails in Vom Himmel kam der
Engel Schaar with both the tenor and the pedal illustrating the excited movement of the angelic
hosts. Scalar progressions with similar connotation
also feature throughout In Dulce Jubilo. Here, however the joyful chorale is subjected to a Canone all’
Ottava between soprano and a tenor-part that has
to be played on the pedal with a 4' stop. The same
combination also underlies Gott durch Deine Güte,
another Christmas Chorale praising Christ’s coming to redeem the world. Canonic imitations of this
kind may well aim to put extra emphasis to the
words of the chorale. In Erschienen ist der herrlich
Tag the canon between the outer voices coupled to
the rhythmic drive of the inner parts certainly helps
to portray the power and joy of Christ’s resurrection. In O Lamm Gottes unschuldig, on the other
hand, a canon at the fifth between Tenor and Alto
finds a gentle accompaniment dominated by chains
of falling seconds closely resembling patterns connected to passion or suffering.
It is important to remember, of course, that obvious pictorialism only underlies a relatively small
number of preludes. Attempts to impose programmatic interpretations on each of the works inevitably lead to confusion and problems. Often it is the
beauty of the music itself that helps to convey the
message. In this respect the simple unadorned
melody in Ich ruf zu Dir Herr Jesu Christ is just as
effective as the outstandingly beautiful and richly
ornamented tune in O Mensch, bewein Dein Sünde
groß. Movements of this kind prove the well-known
but often forgotten fact that external means need
not necessarily provide the answer to the inner
needs of the soul.
During his Leipzig Period Bach wrote only a small
number of chorale preludes several of which are
but re- arrangements of earlier works. Historically
most interesting, undoubtedly, are the various items
that were published in 1739 as the third part of the
Clavierübung. The collection follows the model of
Frescobaldi’s Fiori Musicali and provides organists
with the complete music for a Lutheran service. It
opens with a festive Prelude after which it presents
the chorales of the ‘Long’ and ‘Short’ Lutheran
Catechism in corresponding settings. A number of
duets were intended for use during Communion.
The handbook closes with the famous ‘Trinity’ Fugue
the name of which refers to the presence of three
themes and a key signature with three flats, features supposedly symbolising the Holy Trinity.
Chorale Preludes–from whatever time they originate–are only one of the forms Bach used to interpret the word. Equally important were his cantatas
and cantata-like works, a genre where we meet Bach
the Man of the Bible.
Like other forms of Protestant Churchmusic, the
Cantata originates in the early and middle Baroque
when Monteverdi’s Secunda prattica started not only
to invade existing forms but also to create new structures particularly suited for dramatic presentation.
Some forms were of an intimate character, limited
to single voices or small ensembles as, for example,
the Kleine Geistliche Konzerte by Heinrich Schutz.
Others relied on larger ensembles with soloists, choir
17
Cantus firmus in all the movements. Many of its
details, on the other hand, point to the future, confirming the possibility that Bach revised the work
several years later.
and instruments either alternating with each other
or combining forces to achieve great, musical climaxes. This gave rise to Psalms, Concertati or
Symphoniae sacrae by Johann Hermann Schein,
Heinrich Schütz, Johann Staden, Matthias
Weckmann, Franz Tunder and others. Texts were
taken from psalms, canticles or other biblical scriptures. An alternative source was found in the ever
increasing number of Chorales, the individual stanzas of which easily lent themselves to variation structures similar to those of psalms.
Another of his early masterworks, Cantata No.106–
Gottes Zeit ist die allerbeste Zeit (also known as Actus
Tragicus)–relies exclusively on biblical extracts from
the Old and the New Testament. Designed for a
funeral service, the chosen texts stress the essential contrast between Old Testament Law and New
Testament Grace. This aspect emerges especially
in the central number of the work where a strictly
structured fugue, sung in the lower voices, recalls
the ‘rule of the law’ while a Solo Soprano–superimposed on the polyphonic web in the lower voices–
welcomes the coming of Jesus. In addition, a small
instrumental group intones the Chorale Ich
hab mein Sach Gott
heimgestellt (My cause
is God’s).
The term ‘Cantata’ was coined only around 1700 by
the Hamburg Pastor Erdmann Neumeister as a title
for his new type of religious libretto that intentionally replaced biblical texts with free poetic interpretations of short and often paraphrased scriptural
extracts. According to
his own words, this
newly created ‘reform
cantata’ was to look
‘like a piece from an
opera, composed of
stylo recitativo and
arias’.
The importance of this
particular extract, insignificant as it may
seem within the totalIt was only to be exity of Bach’s oevre, can
pected that the Pietists
hardly be underestiviolently
rejected
mated as it represents
Neumeister’s operatic
Eisennach
a central point typical
concept. The Orthodox
of his personality. In a
faction, on the other
theological sense, these few bars summarise the dochand, adhered to Luther’s liberal attitude and contrine of Justification by grace, fundamental to
sidered it a welcome means to embellish music to
Lutheran teaching and thus make the cantata, even
the praise of God. However, owing to the date of
before Neumeister’s reform, a means for personal,
Neumeister’s publication, it had no immediate aftheological interpretation based on firm belief and
fect on Bach’s early works which remained firmly
unshaken trust in God.
indebted to existing practices.
It was only natural, therefore, that Bach soon accepted Neumeister’s reform concept which gave him
ample opportunity to follow similar ideas. Cantata
No.61 Nun komm der Heiden Heiland. one of Bach’s
earliest works in the new genre, perfectly illustrates
Neumeister’s method of combining Lutheran chorales with biblical and contemplative texts. While a
Tenor- and a Soprano-Aria tell of Christ’s coming, a
This shows quite clearly in Cantata No.4–Christ lag
in Todesbanden–which is entirely based on Luther’s
Easter Hymn with each of the seven verses being
treated in a different and text-related manner. The
work holds a unique position among Bach’s Cantatas not only on account of its overall design which
fully corresponds to the model of traditional chorale cantatas but also for the appearance of the
18
Bass recitative quotes Revelations 3,20: ‘Here I am!
I stand at the door and knock.’ The textual design
enabled Bach to use the structure of the fashionable Italian Chamber Cantata with two Da-CapoArias, each preceded by a recitative. The group of
arias is framed by two chorales which refer to Advent and Christmas respectively. For the opening
Chorale Bach used the form of a French Overture,
an unusual experiment that required a thorough rearranging of both the melody and the text. Of the
final chorale, on the other hand, only the closing
lines are used.
In addition to Neumeister, Bach found great inspiration in the writings of the Weimar Court Librarian Salomo Franck who, among others, provided the
words for the Advent Cantata No.132 Bereitet die
Wege. Except for the closing chorale, the text contains no liturgical extract but in free poetry refers
to John the Baptist being interrogated by Priests,
Levites and Pharisees. (John 1,19-28). The particular design of Franck’s libretto places all the emphasis on the soloists. While the Tenorpart remains
restricted to recitatives and ariosos, Soprano, Alto
and Bass have one Aria each. In its musical idiom
the Cantata displays an Italian-influenced lyricism
that affects in particular the parts of Soprano and
Alto. In a manner typical of Bach’s style, all arias
include an ‘obligato’ solo instrument, a scoring which
results in a Trio-texture.
An aspect in Franck’s poetry particularly attractive
to Bach, was the deep, almost mystical love for Jesus
which permeates many of his texts. Frequently this
love found expression in dialogues, a popular poetic form which often relied on biblical extracts involving two different characters: Gabriel and the
Virgin; Jacob and the Angel, the Pharisee and the
Publican. Later, it uses symbolic or allegoric figures, usually expressing opposing views. A dialogue
between the ‘Soul’ and the ‘Saviour’, for example,
forms the central part in Cantata No.21: Ich hatte
viel Bekümmernis. Disregarding the absurd, almost
juvenile words (‘You hate me - I love you - You hate
me - I love you’), Bach’s music lends this duet a
deeply felt intensity that conveys the essence of
the message even where words fail.
Subdivided into two separate parts, the cantata belongs to a category designed to prepare for and to
summarize the message of the sermon. Here, however, the external subdivision has a spiritual parallel in a total change of emotions. While Part I concentrates on the pain of God-forsaken loneliness,
Part II expresses hope and confidence. Apart from
Franck’s own texts, the libretto freely paraphrases
various psalm extracts and closes with the hymn of
Praise in Revelations 5,12: Worthy is the Lamb who
was slain. In addition, the penultimate Chorus cleverly combines words taken from the opening lines
of a religious song with Verses 2 and 5 from Wer nur
den lieben Gott läßt walten which is treated as a
cantus firmus.
Franck’s religious individualism strongly affects
Cantata No.31 Der Himmel lacht. Though written
for Easter Sunday, the joy about Christ’s resurrection soon gives way to an almost mystical longing
for death: a strange turn of thought based on the
desire to join Christ in the new life of the redeemed.
The emotional character of such texts, often coupled
to a pictorial language, obviously suited Bach at that
particular time of his life, as it allowed him to explore the manifold possibilities of a word-dominated
music. The recitatives oscillate between purely
declamatory and arioso styles, the latter clearly following Italian models with a liking for extended
coloraturas to emphasise specific words. Both Arias
and Choruses fully utilise textual images suitable
for musical pictorialism. In this context the ‘rivers
of salty tears’, the ‘sighs and tears’ (in the Tenor
and Soprano Arias from Cantata No.21) are just as
convincingly portrayed as ‘the laughing of the heavens’ or ‘the strong fighter’ (in the opening chorus
and Bass Aria from Cantata No.31). Equally important as a means to immediately set the underlying
mood are the orchestral introductions or ‘Sinfoniae’.
While the fanfares proclaiming the risen Christ
merely correspond to the customary idiom of festival music, the melodic lyricism, the quietly moving
harmonies and the slowly descending bass-lines create a deeply moving atmosphere perfectly fitting
the mood of loneliness and despair in Cantata No.21.
With Bach’s move to Leipzig the composition of
19
unser Gott) are perfect examples of such works. In
the former, the light-hearted, at times almost dancelike mood has its justification in happy visions of
‘the bride welcoming her lover’, of ‘heavenly life
to come’, of ‘eternal love’, ‘sweet music’ and of
‘singing and dancing’ in praise of the King. In the
latter Bach emphasises the powerful character and
defiant mood of a chorale that symbolised the fighting spirit of early reformation times. In the
Morgenstern Cantata only first and last verse are
quoted literally, allowing for free text interpretation in the recitatives and arias. Originally composed for the Feast of the Announciation, the work
displays a pastoral character perfectly in tune with
the central theme of the day. Cantata No.80, destined for the Reformation Festival, not only includes
all four verses of the traditional ‘battle-hymn’ but
is dominated by an altogether restless and energetic character that prevails even in solo numbers
where paraphrased texts appear together with the
original words. Characterisation is also aided by
Bach’s scoring which obviously aims at specific sound
qualities. The gentle sounds of high-pitched horns,
oboes da caccia, two solo violins and strings in the
Morgenstern Cantata differ strongly from those produced by a combination of three trumpets, drums,
oboes, obligate organ and strings, used for the Reformation Cantata. Equally effective is the choice of
solo voices. The sound of soprano and tenor voice,
accompanied by oboe and two violins respectively
creates a lyrical and transparent mood well suited
to the message of Christ’s coming. In the Reformation Cantata, on the other hand, the bass aria with
its lengthy coloraturas and the later unisono chorale, both imbedded in an excited accompaniment,
brilliantly portray the struggle and fights associated
with Luther’s challenge to the church authorities.
cantatas turned into the centre of his activities.
Trends from earlier years continued but gradually
underwent substantial changes in accordance with
the new situation. During his earlier Leipzig years
Bach wrote a series of Cantatas which were entirely
based on Chorale texts either literally or in a paraphrased version. All of them open with an elaborate chorus which is based on the words of the first
verse and uses the chorale-tune as a cantus firmus.
Subsequent verses, usually paraphrased, take the
form of recitatives, arias and/or small solo ensembles. Except for occasional references in the
accompanying instrumental texture the chorale
underlying the cantata only re-appears, at the end
of the work, though in a simple harmonised version.
Disregarding the apparent rigidity of the external
frame, Bach’s music perfectly mirrors the essence
of the chosen text. The opening chorale fantasias,
for example, immediately portray the basic mood
by musical devices such as tempo, density of polyphony, average vocal range, and size and treatment of the instrumental ensemble. Word interpretation dominates recitatives and arias. In his secco
recitatives Bach follows natural speech declamation,
emphasising specific words by separating their pitch
from the average range. In addition he likes to include typical madrigalisms or to suddenly accelerate or retard the tempo to stress an important sentence. At such points secco recitatives may change
into ariosos which guarantee an even closer relationship between word and music. Here Bach never
misses an opportunity to express his personal belief
by paying loving attention to the often moralising
conclusions drawn from paraphrased verses. Arias
are mostly in Da-Capo Form with the voice usually
being partnered by an obligate solo instrument. In
their character they adhere to operatic traditions
conveying ‘affects’ such as ‘pastoral’, ‘triumphant’,
‘defiant’, ‘angry’, ‘caring’, ‘loving’, etc. In their
details, on the other hand, arias often include a
degree of pictorialism, especially if accompanied
by a small ensemble.
Strict chorale cantatas, though predominant, were
not the only form Bach used in those years. In Cantata No.60 O Ewigkeit Du Donnerwort, for example,
he combines a chorale text with free poetry presented in the manner of a dialogue. Written on words
by the Leipzig librettist Christian Friedrich Henrici
alias Picander, it shows the conflict between Hope
and Fear affecting the soul facing death. Eventually
comfort is provided by a third voice that quotes
Revelation 14,13: Blessed are the dead who die in
the Lord from now on.
Both Cantata No.1 (Wie schön leucht uns der
Morgenstern) and Cantata No.80 (Ein feste Burg ist
20
Cantata No.85 Ich bin ein guter Hirte uses a similarly small ensemble. Opening with an extract from
John 10,14 it belongs into a group of works where
increasing importance is given to the inclusion of
and subsequent contemplation on biblical texts.
Except for the closing chorale and a free adaptation
of Psalm 23, the Cantata uses a libretto probably
written by Mariane von Ziegler who also provided
the texts for other cantatas of this type.
Works for such small ensembles were possibly written to overcome the ever recurring problems Bach
encountered with his singers. It is a well-documented fact that at various times only a small group
of choir boys were able to sing in tune. If this situation coincided with
other factors or even an
outbreak of colds or
other illnesses, a properly sized ensemble was
unobtainable, forcing
Bach to find alternative
ways to provide music
for the Sunday Service.
again places major emphasis on the title-chorale
though not excluding other poetry. According to
the practice common to works of this period, the
cantata opens with an extended chorale-fantasia on
the first and ends with a harmonised setting of the
final verse. The second verse, sung in unisono by
the choir-tenors, stands in the centre of the cantata. This position is indicative not only of the emphasis Bach wishes to place on the particular verse
but also of his liking for symmetrical structures.
Incidentally, Bach later included this particular extract in his Schübler-Chorales where he re-arranged
it for organ. Apart from two recitatives the solo
numbers are dialogues between bride (Soprano) and
Bridegroom (Bass) with obvious reference to the
parable of the Ten Virgins
as related in Matthew
25,1-13.
Side by side with Cantatas on sacred texts Bach
also composed a number
of Cantatas on secular
texts. Some of those were
written for occasions such
as birthdays, weddings or
A number of solo cantafunerals of important pertas, on the other hand.
sons, others for the instalwere probably written
lation of new authorities.
for special occasions,
A small group of secular
most likely of a devocantatas also gives us an
tional nature. In this catLeipzig
opportunity to meet a
egory one finds such parside in Bach’s personality
ticularly beautiful works
one so easily forgets: Bach’s Sense of Humour.
as Cantatas No.53 Schlage doch gewünschte Stunde,
This shows for the first time in his amusing CapricNo.54 Widerstehe doch der Sünde, No.170 Vergnügte
cio on the departure of his most beloved brother
Ruh, beliebte Seelenlust (all for Alto and strings),
where he paints a musical picture describing all the
the Tenor Cantata No.55 Ich armer Mensch and the
situations connected to the event. The brother, infamous Cantata No.56 Ich will den Kreuzstab gerne
cidentally, was Johann Jacob Bach who went to join
tragen for Bass, Strings and two Oboes.
the army of Charles XII, King of Sweden. A keen
sense of humour also characterises the Contest beIn the later years of his stay in Leipzig Bach only
tween Phoebus and Pan (Cantata No.201), a satire
composed a relatively small number of sacred canon ‘modern’ trends with which he obviously distatas and often re-arranged music from earlier days
agreed. Two of the most charming cantatas in this
according to the needs of the occasion. At that stage
field are the Coffee Cantata (BWV 211) and the
he relied on a mixture of chorales, biblical quotaPeasant Cantata (BWV 212). ln the shape of a short
tions and contemplative texts. In his highly popular
theatrical scene with Narrator and various actors
Cantata No.140 Wachet auf ruft uns die Stunde, Bach
21
the former occupies itself with a question of great
concern to the Leipzig society of those days: Is it
permissible for ladies to enjoy the pleasure of coffee, a privilege hitherto reserved for men? Written
in honour of a newly appointed overlord for some
villages near Leipzig, the latter shows Bach’s love
for the folkmusic of his days as he cleverly arranged
a number of folksongs and dances to fit a simple
story. To add further humour to the short work,
parts of the text use a typical Saxon dialect.
According to documentary evidence Bach composed
altogether five Passions. Regrettably, only two survived: the Passion according to St John which was
first performed on Good Friday 1724 and the Passion according to St Matthew, first performed on
Good Friday 1729.
For his Passion according to St John Bach used various textual sources. The passion report itself is taken
from John 18-19 to which the short extract from
Matthew 27,51-52 is added to secure a dramatic
response immediately following Christ’s death.
Comments and points of contemplation are provided
by a number of Chorales and by arias, based on
Heinrich Brockes’ Der für die Sünden dieser Melt
gemarterte and sterbende Jesus (Jesus tortured and
dying for the sins of this world). Fully aware of the
shortcomings of Brockes’ poetry, Bach rewrote
some of the texts and omitted others altogether.
The resultant absence of arias over long stretches
of biblical text undoubtedly interfered with the
overall balance. At the same time, however, it added
further support to the dramatic presentation inherent in St John’s writing. In particular the trial scene
at the governor’s palace, though subdivided by one
aria, benefited greatly from the absence of other
breaks and turned into a point of unparalleled dramatic reality.
The compositional aspects established in Bach’s
choral Cantatas also underlie his large-scale works.
His Christmas Oratorio, for example, is but a collection of six individual cantatas to be sung on specific days between Christmas and Epiphany. In a like
manner, the individual sections of his Magnificat in
D Major (BWV 243) apply techniques close to those
found in Cantata Choruses and Arias, major differences being the use of a Latin text and the absence
of any chorale. Cantata techniques also determine
the recitatives, arias and choruses of both the St
John’s and the St Matthew’s Passion. In these two
works we encounter yet another aspect of Bach’s
music which shows us Bach the Dramatist.
The roots of Passion Music date back to the early
Middle Ages when it became customary to have
three members of the clergy reading the passion
story on only slightly adjusted psalm tones. The
words of the Narrator or Evangelist were recited in
a middle-ranged voice, those of Christ in a low and
all other utterances in a higher range. A next step
in this development occurred during the High Renaissance period when, for the sake of greater dramatic reality, crowd utterances (‘Turbae’) were entrusted to the choir. This led to the introduction of
short choral sections in an otherwise monophonic
context. Concurrent with this development an altogether new style arose with the appearance of
extended motets based on texts that were freely
compiled from the different biblical sources. Undoubtedly the most important Passion settings before Bach are those of Heinrich Schütz who returned
to the traditional Gregorian model with choral inserts for crowd scenes.
Obvious realism characterises most of the ‘Turbae’
or crowd scenes. The chromatic lines in Wäre dieser
nicht ein Übeltäter not only refer to Christ’s suffering but primarily help to create an impression of an
uncontrolled crowd shouting and howling in reply
to Pilate’s questions. The short rhythmic motif in
Kreuzige not only corresponds to the natural rhythm
of the word but owing to its repetitiveness suggests
the rhythm and noise of the merciless
hammerstrokes associated with the crucifixion.
Equally effective are the insistence on the ‘Law’ in
the fugal texture of Wir haben ein Gesetz, the cruelly implied Menuet character at the mocking of
Christ by the Roman soldiers–Sei gegrüßet, lieber
Judenkönig–or their gambling with the dice in Lasset
uns den nicht zerteilen.
22
A feature peculiar to the St John’s Passion is the
repeats, though never literal, of several Turbae choruses. Contrary to an occasionally voiced opinion,
they are not at all caused by an assumed hurry to
finish the work on time. In fact, their symmetrical
arrangement forms part of an architectural plan
which underlies many of Bach’s works. In a like
manner, the repeats of chorales lends special emphasis to texts Bach considered particularly important in the context of
the story. Moreover, in
all those instances the
harmonisations change
in accordance with the
different words.
scourging, for example, is followed by a Bass Arioso
and a Tenor Aria. Both are accompanied by two viole
d’amore to which a Lute is added for the Arioso
section. The gentle sound of these instruments beautifully suits the contemplative and consoling words
which draw parallels between Christ’s suffering and
the resultant blessing for the sinner. Equally effective is the use of a Viola da Gamba for accompanying the Contralto in Es ist vollbracht, an Aria both
musically and textually
closely connected to
Christ’s final words ‘It is
finished.’
In both Eilt, Eilt and Mein
teurer Heiland the Bass is
joined by the choir. In the
former, the short choral utterances merely provide a
strategic question to words
that speak of ‘hurrying’ or
‘running away’. In the latter, the choir adds a relevant chorale to the
soloist’s words, a combination similar to the superposition of an instrumentally played Cantus firmus
in Cantata Arias.
A number of chorales,
inserted at important
points, comment in a
general or even personal manner on the
words of the gospel.
The chorale Dein Will
gescheh Herr Gott
zugleich (Your will, O
Lord, our God, be
done), for example, immediately follows
words implying Jesus’
willingness to ‘drink
Pictorialism plays a signifithe cup the father has
cant role. In Ich folge Dir
given me’. Later, at the
gleichfalls mit eiligen
trial at the High Priest,
Schritten (I follow you, my
Christ’s question ‘Why
Portrait of Bach during his stay in Weimar
Saviour), both the fast
did you strike me?’
tempo and the imitatory
finds an answer in the
writing
between
Soprano
and flutes perfectly illussecond verse which clearly states that ‘my own sins
trate the message of the words. A truly charming
have caused you to suffer’.
relationship occurs later in the same aria when the
prayerful request to ‘push and pull me away’ has its
Arias, mostly in Da-Capo form, often begin with a
musical equivalent in a short-phrased, eventually
direct reference to the final word or sentence of a
chromatically ascending line. Pictorialism also feapreceding bible extract. In their texture Bach again
tures in the narrator’s report of Peter’s denial where
relies on the standard combination of a solo voice
an expressive and beautiful coloratura over a slowly
and one or two obligate instruments. Aiming at a
moving chromatic bass-line paints a moving picture
variety of sound colours, Bach carefully selects those
of the apostle ‘crying bitterly.’ Similarly realistic
instruments he considers best suited for specific situpassages are those referring to the scourging of
ations. The biblical extract referring to Christ’s
23
ence to the preceding biblical extract and smoothly
prepare for the major point elaborated in the aria
which follows. One of the most effective connections, undoubtedly, occurs at the Trial scene when
in reply to Pilate’s question ‘What crime has he
committed’ the soprano refers to Christ’s care for
the sick. Occasionally, a pictorial element is added
to illustrate a particular point. At such places, the
melodious ‘arioso’ style is replaced by the idiom of
an accompanied recitative. Chromatic harmonies
presented in a short-phrased repetitive dotted
rhythm, for example, musically portray the scourging of Jesus; a series of disjointed falling chords
illustrate Christ’s falling down in prayer before his
father; single chords, separated by rests, create the
illusion of Christ remaining silent before Pilate.
Christ and of events following on Christ’s death.
The work is framed by two extended choruses in
Da-Capo and Rondo form respectively. For the final
farewell, however, Bach still adds a chorale traditionally associated with funeral services.
For his Passion according to St Matthew Bach was
able to use poetry by his Leipzig librettist Piccander.
The choice of chorales and other sacred texts, however, seems to have been done by Bach himself.
The perfectly balanced poetic design, resulting from
the happy collaboration of poet and composer is
one of the factors causing substantial differences
between the two Passions. Equally important is the
essential difference between St John’s and St
Matthew’s approach to the story. St John commences his report with a dramatic event and never
loses tension. Adhering to the basic concept of his
entire gospel, he emphasises Christ’s divinity, his
kingdom which ‘is not of this world.’ St Matthew,
by contrast, introduces Christ in the circle of his
friends and stresses his humanity and love for mankind. This interpretation greatly appealed to Bach’s
intense love for Christ’s personality and, in turn,
exerted considerable influence on his treatment of
the part of Christ which is characterised by expressive and mellow lines. Moreover, the string ensemble accompanying all of Christ’s words not only
adds a beautiful effect but carries a clear theological message: while the actions of Christ make him
part of humanity, the musical ‘halo’ shows his divinity. Thus Christ emerges as both Man and God. The
halo only disappears at the very end, at Christ’s last
words Eli, Eli, lama asabthani, suggesting a loss of
divinity. In the St John’s Passion, we met Bach the
dramatist. In the St Matthew Passion, we encounter Bach the Lyricist.
Most of the ariosi or accompanied recitatives use
the same instruments as the ensuing arias. Once
again, Bach carefully selects the sound quality he
considers most suited to a particular situation. The
two flutes accompanying the first contralto aria, for
example, are equally able to convey the tender feelings at Christ’s anointment as to charmingly mirror
the ‘drops of tears’ referred to in the course of the
aria. The flexible sound of strings allows Bach to
adapt them for quite different purposes. While short
disjointed chords perfectly describe Christ’s scourging, long melodic lines successfully portray the
emotional fervour of the prayerful aria which follows. Rich string sounds including a solo violin also
intensify the feeling of remorse in Erbarme Dich,
mein Gott, Peter’s prayerful response to the crowing of the cock and one of the most beautiful arias
of the entire work. The same combination adds great
intensity to the Bass Aria Gebt mir meinen Jesus
wieder.
At various occasions Bach relies on rather unusual
sounds to create a specific atmosphere. The tenor
aria Geduld, wenn mich falsche Zungen stechen,
which follows on Christ’s not replying to false
rumours, is accompanied by cello only. Both, the
angular design and the dotted rhythm in the instrumental part cleverly portray the ‘stinging of the
sharp tongues’ referred to in the words. Similar
pictorialism underlies the Bass Aria expressing the
This lyricism affects some of the choruses, many
arias, but especially the ariosi. In his St John’s Passion Bach used this form only once. In his St Matthew Passion, on the other hand, it plays a major
role not only by connecting the biblical text to contemplative poetry but also by providing a musical
transition from the ‘dry’ recitative to the elaborate
aria. All ariosi, therefore, begin with a direct refer-
24
willingness of Christ’s followers to accept his cross.
The accompanying Viola da Gamba part is full of
large interval jumps and other passages covering
big distances which may well be seen as referring
to both the wide open arms of the cross and the
slow and cumbersome way in carrying the heavy
burden. A most unusual, ethereal sound, finally, is
produced by the combination of flute and two oboes
in the soprano aria Aus Liebe will mein Heiland
sterben. Here. the absence of any lower pitched instruments lends the message of love an almost angelic character.
awake and the reality of their falling asleep. Even
more affective is the combination of two solo voices
and choir following the arrest of Jesus. The imitatory
idiom of the instrumental introduction continues
in Soprano and Alto parts, vividly describing the
walking away of officials, servants and captured
Jesus. The mournfully progressing melodic lines of
soli and instruments are dramatically interspersed
with choral exclamations shouting to let Jesus free.
The scene terminates in one of the most powerful
choral outbursts Bach ever wrote: Sind Blitze, sind
Donner, sind Wolken verschwunden.
Once again ‘Turbae’ play
a major part in the unfolding of the story. However, Bach carefully distinguishes between the
group of disciples and the
crowd of opponents. In
the very first chorus, for
example, the character of
the music suffices to immediately expose the
‘disciples’ objecting to
Christ’s anointment as
opponents rather than
friends. This difference
becomes quite obvious in
the next chorus when his
genuine disciples ask
Christ where to prepare
for Passover. An equally
wide gap separates the
Compared to the lyricism
noisy reaction of the
of these choral inserts,
crowd to an act of mercy
those in Part I are of a
Johann Sebastians birthplace in Eisenach at the
from the subdued reacmore dramatic nature
‘Frauenplatz’
tion of the Roman soland crucial to the story.
diers to Christ’s death. Bach’s careful attention to
Jesus’ mournful words ‘Stay here and watch with
detail also shows in Herr, bin ich’s when eleven and
me’, for example, give rise to contemplative renot twelve disciples ask Jesus who is going to beflections on the cause of his suffering. In the arioso
tray him. Another important passage is the sudden
immediately following the biblical extract the
unisono on Ich bin Gottes Sohn terminating the
tenor’s questions are answered by the choir singing
chorus He saved others.
a verse from a passion chorale, stressing personal
guilt. In the subsequent aria, tenor and choir exChorales hold a double function. Together with the
press different feelings that perfectly portray the
biblical text they are part of the Good Friday litconflict between the disciples’ best intention to stay
Occasionally, Bach has his
soloists partnered by the
choir to add special impact to an event or situation. At the beginning
of Part II the lost soul
(represented by the solo
Alto) mourns the disappearance of her beloved
Jesus and finds support
in the choir expressing
its willingness to help.
Particularly beautiful are
the short choir responses
Mein Jesus, gute Nacht
following the ‘fare-well
wishes’ of the four main
soloists at the end of the
work.
25
all interest in his work at the school.
urgy. Their positioning and specifically chosen stanzas, on the other hand, relate them to the contemplative layer of arias and ariosi. Some appear only
once, others several times, usually with different
harmonisations in accordance with the text. An
elaborate version of O Mensch bewein Dein Sünde
groß closes the first part of the work. Its message
becomes all the more poignant as it immediately
follows on a passage epitomising Christ’s loneliness
when ‘all the disciples deserted him and fled.’
Arguments were nothing new, they happened before at other places. In Arnstadt, when reprimanded
for the ‘strange notes that confused the congregation’ he simply withdrew into silence, limiting his
playing to the barest minimum. At one occasion he
nearly started a bodily fight with a particularly quarrelsome senior boy. In Mühlhausen he refused to
get involved in theological arguments and rather
moved to Weimar where he was happy until the day
when a family argument between the Duke and his
brother began to interfere with his personal life.
When told to stop his visits at the now unpopular
man, he simply ignored the official command. As
the situation became more and more unbearable
he gladly accepted appointment at nearby Köthen
but was refused leave. After heavy arguments he
landed in prison. In the end, however, the Duke
gave in and permitted Bach to move to the new
place.
The large-scale concept permeating the entire work
shows especially in the great opening chorus where
Bach uses the double-choric writing for both choir
and orchestra in a style strongly reminiscent of the
polychoric stereophony of Venetian times. In addition he superimposes the chorale melody O Lamm
Gottes unschuldig (‘Lamb of God’) as a ninth voice
part in the manner of a Cantus Firmus. A similar
polychoric arrangement also prevails in the final
chorus, the extended rondo structure of which brings
this masterwork to a beautiful close.
Tired from all the fights with his Leipzig superiors
he tried to find another position but had no luck. In
desperation he applied for the title of Court Composer at the nearby Dresden Court. To support his
request, he submitted, with all the expected humility, a Missa consisting of Kyrie and Gloria to
Friedrich August II, Elector of Saxony. According to
long-held belief, Bach originally wrote the work for
a special service held in honour of the Prince
Elector’s first visit to Leipzig. At that occasion the
extended and mournful Kyrie was supposed to evoke
the memory of Friedrich August ‘The Strong’ whereas
the Gloria was to express the joy over his successor’s
ascension to the throne. Even though the authenticity of this story has never been proved, the two
movements mark the early stage of one of Bach’s
greatest masterworks: The Mass in B Minor. Towards the end of his life he decided to add the still
missing movements for parts of which he re-arranged arias or choruses from earlier Cantatas in a
manner that perfectly fitted into the overall plan.
Far from appreciating Bach’s music for its true value,
the Leipzig authorities did their best to make his
life as difficult as possible. Their negative attitude
showed right from the moment of his being appointed as successor to Kuhnau when regrets were
voiced that ‘all the better candidates were unable
to come’ and thus ‘only Bach was left’ to fill the
vacancy. The situation improved only during the
rectorate of Johann Matthias Gesner who fully appreciated the work of his cantor. Once Gesner accepted a position at the university, problems returned. His successor, Johann August Ernesti showed
but little interest in musical matters. Bach’s detailed requests and suggestions to improve shortcomings at the school met with silence or direct
opposition. Pupils, Bach listed as unmusical were
promoted, others rejected. It is hardly surprising
that Bach the Fighter openly revolted. Arguments
came to a head when a prefect, appointed against
Bach’s wishes started conducting the choir. In the
midst of a service, Bach left the organ and, all the
time furiously shouting, chased the poor boy out of
the church. The scandal affected the whole community. Even though peace was restored, Bach lost
What exactly was the reason for Bach’s decision to
complete the existing fragment even after his request for a title had been granted? The question is
26
all the more relevant as Bach was fully aware of all
the problems which prevented the Mass to be included in any liturgical service. In trying to find a
possible answer we need to look at the essential
point Bach, the Catholic Lutheran wished to convey when making his decision.
the aria points at the unity of a church held together by the Spirit of Love.
Most likely, this exactly was the point which affected
Bach in his decision to complete his Mass: A prayerful message pleading for a church unified by belief
in Christ and by a love that doesn’t prevent but
accept individuality. This powerful message, incidentally, fully corresponded to the econumenical
trends which emerged around that time but failed
to bridge the gap between
the two confessions.
In many of his works he aims to achieve a symmetrical structure. It shows in his preference for the threemovement Concerto, in his liking for Da-Capo forms
and in the overall outline
of many of his cantatas.
Symmetry also underlies
Apart from its theological
Bach’s B minor Mass with
significance the B Minor
the Credo as the central
Mass forms part of a group
point which not only proof works that may safely be
vides the musical but also
called Bach’s Timeless
the theological climax. In
Legacy. If we were to acessence, Kyrie, Gloria,
cept the Mass as the ultiSanctus and Agnus Dei are
mate climax of his sacred
but acclamations of differmusic, his Aria mit
ent historic background.
v e r s c h i e d e n e n
The Credo, by contrast,
Veränderungen, commonly
summarizes the essential
known as the Goldberg
dogmas of the Christian
Variations may well mark
faith, dogmas common to
the climax of his keyboard
all, whether Catholic or
works. Published in 1742
Protestant. At the centre
as the final and fourth part
of all dogmas stands the
of the Klavier Übung it preIncarnate Christ, who was
Bach’s grave in the St Thomas church, Leipzig
sents an unparalleled and
born of the Virgin Mary,
truly unique compendium
was crucified, rose again
of composition techniques.
and ascended into heaven. These sentences fundamental to any Christian stand in the centre of Bach’s
Variations, of course, played a major role in the keyCredo. Equally fundamental are the personal faith,
board music of the time. Usually, however, they were
the ‘I believe’ and the confirmation of this faith by
limited to figurations and ornamentations imposed
accepting baptism from which originates salvation
on the original tune. A different category were the
and eternal life. In between these blocks of choral
variations on a ground-bass, a form to which Bach
sound Bach inserts two solo numbers, symmetrically
contributed the Ciaconna in D Minor for unaccomplaced before and after the central chorus. The first,
panied violin and the Passacaglia in C Minor for
a duet for Soprano and Alto, musically portrays
Organ. It also features in some of his other works
Christ’s unity with his father as well as his own indias, for example, in a chorus from Cantata No.12
viduality. The second, a Bass Aria, speaks of the Holy
(Meinen, Klagen) which he later re-arranged for the
Spirit representing the love between Father and Son
Crucifixus of his Mass. In his Goldberg Variations
and, in further course lovingly elaborates on the
Bach not only combined both techniques but also
‘One Holy Apostolic and Catholic church’. While
included canons at all available intervals. In addithe duet emphasises the unity of Father and Son,
27
tion he subjected the theme to a series of character variations resulting in dances, character pieces
and even a French Overture and in the process systematically covered the entire gamut of clavieristic
problems.
The printed Offering was duly forwarded to the King
in a luxury edition full of annotations and remarks
typical of the time. The title page, for example,
contains a Latin dedication: Regis Iussu Cantio Et
Reliqua Canonica Arte Resoluta–an acrostic the initials of which refer to the ‘Ricercar’ Bach played at
the King’s command. Latin remarks also comment
on the canons: the canon in augmentation, for example, expresses the desire that the ‘King’s fortune
may grow with the length of the notes’. Connotations of this type were a standard practice as canons
were written in a single line only. Thus it was up to
the performer to ‘decipher’ the message and find
the correct solutions. Possibly to revenge himself
Bach merely added the cr yptic ‘quaerendo
invenietis’ to one of the canons: ‘look for yourself
and you’ll find!’
The ‘Aria’ on which the variations are based is taken
from the Clavier-Büchlein for Anna Magdalena. While
the simplicity of its tune in no way prevented the
introduction of altogether new melodic or figurative material, its symmetrical design perfectly suited
Bach’s desire to provide variety within a firmly unified structure. This led to the regular arrangement
of the canonic variations which progress from a
canon at the unison to a canon at the Ninth, each
third variation introducing a new interval. To add
further complexity both the Canon at the Fourth
and at the Fifth are inversion canons. The final variation has the form of a ‘Quodlibet’ which superimposes two popular songs of the time on the still
unchanged ground bass.
In its timeless musical relevance The Art of Fugue
represents one of Bach’s greatest achievements.
Continuing along the lines of the Musical Offering
it obviously intends to explore the entire compass
of structures that can possibly be derived from the
original theme. Complexities by far surpass those
found in the earlier Offering and range from DoubleFugues, Triple-Fugues, Mirror-Fugues to canons of a
kind Bach had not yet included in his earlier work.
Regrettably, the Art remained a fragment as Bach
died while still working on one of the most elaborate fugues. This is all the more unfortunate as he
left no indication concerning further development
or even the purpose or eventual scoring of this enormous undertaking.
Bach’s architectural interest reaches its climax in
the Musical Offering and The Art of Fugue. The
Musical Offering owes its existence to one of the
happiest episodes in Bach’s life: his visit to the Court
of Frederic II, King of Prussia. The visit was all the
happier as it offered Bach a chance to see his son
Carl Philipp Emmanuel, whose success undoubtedly
compensated Bach for the worries he had with other
of his sons. The King, known for his extremely conservative taste, honoured the ‘old Bach’ not only by
showing him specimens of the ‘new type of Clavier’
but also by giving him a ‘Royal Theme’ on which to
improvise a three-part fugue. Impressed by what he
heard he tried to embarrass his visitor by asking
him to add a six-part fugue to the performance. Bach
politely refused and after promising to ‘do some
homework’ volunteered to use the theme for a
ricercare. On his return to Leipzig he immediately
started work on the promised fugue. In the resultant ‘offering’, however, he exceeded the original
request and systematically explored the full potential of the theme not only for fugal elaborations but
also for other musical forms including canonic treatment of a totally unique nature and complexity.
Having reached the end of our journey we may well
return to the initial question and ask: What means
Bach to us–today, in today’s world and in a time of
continuous change where nothing seems certain. It
may help us to briefly look back to earlier centuries of cultural and musical development. Then we
may realise that times of stability often alternated
with times of turmoil. While the ‘Barbaric Invasions’
destroyed the glory of the Roman Empire a new
culture arose which, in the field of music, gave us
Gregorian Chant, a perfect blend of musical practices from all corners of the civilised world and the
28
very basis for our own musical tradition. Some threehundred years later Guido d’Arezzo developed his
system of solmisation, classified the various types
of organum, and thereby laid the foundation for further developments. Around 1300 Philipp de Vitry
introduced his Ars nova which freed music from
the shackles of dated concepts and paved the way
for the glory of vocal polyphony. Around 1600 Caccini
gave us his Musiche nuove, opening the doors for
opera, oratorio and a new, powerful and dramatic
music. Three-hundred years later another cycle began with a Musica Nova which introduced the innovations we presently experience but are as yet unable to judge for their lasting value.
Each of these periods centers around one or more
composers who successfully blended all the earlier
trends and at the same time laid the foundation for
further developments. Music of the Renaissance period centred around Josquin du Prez. It has rightly
been stated that nothing new emerged after his life
that wasn’t already found in his music. Within the
next cycle Bach holds a similar position: he
summarised all the achievements of his forerunners
and prepared the ground for new trends to emerge.
Considered an ‘old-fashioned relic’ by the young
people of his time, he anticipated the revolutionary musical idiom of the later 19th century which
eventually led to the new language of 20th century
composers. In fact, the enthusiasm for a simple, ‘natural’ idiom propagated by the generation immediately after Bach, soon gave way to a re-discovery of
the ‘old Bach’ whose music retained its value up to
the present and inspired all the great composers
whose works are part of our standard repertoire.
In a clever pun–based on German words–Beethoven
considered Bach’s name (ie ‘brooklet’) a misnomer
and suggested that it be changed to ‘Meer’ (ie
‘Ocean’.) Indeed, looking at Bach’s oevre we find
ourselves in an ocean of music beyond our capacity.
Who would ever be able to fully absorb the wealth
of musical ideas one encounters in his works? The
details in his sonatas, concertos, preludes and fugues,
cantatas, passions or organ works? Isn’t it a new
experience each time we study even one of his
works? Don’t we inevitably discover something new
that hitherto escaped our attention?
If this article helped to create a renewed interest
in Bach’s works, arouse enthusiasm and love for the
beauty of his music, it has certainly achieved its
purpose. &
(Quotations are taken from: Karl Geiringer: Johann
Sebastian Bach. OUP 1966)
Professor Rupert Mayr, formerly Head of the Department of Music and Musicology at Rhodes University,
Grahamstown is now living in retirement in Port Elizabeth
29
JS Bach’s keyboard fingering
practice
Wim Viljoen
A lot of misconceptions surround the issue of Bach’s fingering practice. The most common perception
would be that ‘…Bach didn’t use the thumb’- and with that statement most pianists are so put off by the
subject that they do not want to pursue the issue any further. Other keyboard players–like harpsichordists
and organists–are often keener to probe the subject, as they sometimes play on copies of seventeenth- and
eighteenth-century instruments. They are then confronted by issues such as shorter keys and keyboard
mechanisms on which modern fingerings do not always feel comfortable. However, a study of eighteenthcentury theoretical writings will prove that Bach’s fingering practice is far more progressive than many
musicians perceive it to be. A knowledge of this can be invaluable to give pianists more insight into Bach’s
clavier music.
Fingering before Bach
At the beginning of the seventeenth century two principles stand out:
•
There was no finger substitution
•
Scale patterns made little use of the thumb in the right hand, but it appears as a matter of course
in the left hand.
1.
The lack of finger substitution can be explained by the fact that the normal manner of touch during
the period under discussion was not legato but a somewhat articulate touch akin to the former,
which made any substitutions and glissando’s redundant. This clear touch was simply the taste of
the period. Instead, the same finger could be used on consecutive notes, or in chordal passages the
hand would simply shift from one to the other:
Example 1
Sweelinck: Echo Fantasia
2.
Türk: Klavierschule
In scale patterns of the right hand, the thumb was seldom used, except at the beginning or end of
a group of notes. In the left hand it played an important role in ascending passages:
30
Example 2
There are a couple of aspects to be considered here. Firstly, it must be remembered that the short length
of the keys on seventeenth-century instruments (between 250mm to 305 mm) made it difficult to pass the
thumb under. As a result, the principle applied that the long finger crosses over the short finger, for
instance 3 over 4 in the right hand or 2 over 1 in the left. This was facilitated by turning the wrist and
fingers in the direction the hand is travelling, a motion which was described as early as 1565 by Sancta
Maria in Spain. (It is important to stress here that the hand did not hop along in groups of two, which would
result in an incapacity to play at any reasonable speed. The lateral turning of the hand enables one to
execute [with practice] to play at speed with ease.) In this example the whole hand shifts after a four-note
figure:
Example 3
Another influencing factor in the seventeenth century is that of arranging groups of notes in ‘sounding
feet’. Bach’s cousin, J G Walther, describes this process, whereby all notes are arranged according to strong
and weak accents , or ‘good’ and ‘bad’ notes:
Example 4
31
The good and bad notes have a technical equivalent in the early fingering systems, where certain ‘strong’
fingers were allotted the position of good notes. In Example 2 above, 3 is the strong finger in the right
hand ascending and descending, and left hand descending; but the thumb is the strong finger left hand
ascending. It is interesting that different countries used different strong fingers: in Italy , for example, the
second and fourth fingers were regarded as strong. The next example gives an idea of the above principles
in practice. It is a work by the sixteenth-century English composer John Bull, as it appears in a middleGerman manuscript dating from 1641:
Example 5
Praeludium ex A
Bach’s fingering
Bach must have been in contact with the above type of fingering as a child. Elements of this type of
fingering are evident in the Clavier-büchlein vor Wilhelm Friedemann Bach, the instruction book he wrote
for his eldest son, then nine years old:
Example 6
Applicatio
32
It is obvious that this piece still employs many facets of seventeenth-century fingering:
•
no finger substitution: shifting of fingers in left hand: m1, 2, 3, 4. Note the consecutive use of
the same finger in m8 in the alto.
•
paired fingering (crossing of fingers) for scale patterns: m1 and 2. This corresponds to the
English practice.
It is interesting that the first four notes of m5 (soprano) and m7 (bass) employ fournote fingering patterns.
It is obvious that the articulation of these and the paired groups of m1 and 2 should be the same - in my
opinion in fours. Also note the use of the thumb in the left and right hand: the only crossing under of the
thumb appears in m7 in the alto. The fingering of the ornaments is highly significant: the presence of trills
with 5-4 (m2, 8) shows that Bach wanted to encourage the development of all the fingers.
Very few works containing Bach’s fingering have been left to us. One may therefore be tempted to take the
conservative fingering above as a model for his works. As any experienced teacher will know, one will not
get very far in applying these principles to the more virtuoso keyboard works. As a matter of fact, that this
view cannot be sustained, is evident from the writings of one of Bach’s pupils, Lorenz Christoph Mizler. He
has the following to say about the Wegweiser (an organ tutor with conservative fingerings) in his periodical
Neu eröffnete musikalische Bibliothek in 1739:
The first part deals with the most basic fundamentals of music, especially with fingering,
which however I do not like at all. Anyone who does not know how to use how to use his
fingers better than this will scarcely be able to learn to play the keyboard partitas of Herr
Bach of Leipzig.
This and other evidence from Bach’s pupils make it clear that Bach was a pioneer in the use of fingering. In
the obituary of Bach, written by his son Carl Philip Emanuel and his pupil Johann Friedrich Agricola and
published in Mizler’s periodical in 1754, this famous statement appears:
All his fingers were equally skillful; all were equally capable of the most perfect accuracy in
performance. He had devised for himself so convenient a system of fingering that it was not
hard for him to conquer the greatest difficulties with the most flowing facility. Before him,
the most famous clavier players in Germany and other countries had used the thumb but
little....With his two feet, he could play things on the pedals which many not unskillful clavier
players would find hard enough to have to play with five fingers.
It is clear that Bach was the innovator of modern thumb-under scale fingering. His pupil Kirnberger writes:
One should acquaint them (children) with the rule invented by J S Bach: that in most cases
the thumb is placed before and after the leading tone, whether the latter falls on a half- or
whole-tone (ie a white or black key).
However, the use of the thumb must be linked to another factor: the increasing use of ‘complicated’
tonalities with many sharps and flats, where the crossing under of the thumb is natural. Emanuel Bach’s
remarks on the subject are enlightening:
My deceased father told me that in his youth he used to hear great men who employed their
thumbs only when large stretches made it necessary. Because he lived at a time when a
33
gradual but striking change in musical taste was taking place, he was obliged to devise a far
more comprehensive fingering and especially to enlarge the role of the thumbs and use them
as nature intended; for, among their other good services, they must be employed chiefly in
difficult tonalities.
These remarks, especially the last sentence, explain why Bach stuck to a conservative fingering in the
Applicatio: it is in C major. In this regard, it is significant that Emanuel gives three fingerings for a C major
scale: two ‘modern’ and one ‘early’, but points out that the ones with finger crossings - the earlier style are the most usual.
Example 7
The lesson from this is that although Bach was a pioneer in developing the use of the thumb as a pivot
finger, he never relinquished the earlier ways, especially in keys with few accidentals.
It will be arrogant to make a list of rules claiming it to be the principles of Bach fingering. As early as the
sixteenth century Hans Buchner said ‘there can be no hard and fast rules, as there are so many different
possibilities’. The following suggestions may contribute to a greater understanding of the master’s ideas:
•
•
•
•
•
•
the equal use of all fingers
little substitution of one finger for another, except on long notes (an articulate touch does not
require it)
the alternation of earlier practices in passages with naturals, with modern ones (with more accidentals),
especially in scalar passages
the frequent use of the same finger on two successive notes, especially on long note values
avoidance of the thumb and fifth finger on accidentals
use fingering patterns that illustrate Bach’s motivic use, as in this example from the
Wegweiser:
Example 8
34
Bibliography
Butt, J. 1990. Bach Interpretation Articulation Marks In Primary Sources Of J S Bach.
Cambridge: Cambridge University Press.
Boyd, M. Ed. 1999. Oxford composer companions J S Bach. Oxford: Oxford University Press.
Lindley, M and Boxall, M.1980. Early keyboard fingerings an anthology. London: Schott.
Faulkner, Q. Ed. 1997. J S Bach basic organ works. Vol.2. Boston: Wayne Leupold Editions.
Laukvik, J.1990/1996. Historical performance practice in organ playing. Stuttgart: Carus.
Soderlund, S. 1986. Organ technique an historical approach. Chapel Hill: Hinshaw.
Wim Viljoen is associate professor in the Department of Music at the University of Pretoria
as well as organist of the Dutch Reformed Church, Universiteitsoord, Pretoria
35
Kurt Weill and his century:
A Celebration
Kim Kowalke
Don’t let my upcoming
birthday cause you any
headaches, Kurt Weill
wrote to his parents
early in 1950. It’s no
great achievement to
have reached the age of
50. I don’t feel like 50 at
all - and the less fuss one
makes, the better I like it.
It indeed turned out to
be a quiet birthday, as
Weill took to bed with flulike symptoms, and never
recovered. A month later
he was dead.
der Verheissung, The Firebrand
of Florence, and Love Life; the
British premiere of the orchestral Walt Whitman Songs, the
French premiere of Der
Silbersee and the Israeli premiere of Aufstieg und Fall der
Stadt Mahagonny.
Scholarly symposia in Dessau,
Berlin, London, New Haven,
Brooklyn, and Cincinnati will
attempt to assess his legacy.
The first two edited volumes
of the Kurt Weill Edition will
appear in print and serve as the
basis for performances and
new recordings. No fewer than
seven books are scheduled for publication, and new
recordings will include Die Bürgschaft, Der Silbersee,
One Touch of Venus, Die sieben Todsünden, and Die
Dreigroschenoper. Television documentaries, radio
retrospectives, new stage reviews, a travelling exhibition, and even an interactive Worldwide-WeillWebsite will address a public as diverse as Weill’s
oeuvre.
In contrast with that bleak fiftieth birthday, ‘quite
a fuss’ will indeed be made over Weill’s 100th. Because his lifetime neatly spanned the first half of
the twentieth century, 2000 marks simultaneously
the century of his birth and the semicentennial of
his death–sufficient justification to extend the two
seasons, from June 1999 through May 2001.
During this time there will be hundreds of performances and productions around the world, from
Antwerp to Zurich, Rome to Reykjavik, Toronto to
Tokyo. It will be possible–remarkably for the very
first time–to hear and see virtually every work that
Weill composed, including all of his 20-odd stage
works. There will be major festivals, following in
Weill’s footsteps, in Dessau, Berlin, London and New
York. Highlights of the first season include the American premieres of Royal Palace, Die Bürgschaft, and
Der Kuhhandel; the European premieres of Der Weg
Perhaps by the end of the two seasons, we will have
a fuller sense of who Kurt Weill was. Challenging
traditional aesthetic boundaries and expectations,
Weill has frequently been cited as the ‘most problematic’ composer of the twentieth century. At once
‘serious’ and ‘popular’, ‘high’, and ‘low’, European
and American, his legacy is as diverse as it is hybrid
in genre. Multiplicity displaces unity as the principal measure of stylistic identity. In his attempt to
map democratic values into the artistic domain,
36
Weill may seem as much a ‘Whitman-composer’ as
‘Brecht-composer’. We may even be tempted to extrapolate from Ralph Vaughan Williams’s appraisal
of Bach: ‘his music appeals toe
everyone–not only the aesthete, the musicologist or the
protagonist, but above all to
Whitman’s “Divine Average” ’.
all their songs–for good songs are but dreams, the
hopes, and the inner cries deep in the souls of all
the people of the world. Kurt Weill did not scorn
even the least of these songs–
for he knew that the least might
well be the most....
Kurt Weill was a great musical
communicator. He had something to say and he said it in
the simplest and most direct
terms, in the surface language
of each country in which he
lived, but also in the universal
language of that world beyond
worlds to which all human souls
are related. Some people contend that when Kurt Weill
worked in the popular vein he
became ‘commercial’. I contend instead that he became
universal.
Already in 1949 critic Harold
Clurman suggested that Weil
was ‘so much the adaptable
artist’ that ‘he could write
music in any country as if he
were a native’. Consequently,
‘Weill was all theatre and all
“mask”.’ In the same year,
however, Weill himself left us
a clue to his underlying identity, a starting point for a reWeill at Brook House, (1946)
assessment of his historical significance. In an ‘Opera News
on the Air’ feature, after a discussion of what makes
Puccini Puccini, host Boris Goldovsky inquired: ‘Tell
Whatever centenary discoveries or revelations await
me, Mr. Weill, as a composer yourself, are you conus, irony will certainly attach itself to Weill’s maniscious of what brings out the Weill in Weill, so to
festo. ‘Schoenberg has said he is writing for a time
speak?’ Weill replied: ‘in retrospect, looking back
fifty years after his death...I write for today. I don’t
on many of my own compositions, I find that I seem
give a damn about writing for posterity.’ Now, fifty
to react very strongly to the suffering of underpriviyears after Weill’s own untimely death, we may find
leged people, of the oppressed, the persecuted.
that he has as much to say to our times as to his
When my music involves human suffering, it is, for
own. And the hopes expressed in Weill’s penultimate
better or worse, pure Weill’.
letter to his parents may yet be realized: ‘After 25
years of difficult, unrelenting work, it almost seems
There could be no better invocation for the Kurt
as if I am now to have something like a period of
Weill Centenary than the tribute which the great
harvest.
African-American poet of the Harlem Renaissance,
Suddenly I’ve been promoted to a sort of ‘classic’
Langston Hughes, wrote in 1955 for the German
status, and people are beginning to talk generally
premiere of Street Scene:
about the ‘historical significance’ of my works.’ &
Kurt Weill was a great artist who could capture in
his art the least common denominator uniting all
humanity .... He understood all human beings, and
Reprinted with permission of the Kurt Weill Foundation for Music, New York. All rights reserved.
Kim Kowalke is president of the Kurt Weill Foundation for Music
37
Kurt Weill : A Biography
Kim Kowalke
performances in Berlin and at inKurt Weill was born on 2
ternational music festivals had esMarch 1900 in Dessau, Gertablish Weill as one of the leading
many. The son of a cantor,
composers of his generation, along
Weill displayed musical talent
with Paul Hindemith and Ernst
early on. By the time he was
Krenek.
twelve, he was composing
ands mounting concerts and
Already at nineteen, he had dedramatic works in the hall
cided the musical theatre would
above his family’s quarters in
be his calling. In 1926, he made a
the Gemeindehaus. During
sensational theatrical debut in
the First World War, the teenDresden with his first opera, Der
age Weill was conscripted as a
Protagonist, a one-acter on the
substitute accompanist at the
text by Georg Kaiser. Weill conDessau Court Theatre. After
Kurt Weill , (1946)
sidered Der neue Orpheus (1925),
studying theory and composia cantata for soprano, violin, and orchestra on a poem
tion with Albert Bing, Kapellmeister of the Theby Iwan Goll, to be a turning point in his career; it
atre, Weill enrolled at the Berlin Hochschule, but
prefigured the stylistic multiplicity and provocative
found the conservative training and the infrequent
ambiguity typical of his compositional style. Modlessons with Engelbert Humperdinck too stifling.
ernist aesthetics are most apparent in the one-act
After a season as conductor of the newly formed
surrealist opera Royal Palmunicipal theatre in
ace (1926) on a libretto
Lüdenscheid, he reof Iwan Goll (exceptional
turned to Berlin and was
in its incorporation of
accepted into Ferruccio
film and dance), and the
Busoni’s master class in
opera buffa Der Zar lässt
composition. He supsich photographieren
ported himself through a
(1927) on a libretto by
wide range of musical ocGeorg Kaiser. By this
cupations, from playing
time in his career, Weill’s
organ in a synagogue to
use of idioms associated
piano in a Bierkeller, by
with American dance and
tutoring students (includhis pursuit of collaboraing Claudio Arrau and
Weill and Lenya, New York, (1935)
tions with the finest conMaurice Abravanel) in
temporary playwrights had become essential stratmusic theory, and, later by contributing music critiegies in his attempts to reform the musical stage.
cism to Der deutsche Rundfunk, the weekly program
journal of the German radio. By 1925, a series of
38
(libretto by Robert Vambery) seemed impossible,
A commission from the Baden-Baden Music Festival
Weill arranged for a London production of this opin 1927 led to the creation of Mahagonny (Ein
eretta, which had been adapted as a British musical
Songspiel), Weill’s first collaboration with Bertolt
comedy and retitled A Kingdom for a Cow. In SepBrecht, whose Mann ist Mann and poetry collectember 1935, Weill went to America, with Lenya to
tion, Die Hauspostille, had captured Weill’s imagioversee Max Reinhardt’s production of Franz Werfel’s
nation and suggested a compatible literary and drabiblical spectacle Der Weg der Verheissung, for which
matic sensibility. The succès de scandale of
Weill had written an extensive oratorio-like score.
Mahagonny encouraged Weill and Brecht to conAfter many delays, the work was finally staged in
tinue work on the full-length opera Aufstieg und
1937 but in truncated form as The Eternal Road.
Fall der Stadt Mahagonny (premiered at Leipzig in
March 1930). Exploiting their aggressive popular
In the interim, the Group Theatre had recruited
song-style, Weill and Brecht also wrote several works
Weill to collaborate with distinguished playwright
for singing actors in the commercial theatre, inPaul Green on a musical play loosely based on Hasek’s
cluding Die Dreigroschenoper and Happy End. They
Good Soldier Schweik. Weill’s innovative and exexplored other alternatives to the opera establishtensive score for
ment in the school opJohnny Johnson,
era Der Jasager and the
though still recognizradio cantatas Das Berably European in acliner Requiem and Der
cent, established the
Lindberghflug. Increascomposer on the
ingly uncomfortable
American scene. For a
with Brecht’s restricbrief period in 1937,
tion of the role of muWeill had two works
sic in his political therunning simultaatre, Weill then turned
neously in New York.
to another collaborator,
Encouraged by his rethe famous designer
Jay Marshall (center) and assorted vaudevillians in
ception and convinced
Caspar Neher, for the
Love Life (1948)
that the commercial
libretto of his three-act
theatre offered more possibilities than the tradiepic opera, Die Bürgschaft (1931), and again to
tional opera house, Weill and Lenya decided to stay
Georg Kaiser for the daring play-with-music Der
in the United States, remarried and applied for
Silbersee (1932). In both he refined his musical lanAmerican citizenship. Weill followed the Group
guage into what he called ‘a thoroughly responsible
Company to Hollywood and completed two film
style’, appropriate for the serious and timely topics
scores, including Fritz Lang’s You and Me (1938).
he addressed.
But he found the motion picture industry hostile to
These later works outraged the Nazis. Riots broke
the type of film-opera he envisioned and thereafter
out at several performances and carefully orchesalways considered Broadway ‘home’.
trated propaganda campaigns discouraged productions of his works. In March 1933, Weill fled GerDuring the next decade, he established himself as a
many; he and Lotte Lenya divorced soon thereafnew and original voice in the American musical theter. In Paris, Weill completed his Second Symphony
atre. He continued to enlist leading dramatists for
and renewed briefly his collaboration with Brecht
the cause of musical theatre, including the forefor Die sieben Todsünden, a ‘ballet with singing’ for
most playwright of the day, Maxwell Anderson. Their
George Balanchine’s troupe ‘Les Ballets 1933’. He
first collaboration, Knickerbocker Holiday, was only
also wrote a number of cabaret chansons, as well as
a modest success, but it showed Weill’s first Amerithe score for Jacques Deval’s Marie Galante. When
can ‘standard’, the ‘September Song’. Weill’s first
a German-language premiere of his Der Kuhhandel
39
by Rouben Mamoulian, it challenged the Broadway
institution and audiences to a degree that would
not be exceeded until the 1970s in the SondheimPrince collaborations.
hit was Lady in the Dark, a musical about psychoanalysis by Moss Hart with lyrics by Ira Gershwin,
his return to the theatre after his brother’s death
in 1937. A daring experiment, with music restricted
to only the dream sequences (a technique analogous to the use of colour in The Wizard of Oz),
Lady in the Dark broke Broadway records for production costs but recouped all of it in its 777 performances, with Gertrude Lawrence appearing as
Liza both on Broadway and national tour. Weill
quickly acquired the reputation of being the finest
craftsman in the business, no less for his large-scale
musical forms than his unique insistence on orchestrating all of his own works.
During the Forties, Weill had also contributed extensively to the American war effort, as well as a
series of Jewish and Zionist pageants. Although all
of the Hollywood adaptions of his music mutilated
his scores, he enjoyed his work with Ira Gershwin
on the original film musical Where Do We Go from
Here? (1945). He was also very proud of his folkopera Down in the Valley (1948), which received
hundreds of productions in schools and communities throughout the nation.
Weill was at work on a muThe even greater success
sical version of Mark
of One Touch of Venus
Twain’s Huck Finn and was
(1943, book by S.J.
planning another American
Perelman, lyrics by
opera (for baritone
Ogden Nash) gave Weill
Lawrence Tibbett) when he
the credibility to embark
suffered a heart attack
on a series of bold venshortly after his fiftieth
tures. He was elected as
birthday. He died on 3 April
the only composer-mem1950. In his obituary Virgil
ber of the distinguished
Thomson identified Weill as
Playwright Producing
‘the most original single
Company, which brought
workman in the whole muElmer Rice’s PulitzerKurt Weill (1943)
sical theatre, internationPrize winning drama
ally considered, during the
Street Scene to Broadway
last quarter century... Every work was a new model,
as an American opera, the first real successor to
a new shape, a new solution to dramatic problems.’
Porgy and Bess. With lyrics by the Harlem Renaissance poet Langston Hughes, Street Scene garnered
His death came at the time that his German works
more favorable reviews than had Porgy and enjoyed
were beginning to be rediscovered. Yet, the resulta longer Broadway run. Next teaming up with Alan
ing dichotomy of the ‘two Weills’ has thus remained
Jay Lerner for an original musical entitled Love Life
for posterity to resolve. Maxwell Anderson proph(1948), Weill used American musical idioms and a
esied in his eulogy that ‘it takes decades and scores
vaudeville frame to chronicle in non-linear form the
of years and centuries to sift things out, but it’s
impact of 150 years of ‘progress’ on the marriage
done in time–and Kurt will emerge as one of the
and family of Sam and Susan Cooper, who never
very few who wrote great music.’ &
age. Now considered the first ‘concept musical’ its
first genuine successor was Cabaret (1965), and even
Stephen Sondheim found Love Life ‘very useful’ for
Reprinted with permission of the Kurt Weill Foundahis own work. Weill’s last Broadway piece was no
tion for Music, New York. All rights reserved.
less daring: the musical tragedy Lost in the Stars,
adapted by Anderson from Paton’s novel Cry the
Beloved Country. Starring Todd Duncan and directed
40
Personalia
Profile: Unisa music examiners
(19) Bedana Chertkow
Bedana Chertkow intro-
Scholarship of Wits Uni-
duces herself as follows:
versity, which enabled me
to go overseas for further
I was born in Johannesburg
study.
in 1932, as a 4th-generationin-South Africa member of
During five years at the
a family of musicians.
Royal Academy of Music
in London, I studied solo
First piano lessons were
piano
with
Vivian
with my mother, later with
Langrish and piano accom-
Isador Epstein. Childhood
paniment with John Wills,
musical career followed the
as a double principal
usual pattern for that place
study. (I have a standing
and time - eisteddfods and
joke to the effect that I’m
music festivals, broadcast
the only music student I
recitals on ‘Young South
know who was advised to
Africa’, Concerto Festivals,
drop the second instru-
etc. (My first public appearance was at the Afrikaanse
ment! But this was actually a means of allowing me
Kunswedstryd in 1938, just before my sixth birth-
to specialise in ensemble work on the piano, rather
day; and I was a soloist at the first ever Concerto
than continuing with the clarinet.) At the Royal Acad-
Festival in Johannesburg as well as several others.)
emy of Music I won prizes for piano, piano accom-
Professional concerts included concerto perfor-
paniment, Beethoven playing, History of Music and
mances with the Cape Town, Durban and
Aural Training; and I served for a year as a
Johannesburg orchestras and on the SABC.
subprofessor, teaching there.
In 1950 I obtained a BMus degree at Wits Univer-
Highlights of my student career at the Royal Acad-
sity, and in the same year was awarded the Gertrude
emy of Music included performances of Wolf’s Mi-
Buchanan Prize in Unisa’s Scholarship Competition.
gnon songs (with soprano), Dohnányi’s 2nd Piano
In 1951 I was awarded the Melanie Pollak Music
Quintet (with strings), and the piano part of Nights
41
in the Gardens of Spain (Falla) at an orchestral con-
1969 I have served on Unisa’s panel of music exam-
cert. I was very thrilled to actually meet Dohnányi
iners. In the days of Mrs Harvey’s ‘Bobolink’ con-
soon after that when he played the very same quin-
certs, I played numerous new works by South Afri-
tet at the Edinburgh Festival, and I obtained his
can composers there.
autograph on my copy of the music!
When examining, I am often asked by teachers
In 1957/58 and 1959 I took part in master classes at
whether I have any knowledge of the problems they
the Accademia Chigiana in Siena, Italy, as a playing
face. I am pleased to be able to reply that I have
member of Maestro Guido Agosti’s piano course and
personal experience of teaching privately, in a gov-
the chamber music course of the Quintetto
ernment school, in a private school, at a music cen-
Chigiano, and I played in concerts there. I was also
tre and in a university music department and have
privileged to attend the courses of Alfred Cortot,
presented music appreciation courses with ‘formerly
Pablo Casals an Giorgio Favoretto1.
disadvantaged’ primary-school children. (So much
for the prevalent perceived image of the Unisa examiner as an ivory-tower academic!)
There were concert appearances in England, Scotland and Germany, including performances of new
works by South African composers–so far as I know,
Now over 65, I refuse to consider myself ‘retired’–
I introduced Hubert du Plessis’s Six Miniatures to
one cannot ‘retire’ from the love of music or from a
Munich, as well as bringing (with Rochella Brown)
mission to share that love with others, be they ‘per-
Stefan Grové’s Flute sonata to British audiences.
forming arts’ student, young entrants to music festivals, singers, or 10-year-olds being introduced to
In 1965, together with husband Tjaart Coetzee and
the joys of great music on cassette or CD. (Or, for
our two children, I returned to South Africa–wife,
that matter, Unisa examination candidates!) &
mother, performer, accompanist and teacher. Since
1
Singing coach of Tebaldi
42
Ricordare XXVII
Joubero Malherbe
Bokant my flikker die
Toe Dirk klaar gesing het, het
mensgemaakte sterretjies.
Widdop omgedraai en glo vir
reg rondom die saal staan
John Connell gevra: ‘Hoekom
beelde in nisse, omhul deur
het jy my laat kom as jy so ‘n
‘n sagte blou lig. Dis die
uitmuntende Rhadames hier in
Muse van die kunste wat
Suid-Afrika het?’
met skuinsgedraaide koppe
krities luister na wat op die
Maar waar het Dirk Lourens
verhoog aangebied word
vandaan gekom? In ‘n radio-
hier in die Capitol-teater in
onderhoud het Dirk, wat self
Pretoria.
van tyd tot tyd uitgesaai het,
onder-houdend vertel van sy
Ek sit en wag met ingehoue
asem vir die liefdesduet en
die neuriekoor uit Madame
kleintyd op Vr yheid en sy
Cornelius Bernardus (Dirk) Laurens
(14.02.1910 - 06.09.1976)
Butterfly van Puccini. Sou dit
werklik so mooi wees soos op ons 78-opm plate?
Dirk Lourens in sy spierwit vlootuniform spin met
sy wonderskone tenoorstem sy gehoor toe in ‘n web
van klank. Waar sou die Skot, John Connell, wat al
‘n hele aantal jare operas in Suid-Afrika aangebied
het, aan hierdie sanger gekom het?
In 1941 het Dirk sy buiging in opera gemaak as
latere loopbaan:
‘My vader het ‘n helder
tenoorstem gehad. Ons as huisgesin, waarvan ek die
tweede-jongste van nege kinders was, het by
huisgodsdiens soos ‘n afgerigte koor gesing. Hier
het ek vir die eerste keer bewus geword hoe om in
stemme te sing. My vader het verkies dat ons sonder
klavierbegeleiding sing want dit was makliker om
‘n eie stem of harmonie by te sit. Van vroeg af het
jy geleer om jou eie party te sing terwyl die res
anders sing as jy. Dit het jou baie nootvas gemaak.
Rhadames in Aïda van Verdi. Daar is nogal ‘n
Later toe ek met orkes begin sing het, het dit baie
interessante storie te vertel. Dirk het meegeding
gehelp.
in die Johannesburgse Eisteddfod. Sy keuse was ‘n
Op hoërskool het die sangles meestal bestaan uit
aria uit Aida. Walter Widdop, wat spesiaal na Suid-
die luister na klassieke plate. As jong seun was
Afrika laat kom is om die rol van Rhadames in Aida
Boeremusiek en liedjies in Afrikaans op die
te sing, was die beoordelaar in die kunswedstryd.
plattelandse debatsverenigings iets wat tot my
43
gespreek het. Dit was so spontaan en vol lewenslus.
bogenoemde oratorio-uitvoerings.) Toe ek begin
Destyds was daar nie moedertaal-onderwys in Natal
onderwys gee het aan die Hoërskool Kommando op
nie en dus was die Afrikaanse liedjies vir my so
Brakpan het ek onmiddellik ‘n koor begin afrig wat
aantreklik–die liedjies van ons vreugde en
met die kunswedstryd ons eerste goue medalje
teenspoed’.
ontvang het. (Die koor het 18 medaljes gewen.)
Die radioman Pieter de Waal wou die kore uitsaai.
Na skool wou Dirk hom bekwaam as mediese dokter
Hy het my toe terloops by ‘n gesellige aand hoor
aangesien hy op skool presteer het, maar dr P C
sing en my aangemoedig om my stem te ontwikkel
Schonees se invloed het hom laat besluit om liewers
vir solosang. Van toe af het my kennis van en smaak
in die onderwys te studeer.
vir musiek ‘n nuwe fase binnegegaan. Ek moet erken
dat kunswedstryde, soos soms aangebied word, nie
Dit was in sy studentejare aan die Pretoriase
altyd my goedkeuring wegdra nie, maar vir my
Onderwyskollege (Normaalkollege) dat sy
persoonlik was dit tot groot nut. Dit het my in
sangtalent ontwikkel het. Anna Elizabeth Pohl, een
aanraking gebring met ons eie mooi Afrikaanse
van die begaafde mense wat ‘n natuurlike talent vir
liedere, Duitse Lieder, ballades en opera-arias. Deur
beide sang en klavierspel ontvang het, was saam
deelname het ek ‘n liefde ontwikkel vir hierdie
met Dirk op kollege. In ‘n klankopname wat ek met
kunssoorte, en tog het ek gevind dat die gehore
haar gemaak het vertel sy van hoe sy en Dirk saam
elke keer as ons in Afrikaans sing, uitbundig begin
musiek gemaak het. Hulle het altwee gedien op
juig. Ek het baie moed wat die musiek in ons eie
ERATO, ‘n kunsvereniging. Anna Elizabeth was die
land betref. Ons het die talent’.
sekretaresse. Sy vertel: ‘Glo my, ons het gesing dat
die byle huil–dit was duette, dit was solo’s en
Dirk Lourens was getroud met Susan von Stapelberg,
groepies wat oral opgetree het’. Sy het dan ook
‘n koloratuur sopraan. In ‘n onderhoud wat ek met
dikwels vir Dirk gehelp om sy sang in te studeer.
haar opgeneem het, het ek gevra hoe hulle ontmoet
Maar laat Dirk self vertel:
het. Sy vertel:
‘Dit was aan die Normaalkollege dat ek begin
‘Ek was op skool in die Kommando Hoërskool op
belangstel het in groter klassieke werke. Daar was
Brakpan. Ons kinders het almal graag in die koor
my eerste optrede die tenoorparty in die pragtige
gesing. Anna Elizabeth Pohl, ons koorafrigter, was
oratorio Die Skepping van Haydn–dit was ‘n mylpaal
deur ons almal bewonder–sy kon enigiets sommer
in my musiek- en gevoelslewe. Daarna het gevolg
so speel. Sy en mnr Lourens het duette gesing en
Die Jaargetye van Haydn, die Elia van Mendelssohn
Anna Elizabeth het altyd vir hom begelei. Hy en sy
en toe die onsterflike Messias van Handel. Vir my
het met die ossewatrek in 1938 ‘n klavier op ‘n
was die Pastorale en die Hallelujakoor onvergeetlik.
ossewa laat laai en al singend en spelend deur die
Van toe as was ek baie geïnteresseerd in koorwerk.
strate gery met die skoliere agterna.
My verbintenis met die Pretoria-Oos kerkkoor was
baie waardevol. (Prof Gerrit Bon was die uitstekende
Omdat Dirk so dikwels op kollege saam met Anna
orrelis by hierdie kerk. Hy was ook dosent in musiek
Elizabeth opgetree het, het hy gesorg dat sy by sy
aan die Normaalkollege in die studietyd met Dirk.
skool aangestel word. Jaar na jaar het hulle al wat
Met sy Zanglustkoor was hy dus verantwoordelik vir
beker is gewen op kunswedstryde. Om die waarheid
44
te sê, Anna Elizabeth het my vir my sangitems
Die Italianers het ‘n groot ophef van die rooikoppie
afgerig.
gemaak. Hulle het selfs gevra of hulle haar nie vir
ons kon dra nie.
Nouja,
Dirk
het
gereeld
skoliere
na
besienswaardighede geneem vir kultuuragtergrond.
Beide Dirk en ek het by die ou Maestro Vincenco
So was ons matrieks na Pretoria. Ons sou by
d’Allessandro studeer, asook by ‘n korrepititor. Dit
Fonteine middagete geniet. Dirk het ons bymekaar
was waardevolle onderrig. D’Allessandro was baie
geroep–almal het sommer oor die draad geklim,
beïndruk met Dirk se stem en het hom na Gigli
maar ek was die enigste wat omgestap het om soos
geneem. Hy het vir Gigli gesing wat baie beïndruk
‘n wafferse dametjie deur die hekkie te gaan. Dit
was. Ja, hulle het later vir ons ‘n foto gegee van
het Dirk se aandag die eerste keer op my gevestig,
Dirk saam met Gigli en D’Allessandro.
maar dit was eers nadat ek matriek geslaag het dat
hy by my kom kuier het. Ons was baie gelukkig
Daar was twee rolle vir Dirk aangebied, naamlik
getroud en het oral saam opgetree, veral op die
die tenoorrol Manrico in Il trovatore van Verdi en
platteland. Dirk het in talle operas opgetree maar
Rudolpho in La bohème van Puccini en wel in die
o, ek het my altyd uitgehuil met Madame Butterfly.
Teatro Reale, maar op ‘n dag het die Suid-Afrikaanse
Ek onthou dat Dirk een keer swaar geleef het op
Ambassade ons geskakel en aangeraai om Italië
die verhoog. Dit was in Simson en Delila van Saint-
dadelik te verlaat aangesien daar ernstige vrees was
Saëns. Hy was saam met Mabella Ott-Penetto in ‘n
dat ‘n rewolusie op hande is. Ons het die eerste
omhelsing, toe sy pruik met die lang lokke
boot terug geneem en glo my ons was baie bly om
verstrengel geraak het in al die baie versiersels om
in ons eie land terug te wees’.
Delila se nek. Hoe meer hy onderlangs gemompel
het ‘I’m stuck’ hoe vuriger het sy hom omhels.
Voordat hulle in 1947 na Italië vertrek het, het Dirk
Uiteindelik het hy met ‘n skuinspruik op, homself
uit die onderwys bedank. Met hulle terugkeer het
losgewikkel.
hy net buite Warmbad geboer en daar ook Engels
aan die Hoërskool gegee. Intussen het hy en Susan
Dan was daar die keer dat hy gelag het in Carmen
oral gesing en Dirk het ‘n mooi storie te vertel oor
van Bizet. Betsy de la Porte was Carmen. Sy was
hierdie dae:
nou nie juis skraal nie en toe sy op die tafel begin
‘Een koue aand in ‘n dorp, wat hoog teen die berg
dans en haar romp heen en weer swaai, steek daar
gelê het, was die gehoor morsdood. Dit was asof
‘n bloedrooi langpyp flenniebroek uit.
hulle na ‘n film sit en kyk. Ons sing, maar nie ‘n
Lawrence Tibbett het vir Dirk hoor sing en gevra
handjie klap nie. My vrou en mev Du Plessis was
om hom te ontmoet. Hy was baie beïndruk met
bekommerd. Toe sê ek vir die gehoor “Ek lyk
hierdie tenoor en het hom aangeraai om na Italië
miskien nie na ‘n boer nie, maar ek werk met so 40
te gaan. Tito Schipa het Dirk staande toegejuig na
koeie waarvan ons room en melk wegstuur. Een van
‘n opvoering en ook gesê ‘Jy moet Italië toe gaan,
die eerste dinge wat vir my gesê is, was, jy moet
jy hoort daar!’ Dit het Dirk laat besluit om in 1947
die koeie nie steur nie, jy moet hulle aanmoedig
na Italië te gaan. Ons het opgepak en met ons
en mooi met hulle werk. Nouja, ‘n kunstenaar is
tweejarige klein rooikoppie, Lena, na Rome vertrek.
baie soos ‘n koei–ons het aanmoediging nodig!” My
45
vroutjie en haar begeleidster was baie kwaad want
orkes, sy talle uitsendings met orkes en klavier;
hoe kan ek hulle vergelyk met koeie!’
sy baie optredes op die platteland; sy
In 1955 is Dirk gesekondeer as lektor in Afrikaans
verhoogoptredes in konsertsale en optredes saam
en spraakkuns aan die Heidelbergse Onderwys-
met ligte orkeste onder leiding byvoorbeeld van
kollege. Toe die kollege aan die einde van 1966
Hendrik Susan, Arnout Malherbe en Michael de
gesluit is het hy aan die Onderwyskollege in Pretoria
Kock; sy sang en spel in Suid-Afrikaanse rolprente
spraakkuns gedoseer. Hy het veral spraakgebrek by
soos Kom saam vanaand en Hier’s ons weer.
studente verbeter.
Dirk Lourens was een van ons begaafste sangers en
Dirk het nog oral opgetree totdat ‘n beroerte-aanval
dié van ons wat bevoorreg was om te luister na sy
sy loopbaan in die laat sestiger-jare kortgeknip het.
fluweelstem moet dankbaar wees dat hy nie gehoor
gegee het nie aan die dringende versoek van Sir
Dirk Lourens was ‘n dinamiese persoon wat in sy
Joseph Robinson dat hy sy naam na Dick moes
leeftyd veel vermag het en die Suid-Afrikaanse
verander sodat hy, Sir Joseph, hom beroemd kon
musieklewe oneindig verryk het. Hier volg maar
maak in Amerika.
net ‘n gedeelte van bydraes wat hy gemaak het: sy
inspirerende leiding vir skoliere, veral sy
Dit bly ‘n jammerte dat baie van sy sangopnames
koorafrigting; sy talle optredes as sanger veral in
nie oral beskikbaar is nie, want menige sangers sou
oratorio’s; sy 15 operarolle wat hy gesing het in
baie by Dirk Lourens kon leer.
Pretoria, Johannesburg, Durban, Pietermaritzburg,
Met dank aan die SAUK Argief. &
Bloemfontein en Kaapstad; sy talle optredes met
Joubero Malherbe is ‘n bekende musiekjoernalis en aanbieder van die program Musiekposbus op
Radio Sonder Grense
46
Tribute to Lionel Bowman
Part Two: Student and Performing Artist
Ella Fourie
In the first part of this series of three articles we
had a glimpse of Lionel Bowman as a youngster,
his natural talent and love of music, and his early
development as a pianist. In part two we look
at his study years in London, his interlude in
South Africa during the war years, and the blossoming of his international career as a pianist.
This anecdotal overview is based on interviews
with Bowman which were recorded on tape over
the past several years.
London before the war
Though Lionel was a dedicated worker when it came
to music, he hated school and left it without writing matric. (In his inimitable way he jokingly remarks that he might be the only university professor in South Africa who doesn’t have a matric certificate.) He had been studying at the Soyh African
College of Music, University of Cape Town for some
years, and had already passed Unisa’s Performer’s
Licentiate. Moreover, the Unisa Overseas Scholarship was awarded to him in 1937. This enabled him
to further his studies at the Royal Academy of Music in London where he was admitted straight into
the second semester of the first year course.
At his first lodgings in London Lionel shared a subdivided room with a trumpet player. They soon got
to hate each other. He had to practise on an upright piano while trying to block out the sounds of
the trumpet next door and a singer across the passage. His stay at the boarding-house was terminated when he contracted German measles and the
landlady insisted that he leave. She called an ambulance to take him to a hospital for infectious diseases. He recalls now with humour that as he was
carried down the stairs on a stretcher he heard
Chopin’s funeral march being played on the trumpet! The doctor who treated him in the hospital
befriended Lionel, and found new lodgings for him
when he was allowed to leave the hospital.
At the Academy Lionel studied piano with Vivian
Langridge. He also had cello lessons, with Cedric
Sharpe, clarinet with Reginald Kell, and French horn
with Aubrey Brain. Lionel admits that, though he
tried very hard, he was hopeless with harmony,
which he took with the composer Harry Farjeon, a
member of the famous Farjeon family. He recalls
that Harry often complained, ‘Oh Lionel, you wrote
consecutive 5ths again!’ to which Lionel once retorted ‘but Beethoven also did!’
Lionel also took a conductor’s course for which he
received a medal in 1939. As a student he conducted the first movement of the Brahms F major
Symphony; Mendelssohn’s Hebrides Overture; parts
of the Brahms E minor Symphony and Beethoven’s
Fifth Piano Concerto. His ambitions to become a
conductor ended when he was offered the opportunity to conduct ‘a rubbishy show’ all over England,
India and South America. The Principal of the Academy called Lionel to his office and warned him that
he would not allow him to waste his talent on becoming a third rate conductor. The Principal also
threatened to ask Unisa to withdraw the scholarship if Lionel’s piano playing did not improve.
Lionel got the shock of his life and says that he
then started working seriously for the first time.
This renewed dedication paid off. Lionel won various medals for piano playing, sight-reading, and aural
training. The most important awards were bestowed
on him in 1940, his third year at the Academy: the
Chappell Gold Medal (the highest award for pianists), the Roller Memorial Prize for his interpretation of the Beethoven Sonata op. 111, and the
Mathew Phillimore Prize for his interpretation of
the Brahms Paganini Variations.
47
During his study years in London, Lionel played jazz
in nightclubs to earn extra money, yet he also appeared as soloist with the main orchestra of the
Academy playing the Fifth Piano Concerto by SaintSaëns as well as the first movement of Beethoven’s
Fifth Piano Concerto. This latter performance
marked the beginning of his recognition as a
Beethoven interpreter of note. In 1940 he received
both the ARCM and LRAM Performer’s Diplomas.
generously at recitals and performances with the
orchestra. On one occasion, when he played the
Tchaikovsky B Flat minor Concerto in Cape Town,
police on horseback had to control the crowds! As
a precaution the hall had to be locked and even
Lionel could not get in. His fame followed him to
Durban when, shortly afterwards, he had to play the
same concerto there. The public queued almost
right around the City Hall for tickets.
By this time war had broken out and
after the fall of Dunkirk in 1940, Lionel
was forced to return home.
In those days performers generally had
to take it upon themselves to arrange
concerts if they wished to tour the country. However, Lionel was contracted by
the SABC to give concerts in Cape Town,
Durban, Johannesburg and Grahamstown.
Since these were live broadcasts, he had
to produce a new programme of solos and
concertos each time. He was the first
South African pianist to play the Prokofiev
Third Piano Concerto and Falla’s Nights
in the Gardens of Spain. During this time
he also toured into Africa and gave many
concerts in the then Southern and Northern Rhodesia, the Congo, Zambia, Uganda
and Mozambique. Lionel recollects not
only the exhilaration of these early concert tours, but also some amusing incidents.
South Africa during the war
Back in Cape Town Lionel was asked to
deputise for Colin Taylor at the College
of Music while Taylor went on an examining tour for the Royal Schools of Music. Though he was assigned his own
students at the College in 1941, his career as a pianist flourished to such a
degree that he gave up teaching and
concentrated on practising.
His first concert in Cape Town was with
Since 1946 Lionel Bowman
the Cape Town Symphony Orchestra.
made many concerto and
Lionel played the Liszt First Piano Conrecital appearances for the
BBC
certo, which he had to learn in about
During a recital at the Makerere College
six days. It so happened that the piain Uganda he suddenly became aware that
nist who was to play the concerto fell ill and Lionel
the audience was very restless. The next moment
was offered the opportunity to play. His ability as a
a bat flew over the keyboard and gave him such a
fast learner stood him in very good stead. For this
fright that he ran off the stage. The concert conperformance he got an excellent review from the
tinued only after someone had killed the bat.
critic Beatrice Marx which, he acknowledges, contributed much to the success of his early career.
On another occasion the newly-established Concert
Society Club of Umtata asked Lionel to give a reToday Lionel is remembered in particular for his
cital to celebrate its founding. He had to play on
performances of the Beethoven Concertos. The first
an old Pleyel piano. During the first item the pedone that he played in Cape Town was no. 4, which
als came off. The hall was packed and the audience
still remains his favourite among the Beethoven
wanted the concert to continue. Some men in
Concertos. Lionel was the first South African piaevening clothes went to the house of the organiser
nist who played all the Beethoven Concertos in a
of the concert, a Dr Joubert, and carried an old
cycle, with conductors such as Tidboald, Jorda and
upright Steinway from the house to the Town Hall.
Hugo Rignold. He recalls that at one of his first
Lionel finished his performance in style. The Sociperformances he became so nervous that a stageety was so embarrassed that Lionel was asked to
hand had to practically drag him on to the stage.
find a new piano for them. It so happened that a
He was well-loved by the public who supported him
new Steinway was on its way to Durban, being im-
48
ported by Bothner-Polliacks. The Concert Society
Club was so relieved that they bought the piano
unseen. It may still be in the Town Hall of Umtata.
In 1941 the South African government invited the
Greek Royal Family, exiled at the time because of
the German occupation of Greece, to stay in South
Africa. They lived in Cape Town for some time and
Lionel was asked to give a concert in aid of the
Royal Family Fund. In this way he met and befriended princess Eugenie, the daughter of Prince
George of Greece and Princess Marie Bonaparte
(who was also a well-known psychiatrist). He maintained contact with Eugenie for several years and
saw her for the last time when they had tea together in London, just prior to the wedding of
Queen Elizabeth II..
ranged for Lionel to be collected by car for a quick
visit to his town of birth where he was feted at a tea
reception.
Back to England, and beyond
In 1946 Lionel returned to London on the first passenger ship to England after the war.
On his arrival in London he wrote letters to various
agents and institutions, including the BBC, which
offered him an audition. He recalls that halfway
through the audition the conductor of the BBC Theatre Orchestra, Walter Goehr, walked in and asked
whether Lionel played the Grieg Piano Concerto
to which he answered in the affirmative. A few
days later he was asked to perform the Grieg Concerto in a live broadcast. Many concerto appearances for the BBC followed before his first solo recital for the BBC in London took place.
Another prominent visitor to the shores of South
Africa during the war was Noël Coward who was
invited by General Smuts primarily to entertain
troops at various venues but also
did a number of ‘civilian’ shows.
Before leaving South Africa he
Lionel toured as joint-artist with
had been asked by the Cape
Coward to various large centres
Times to contribute monthly arsuch as Durban, Johannesburg,
ticles on the music scene in LonBloemfontein and Kimberley.
don. He was granted a press pass
Lionel gave a recital in the first
as an official critic in which cahalf of the programme while
pacity he received an invitation
Coward did the second half.
to a function where the reperWhere there was an orchestra
toire for the new Sadlers Wells
available Lionel would play
season was to be announced.
Liszt’s Hungarian Fantasy. The
Here he met Raymond Bowlertour was a tremendous success.
Marriott (a descendant of the faLionel recalls how Coward, who
ther of the Bowler hat). They
naturally did not sit in the audibecame good friends and through
ence and listen to the first half
Raymond many engagements
of the programme, told him one
were offered to the young artist.
evening that since he had never
As it turned out Lionel submitLionel Bowman rehearsing Beethoven’s 4th
heard Lionel play he would do
ted only a few pieces to the Cape
Concerto at the Royal Festival Hall with the
London
Symphony
Orchestra
conducted
by
so that evening. Coward sat in
Times ‘which probably were
Royalton Kisch
the wings and, Lionel, much to
never published’ after which he
his irritation, could see Coward smoking and chatcontinued attending concerts and shows with the
ting away to the accompanist who toured with him,
privileged pass without any pressure to continue
apparrently oblivious of the fact that Lionel was
writing reviews.
performing.
Lionel’s first real break came when he was introduced to Harold Fielding, who had been a brilliant
One of Lionel’s fondest memories of this tour is
child violinist before becoming a manager and sponthat the Mayor of Koffiefontein who had read in a
sor of concerts. Fielding auditioned Lionel and
Kimberley newspaper about the tour, promptly arpromised to try and find work for him. It so hap-
49
pened that the famous tenor, Benjamino Gigli, was
engaged for a British tour, but due to some niggling
problem with his voice needed an assistant artist to
fill some of his programmes. Fielding arranged for
Lionel to appear in two concerts as joint-recitalist
with Gigli. This was an excellent opportunity for
Lionel since Gigli had packed houses and Lionel benefited greatly from the press coverage.
pletely superficial from beginning to end.’ Lionel
was naturally very upset about this, but his spirits
revived, when other newspapers raved about his playing.
He gave many performances for a series called Music for the Millions organised by Fielding. These
were popular concerts akin to a variety show in
which different artists performed. Lionel usually
played for 15 minutes and in some seaside towns
the show was put on twice nightly during the summer holidays. His initial fee was £60 per week.
Other public appearances in this period included
joint recital tours with artists such as Anne Ziegler,
Webster Booth, and Peter Dawson, the well-known
ballad singer.
Another famous tenor, Richard Tauber, who was also
engaged by Fielding, attended one of these concerts.
He liked Lionel’s playing so much that he asked Fielding to send Lionel on tour with him. Lionel appeared in many concerts with Tauber, who gave Lionel
‘a lift in his Rolls Royce’ and also told the public at
an autograph session after their first concert together
that ‘this young man is
going to be a famous piaAfter the first Wigmore
nist one day’, a remark
Hall concert regular
which certainly did no
broadcasts for the BBC
harm to Lionel’s budding
followed. These broadconcert career. Tauber
casts also had their
was particularly admired
funny moments some of
as a Mozart singer and
which Lionel especially
Lionel also gave many
enjoys relating.
performances of Mozart
works at these concerts.
He was contracted to do
He received very good
a live broadcast from
reviews for his first apthe Camden Theatre, a
Lionel Bowman’s name appearing with the leading international
pearance in 1946 at the
venue which the BBC
pianists of the day in the announcement of the 1956 Wigmore Hall
Wigmore Hall. The Daily
had acquired and conPianoforte series
Express reported that
verted for recording and
‘his rendering of the Mozart C major Sonata (K330)
broadcast purposes. The stall seats had been resummarised his playing: rare delicacy; confident
moved and the audience sat in the circle and upper
power; and clarity – but a tendency to over-speed.’
circles. A Steinway grand piano was placed on a
This latter remark unavoidably reminded Lionel of
mobile platform in front of the permanent stage
the criticism that he had always received as a youngwhich accommodated the orchestra. For the rester from examiners and adjudicators.
hearsal the platform was fixed to the stage, but the
theatre attendants forgot to do this for the actual
Fielding had a great influence on Lionel’s career.
performance. During the performance the platform
The first concert that he sponsored was in Decemstarted sliding towards the centre of the auditober 1946. Through him Lionel also gave his first allrium and two attendants were hastily instructed to
Beethoven recital in the Wigmore Hall in 1947 when
hold it in place. Lionel saw these fellows from the
he played four sonatas: op .13, op. 31 no 2, op. 57
corner of his eye and, with no idea of what was goand op. 109. On this occasion he received his worst
ing on, ‘tried to tell them to go away’ while he was
press review ever, from the The Daily Telegraph. He
concentrating on his playing. He only found out
remembers the exact words: ‘The distinguished South
after the broadcast what had actually happened!
African pianist Lionel Bowman gave an all-Beethoven
recital in the Wigmore Hall. The only distinction
Another amusing incident occurred at Lionel’s first
that I could hear in his playing is that it was comlive TV broadcast in London, which also happened
50
to be the first live TV broadcast at the Earls Court
Exhibition Hall after the war. Rehearsals had been
exceptionally tiring. His playing was hampered by
the thick TV camera cable which hung against his
back as the cameraman tried to get the best shots.
After a long day’s work his feet were so swollen
that he decided to wear bedroom slippers for the
performance, which showed up very prominently
during the actual broadcast.
Lionel met many interesting and also famous personalities during his stay in London, some of whom
had an important influence on his career. One such
was Friedelinde Wagner, granddaughter of Richard
Wagner, who invited Lionel to the first performance
of Daniel Barenboim, then aged 10, at the Wigmore
Hall. Lionel became quite friendly with Friedelinde
and through her he also met Barenboim’s father
who ran a music school in Tel Aviv, which Lionel
visited on a later trip to Israel.
Lionel’s meeting with Bernard Shaw was, for him, a
particularly auspicious occasion. Raymond BowlerMarriott had arranged for Lionel and himself to visit
the aged playwright at his home in order to view a
sculpture. Upon being told that Lionel was an upand-coming young pianist Shaw unexpectedly asked
Lionel to play for him on a ‘terrible old upright
piano’. Knowing that Shaw had been a highly regarded and influential music critic before he became famous as a playwright (he wrote reviews under the pseudonym Corno di Basetto and had also
published two books on music criticism) Lionel was
very nervous and did not play well. Having written
a thank you note to Shaw after the visit Lionel received a postcard from the famous man which ended
with the words ‘Let your own light shine.’ Lionel
realised some time later that what Shaw had actually meant was ‘be yourself’, an adage that continued to inspire him throughout his career.
Other show-business personalities Lionel recalls
meeting during his years in London include Richard Burton, Julie Andrews, Chico Marx, Nijinsky,
Alfredo Campoli, Ginette Nevue, and Mae West.
In those years, relates Lionel, ‘grand ladies like
duchesses and others’ used to give soirees at their
homes for young and upcoming artists. Lionel received many invitations to play at these soirees and
in this way met various influential people. The
Secretary of the Royal Academy of Music was very
taken up with Lionel and took him to the country
to play for Katherine Goodson. She was a distinguished British pianist who had played for Brahms
and at her last concert had performed the Brahms
D minor Concerto with Sir Thomas Beecham.
Katherine Goodson introduced Lionel to Mrs CarsonRoberts, the wife of the British ambassador to China.
After this Lionel often played for Mrs Carson-Roberts’ soirees. During this period he also played at
the famous Prom Concerts and at the Royal Festival
Hall.
At about this time Lionel started to include works
by South African composers in his programmes.
After one of his BBC broadcasts of the Hubert du
Plessis Piano Sonata, Lionel was invited by Jan
Bouws to give his first European concert in Hilversum
in the Netherlands. After this, appearances in Paris,
Brussels, Basle, Geneva, Zürich and Rome followed.
His world career had begun.
In 1948 he travelled on the Queen Mary to the
United States where he was engaged by the radio
station WQXR, headed at the time by Abram
Chasins, composer of the popular piano piece Rush
Hour in Hong Kong. His commitments included a
‘coast to coast’ broadcast of South African compositions.
During 1949 Lionel toured the British Isles as jointrecitalist with Paul Robeson, the well-known American stage and film actor and singer. The most important of these concerts took place at the Royal
Albert Hall and the Harringay Arena and were attended by thousands of people.
Through Friedelinde Wagner, Lionel met Gina
Bachauer, who took a keen interest in him and introduced him to the Papaionnou family, attached to
the Conservatory in Athens, Greece. She was also
instrumental in arranging for his first performance
in Athens when he played the Beethoven 2nd Piano
Concerto. Lionel relates how he was invited on
the day of his arrival in Athens to visit Princess
Eugenie and her parents late that evening. Assuming, partly because of the late hour of the engagement, that this would be just an informal visit to
renew acquaintances he arrived, inappropriately
51
dressed, at a very elegant dinner party that had been
laid on in his honour! All went well, though, and
during his stay in Greece he did all his practising at
the Palace of Prince George. Lionel returned to
Greece several times after this for further concert
engagements.
versity holidays. Apart from countries already mentioned Lionel performed in Norway, Sweden, Denmark, Finland, Israel, Turkey and Australia. His many
South African appearances included playing at a number of auspicious inaugural events: the new Cape
Town City Hall piano, Capab’s new Steinway concert grand in the Hofmeyr Theatre, and the opening concert of the new Conservatorium of the University of Stellenbosch.
In 1950 Fielding arranged two concerts for Lionel
in Nairobi. Lionel remembers well the excitement of travelling by
In 1964 Lionel was
ship through the Suez
elected a Fellow of the
Canal to Dar es Salaam
Royal Academy of Music,
and flying from there to
the highest honour
Nairobi for two highly
awarded by the Academy
successful appearances.
to distinguished ex-stuThis was followed in
dents for exceptional
1952, 1954 and 1956
achievements in music.
with further concert
tours to various African
At the University of
countries and throughout
Stellenbosch Lionel soon
Lionel Bowman photographed at rehearsal with the Radio
Europe. Another event
became one of the most
Orchestra in Athens
of particular significance
prominent, influential
for Lionel in this period was his performance, in a
and successful piano teachers in South Africa. Over
recital at the Wigmore Hall, of the John Joubert
the years he developed a special teaching method
Piano Sonata which had been dedicated to him.
which gained him much recognition, especially in
Australia where he was invited as a visiting profesIt was on one of his regular return trips to play in
sor on a number of occasions. A book on this method,
South Africa that Lionel was enticed to return perThe Magic Touch, written by distinguished Austramanently to his motherland. He was offered the
lian pianist, teacher and examiner Wallace Tate, was
position of senior lecturer in piano at the Univerrecently published. &
sity of Stellenbosch which he took up in 1958. His
concert career continued for many years though,
In the next and final article we shall take a closer
with recitals and broadcasts throughout South Aflook at Lionel Bowman, the piano teacher.
rica and nine overseas concert trips during the uni-
Ella Fourie is associate professor in the Department of Music of the University of Pretoria
52
Prof JJA van der Walt: 75
Fanie Jooste
Prof J J A van der Walt, onder
sy studente alombekend as
Prof Attie, het op 29 Januarie
vanjaar sy vyf-en-sewentigste
verjaardag saam met sy
kinders, familie, vriende en
oud-kollegas gevier. Te midde
van die heerlike samesyn en
humor en die altyd geurige en
besondere disse van sy
bobaasspysenier-eggenote,
Tannie Emmie, is met groot
dankbaarheid teruggekyk op
geseënde jare waarin hy met
voorbeeldige toewyding en
motivering gearbei het.
Daarby geniet Prof Attie goeie
gesondheid en hou hy hom
steeds met allerlei navorsing en goeie musiek besig!
Hy is in 1925 in Steynsburg in die ou Kaapprovinsie
gebore, en hy het opgegroei in ‘n huis waar al die
gesinslede een of ander musiekinstrument soos
klavier, viool, tjello en orrel bespeel het. Hierdie
solo- en samespel het ‘n ryke musikale milieu
geskep waarin hy as die jongste kind grootgeword
het. Dit is tewens nog versterk deur die gereelde
luister na grammofoonplate waardeur hy op jeugdige
ouderdom reeds met die standaardwerke van die
klassieke musiekliteratuur vertroud geraak het. Self
het hy van vroeg af onderrig in klavier en later in
viool ontvang.
Na Matriek voltooi hy die Primêre Onderwysdiploma
aan die Steynsburgse Opleidingskollege in 1943 en
gee daarna ‘n jaar lank onderwys op verskillende
plekke.
In 1945 begin hy sy studie vir die graad BSc aan die
destydse PUK vir CHO,
maar spoedig sorg sy liefde
vir musiek dat hy
bykomende (NGD) kursusse
in Musiekgeskiedenis by sy
graad insluit, en sit hy ook
sy klavier- en vioolstudie
voort. Nadat hy sy graad in
1947 voltooi het met
Wiskunde en Sielkunde as
hoofvakke, gee hy die
volgende
jaar
weer
onderwys.
In 1949 word hy deur die
Puk aangestel as lektor in
Musiek met as hoofopdrag
die onderrig van Harmonie
en Kontrapunt. Terselfdertyd skryf hy by Unisa as
eksterne student vir die graad BMus is, wat hy in
1950 voltooi het. Hierop volg sy MMus-studie wat
hy in 1954 voltooi met ‘n verhandeling oor Die
melodieë van die Afrikaanse Psalmboek. Intussen het
hy ook in 1952 die Onderwyserslisensiaat (UOLM)
in viool afgelê.
Hierop het sy studiejare in Duitsland gevolg. Hy
het aan die Keulense Universiteit vir die graad DPhil
studeer, en dié graad (cum laude) in 1956 verwerf
met ‘n proefskrif oor Die Kanongestaltung im Werk
Palestrinas. Vir hierdie studie het hy een van die
gesogte beurse van die Von Humboldt-Stigtung
verwerf, waarmee hy ook op latere geleenthede in
1971, 1976, 1983 en 1988 navorsing aan Duitse
universiteite navorsing gaan doen het.
Met die gesin Van der Walt se terugkeer na SuidAfrika in 1956 is hy as senior lektor in die Puk se
Departement Musiek aangestel met hoofopdrag
53
Musiekgeskiedenis en Algemene Musiekleer. In
1963 is hy bevorder tot professor in dieselfde
departement en lewer hy sy inougurele rede oor
die onderwerp Universitêre Musiekstudie.
dit ‘n pensionaris betaam!’
Sy publikasies bestaan uit sewe boeke en brosjures
en ‘n aantal artikels in ‘n verskeidenheid tydskrifte,
asook sewe diktate wat die stylontwikkeling in die
Westerse musiek sedert die Middeleeue tot die
twintigste eeu indringend dek.
Tydens die bykans twintig jaar (van 1967 tot 1985)
wat prof Van der Walt die hoof van die Departement
Musiek en Konservatorium aan die PU vir CHO was,
het hy hom in die onderrig steeds hoofsaaklik op
Musiekgeskiedenis toegespits, en het hy opgetree
as leier en promotor vir twintig MMus- en agt DMusstudente. Sy eie verdere navorsing het in 1983 gelei
tot ‘n tweede proefskrif vir die graad DPhil (Habil)
aan die Keulense Universiteit, met die titel Die
deutsche Motette in der ersten Hälfte des 18.
Jahrhunderts. Tydens hierdie jare het hy ook
verskillende internasionale musiekwetenskaplike
kongresse in onder andere Salzburg, Karlsruhe en
Bonn bygewoon.
Hy is in 1950 getroud met Emmie van Eck, en hierdie
huwelik is geseën met vyf seuns en ‘n dogter, en
verder verryk deur ‘n span pragtige kleinkinders.
Prof Attie is ‘n diepsinnige mens met ‘n
sprankelende humorsin, ‘n wydbelese musiekwetenskaplike en ‘n besondere musiekkenner, ‘n
grondige navorser en studieleier, en ‘n rustige maar
sterk leier. Hy het na die skielike dood van prof M
C Roode in ‘n motorongeluk in 1967 die taak gehad
om voort te bou op die werk van sy voorgangers en
om die Departement Musiek en Konservatorium aan
die PU vir CHO uit te bou. Daarin het hy uitmuntend
geslaag. Daarvan is die gehaltewerk, die styging in
studentegetalle wat selfs ‘n vergroting van die
konservatoriumgebou genoodsaak het, die prestasies
van oud-studente en die besondere kameraadskap
tussen die personeellede wat dikwels deur ander
beny is, vaste getuienis.
‘n Volgende groot bydrae van prof Van der Walt was
sy betrokkenheid van vyf-en-twintig jaar (van 1953
tot 1978) by die Interkerklike Hersieningskommissie vir die Psalm- en Gesangeboek. Hierdie
kommissie waarop hy ononderbroke gedien het, was
verantwoordelik vir die publikasie van die hersiene
Psalmboek in 1978. Hier het hy voortdurend as
pleitbesorger opgetree vir die behoud van soveel
moontlik Geneefse melodieë in die psalmboek.
Ons kyk terug op mooi jare, en ons sien die vrug op
sy arbeid.
Na se aftrede doen hy tot 1988 navorsing by die
RGN oor Skoolmusiek in Suid-Afrika, wat in 1989
gepubliseer is. En sedert 1988 tot vandag doen hy
(in sy eie woorde): ‘navorsing en rekenaarwerk soos
Baie dankie, Prof Attie!
&
Professor Fanie Jooste is hoof van die Skool vir Tale en Kunste: Afdeling Musiek en Konservatorium van die Potchefstroomse
Universiteit vir Christelike Hoër Onderwys
54
In memoriam
‘n Ruiker aan Henriette Pauw
(08.02.1917 - 08.5.2000)
Japie Human
Wanneer ek aan Henriette
offervaardigheid en gulhartig-
Pauw
die
heid. Sy het ‘n borrelende
herinneringe en indrukke met
persoonlikheid gehad, maar
soveel dringendheid en in
daarby verfyning, oordeel en
soveel getalle na my toe
selfrespek.
terug, dat ek oor haar eerder
indrukwekkende kennis van
‘n boek as ‘n artikel kon skryf.
haar vak gehad, maar
Daar was soveel wat ons as
daarbenewens ‘n besonder
kollegas aan die Musiek-
wye algemene kennis in talle
departement
ander
dink,
kom
van
die
Sy
het
vakgebiede.
‘n
As
Universiteit van die Oranje-
vriendin was sy heerlike,
Vrystaat saam meegemaak het;
interessante geselskap, vol
daar is so ‘n magdom indrukke
ondernemingsgees en altyd
en ervarings wat ons kon deel
gereed om haar gewig by ‘n
gedurende die jare van ons
ander se belange in te gooi.
optredes as tweeklavierpaar; as vriend was ons so
As dosent was sy nougeset en puntenerig, maar haar
heg dat ons feitlik familielede van mekaar geword
sjarme, warmte en eerlike belangstelling het dit
het. Vanselfsprekend het ons mekaar so goed geken
vir haar studente maklik gemaak om niks anders as
en verstaan dat daar bitter min was wat ons van
hulle heel beste te gee nie. Haar studente het ná
mekaar nie geweet het nie. Daarom is dit vir my
voltooiing van hulle studies altyd met haar in kontak
maklik om oor Henriette te skryf, maar moeilik
gebly, en sodoende getroue vriende geword. Wat
om gegewens in orde van belangrikheid te
anders as ‘n reuse-kompliment is so ‘n gesindheid
boekstaaf.
van studente nie? En watter groot aantal is hulle
nie, dié wat klaviermetodologie onder haar leiding
Ons eerste ontmoeting was aan die begin van 1965
bestudeer het. Dit is ‘n gerusstellende gedagte om
met haar aanstelling as klavierdosent aan die OUVS.
daaraan te dink dat Henriette se kennis en haar
My eerste indrukke van die glimlaggende,
invloed op hulle karaktervorming in haar oud-
mooiversorgde slanke en sprankelende Henriette
studente voortleef.
was blywend. Dit het ook nie lank geduur om haar
ander kwaliteite te leer ken nie: intelligensie,
Henriette se sin vir humor was so skerp, haar
geweldige werkvermoë, groot toewyding aan en
begripsvermoë so blitssnel en haar oordeel so fyn,
liefde vir haar vak, pligsgetrouheid, eerlikheid,
dat dit ‘n vreugde was om dinge saam met haar te
55
beleef. Dit was nie moontlik om haar ‘n rat voor
In 1937 het prof Fismer se aantal orrelleerlinge
die oë te draai nie. Hoogdrawendheid,
sodanig vermeerder dat Henriette Rossouw
opgeblasenheid, verwaandheid en vertonerigheid
aangestel is om haar deeltyds by te staan in
kon sy onmiddellik sien vir wat dit werklik was.
orrelonderrig aan eerstejaarstudente. Onder
Haar lewe was sodanig dat sy dikwels in die geselskap
laasgenoemde was daar George van der Spuy, Duxie
van die élite en van die belangrike mense in die
Joubert en Philip McLachlan, al drie later
gemeenskap was. Met posisie en status alleen kon
prominente musiekfigure.
jy haar nie beïndruk nie. Sy het dikwels gesê dat as
‘n mens ‘n individu se geld, sy posisie, sy titels alles
Op aandrang van prof Fismer het die Universiteit
wegneem en dit wat oorbly is ‘n mens uit een stuk,
van Stellenbosch ‘n beurs vir oorsese studie aan
slegs dan kan jy hom respekteer. Deftige
Henriette Rossouw toegeken. Aan die einde van
statussimbole het nie haar waardebepaling van ‘n
1937 het sy vertrek na Londen, waar sy orrel onder
persoon beïnvloed nie.
George Thalben-Ball en klavier onder Henry Wilson studeer het. In 1938 het sy die lisensiate LRAM
Henriette Pauw is op 8 Februarie 1917 in Worcester
en ARCM verwerf en haarself veral verryk deur die
gebore. Van haar pa, wat ‘n onderwyser was en vir
bywoning van soveel musiekuitvoerings as wat
wie se kennis en insig sy groot bewondering gehad
moontlik was.
het, en van haar ma, ‘n nooi Smit van Venterstad,
streng en nougeset, het sy dikwels gepraat. Beide
Einde 1939 het Henriette Rossouw na Suid-Afrika
ouers was musikaal, so ook haar susters Hettie en
teruggekeer. Tot Junie 1940 het sy onderrig in die
Julie en haar broer Olden. Maar dit was Henriette
Paarl gegee. Sy is daarna getroud met JC Pauw,
wat met vurige geesdrif geoefen het aan dit wat
onderwyser in die Paarl, waar die paar gewoon het
Miss Eldred en Miss Greenwood, haar vroegste
tot 1943. Vroeg in hierdie jaar is mnr Pauw aangestel
musiekonderwysers, haar onderrig het. Vir die
as skoolhoof in Lady Grey. Henriette kon met groot
Intermediêre eksamen in klavier (tans Graad 6) het
smaak en humor vertel van haar en haar man, JC,
sy van Unisa ‘n beurs ontvang. Ook vir die Finale
se groot planne om kultuur na die platteland te
eksamen (Graad 8) is sy deur die eksaminator, Petrus
bring. Sy het ure en ure voor die klavier deurgebring
Lemmer, ‘n onderskeidingspunt toegeken.
en slegs maande na hulle aankoms ‘n volledige
Henriette het daarna ook weekliks per trein na
klavieruitvoering gegee: ‘n rare gebeurtenis vir die
Robertson gereis om orrelonderrig van die bekende
destydse dorpie. Haar eie klavier moes na die saal
Maria Fismer te ontvang. In 1934, die jaar waarin sy
vervoer word, omdat daar nie andersins ‘n instru-
met orrelles begin het, het sy reeds in die Finale
ment beskikbaar was nie. Musiekkonserte van
orreleksamen lof behaal.
allerlei aard het gevolg om die gemeenskap te
betrek. Ook kunsuitstallings, waarvoor die egpaar
In 1935 is Maria Fismer aan die Stellenbosse
oral skilderye (en afdrukke!) moes leen, is gehou
konservatorium aangestel. Henriette Rossouw het
ter wille van die estetiese groei van die publiek.
as student ingeskryf en onder leiding van prof Fismer
Henriette het ook elders, byvoorbeeld ook in
die UVLM-eksamens in orrel- en klavier verwerf. In
Bloemfontein, opgetree. Tydens die jare in Lady
1936 het Henriette die OULM in orrel en klavier
Grey het Henriette op ‘n keer as aflosdosent in prof
geslaag, steeds as student van prof Fismer.
Fismer se plek in Stellenbosch waargeneem. Sy het
56
haar intrek in prof Fismer se woning geneem, en
hierdie stap gedoen om ‘n nuwe lewe te begin en
kon verskeie nagte nie slaap nie. Die gedagte dat
ook om by haar jongste dogter, Nerethe, te wees.
sy in die gedugte prof Fismer se bed haar kop
Nerethe was op Oranje skolier en sou later student
neerlê, was vir haar oorweldigend!
aan die Vrystaatste Universiteit word.
JC Pauw is in 1950 as organiseerder van die Van
Die egskeiding en al die verdriet en ontsteltenis
Riebeeckfees aangestel. Die egpaar is dus in 1950
wat dit voorafgegaan het, het groot letsels gelaat
na Kaapstad tot na afloop van die fees in 1952. Daarna
op Henriette se gees. Haar selfvertroue het ‘n slegte
het hulle hulle in Bloemfontein kom vestig. Hulle
knou gekry, ‘n knou wat sy slegs met selfdissipline
eerste dogter, Annelize, het baie aandag nodig
en deursettingsvermoë later in so ‘n mate oorkom
gehad, maar Henriette het nogtans haar gewig by
het dat sy met haar lewe kon voortgaan. Daar was
die musieklewe in Bloemfontein met kenmerkende
egter wonde wat nooit heeltemal genees het nie.
geesdrif ingewerp. Sy was orreliste van die NG
Gemeente Noordhoek, het klavieronderrig gegee
Met haar aanstelling as lektrise aan die
aan die nuutgestigte Musiekdepartement aan die
Musiekdepartement, het ons kollegas geword.
Universiteit en het talle uitvoerings gelewer as
Natuurlik was ek bewus van haar prestasies as
pianiste, orreliste, koorleidster en begeleidster. In
konsertpianiste en bekendheid as musiekfiguur, en
1955 was sy selfs die eerste suksesvolle kandidaat
daarom het ek haar weldra gevra waarom sy nie meer
vir Unisa se lisensiaat vir kerkorreliste (ULKO). In
optree nie. Die antwoord was dat al die
dieselfde jaar is JC Pauw aangestel as skakelbeampte
omwentelinge en verdriet van die afgelope jare haar
by die Ministerie van Vervoer. In 1956 is die paar na
lus om te speel vernietig het. Nou wat dan daarvan
die Kaap vir die sitting van die parlement. Hier het
as ons twee so eenmaal per week bymekaarkom en
hulle gebly totdat hulle in 1957 terug is na Pretoria.
die literatuur vir twee klaviere-vier hande
Terwyl hulle in Kaapstad was, het Henriette vir ses
ondersoek? Sy het ingestem en so het die
maande lank onderrig aan die Stellenbosse
saamspelery ‘n instelling geword. Henriette se
Universiteit gegee. In 1957 is sy ook aangestel as
ingebore vaardigheid op die klavier het herleef. Dit
musiekeksaminatrise vir Unisa.
was ‘n tonikum en ook ‘n aansporing om saam met
haar aan die tweeklavier-repertorium te oefen, want
Die Uniefees van 1960 is in Bloemfontein gehou.
haar werk was konstant onbesproke voorberei. Ek
Hiervan was JC Pauw ook organiseerder, ofskoon
het naderhand begin glo dat sy nie in staat was om
die egpaar permanent in Pretoria gevestig was.
foute te begaan nie. Haar vermoë om te memoriseer
Henriette was verbonde aan die Musiekafdeling van
was formidabel. Sy was egter nie gewillig om kanse
die Tegniese Kollege in Pretoria, ‘n posisie later
te waag nie. As ek ‘n tempo ter wille van effek wou
gevul deur onder andere Anna Bender en Josias van
aanstoot, het sy vasgeskop omdat dit onnodig risiko’s
der Merwe.
laat ontstaan. Haar lesse in dissipline was vir my
van onskatbare waarde. Eendag het ons tot die
In 1963 is die huwelik van die Pauw-egpaar ontbind.
gevolgtrekking gekom dat ons gereed was om ons
Henriette moes noodwendig voortgaan om te
debuut as tweeklavierpaar te maak.
verdien en het ‘n musiekbetrekking aan die
Meisieskool Oranje in Bloemfontein aanvaar. Sy het
Vir jare het ons saam opgetree en talle uitvoerings
57
dwarsdeur die land, van Pretoria tot in Kaapstad
My verpligtinge het egter gaandeweg die
gegee. Daar was senuwees, vlinders en spanning,
saamspelery onmoontlik gemaak. Daar was net nie
maar ook enorme genoegdoening in die optredes
tyd vir optredes nie. In 1982 het Henriette afgetree
vir beide van ons. Ons het baie komiese ervarings
en ‘n splinternuwe, sonnige meenthuis gekoop en
meegemaak. Op die verhoog van een plattelandse
bewoon totdat sy in 1999 weens siekte nader na
dorp was daar vensters oop op die verhoog en ‘n
haar twee dogters in Gauteng moes trek.
sterk wind het die bladsye van die boeke begin
rondwaai. Henriette se geheue het die meeste
In Februarie vanjaar het ek haar in Unisa se Ou
probleme oorwin, maar toe ook geswik, vanweë die
Mutualsaal gesien tydens die Unisa Internasionale
rumoer van die brandende primusstowe op die
Klavierkompetisie. Ons het heerlik gesels. Sy het
verhoog agter ons, waarop teewater vir die onthaal
so opgewek gelyk, was so vol lewensblyheid dat ek
tydens pouse gekook is. By ‘n ander geleentheid
geglo het sy sou die aaklige kanker oorkom. Maar
het ons, baie teen Henriette se sin en my beterwete
dit sou nie so wees nie. Die siekte het hervat en op
in, ingestem om deel te neem aan ‘n
8 Mei vanjaar is sy stilweg heen aan huis van haar
verskeidenheidskonsert. Die stuk wat ons gekies
dogter in Johannesburg, mev Annelize du Plessis.
het, Rachmaninof se Tweede Klaviersuite, het egter
skitterend verloop totdat ons die laaste deel, die
Vir Henriette was daar ‘n gedenkdiens in ‘n pragtige
blitsvinnige Tarantella getref het. Die partiture was
tuin van ‘n vriend in Bloemfontein. Die diens is
so gedruk dat elke klavier slegs sy eie teks gehad
bedoel as danksegging vir haar lewe. Een van haar
het, soos elke instrument sy eie partituur het in ‘n
vriendinne, dr Jo Prinsloo, het in ‘n kort, spontane
orkes- of ensemblewerk. Êrens het ons mekaar
lofrede oor Henriette gesê dat die danksegging ‘n
verloor. Telkens, in angs, het ek ophou speel om te
gepaste manier van afskeid neem van Henriette is,
hoor waar Henriette is. Dan weer het sy oor mate
want Henriette was beslis geen begrafnismateriaal
heen gespring in die hoop dat ons mekaar sou vind.
nie. Ek stem saam. Henriette sal altyd lewendig bly
Die resultaat was ‘n ongeëwenaarde kakofonie en
in die herinnering van haar familie, skare vriende
deurmekaarspul. Die gehoor was egter in die wolke
en groot getalle oudstudente. &
en die applous was oorverdowend. Tot my skande
moet ek sê dat ons so gelag het, dat ons skaars van
die verhoog kon afloop.
Professor Japie Human was verbonde aan die Universiteit van die Oranje-Vrystaat en is ‘n bekende pianis
58
Gabriel Gideon Cillié
(13.07.1910 - 15.06.2000)
‘n Huldeblyk by ‘n gedenkdiens vir hom op 21 Junie 2000
Pieter van der Westhuizen
Dit is vir my ‘n baie groot
hy hulle bewus gemaak het
voorreg om hulde te bring
van die kosbare skat wat ons
aan een van ons heel grootste
in ons Protestantse Kerklied-
en veelsydigste kultuurleiers
erfenis
wat ons nog gehad het,
orrelspel en voorligting het
naamlik prof Gawie Cillié,
hul bewus geword van wat
wat ons verlede Donderdag
ware liturgiese orrelmusiek
aan die dood ontval het. Ek
is, iets wat baie min orreliste
doen dit veral ook graag
destyds van kennis gedra het.
het.
Deur
sy
namens ál sy oud-koorlede en
kerkmusiekvriende. My
Die feit dat in Suid-Afrika ‘n
hartlike dank teenoor prof
lewendige koortradisie
Wynand Mouton wat dit
opgebou kon word, is baie
namens my sal voorlees.
aan prof Gawie te dankie.
Jare lank was hy die spil
‘n Mens sou boekdele kon skryf oor die ontsaglike
waarom Afrikaanse koorsang gedraai het, en tereg
bydrae wat prof Gawie op die gebied van ons
sou ons hom selfs die Vader van Afrikaanse koorsang
Kerkmusiek en Volksang gelewer het, en die
kon bestempel. Sy kerkkoor en die Stellenbosse
geweldige invloed wat hy op almal uitgeoefen het,
Universiteitskoor, waarvan hy 14 jaar lank die leier
of dit nou ookal in koor- of in massasangverband
was, het landswye bekendheid verwerf.
was. Dit was by hom ‘n passie om gedurig diens te
lewer aan sy Here, sy kerk en sy volk. Sy intense
Dit was egter in 1946 wat die groot bloeitydperk in
groot liefde was veral om die Gereformeerde
koorsang op Stellenbosch begin het. Daarin het prof
Kerklied te bevorder om sodoende die lof van God
Gawie ‘n reuse-aandeel gehad!
te kan besing.
Die destyds beroemde Stellenbosse Kweekskoolkoor
Prof Gawie was 25 jaar lank orrelis van die NG
is in 1946 gestig met prof Gawie as die eerste
Moedergemeente op Stellenbosch; dit was vanaf
dirigent daarvan. Dié koor was nie net ‘n uitstekende
1939 tot 1964. Sy invloed op die studente, en veral
ambassadeur vir Stellenbosch tydens sy koortoere
sy koorlede, was onberekenbaar groot, veral waar
nie, maar die saadjie vir die liefde vir ons Afrikaanse
59
Kerkmusiek het landswyd geval. Prof Gawie het met
Reeds vanaf die vroeë veertigerjare het hy in
sy Kerk- en Kweekskoolkoor by talle belangrike
verskeie kerkmusiekkommissies gedien. Hy was ‘n
feesgeleenthede opgetree, soos bv die Inwyding van
medewerker aan die 1978 Psalm- en Gesangebundel,
die Hugenote-monument op Franschhoek en die
en was ook lid van die huidige kommissie wat besig
Voortrekkermonument in Pretoria.
is aan ‘n nuwe Psalmbundel wat DV in 2001 verskyn.
Vyf van sy melodieë gaan daarin verskyn.
‘n Ryke en grootse tradisie vir baie jare, naamlik
die Stellenbosse Sangfees, het ook in 1946 begin.
Hy het by talle kerkmusiekkongresse en simposiums
Prof Gawie was mede-stigterslid en ‘n koorleier.
opgetree. Hy het ook dikwels praatjies in verband
Die invloed wat die Stellenbosse Sangfees in die
met die Protestantse kerklied oor die radio
jare daarna op ons hele Afrikaanse musieklewe
aangebied, terwyl talryke artikels in tydskrifte en
uitgeoefen het, sal nooit werklik besef kan word
dagblaaie verskyn het, waarin hy gepleit het vir die
nie. Gou het koorsang, en die genot daarvan, na
bewaring van ons ryke gereformeerde erfenis.
alle uithoeke van ons land uitgekring!
Vanaf 1977 was hy sewe jaar lank dosent in
Prof Gawie het ook ‘n Dorpskoor gehad wat talle
Kerkmusiek aan die Musiekdepartement van die
groot koorwerke, soos bv die Brahms Requiem en
Universiteit van die Oranje-Vrystaat. Kursusse in
die Beethoven-Koorsimfonie, saam met die
Kerkmusiekgeskiedenis, Himnologie en Liturgiek
Kaapstadse Simfonie-orkes uitgevoer het. Prof
is aan alle orrelstudente van die Musiekdepartement
Gawie moes soms tot ses verskillende kooroefeninge
aangebied, terwyl die teologie-studente ‘n kursus
op ‘n dag behartig! En dit by al sy akademiese
in Himnologie gevolg het. Ter wyl hy in
verpligtinge!
Bloemfontein was, het sy magistrale werk, Waar
kom ons Afrikaanse Gesange vandaan? in 1982
Sy bydrae tot die Afrikaanse koorrepertorium was
verskyn.
baanbrekerswerk. Hy het talle bestaande gewyde
koorwerke vertaal in Afrikaans. Daarby het hy self
Dwarsdeur ons land vind ons talle kerkorrels wat
gekomponeer en baie koorverwerkings gedoen.
opgerig is volgens prof Gawie se spesifikasies, en,
Behalwe kort werke vir gebruik tydens die
in die meeste gevalle, is die orrels dan ook deur
eredienste, is daar ook ‘n aantal kantates, waaronder
hom ingewy. Die Moederkerkorrel is byvoorbeeld
een, gebaseer op Psalm 89, wat in opdrag van die
een daarvan. En dit was alles liefdesdiens wat
Staat gekomponeer is vir die inhuldiging van ons
gelewer was!
eerste Staatspresident op 31 Mei 1961.
Wie sal ooit kan vergeet hoe inspirerend dit was
Prof Gawie het vyf kerkkoorbundels die lig laat sien,
om onder prof Gawie se leiding deel te neem aan
asook twee bundels Liturgiese Orrelmusiek, met
die voorafsang by eredienste, kongresse, volksfeeste
onder andere koraalvoorspele uit sy eie pen. Hy was
en ander massasangbyeenkomste soos onder andere
ook ‘n belangrike medewerker aan die Koraalboeke
by die Inwyding van die Voortrekkermonument en
van 1956 en 1978.
dié van die Taalmonument? So onlangs nog as in
60
1995 het bykans 800 studente by KUESTA onder sy
kon hy sy publikasie, Gewyde Sang en Koorsang
leiding gesing!
gedurende die Anglo-Boereoorlog gedurende Maart
vanjaar in ontvangs neem, soos wat dit persklaar
Hy was 33 jaar lank lid van die FAK-Musiekkomitee,
gemaak is deur prof M C van Schoor.
en was ‘n baie belangrike medewerker aan die
hersiene FAK-sangbundel van 1961 en ook weer dié
Onder al die ere-toekennings wat hy ontvang het,
van 1979. Sy talle koorverwerkings van volkswysies
kom voor Die Orde vir Voortreflike Diens van die
het ‘n regmatige plek op die konsertverhoog gekry.
Staatspresident; Ere-doktorsgrade van die Vrystaatse
Hy het sy hele lewe feil gehad vir werksaamhede
Universiteit en dié van die Universiteit van
van die FAK, en was Voorsitter daarvan vanaf 1979
Stellenbosch, ‘n erepenning van die SA Akademie,
tot 1985.
asook die Akademie se Pieter van Drimmelenmedalje en die FAK-Prestige-prys. Hy was erelid van
Sy intensiewe navorsing oor ons ou SA Volks- en
die Suid-Afrikaanse Kerkorreliste-vereniging en van
Liederwysies het etlike juwele opgelewer; die
die Suid-Afrikaanse Koorvereniging, en ook ‘n ‘Life
Magaliesburgse Aandlied is bv een daarvan. Sy
Member’ van die Cape Organ Guild.
artikels in verband met hierdie wysies verskyn
gelukkig in etlike publikasies en wetenskaplike
Prof Gawie, wat byna nooit ‘n klein kindjie by hom
tydskrifte, want was dit nie dáárvoor nie, sou baie
laat verby gaan het nie sonder om hom ‘n mooi
waardevolle Africana ons vir altyd verlore gegaan
storietjie te vertel nie, was ‘n groot kultuurleier,
het.
maar terselfdertyd ‘n nederige mens in diens van sy
medemens. Sy hele lewe was gerig op Soli deo
Sy navorsing het hom ook diep in die koor- en
Gloria - Slegs tot eer van God.
liedboeke van Boerekrygsgevangenes tydens die
Anglo-Boereoorlog laat delf. Die tragiese
Ons betuig graag ons innige meegevoel met die
motorongeluk op 22 Maart 1998 het sy navorsing
kinders en kleinkinders, en bid hulle die Here se
en skryfwerk wreed onderbreek! Gelukkig het baie
ryke vertroosting en seën toe.&
van sy werk nog op sy rekenaar behoue gebly, en
Pieter van der Westhuizen, bekende orrelis, koorleier en komponis, was voorheen verbonde aan die Konservatorium
vir Musiek aan die Universiteit van Stellenbosch
61
Denise Joan Raubenheimer
(28.12.1946 - 02.08.2000)
Liezel de Lange
Denise Joan Raubenheimer is
sin vir humor is eienskappe wat
op 28 Desember 1946 in die
haar jarelange vriende en groot
Laeveld gebore. Sy het as
respek besorg het.
oudste kind op Goedehoop,
‘n sitrusplaas in Karino,
Denise was ‘n voorbeeld vir baie
grootgeword saam met twee
deur haar onwrikbare lojaliteit en
susters en ‘n broer. Haar pa
sin vir verantwoordelikheid. Sy
was jare lank ‘n landdros en
het haar toegespits om altyd haar
haar ma ‘n onderwyseres in
werk ten beste te doen en het ook
tale en huishoudkunde.
in haar persoonlike lewe altyd
Denise het saam met haar
probeer om ander so ver moontlik
susters
en
in ag te neem. Getrou aan haar
laerskoolloopbaan aan die
persoonlikheid het sy ook nooit
haar
hoër-
Rob Ferreira-skool op Witrivier voltooi. Na skool
enigeen veroordeel nie en altyd probeer om die
het sy aan die Universiteit van Pretoria in die
goeie in ander raak te sien. Sy het nie haar eie
geesteswetenskappe gestudeer en na die verwerwing
kinders gehad nie, maar het met groot moeite en
van ‘n BA graad het sy as onderwyseres in
deernis nou betrokke geraak by haar susters en broer
Aardrykskunde in die Laeveld gewerk. Sy het ook
se kinders. Hulle het die voorreg gehad om ‘n tante
‘n tyd lank ‘n pos by die Departement van Onderwys
te hê wat hulle van kleins af stimuleer het deur
beklee voordat sy haar in 1981 by die destydse
hulle na teateruitvoerings, rolprente en op verskeie
Departement Musiekeksamens en Gemeenskaplike
ander uitstappies te neem.
Matrikulasieraad aan die Universiteit van Suid-Afrika
aangesluit het. Deur haar jare by die departement
Denise is skielik op 2 Augustus in Pretoria oorlede.
het sy ‘n groot voorliefde vir musiek ontwikkel. Haar
Sy word met groot hartseer oorleef deur haar ma,
entoesiasme vir veral die musiekkonserte het
Doris Raubenheimer, susters Lynette de Lange en
meegebring dat sy gereeld ook familielede en
Louise Munnik asook haar broer, David
vriende hierheen saamgeneem het. Haar liefde vir
Raubenheimer. Bernice, haar peetkind, asook die
reis, keurige kos, voortreflike wyn en goeie
res van die jonger geslag Jacques, Dewald, Liezel,
geselskap het sy oor die jare heen ook met haar
Dean en Jayden het ‘n formidabele tante verloor. &
familie en vriende gedeel. Haar lojaliteit en subtiele
62
Frederik Johannes (Derik)
van der Merwe
(11.07.1924 - 02.08.2000)
Dorothy Venter
Nagedagtenis aan ‘n
besonderde mens
van die Witwatersrand waar hy
die destydse musikale lewe
gedeel het met sulke befaamde
Met die eerste terugblik oor
kunstenaars soos Rosa Nepgen,
die meer as sewe dekades van
John O’Connell, Horace
die lewe van Derik van der
Barton, Percival Kirby en Rod
Merwe is dit onteenseglik
Gaillard.
duidelik dat hy ‘n besondere
Verdere nagraadse opleiding is
mens was. Hoe staaf ‘n mens
aan die Muziek Lyceum
dié stelling? Enige mens is per
Conservatorium Amsterdam in
slot van sake besonders in een
Nederland
of ander opsig - dus moet
Magisterverhandeling: The
hierdie ‘n spesiale waar-
Compositions of Percival R
neming wees.
Kirby en veel later ‘n Doktorale
en
met
‘n
Proefskrif: ‘n Stylkritiese studie
Dit is inderdaad so: van kleinsaf was sy ouers,
van uitgesoekte solo liedere van Rosa Nepgen,
Christiaan Pieter en Schalina van der Merwe, van
voltooi.
die plase Pretoria en Sherbrooke in die
Bethlehemdistrik in die Vrystaat, daarvan bewus dat
Dit was wat formele opleiding en studie betref.
hulle seun merkwaardig was. Hy was slegs vyf jaar
Derik was inderdaad die ewige student en, soos
toe hy, tydens ‘n uitvoering deur plaaslike
menige kollega en vriend sal getuig, altyd aan die
musiekleerlinge in die stadsaal van Warden, met sy
voorpunt van nuwe ontwikkelinge en bewus van die
debuut, gekleed in ‘n swart kortbroek, wit syhemp
mees onlangse publikasies in sy betrokke vak,
en strikdas en met swart leer’pumps’, die gehoor
Musiekwetenskap, en in musiek en letterkunde in
se harte gesteel het met sy uitsonderlike
die breë.
klavierspel.
Dit is egter nie net ten opsigte van sy studieveld
Op skool het Derik uitgeblink in die meeste vakke,
dat Derik onthou sal word nie, maar veral vir sowel
maar veral tale en musiek het voorkeur geniet.
sy talent as pianis en begeleier as sy vaardigheid
Sy studies na skool is voortgesit aan die Universiteit
met die afrig van kore, onder andere die Oranje
63
Kamerkoor in Bloemfontein en Musicae Amici in
sangafdeling beoordeel. Veral noemenswaardig is
Pretoria.
die feit dat hy nie slegs die deursnee
sertifikaatskrywer was nie – nee, die waardevolle
Van die bekende kunstenaars met wie hy opgetree
repliek wat na afloop van elke stel items gelewer
het, is Betsy de la Porte, Cecilia Wessels, Jean
is, was absoluut uniek. Die musiekpubliek van die
Gluckman, Jossie Boshoff en Babsita Moolman uit
Oos-Kaap wat by die geleenthede betrokke was, kon
vroeër dae en Martina Arroyo, Helmut Holzapfel,
nie uitgepraat raak oor die sinvolle wyse waarop
Joyce Barker, Hannah van Niekerk, Hester Stander,
hierdie duidelik begaafde man sy taak verrig het
Sjoerd Beute, Nohline Mitchell, Marion Key en
nie. Dit het egter geblyk die norm te wees wanneer
Lawrence Folley in meer onlangse tye.
Derik ‘n taak aangepak het: deeglik, beredeneerd
en immer die pedagoog met visie.
Selfs na sy amptelike aftrede as mede-professor aan
die Musiekdepartement van Unisa het hierdie
Professor Doktor Frederik Johannes van der Merwe,
kundige en energieke man steeds waardevolle diens
gebore op 11 Julie 1924 in Bethlehem en
aan die musiek bly lewer deur as eksterne
heengegaan op 2 Augustus 2000 in Pretoria na ‘n
eksaminator vir die Departement Musiek en
uitgerekte en uitmergelende siekbed van maande
Musiekwetenskap aan Unisa en die Departement
sal in ons gedagtes en harte bly voortleef vir baie
Musiek van die Universiteit van Pretoria op te tree
jare. Ons, wat bevoorreg was om hom te ken en
en praktiese eksamens af te neem dwarsoor die
saam met hom langs die lewenspad te stap, hetsy
land.
vir baie jare of net kontstondig, sal altyd dankbaar
wees vir die geskenk van sy mensliewende en
Sy grondige kennis van die vak en sy gawe om met
beskaafde invloed in ons lewens. Hy sal deur talle
mense uit alle vlakke van die samelewing om te
familielede, ‘n menigte studente en kollegas en
gaan, het hom gesog gemaak sowel as eksaminator
veral deur sy enorme vriendekring gemis word.
en as beoordelaar by kunsfeeste en eisteddfodau.
Dit is inderdaad ook by so ‘n geleentheid waar ek
Ons bring so hulde aan ‘n besondere mens wat sy
Derik leer ken het, naamlik tydens die Kunswedstryd
spore diep in die musieklewe van sy wêreld nagelaat
in Port Elizabeth in 1976. Daar het hy die hele
het. &
Dorothy Venter is ‘n Afrikaanse onderwyseres aan Athlone Girls High School in
Johannesburg
64
Resensies/Reviews
CD-resensies/CD Reviews
Stefans Grové
ROELOF TEMMINGH
SACRED BONES - A CHAMBER OPERA
IN ONE ACT -
In sy voorwoord tot die programboekie, maak Pe-
Michael Williams (Libretto)
someone you love dies. Hiermee wil ek saamstem,
Claremont CD GSE 1552
want albei is gedrae en breedgesponne met wye
ter Klatzow spesiale melding van die kwaliteit van
die twee arias I could smell him then en ook When
vokale kurwes, maar dit is tog jammer dat die stem
van Kathleen, gesing deur Isabelle van Zyl telkens
deur die orkes oorheers word en dat die woorde
nie altyd duidelik hoorbaar is nie.
Ook die kore is hoogseffektief behandel. Dit word
gesing deur ‘n sestal mans wat hoofsaaklik optree
as die draers. Besonder effektief is die draerlied
Bandika haya! met sy deklamatoriese krag.
Die rolverdeling is soos volg:
Robin Hurt, ‘n jagter word gesing deur John Eagar;
Naru, ‘n spoorsnyer deur Fikile Mvinjelwa; John
Plomer, ‘n paleontoloog deur Gordon Christie;
Bessie Lutter, ‘n boervrou deur Marita Napier.
Hierdie tweede opera van Temmingh en Williams
Die orkesbegeleiding is gespeel deur lede van die
wat tydens ‘n opvoering in die Nico Teater op 25
Kaapstadse Filharmoniese Orkes, gedirigeer deur
Junie 1997 opgeneem is, speel hom as’t ware in
David Tidboald.
die hart van Afrika af waar argeologiese opgrawings
gedoen word. Die primitiewe omstandighede word
komponis het die veelstemmige teks besonder
KURT WEILL - THE THREEPENNY
OPERA (DIE DREIGROSCHENOPER)
betekenisvol getoonset.
Max Raabe, Nina Hagen, H K Gruber
baie realisties in die musiek weerspieël, want die
RSC Victor Ensemble Modern (1999)
Die werk is ingedeel in soms langerige arias en
vinnige dialoë en die orkesondersteuning spruit as’t
Hierdie ensemble val saam met die 100ste
ware uit die rou aarde.
geboortejaar, en 50ste sterwensjaar van die
65
die teks is in ‘n helder deklamatoriese styl gedoen.
Die opname is baseer op die nuwe Kurt Weill uitgawe
met die oorspronklike verhoogmusiek.
Dit word besonder begeesterd uitgevoer deur ‘n
agttal sangers met begeleiding deur die Ensemble
Modern onder leiding van H K Gruber, wat ook die
rol van Jonathan Jeremiah Peachum vertolk.
KURT WEILL - DER SILBERSEE: EIN
WINTERMÄRCHEN
London Sinfonietta Chorus, London Sinfonietta,
Markus Stenz (Conductor)
operahervormer Kurt Weill. Ofskoon hy ook ander
RCA Red Seal IC 00316 (1999)
operas gekomponeer het, word sy roem slegs
gekoppel aan Die Dreigroschenoper.
Net soos sy ouer en beroemder landgenoot Paul
Hindemith, was ook Weill ‘n voorstaander van
Gebrauchsmusik, dit wil sê musiek wat ‘n bepaalde
doel moet dien.
Tot ‘n mate het hierdie opera sy ontstaan te danke
aan Gay se Beggar’s Opera. Dit is gekomponeer op
‘n libretto van Bertolt Brecht, en kenmerkend
hiervan is die ‘swing’-styl van die twintiger en
dertiger jare, die soort vermaaklikheidsstyl waarvan
Marlene Dietrich so ‘n glansryke vertolkster was.
Dit bestaan uit geskeide ‘songs’ met ‘n verteller.
Hierdie opera van Weill volg die meer tradisionele
Die werk is op 31 Augustus 1928 in ‘n klein teater
styl van sy ander operas soos Der Protagonist (1924),
in Berlyn opgevoer deur sangers wat nie uit
Mahagonny (1927-29), Die Bürgschaft (1932) en die
operageledere stam nie, en deur musikante wat uit
skoolopera Der Jasager (1930).
‘dance bands’ gewerf is, en bestaan uit 2 saxofone,
2 trompette, 1 skuiftrompet, banjo, pouke en
Die volledige verhoogaanbieding van hierdie werk
harmonium.
duur 4 uur en 45 minute. Kenmerkend hiervan is
die warmbloedige Romantiese styl. Die werk is op
Die Dreigroschenoper kan ook beskrywe word as ‘n
18 Februarie 1933 in Leipzig opgevoer, maar as
verjazzde weergawe van die Engelse Beggar’s Op-
gevolg van die politieke storm wat toe in Duitsland
era deur Weill en Brecht. Al die toonsettings van
66
opgesteek het, is opvoerings deur die Berlynse
nooit bestem om in die repertorium opgeneem te
Deutches Theater teruggetrek, en in Maart van
word nie, en ten spyte van die ‘Weense aanpassings’
daardie jaar is al Weill se musiek verbied omdat hy
van 1933, word dit selde opgevoer. Maar in 1956
van Joodse afkoms was.
het die lot van die werk verander toe dit suksesvol
deur die Münchense Staatsopera op die planke
As gevolg van hierdie omwentelinge het Weill uit
gebring is.
Duitsland gevlug, eers in Parys herberg gevind en
daarna, vanaf 1935 in die Verenigde State van
Die Weense Staatsopera, wat die werk laas in 1936
Amerika, waar hy op 50-jarige ouderdom oorlede
opgevoer het, het ‘n spesiale produksie vir 1970
is.
beplan, ‘n soort première as’t ware, onder leiding
van die vermaerde Strauss vertolker Josef Krips. Van
Na die eerste opvoering is die vraag gestel of ‘n
mens hier te doen het met ‘n verhoogstuk met te
veel musiek, op ‘n opera met te veel gesproke
dialoog. Hierin vind ‘n mens ‘n sterk kantilene
uitdrukking, sterk operamatige arias en ‘n hoogs
effektiewe koorgebruik.
Die handeling speel hom in die vroeë dertigerjare
in Noord-Duitsland af, op die oewer van die Silbersee
gedurende die teneerdrukkende depressiejare,
waartydens mense in hutte moes bly. Maar hier is
ook van ‘n sprokiekarakter (Wintersprokie) sprake
wat hom in die vorm van feë afspeel in ‘n woud,
kasteel met selfs ‘n banket in die gelukkige slot.
Die opera word uitgevoer deur ‘n twaalftal karakters
hom is gesê: ‘Slegs die dirigent kan ‘n opvoering
met die Londense Sinfonietta-koor, met begeleiding
van Helena red. Die regisseur of die sangers kan dit
deur die Londense Sinfonietta onder leiding van
nie vermag nie.’
Markus Stenz en opgeneem in 1996. Die opname is
gegrond
op
die
BBC
Proms
se
1996
konsertweergawe in die Royal Albert Hall.
Onder leiding van Krips is hierdie opname in
Desember 1970 deur die Oostenrykse Radio met
die orkes van die weense Staatsopera gemaak. Onder
die sewe karakters tel ook Mimi Coertse in die rol
RICHARD STRAUSS DIE ÄGYPTISCHE HELENA
van Aithra, die geliefde van Poseidon–‘n besonder
Josef Krips, Wiener Staatsoper
die inleiding Das Mahl ist gerichtet, klink haar stem
RCA Red Seal
klokhelder en ook verder deur die daaropvolgende
gewigtige rol, waarmee die opera ook open. Vanaf
dialoë, en ook swewend bo die kore. Verstommend
Richard Strauss se twee-akter op die libretto van
is ook haar stemkontrole in die aanstrengende fi-
Hugo von Hofmannsthal Die Ägyptische Helena was
nale.
67
Ander stemme in hierdie produksie is Gwyneth
Fagan (1904-1980) was lank in Engeland woonagtig
Jones, Jess Thomas, Edita Gruberova, Peter
waar hy hom hoofsaaklik op die dirigeerkuns toegelê
Glossop, Peter Schreier en Margareta Sjöstedt.
het, met die gevolg dat sy orkesmusiek besonder
idiomaties van karakter is. Die ouverture,
SOUTH
WORKS
AFRIC AN
ORCHESTRAL
gekomponeer in opdrag van die SAUK in 1954,
verraai ‘n onmiskenbare Sibelius-invloed in die
Fagan: Concert Overture, Ilala
breëgesponne karakter daarvan. Die toondig Ilala
Bell: A South African Symphony
is in 1942 in Engeland gekomponeer en vir die
Marco Polo DDD (1995)
eerste keer deur die Hallé-orkes in Manchester
uitgevoer. Die tematiese materiaal hiervan is
geneem uit Fagan se bykomstige musiek vir die film
David Livingstone. Die werk verraai ‘n sterk invloed
van Debussy, nie alleen tematies-ritmies nie, maar
ook kleurgewys.
William Henry Bell (1873-1946) is in Engeland
gebore en opgevoed, het ‘n veelbelowende loopbaan
daar kortgeknip deur in 1912 na Suid-Afrika te
verhuis waar hy baanbrekerswerk van onskatbare
waarde verrig het. In 1912 het hy die Suid-Afrikaanse
Musiekkollege in die lewe geroep, was hy in 1914
een van die medestigters van die Kaapstadse
Stadsorkes. Kort hierna stig hy ook die
Balletdepartement van die Universiteit van
Kaapstad, en was hy ook verantwoordelik vir die
Die uitvoering van ons eie komponiste se
totstandkoming van die universiteit se Klein Teater.
orkesmusiek op ‘n konsertverhoog bly altyd ‘n
As pedagoog het hy van ons land se voorste
rariteit, en juis daarom word die bekendstelling
komponiste opgelei.
daarvan deur middel van opnames verwelkom, want
sodoende kan dit ‘n tuiste in die huiskring van vele
Sy
vierdelige
simfonie
is
‘n
besonder
musiekliefhebbers vind, en waar dit groter
indrukwekkende werk waarin Bell homself as ‘n
bekendheid kan bereik as slegs deur enkelmalige
geniale simfonikus toon. Vormgewys steek die werk
konsertuitvoerings.
besonder logies inmekaar en spreek dit sterk tot
die luisteraar.
Die program van hierdie laserskyf bestaan uit Gideon
Fagan se Konsertouverture in D en sy toondig Ilala,
Al die musiek is uitgevoer deur die Nasionale
en William Henry Bell se South African Symphony.
Simfonieorkes van die SAUK en word gedirigeer deur
Al hierdie musiek is besonder toeganklik vir die
Richard Cock en Peter Marchbank. Die dirigente
gewone musiekliefhebber, want albei verteen-
het veel moeite gedoen om goed afgerigte en
woordig die laat-Romantiese styl.
kleurgebalanseerde spel te verseker.
68
ADOLF FREDRIK LINDBLAD - SYMPHONIES NOS.1 & 2
Uppsala Chamber Orchestra, Gérard Korsten
Marco Polo DDD 8.225105 (1999)
Beethoven se tweede simfonie beïnvloed, al was
dit eers in 1831 gekomponeer.
Die tweede deel is oorspronklik en van die
kragdadige elemente van die openingsdeel is hierop
oorgeplant.
Die derde deel begin koraalmatig, maar word verder
ontwikkel
deur
‘n
verskeidenheid
van
figuurwerkpatrone.
Die finale dien ook die doel van ‘n scherzo met sterk
liriese ondertone later in die ontwikkelingsgang.
In die deurwerking word onder meer gebruik
gemaak van ‘n indrukwekkende fugato-gedeelte. Oor
die algemeen adem hierdie finale ‘n gees van
frisheid.
Deur die hele simfonie word die luisteraar getref
deur die komponis se onberispelike vakmanskap.
Anders as in die eerste simfonie begin die tweede
met ‘n langsame inleiding en dit dien miskien as ‘n
Lindblad is in 1801 in die Sweedse provinsie
aanduiding van die minder dinamiese krag van die
‘Östergötland’ gebore. As jongeling het hy klavier-
werk, veral gemeet aan die robuuste voorganger.
en fluitlesse geneem, en op vyftienjarige ouderdom
‘n Element van speelsheid is hier aanwesig.
kon hy deur ‘n uitvoering van ‘n fluitkonsert deur
hom
gekomponeer
aangespoor
word.
Nieteenstaande sy onbetwisbare musiektalent, het
sy stiefvader tog besluit om hom na ‘n ambagskool
in Hamburg te stuur. Kort na sy terugkeer na Swede
Die tweede deel is ‘n eggo van klassieke grasie,
terwyl die scherzo ietwat swaarvoetig en sterk
geaksentueerd is, maar waarin rankende lynespel
tog ook sterk opval.
het hy in 1823 besluit om hom voltyds aan
Ligte aanslag en speelsheid kenmerk die finale oor
musiekbeoefening te wy. Later studeer hy verder
die algemeen. Weereens word die luisteraar getref
in Berlyn waar hy ook kennis maak met die
deur die goeie vakmanskap van konstruksie en
sewentienjarige Felix Mendelssohn wat later sy
orkestrasie.
eerste simfonie so suksesvol tydens sy Gewandhauskonserte in Leipzig sou uitvoer.
Benewens sy twee simfonieë het Lindblad ook
In albei werke is die afrigtingshand en die werklik
begeesterde leiding van Gérard Korsten baie
duidelik sprekend!
klavier- en kamermusiek gekomponeer, en daarby
Die orkesklank is foutloos gebalanseerd en die en-
ook oor die 200 liedere, waarvan sommige op sy
semble uitstekend!
eie tekste gegrond is.
Sy eerste simfonie open met sterk geaksentueerde
robuuste en dinamiese krag, bepaald deur
69
VERRASSING / SURPRISE
verbruiker is te gewoond aan naby-opnames, veral
Tygerberg Kinderkoor / Children’s Choir
van kore, om so ‘n veraf klank as normaal te aanvaar.
Die program bestaan uit treffers en verwerkings,
waarvan sommige onbegeleid gesing word, en ander
deur klavier, orrel of ander instrumente begelei is.
Wyle prof Gawie Cillié wat onlangs oorlede is, was
verantwoordelik vir ‘n paar van hierdie verwerkings,
soos Middelpunt van ons Verlange en die
Magaliesbergse Aandlied. ‘n Paar Kersliedere het ook
hul weg tot die program gevind soos O die Vrolike
en Kom alle Getroues. Van die inheemse liedere is
Ekundungu uit Okavongo en Dubula, ‘n Xhosa-lied
besonder aantreklik, net jammer dat die soprane
soms hier sak.
Die begeleidings is soms baie kleurryk, soos in Adios
mi Chaparita uit Suid-Amerika waar die klavier,
Hierdie
opname
is
gegrond
op
trekklavier en kontrabas ingespan word.
die
verjaarsdaguitvoering van die koor in die Kaapstadse
Van die oorspronklike stukke is die Ave, maria stella
stadsaal in Desember 1997, en die opskrif daarvan
van Edvard Grieg, Psalm 23 van Pieter de Villiers
is waarskynlik afgelei van die feit dat oudlede in
met orrelbegeleiding, en Psalm 84 van Gabriël
die vorm van tenore en basse ingespan is vir hierdie
Fauré, ook met orrelonderskraging, die
konsert om die 25ste bestaansjaar van die koor te
interessantste. Kwaliteitsgewys is hierdie werk ook
vier.
die beste op die program.
Omdat die opname tydens die uitvoering gemaak
Die 260 stemme was goed beheer deur die dirigent
is, is van uitspraakhelderheid geen sprake nie, maar
Hendrik Loock.
die kundigheid van afrigting en aanbieding spreek
&
tog sterk deur die akoestiese waserigheid. Die CD
Bogenoemde CD’s is beskikbaar by/ The
aboveme
ntioned CD’s available at:
abovementioned
Music4U CD Warehouse
Menlyn Retail Park,
150 Louis Ave, Newlands, Ext.9
P.O. Box 912-560, Silverton - 0127
Tel (012) 348-7147
Professor Stefans Grové is bekende komponis en resensent en verbonde aan die Universiteit van Pretoria
70
Nuwe publikasies ontvang
New publications received
Composing the music of Africa: composition, interpretation and realisation
Malcolm Floyd (Editor)
Aldershot [Hants]; Brookfield [Vt.] USA: Ashgate,
c1999
xiv, 366p.:ill.; 24 cm.
ISBN 1-85928-143-5
tion for western contemporary composition.
Particular attention is paid to the contexts which
generate musical creativity. Ceremonies and festivals celebrating birth, death marriage or rites of
passage provide the impetus for much composition
and performance, enabling young people to pick
up, early on, some of the techniques and styles of
which they then become the new exponents.
The book also look at the role played by formal
music education programmes and bodies such as the
South African Music Right Organization and the
South African Broadcasting Corporation. in fostering musical activity, as well as the contribution of
composers to the social and political changes that
have dominated South African life in recent years.
Malcolm Floyd is Senior Lecturer and Head of Music at King Alfred’s, University College Winchester.
French Pianism: a historical perspective
Charles Timbrell
London: Kahn & Averill.1999
2nd ed., rev.and enl.
390p.: ill.; 24cm.
ISBN 1-871082-66-8
The recognized pre-eminence of Paris as a centre
of the piano world dates from the early nineteenth
century, and the rigorous standards of musical eduThe great diversity of music created by African communities is reflected in this book, which discusses
the ways in which a wide range of musical forms are
composed and performed from Egypt to South Africa and from Ghana to Kenya. As two composers
explain here, this diversity provides much inspira-
cation that are the hallmark of the Paris
Conservatoire transmitted the characteristic French
piano style faithfully to each new generation for
some 150 years. First published to critical acclaim
in 1992, this landmark study, now considerably expanded and revised, surveys the historical develop-
71
tor of keyboard studies at Howard University, is an
active pianist, writer, and music critic. He received
degrees in piano performance from Oberlin Conservatory, the University of Michigan, and the University of Maryland. He has performed throughout
the United States and Europe and is a frequent adjudicator of national and international piano competitions. He contributed more than fifty biographical articles on French pianists to The New Grove
Dictionary of Music and Musicians and serves as
editor of the Journal of the American Liszt Society.
Juilliard: a history
Andrea Olmstead
Urbana: University of Illinois Press, c1999
368p.: ill.; 25 cm.
ISBN 0-252-02487-7
This first comprehensive history of The Juilliard
School takes us behind the scenes and into the practice rooms, studios, and offices of one of the most
famous music schools in the world. Detailing
Juilliard’s colourful history and penetrating the
mystique of its rarefied, ultra competitive conservatory atmosphere, Andrea Olmstead tells a fascinating story of vision and temperament, of talent
and backstabbing politics, and of artistry and determination.
ment, performance practices, and pedagogical philosophies of this vital - and diverse - French school
of piano playing.
The author, himself a noted pianist, studied with
several proponents of the jeu perlé, that uniquely
French style of playing categorised by rapid, clean,
even passage work, note after note ‘bright and perfectly formed, like each pearl on a necklace’.
Over a fifteen - year period, he conducted more
than seventy interviews with notable French - trained
pianists, many of them new to this edition and all
of them frank and lively conversationalists, ranging
from a ninety - six - year old Paul Loyonnet - an
important link to the traditions of the nineteenth
century - to emerging young talents of today. Adding an element of specificity to this edition are the
author’s detailed recollections of his own lessons
with such luminaries as Gaby Casadesus, JeanneMarie Darré, Monique Haas, Eric Heidsieck, and
Magda Tagliaferro.
The years since the Second World War saw the
growth of recordings and radio and television broadcasts that finally opened up the French school to
influences from other traditions. But the voices in
this book assure us that Paris remains a centre of
interesting and distinctive piano playing.
Charles Timbrell, professor of piano and coordina-
72
Through its various incarnations as Institute of Musical Arts, the Juilliard Musical Foundation, the
Juilliard School, the institution has been shaped by
the strong personalities of its administrators, the
artistic sensibilities of its faculty, and the prodigious
gifts of its students.
The roster of Juilliard faculty and alumni reads like
a veritable who’s who of the performing arts world.
The music faculty have counted Josef and Rosina
Lhevinne, Charles Seeger, and Olga Samaroff
Stokowski among their number. The music department has produced such luminaries as Richard
Rodgers, Van Cliburn, Billy Strayhorn, Philip Glass,
James Levine, Leontyne Price, Miles Davis, Wynton
Marsalis,Yo-Yo Ma, Itzhak Perlman, Renée Flemming,
and Midori. The dance faculty have included José
Limon, Anna Sokolow, Doris Humphrey, Antony Tudor, and the venerable Martha Graham. Bright lights
from the youngest department in the school, the
Drama Division, include Robin Williams, Kevin Kline,
David Ogden Stiers, Christopher Reeve, William
Hurt, Kelly McGillis, Patti LuPone, and Mandy
Patinkin.
Andrea Olmstead, coordinator of the Department
of Music History and Literature at The Boston Conservatory, is the author of Roger Sessions and His
Music, Conversations with Roger Sessions, and The
Correspondence of Roger Sessions. From 172 to 1980
she taught music history at The Juilliard School.
[French]
Kurt Weill : a life in pictures and documents
David Farneth with Elmar Juchem and Dave
Stein
Woodstock, N.Y.: Overlook Press, 2000
xv, 312p., 24 p of plates: ill. (some col.), map,
music; 30 cm.
ISBN 0-87951-721-2
An iconoclast, the legendary Kurt Weill has become
a figure central to the cultural life of the twentieth
century, an artist known for his relentless mitigation of the tension between ‘high’ and ‘low’ art. He
left behind a treasury of classical music and unforgettable songs like ‘Mack the Knife’ and ‘Alabama
Song’. Working with Bertolt Brecht and others, he
used musicals like The Threepenny Opera to address
the n most serious of social and political issues. Now,
David Farneth, Director of the Weill-Lenya Research
Centre and editor of the acclaimed Lenya: The Legend, has created an utterly unique and engaging
document of Weill’s life and accomplishments
through photos and the composer’s own words.
In a lavish style suitable to the subject, Kurt Weill
covers the composer’s entire life, from his GermanJewish heritage and early political experiences to
his legendary relationship with Lotte Lenya and his
late-life experiments with the ‘concept musical’.
No significant event - or - song is left out. Farneth
brings together text and photos from public and
private archives in five different countries to assemble the most extraordinary of biographical documents. With 900 photographs, including stills, musical scores, playbills, the composer’s notes and other
original artwork, Kurt Weill is an essential addition
to any theatre or music ;over’s collection.
David Farneth is the editor of Lenya: The Legend,
also published by The Overlook Press.He is Director of the Weill-Lenya Research Centre in New York,
Archivist of the Kurt Weill Edition, and Editor of
the critically acclaimed Kurt Weill Newsletter.
Elmar Juchem is a German musicologist who recently joined the Kurt Weill Foundation. He has
published several articles on Weill and co-edited
Weill’s collected writings.
Dave Stein works as an archivist, editor, and digital
specialist at the Weill-Lenya Research Centre. &
73
Kamerorkes van Suid-Afrika
(KOSA)
Stefans Grové
Kamerorkes van Suid-Africa 2000
Agter vlnr: Anneke de Villiers, Suzanne Martens, Clotilde Avalos, Vladimir Ivanov, Leonie Greyling, Jeanne-Louise
Moolman
Voor vlnr: Jacques Fourie, Camelia Avalos, Denise Sutton, Peter Martens, Heleen du Plesses, Viara Markova, Maren du
Plessis, Peter Smith, Valerie Andreev
slegs een behoue gebly–dié van Durban. Vanjaar
Tot ‘n mate kan kamermusiekgroepe die behoefte
na stryk- en blaasmusiek vul, maar die oplossing na
alleen het drie gesneuwel. Vroeër was daar twee in
ensembles van groter omvang lê eintlik in die
Kaapstad alleen, en een elk in Bloemfontein,
stigting van kamerorkeste met ‘n stewige
Johannesburg en Pretoria. Elk van hierdie
strykerkern en bykomende blasers, soos dit nodig
simfonieorkeste het ‘n suksesvolle kulturele funksie
vervul en hul afskaffing–meestal om finansiële redes,
mag wees. Maar kamerorkeste het beperkings, want
Van ons ses beroepsorkeste het, tragies genoeg,
het ‘n leemte gelaat wat onvervulbaar is. Hopelik
dit sluit laat Romantiese orkesmusiek uit, wat ‘n
stewige bestanddeel van die orkesrepertorium
kan ons kultuur, en ekonomie daarby gesê, in die
vorm. Maar die repertorium sluit tog alle Barok-,
toekoms so ontwikkel dat die noodsaaklikheid van
Klassieke-, vroeë Romantiese- en ook vroeë 20ste
‘n simfonieorkes as ‘n vanselfsprekendheid beskou
eeuse musiek in. (Die Lindblad-simfonieë wat in
sal word. Intussen moet plaasvervangers die leemte
vul.
die CD-resensies bespreek is, is deur ‘n kamerorkes
uitgevoer).
74
In ons land bestaan daar reeds enkele kamerorkeste,
Vanselfsprekend word die repertorium op werke uit
en op die oomblik is pogings in werking gestel om
die Barok, Klassiek en ook uit sommige Romantiese
die gestorwe Kaapstadse Filharmonie deur ‘n
werke gekies.
kamerorkes van 45 lede soos ‘n Phoenix uit die as
te laat verrys.
So byvoorbeeld het die program van die eerste
konsert in Mei bestaan uit twee Brandenburg
Vroeër vanjaar, toe tekens van ‘n bedreiging vir die
konserte van Johann Sebastian Bach, juis gekies om
Napop orkes begin kop uitsteek het, het lede van
saam te val met Bach se 250ste sterwensdatum.
daardie orkes besluit om ‘n kamerorkes op die been
te bring. Die lede is almal uit die geledere van die
Dit was die derde en sesde konserte wat albei vir
gestorwe Napop gewerf en bestaan uit ‘n kerngetal
strykers van 16, met blasers wat per geleentheid
strykers bedink is. Die program is afgesluit met
Benjamin Britten se Simple Symphony.
‘ingevoer’ word.
Die tweede konsert was gewy aan Edvard Grieg se
Maar kenmerkend van hierdie kamerorkes is die
Suite, op.40 (wat beskou kan word as een van die
feit dat hulle dirigentloos musiseer en in elk van
eerste neo-klassieke werke), Johann Sebastian Bach
die maandelikse konserte wat in Meimaand begin
het, is ‘n gehalte spel gelewer wat met die beste
se Brandenburg Konsert no.5 met Helen Vosloo as
van oorsee vergelyk kan word. Om sonder dirigent
Tsjaikowski se Serenade vir Strykorkes, op.48.
die solo fluitiste, en afgesluit met Pjotr Ilitsj
te musiseer vereis ‘n dissipline wat neerkom op ‘n
innerlike samehorigheidsgevoel en ook instinkte
Die Julie-konsert het groter afmetings aangeneem
wat met ervaring gekweek word.
met die insluiting van twee hobos en twee horings,
Die Kamerorkes van Suid-Afrika, soos hierdie groep
en ook ‘n klavierkonsert. Die program was geopen
met die Divertimento in F, K138 van Wolfgang
heet, speel onder leiding van die konsertmeesteres
Amadeus Mozart, die Klavierkonsert no.12 in A, K414
Denise Sutton, en gedurende die afgelope drie
van dieselfde komponis met Malcolm Nay as solis,
konserte was daar ‘n ongelooflike verfyndheid van
en afgesluit met Mozart se Simfonie no.29 in A,
denke en ensemble-sekerheid te bespeur, wat
K201.
toegeskr yf kan word aan ‘n demokratiese
ingesteldheid, waar iedere musikus wat deel vorm
Die repertorium vir kamerorkes lê nog wyd oop vir
van die ensemble, ‘n mening gegun word.
hierdie voortreflike en buitengewoon perfeksionistiese ensemble. Mag ons nog lank bevoorreg
Die tempo-beslissings is vanselfsprekend geen
wees om in hul vleklose en geïnspireerde musisering
balanskwessies tog wel, en dit is hierin waar ‘n mens
te deel.
&
‘n gedissiplineerdheid merk wat spontaan aandoen.
Professor Stefans Grové is bekende komponis en resensent en verbonde aan die
Universiteit van Pretoria
75
Die Eerste Unisa Nasionale
Strykerskompetisie
Stefans Grové
In Augustus vanjaar
het Unisa sy eerste
nasionale strykerswedstryd aangebied. In die
verskillende rondes is
die aansienlike getal
mededingers tot slegs
vier uitgedun, en wie
dus kon kwalifiseer om
aan die finale ronde
deel te neem–twee
violiste en twee
tjelliste.
R10 000 bekroon is.
Haar keuse het op die
Variasies op ’n
Rokokotema van Pjotr
Tsjaikofski geval, ‘n
virtuose werk wat ‘n
verbluffende tegniek
vereis, en waarteen
Gerber in alle
opsigte opgewasse
was.
Die violis Philip
Nolte wat ook die
Hulle was Zoë Beyers
Sibelius Vioolkonsert
Stefan
Grové,
Zoë
Beyers,
Anzél
Gerber
en
Philip
Nolte
(17) van Kaapstad,
gekies het, het ‘n
Philip Nolte (22) van
glansryke uitvoering
Pretoria, Stefan Grové
van
die
werk
gegee
wat
minder
ingetoë as dié van
(23) van Stellenbosch en Anzél Gerber (24) van
Beyers
was.
Hy
het
‘n
‘oper’
klank
nagestrewe en
Pretoria.
oor die algemeen was sy benadering briljanter. Ook
die finale was op ‘n besonder forse manier benader.
Al vier is getakseer op hul optrede saam met ‘n
simfonieorkes onder leiding van Richard Cock. Die
Stefan Grové se keuse het op Antonin Dvorák se
span beoordelaars het uit die volgende bestaan:
Tjellokonsert geval, ‘n werk wat nie alleen ‘n
Japie Saayman (Voorsitter), Michael Masote, Walter
Mony, Susan Mouton, Derek Ochse, John Roos en
emosionele volwassenheid verlang nie, maar seer
Magdalena Roux.
sekerlik ook ‘n onberispelike tegniek, veral
intonasiesuiwerheid in die hoogste register. Die
By geleentheid van die prystoekennings was dit
openingsdeel was gekenmerk deur emosionele
duidelik gestel dat die prestasies van die deelnemers
intensiteit en die tweede deur innige deurlewing.
oor al die rondes in aanmerking geneem is. Die
Tog jammer dat die dirigent hom hier versmoor
laaste ronde wat uit optredes met orkes bestaan
het. In die finale kon hierdie besonder begaafde
het, het dus bloot die kroon gespan oor die wedstryd.
jong tjellis wat met die vierde prys bekroon is, tog
sterker deurdring as in die vorige twee dele, veral
Zoë Beyers het die eerste prys van R15 000 behaal
as gevolg van die feit dat sy instrument nie oor die
en haar finale optrede het bestaan uit die
nodige drakrag beskik nie, en meer as ‘n ideale
Vioolkonsert van Jan Sibelius. Kenmerkend van haar
kamermusiektjello opval.
optrede was haar goeie toonbeheer, haar
onberispelike tegniese vaardigheid en haar vermoë
Zoë Beyers het ook die Marian Lewin-prys (vir die
om in hoogtepunte steeds deur te dring.
beste uitvoering in die derde rondte) en die Norman
Ongelukkig was daar ook intonasieglipse in die
Nossel-prys (vir die beste concerto in fie finale)
oktaafspel.
rondte losgeslaan. Albei ten bedrae van R1 000. Zoë
is uitgenooi deur Hannelie Rupert-Koegenberg om
Anzél Gerber was die deelnemer met die meeste
‘n uitvoering by die La Motte Wynlandgoed in
oorsese opleiding en ervaring en dit het dus as
Franschoek te gee. &
verrassing gekom dat sy met die tweede prys van
76
Onderwysaspekte/Teaching Aspekts
Some advice to young singers
Virginia Oosthuizen
‘When can I start taking singing lessons?’ I am often
asked. My reply is that an adolescent young woman
should be physically well developed, and that a young
man should be about 17 years of age, and that he
should have completely rested his voice during the
breaking period. The vocal material must be good.
I started taking singing lessons at the age of fourteen, at the Conservatorium of Music in Stellenbosch.
My teacher was the well known Margarethe Wandelt
from Breslau. She had turned me down when I was
thirteen and sent me away with the tart injunction to
‘Do somesing about ze hair, kind, you look like a
seal, also.’ I was lucky to be accepted, as Miss Wandelt’s
father had owned a theatre in Breslau and she had an
immense knowledge of the arts in general.
It is not easy to find a good voice teacher, not all
good singers can explain, step by step, how to build a
sound technique. There is the danger that promising
young singers may be wooed by teachers with contacts, who promise them early careers. There are those
who do not nurture exceptional young voices with
care, but rather, for their own glory, push them far
too soon into singing dramatic arias and roles that
can irreparably damage the voice.
I remember asking Miss Wandelt, at the tender age
of fifteen, after having heard one of her advanced
students singing it beautifully, whether I might learn
‘Musetta’s Walz Song’ from La bohéme. She laughed
until the tears ran down her cheeks ‘Aber, Kind, you
know nussing about life.’ I found this rather hurtful as
I thought that I knew everything! I was given, instead, a new song called ‘Poppies for forgetting in
the month of May’ which I detested! But I was learning useful new techniques slowly!
A good voice teacher should be able to hear and know
where the student is placing her/his voice and should
be able to clearly explain and demonstrate how and
where the tone should be placed. She/He should be
able to diagnose faults and repair them if possible.
Through careful repetition of appropriate vocal exercises and phrases of songs, the placing of the voice
should progress until a balance has been achieved of
mouth and nasal resonance and correct breathing, producing a beautiful silver centred, concentrated and
resonant tone.
An experienced teacher will have a pretty good idea
into which vocal category a young voice belongs. Some
voices, however, are not easy to classify, eg a soprano
with a warm, rich timbre may sound as though she
could mature into a dramatic soprano or a spinto.
The same applies to the male voice. It is wise to train
all voices lyrically and to let them develop naturally.
Some students have a tendency to shout, instead of
sing, and choose completely unsuitable dramatic arias
if they are told that they may develop into dramatic
singers.
Remember quantity is worthless without quality.
I like to teach agility early as it is easier for young
voices to attain flexibility. Passages from oratorios
make good exercises and are beautiful and inspiring.
It is ‘healthy’ to study Mozart. His style is wonderfully vocal. To develop a true Mozarteán style one
must start early. It is my belief that it is seldom possible for a voice schooled entirely in Italian and/or
French opera, to later develop a perfect Mozart style.
Conversely, I believe it possible for a singer to grasp
the Italian vocal idiom successfully having initially
been trained on Mozart, Handel, Bach, Schubert etc.
That is why singers such as Dietrich Fisher Dieskau,
Christa Ludwig, Herman Prey, Edita Gruberova, Kiri te
Kanawa and many more excel as concert and opera singers.
77
The Cape Town Eisteddfod prescribed the Alleluja
from Mozart’s ‘Exultate Jublate’ when I was 17. This
was my first taste of Mozart. I slowly practised the
coloratura-runs until I could sing them at the correct
tempo. My long suffering aunt drove me from
Stellenbosch to Cape Town and sat through 23
Allelujas! Happily I came second and we had reason
to celebrate. Mozart has to be impeccably sung, it is
very exposed singing, with no room for ‘cheating’.
Once mastered the style benefits one in many other
areas of vocal music: oratorio, Lieder and last, but
not least, Viennese operetta.
To develop into a technically secure proficient singer
takes years of dedicated study, and there is a lot more
to becoming a performer than being able to sing well.
Do not become too emotionally dependant on your
teacher. I had the privilege of studying German Lieder
interpretation with Elena Gerhardt in London. She
had pioneered Hugo Wolf Lieder and knew Richard
Strauss personally as well as other artists and composers of that era, I was overwhelmed! Four new Lieder
to be studied every week and four others to be polished. Her personality and experiences were fascinating and I fell completely under her spell! I prepared
the work alone and with her pianist Robert Sutherland
(who was later to accompany Maria Callas and Giuseppi
di Stefano on their final world tour). I learned a great
deal from Mme Gerhardt’s wonderful artistry, but I
also copied her beautiful mezzo-soprano voice by false
darkening my voice. Luckily no damage was done,
three years in Vienna and Salzburg soon put that right
and I was once again a lyric-soprano with coloratura, I
had learned a lesson never to sing out of one’s vocal
category.
A mirror is the performer’s most crucial tool. There
is no other way of controlling bad habits and affectations.
One should aim to have as natural a mouth position
as possible. Singers are entertainers and the audience has as much right to feast their eyes on a pleasant, expressive face and a beautiful gown as to listen
to a beautiful voice. Pulling the upper lip down over
the teeth dulls the sound and looks ugly. The tongue
should lie relatively flat and a slight smile or ‘lift’ of
the upper lip enlivens the tone and looks pleasant.
A professional opera and concert career is tough, but
what a privilege it is to be able to interpret the music of Mozart, Bach, Handel, Haydn, Schubert,
Schumann, Richard Strauss, Hugo Wolf, Johann
Strauss, Lehár and many many more, thereby enriching the lives of others and of oneself. &
Stand still in front of a mirror when practising and
cut out all unnecessary body and hand movements,
(do not use your hand as a crutch for difficult notes or
passages). Watch the hands for tension which sometimes shows up in claw like positions. If you follow
this advice you will find that you give just the right
amount of genuinely expressive movement when performing.
Virginia Oosthuizen, a versatile singer, is acclaimed as a Mozart interpreter of high accomplishment
78
Die legato-lyn in sang
Magdalena Oosthuizen
‘ “The foundation of bel canto is the ability to sing
legato. The foundation of all singing is the
legato…”’ (Fuchs haal W.J.Henderson 1938, aan:
1963: 101.)
toonsterkte (tonal force) of toonkleur tussen legatotone wees nie.Tone moet vir hul volle tydsduur,
sonder verandering van dinamiek, aangehou word
(Christy 1974: 117).
Die belangrikheid van legato spreek duidelik uit
die vogende aanhalings:
‘But singing depends chiefly on the connection of
tones. Every single tone in a scale, for example,
may be right, but the connection from one tone to
another very wrong.’ (Lehmann 1924: 234.) Legato
is sinoniem met die lyn in die stem, die groot
frasering.
Deur ‘n reeks tone so aaneen te skakel, verkry die
sanger ‘n legato-lyn in sy sang. Die legato-lyn kan
dan met ‘n string pêrels of die skakels van ‘n ketting
vergelyk word.
‘The essence of all vocal exercises, especially in
early phases of training, is the legato. In effect,
legato singing equates with technical proficiency
and indicates that an adjustment has been maintained throughout the length of the musical phrase
within which all functional elements have met in
agreement.’ (Reid 1965: 95 en 96.)
Wat word onder die term legato verstaan?
Dit is die vermoë om sonder ‘n breuk in die
toonstroom, van een toon na die volgende te gaan;
die twee tone dus aaneen te skakel. Franca (1959:
38) sê daar moenie ‘n vakuum tussen die twee tone
ontstaan nie. Die eerste toon moet bly klink totdat
dit deur die volgende toon afgelos word. Dit moet
blitssnel geskied, sonder om die asemstroom te
onderbreek (Fuchs 1963: 102) of die stem van een
toon na die volgende toe te sleep (Fuchs 1963: 38).
‘Vocal legato depends upon continuity of vocal
sound.’ (Miller 1996: 122.)
‘Legato style is the foundation of singing technic.’
(Christy 1974: 117.)
Waarom is legato dan die fondament van
sangtegniek? Omdat legato-sang slegs moontlik is
wanneer die sangapparaat vry is en gebalanseerd
en gekoördineerd funksioneer. Die vermoë om
legato te sing, is die gevolg of resultaat van ‘n
sangapparaat wat korrek funksioneer.
Legato stel ook die sanger in staat om langer frases
te sing, omdat daar volgens Fuchs (1963:102) nie
hindernisse, soos tone wat nie bymekaar pas nie, is
nie. Lawson (1955:45) sê die vorme wat ‘n sanger
‘n frase op ‘n goeie legato-lyn kan gee, is onbeperk.
Reid sê ook dat indien ‘n toonleer oor die omvang
van twee oktawe egalig en legato gesing kan word,
die resonansie-aanpassing korrek is en dit ook ‘n
bewys is dat die registers koördineer. ‘…legato singing proves out the functional worth of the technique.’ (Reid 1965:96.)
Fuchs (1963: 104) noem legato as een van die drie
essensies van goeie sang asook van die behoud van
die stem. Die ander twee is asembeheer en
kopresonansie.
Daar moet ook nie skielike verandering in
79
Die volgende faktore beïnvloed die legatolyn
beweeg. Die knieë moet ontspanne wees; nie sluit
nie. Die heupe en boude moet so na as moontlik
Liggaamshouding en liggaamsopstelling
binne die gravitasielyn aangepas word. Die bekken
word effens vorentoe gerol sodat dit voel asof die
Net soos by enige ander instrument is legato slegs
boude gemaklik onder die liggaam ingevou word.
moontlik as die instrument korrek opgestel is. By
Dit moet voel asof die lae rug reguit gemaak word.
sang ís die instrument die kunstenaar en die
Hiermee saam gaan ‘n gevoel asof die lae buikspiere
kunstenaar ís die instrument, daarom is die
gemaklik saamgetrek is. McKinney (1994: 38) sê:
liggaamshouding en liggaamsopstelling van primêre
‘pulled in gently’, maar die skrywer vind dat die
belang. Dit is nie moontlik om legato te bespreek
begrip ingetrek soms styfheid in die lae buikspiere
sonder om eers by liggaamshouding en -opstelling
veroorsaak. Die bobuik moet altyd vry en gereed
asook asemhaling, stil te staan nie.
om te beweeg, voel. Indien die bobuik te sterk
Die skrywer verwys u graag na McKinney (1994: 33
ingetrek of uitgestoot word, veroorsaak dit span-
tot 45) waar liggaamshouding en -opstelling
ning en styfheid wat vr ye asemhaling en
breedvoerig beskryf en bespreek word. Hier word
toonproduksie belemmer. [Legato is slegs moontlik
slegs enkele punte opgesom:
binne vrye toonproduksie.] Die rug moet lank en
Die liggaam funksioneer optimaal binne die regte
gestrek voel, ‘Imagine that you are standing as tall
kondisie. Dit kom daarop neer dat indien die skelet
as you can;’ (McKinney 1994: 38), met die lae deel
korrek opgestel is en die spiere vry is om beweging
van die rug reguit [maar nie styf nie]. Die rug moet
te produseer en te help om die liggaam te
ook terselfdertyd breed en ruim gedink word. Die
posisioneer, onnodige spanning tot die minimum
borskas is altyd gemaklik hoog gelig. Dit behoort
beperk word. Natuurlik kan die liggaam nie sonder
reeds voor inaseming gelig te wees [dit behoort
spanning funksioneer nie, maar oormatige spanning
eintlik altyd gerieflik gelig te wees, m.a.w. ‘n
moet geïdentifiseer en vermy word. ‘Dit is belangrik
leefwyse te word]. Die borskas moet relatief stil
dat die liggaam in ewewig moet wees, sodat ‘n
en rustig wees tydens sang. Dit moet uitgesit, ruim
sekere groep spiere nie oorbelas is nie. Om in balans
en veerkragtig voel. ‘Avoid any sensation of having
te wees, verskaf ‘n neutrale posisie van waaruit tot
to muscle the chest up by pulling in on the upper
aksie (uitdrukking) oorgegaan kan word.’ (Theron
abdomen; let thoughts, not muscles, hold it up.’
1994:47.) Die korrekte liggaamshouding en -
(McKinney 1994:38.) Die skouers is effens
opstelling begin met ‘n positiewe denkpatroon. Die
teruggerol en rus gemaklik in hul gewrigte. Die
sanger moet sy/haar eie liggaamshouding as
arms en hande hang gemaklik en natuurlik langs
veerkragtig, regop, ruim, soepel, vry-om-te-beweeg,
die sye. Die kop [en nek] balanseer sentraal op die
op-en-wakker, lank, gebalanseerd, vry en gelukkig
skouers, in lyn met die liggaam. Die ken moet voel
visualiseer. Bunch kan ook in dié verband aangehaal
asof dit effens ingerol is en die oë moet waterpas
word: ‘If postural alignment is dynamic, a feeling of
voorkom.
lightness and ease of movement ensues.’ (1982:20)
Hierdie liggaamsopstelling is die basis vir korrekte
Die liggaamsopstelling moet vry wees, binne ‘n
asemhaling soos vir sang.
denkbeeldige lyn, die gravitasie- of loodlyn. Hierdie
opstelling behels dat die gewig eweredig versprei
Asemhaling, asemstut en asembeheer
is tussen die voete, wat nie te ver uitmekaar moet
wees nie, die een voet effens voor die ander. Die
Asemhaling regverdig ‘n artikel op sigself, dus word
bene moet vry voel, gereed om enige tyd te kan
hier volstaan met ‘n opsomming, aan die hand van
80
McKinney (1994: 46 tot 55). Asemhaling vir sang
establishes a steadiness of control, necessary for all
bestaan uit vier fases, t.w. inaseming, suspensie,
good legato singing. When posture is correct, and
beheerde uitaseming en herstel. Die beheerde
all the muscles function properly in singing, there
uitaseming gaan gepaard met fonering.
is a feeling of flexible, expansive openness in the
body.’ (McKinney haal Christy aan 1994: 52.)
Tydens inaseming moet die sanger ‘n gevoel van
uitsetting rondom die middel van die liggaam, net
Aan die einde van die beheerde uitaseming [en
onder die ribbekas, ervaar. Wanneer die diafragma
fonering] volg ‘n kort oomblik van herstel. Binne
af beweeg, verplaas dit die ingewande in die buik
hierdie momentele fase moet al die spiere wat
en veroorsaak die gevoel van uitsetting reg rondom
gemoeid is met asemhaling, fonering, resonansie
die middel, net onder die ribbes. Die rug en sye
en artikulasie ontspan. Hierdie fase is baie belangrik,
(flanke) sit uit, maar die grootste gevoel van
want slegs as die spiere genoeg kans kry om te
uitsetting behoort aan die voorkant van die liggaam
ontspan, is hulle in staat om doeltreffend saam te
plaas te vind. Hierdie gevoel van uitsetting is slegs
trek. [Asem vloei dan weer die longe binne en die
moontlik indien die bobuik vry is om te beweeg.
siklus word voortgesit.]
Die suspensiefase het nie ‘n soortgelyke fase in
Dit is baie belangrik om duidelik tussen asemstut
normale asemhaling nie. In sang is dit egter ‘n baie
(ondersteuning) en asembeheer te onderskei.
belangrike fase: die asem word momenteel in
Asemstut is ‘n dinamiese verhouding tussen die
suspensie gehou onmiddellik nadat die inaseming
spiere wat sorg vir inaseming en dié wat sorg vir
klaar is. Indien die suspensie van die asem korrek
uitaseming, met die doel om voldoende asemdruk
uitgevoer word, verseker dit ‘n bykans moeitelose
aan die stembande te voorsien om ‘n verlangde
toonaansit, sonder groot aanpassings van die
toonhoogte of dinamiese vlak te kan aanhou. Dit is
betrokke meganisme. [Hierdie moeitelose
dus ‘n funksie van die asemhalingspiere.
toonaansit is essensieel vir legato.]
Asembeheer is hoofsaaklik ‘n funksie van die
stembande. Dit kan gedefinieer word as ‘n dinamiese
Die beheerde uitaseming in koördinasie met die
verhouding [wisselwerking] tussen die asem en die
aksie van die stembande is verantwoordelik vir
stembande, wat dan bepaal hoelank daar met een
fonering. [Tydens hierdie fase gebeur legato.] Die
asem gesing kan word. [‘Sodra die teenaksie van
duurte van uitaseming word bepaal deur die
die diafragma en maagspiere in werking tree,
musikale vereistes van die frase. Dit is baie belangrik
ontstaan koördinasie met die strekspiere van die
dat die asem behou en baie stadig vrygestel word,
larinks en die stemspleet sluit onwillekeurig’
terwyl die diafragma geleidelik na sy rusposisie
(Fourie haal Husler en Rodd-Marling 1976: 35 en
terugkeer. Die beste manier om beheer oor die
36, aan: 1986: 91).] Indien die stembande nie
uitaseming te verkry, is om die gevoel van uitsetting
behoorlik sluit nie, m.a.w. die verhouding tussen
rondom die middel van die liggaam [soos hierbo
asem en stembande is nie doeltreffend nie, sal die
beskryf] te behou. Hierdie uitsetting sal, met die
asem baie gou opraak, ongeag hoe goed die
verbruik van die asem, kleiner word, maar dit moet
ondersteuningsmeganisme [asemstut] werk.
só geleidelik gebeur dat die sanger die gevoel van
uitsetting vir die volle duur van die frase behou.
Die belangrikheid van hierdie doeltreffende
‘The feeling of holding back the breath is essential
wisselwerking tussen die asem en die stembande
to establish “Suspension”, and continues through
vestig dan die aandag op die volgende belangrike
the attack and the entire phrase following. It pre-
aspek, naamlik:
vents collapse of the resistant breath muscles and
81
Korrekte toonaansit
‘n baie hoë vlak kan konsentreer. Hy/sy moet veral
met intense konsentrasie na hom-/haarself luister,
Indien die toonaansit nie korrek is nie, is legato
want die oor is die kontrolleerder van die legato-
nie moontlik nie. Armhold sê ook korrekte
lyn.
toonaansit is die essensie van legato-sang (1963:
34). Dit is moeilik, of selfs onmoontlik, om bv.
Hoe die toon eindig, is ewe belangrik, want die
asemrige tone, of swak geïntoneerde tone te verbind
einde van die een toon beïnvloed weer die aansit
(aaneen te skakel). Hoe die eerste toon van die
van die daaropvolgende toon, en dus die legato-
frase aangesit word, is tegnies bepalend vir die
lyn. Ongeag die toonduur of die posisie van die toon
verloop van die hele frase. ‘A good attack is more
in die frase, moet die sanger sorg dat die toon so
than “half the battle”…’ (Christy 1974: 52). Christy
netjies eindig as wat dit begin het. Spesiale aandag
sê verder indien die toon nie behoorlik aangesit is
moet ook aan die laaste toon van die frase gegee
nie, dit baie moeilik, selfs onmoontlik is om dit
word. ‘A singer who attacks and sings well, but re-
later te verbeter. Die hele frase, en dus ook die
leases the last note of a phrase badly, ruins his own
legato-lyn, ly gevolglik daaronder, veral as daar asem
work and tires easily.’ (Franca 1959: 21.)
op die eerste toon gemors is.
Enkele wenke om te verseker dat die toon netjies
Die ideale toonaansit kom van die denke en die
eindig:
asem, en die meganisme van die larinks en die reso-
Die keel moet oop en die borskas gemaklik gelig
nators tree gelyktydig daarmee saam in werking.
bly.
Bunch ( 1982: 64) sê dit is wanneer die asem rustig
Die asem moet ná die toon, met die
en egalig begin vloei en gevolg word deur ‘n
asemhalingspiere, nie die keelspiere nie, gestop
presiese, oombliklike sluit van die stemvoue
word.
waarmee die stroom asem dan kontak maak [kyk
Die sanger moet ‘n presiese konsep van die
ook asembeheer hierbo]. Indien dit korrek uitgevoer
toonduur hê en nie die eindkonsonant te vroeg sing
word, sal die toonaansit skerp en lewendig, suiwer
nie.
en sonder spanning wees. Hierdie korrekte
Waak teen agtelosigheid t.o.v. die korrekte ritme
toonaansit staan bekend as coup de glotte of stroke
(Christy 1974: 54).
of the glottis.
Die vermoë om ‘n toon korrek aan te sit sowel as
Die denke speel ‘n primêre rol. Voordat die toon
korrek te eindig, groei, net soos enige ander aspek
begin word, moet ‘n presiese konsep van die toon
van sangtegniek, oor ‘n tydperk totdat dit later
(soos ook van die hele frase) eers gevorm word t.o.v.:
tweede natuur word.
Toonhoogte
Dinamiese intensiteit
Registers en resonansie
Toonkleur
Vokaalkleur asook die meegaande konsonant
Registers en resonansie, net soos asemhaling,
(indien enige).
regverdig ‘n skrywe op sigself. In verband met die
Die toon moet dan egalig, lig, direk en oombliklik,
legato-lyn in sang dus slegs enkele gedagtes rondom
presies in die middel (nie van bo of van onder
hierdie belangrike aspekte.
benader word nie) en spontaan begin word. Om elke
toon in die frase en die legato-lyn so te kan aansit,
‘n Grondige kennis en begrip asook die korrekte
moet die sanger positief en geesdriftig wees en op
toepassing dáárvan, van registers is essensieel vir
82
‘n goeie legato-lyn en dit voorkom ook die ontstaan
Intervalspronge in die melodiese lyn behoort nie as
van opvallende en skadelike breuke in
spronge benader te word nie.
stemproduksie. Indien die stem nie uniform van die
laagste tot die hoogste toon is nie, is legato oor die
Al die tone van ‘n sangstuk moet op dieselfde
hele omvang nie moontlik nie.
fokuspunt gedink en dan deur ‘n impuls van die asem
aangesit word.
‘n Register is volgens Reid (1965: 58) ‘n reeks
opeenvolgende tone wat deur dieselfde meganisme
Selfs by intervalle so groot soos ‘n oktaaf opwaarts,
van die sangapparaat [laringeale meganisme,
moet ‘n sensasie ervaar word asof daar op dieselfde
asemhalingsmeganisme en spesifieke resonansie-
vlak gesing word, en asof niks radikaals in die keel
ruimtes] geproduseer word en gevolglik ‘n
verander nie. Daar is slegs groter asemtoevoer, ‘n
homogene klank [en timbre] het, en met ‘n
effens groter mondopening [die kaak val net
eiesoortige area waar dit effektief is. Aangesien slegs
ontspanne oop] en meer nasale dekking van die
tone met ‘n homogene karakter suksesvol
toon. By afwaartse intervalspronge moet ‘n sensasie
aaneengeskakel kan word, is dit dus logies dat legato
behou word asof die laer toon op dieselfde fisiese
eers moontlik is wanneer ‘n uniforme klank, asof
hoë vlak as die hoë toon geproduseer word. ‘n
daar net een register is, oor die hele omvang van
Kleiner mondopening en minder asemdruk is nodig.
die stem geproduseer kan word. Registeroorgange
Dit moet voel asof die toon lui en vóór in die mond,
moet dus uitgesorteer wees.
en op die lippe, gespreek word (Christy 1974: 124).
Deur die registers so te integreer dat geen breuk
Die belangrikste hulpmiddel om intervalspronge
in die stem aanwesig is nie, ontstaan korrekte
suksesvol in die legato-lyn te hou, is kopresonansie.
resonansie, en daarmee saam plasing, op hulle beurt
Veral wanneer twee tone binne die omvang van twee
weer onwillekeurig.
verskillende registers val, moet kopresonansie
doelbewus in beide tone aanwesig wees sodat hulle
Registers en resonansie word dikwels apart
‘n gemeenskaplike faktor kan hê.
bespreek, maar is eintlik nou verweef.
Nog ‘n gemeenskaplike faktor tussen die twee
Indien resonansie korrek aangepas is, is daar groter
intervaltone (soos ook tussen al die tone van die
vokale vr yheid, stemsoepelheid en tonale
frase) behoort toon- en vokaalkleur te wees. Dit is
uniformiteit. Binne hierdie raamwerk en indien daar
veral noodsaaklik wanneer ‘n melismatiese
‘n gemeenskaplike faktor in al die tone aanwesig
intervalsprong op een lettergreep of ‘n
is, is legato soveel makliker. Hierdie gemeenskaplike
eenlettergrepige woord voorkom, dat die toon-
faktor is kopresonansie. ‘Legato is a must for every
asook vokaalkleur dieselfde moet bly.
singer. Its tutelary goddess is head resonance, without which it is impossible.’ (Fuchs 1963: 104.)
Daar mag ook nooit van een toon na die volgende
Wanneer kopresonansie proporsioneel in al die tone
gegly, die tweede toon dus van onder aangesit, word
aanwesig is, gee dit die tone ‘n homogene kwaliteit.
nie. Albei tone van die intervalsprong moet presies
Selfs in die heel lae tone moet ‘n mate van
in die middel aangesit word. Die eerste van die twee
kopresonansie aanwesig wees om die nodige ‘hoë’
tone word vir die volle tydsduur daarvan op die
plasing, helderheid en briljantheid te verseker.
vokaal aangehou. Die tweede toon moet nie
geantisipeer word nie.
83
Die geslaagdheid van die hoër toon hang daarvan af of die laer toon reeds hoog genoeg gedink is.
In mate 46 tot 48 van Der Hirt auf dem Felsen – opus 129 van Schubert, kom die volgende groot
intervalspronge voor:
Die hoogdink van die f1 is belangrik. Die g2 en f2 onderskeidelik hang van die ligtheid van f1 af.
Dieselfde lied bevat ook ‘n voorbeeld van ‘n groot afwaartse intervalsprong; mate 58 tot 60:
Die b-mol moet op dieselfde hoogte as die voorafgaande d2 gedink word.
Dit word aanbeveel dat sodra die sangstudent primêre legato-oefeninge kan baasraak, met
intervalsprongoefeninge begin word. Franca (1959: 45) sê dat intervalsprongoefeninge both mind and
voice goed voorberei. Dit ontwikkel ook die gehoor en maak die stem soepel en beweeglik.
Oefeninge:
1. Oefeninge bestaande uit intervalspronge van slegs sekundes en tertse moet aanvanklik gegee word.
2. Moeiliker oefeninge kan dan mettertyd bygevoeg word.
Christy beveel onder andere die volgende twee intervalsprongoefeninge aan:
2.1
(1974: 125.)
84
2.2
(1974: 120.)
2.3
‘The voice must be guided from octave to octave solely by mind propulsion, lightly and nimbly.’ (Litante
1962: 44.)
2.4
(Armhold 1963: 72.)
2.5
(Armhold 1963: 73.) [Die gebruik van die Italiaanse nootname in die meegaande oefening is ongelukkig
verwarrend. Tog is dié spesifieke kombinasie van vokale en konsonante sangpedagogies baie geslaagd.]
85
2.6
Franca (1959: 45 tot 48) beveel die volgende veertien oefeninge, wat op enige vokaal gesing kan word,
aan:
2.7
2.8
2.9
2.10
2.11
86
2.12
2.13
2.14
2.15
2.16
2.17
87
2.18
2.19
2.20
Korrekte sing van ongeaksentueerde en
geaksentueerde lettergrepe en woorde
you forget your tone-placing. …making you conscious of registers.’ (Lawson 1955: 43.) Alles in ag
geneem, is dit dus ‘n bedreiging vir die legato-lyn.
Die sanger moet nie net ‘n geheelbeeld van die
melodiese frase hê nie, maar ook van die gesproke
sin. Presies soos wat déúr die lang tone en rustekens
na die volgende toon toe gedink word, moet déúr
ongeaksentueerde lettergrepe en woorde gedink
word. Die gesonge sin moet logies verwant wees
aan die spraakritme van die gesproke sin. Die klank
moet deurgaans deurgevoer word, m.a.w. die
ongeaksentueerde lettergrepe en woorde van die
sin mag nie ‘weggegooi’ word nie. Hulle is van
wesenlike belang in die vokale lyn en die
voortbeweeg van die melodie na ‘n logiese eindpunt
(Lawson 1955: 42 en 43).
Aan die ander kant is dit ewe belangrik om nie die
geaksentueerde lettergrepe en woorde te veel te
aksentueer nie. Dit sal ook die legato-lyn versteur.
Daar moet gewaak word teen noot-vir-noot-singery,
waar al die woorde en lettergrepe ewe veel
geaksentueer
word,
sowel
as
teen
onderbeklemtoning of oorbeklemtoning. Om
hierdie korrekte balans te verkry, moet die sanger
presies verstaan wat gesing word (veral in ‘n taal
wat vir hom/haar vreemd is) en dit sy/haar
hoofprioriteit maak om die boodskap só oor te bring
dat die volle intensiteit van die woorde deur die
luisteraar gesnap kan word. Die melodiese lyn is
die sanger se oordragsmedium.
Lawson waarsku terselfdertyd as volg teen die
ongeaksentueerde lettergreep [en woord]: ‘It is
tricky. It trips you up. It spoils your tone control. It
makes you drop your voice back in your throat. It
tricks you into relaxing your solid foundation of good
breath control. It makes you lose pitch.It makes
Diksie in die legato-lyn
‘Vocalization being essentially vowelization, it is
the vowel that is the real carrier of the tone. Con-
88
sonants have their own duration requirements that
are to be respected, but they must not become predominant within the line; clear consonant articulation can take place without glaring interruption of
the vowel.’ (Miller 1996:20.) Omdat die toon op
die vokaal gedra word, is die suiwerheid van die
vokale dus van die allergrootste belang vir die
legato-lyn. Die begrip van vokaalsuiwerheid moet
gelyktydig met dié van legato-sang en die egaligheid
van die vokale lyn ontwikkel (Reid 1965: 157).
van beide diftonge en triftonge word die toon op
die oop vokaal (soms ook vokaalelement genoem)
aangehou en dan vinnig deur die ‘toe’ vokaal gesing.
Om die legato te behou, moet die intensiteit ook
in die slotvokaal (of slotelement) behou word. Die
toonintensiteit moet dus deurgevoer word. ‘It must
taper off, of course, but it must not collapse and
disappear’ (Miller 1996:24.) Indien die slotvokaal
van die diftong of triftong verdwyn, stort die legato
ineen.
Om die vokale suiwer te sing, moet die vokaal eers
suiwer gedink word. Die mondholte, tong en kaak
sal spontaan aanpas. ‘n Goeie wenk in dié verband
kom van Lehmann (1924: 61 tot 63) wat sê dat die
‘y’ [die Afrikaanse ‘j’] onderliggend tussen al die
vokale moet wees, omdat dit die ideale posisie van
die tong sowel as die daarmee gepaardgaande oop
keel verseker en die vokale aanmekaar bind.
Konsonante moet met die uiterste presiesheid
gehanteer word. Die konsonante moet die legatolyn en die gesproke sin definieer, nie onderbreek
nie.
Die vokaalintensiteit moet behou word. Moenie die
daaropvolgende konsonant antisipeer nie. Miller sê
ook: ‘For clean diction and an unswerving legato, it
is of utmost importance to refrain from habitually
diminishing the vowel sound as it approaches the
oncoming final consonant of each word within the
phrase.’ (Miller 1996: 22.) Om die legato deurgaans
konstant te hou, moet die sanger op elke toon
denkbeeldig crescendo na die eindkonsonant toe.
Indien die toonvlak aanhoudend voor
eindkonsonante daal, gaan die frase-intensiteit sowel
as die legato verlore. Die naderende konsonant mag
ook nie, in antisipasie, die voorafgaande vokaalkleur
beïnvloed nie. Die vokaalkleur word hoofsaaklik
deur konsentrasie en die sanger se oor (deur akuut
te luister) vir die volle duur behou.
Stemdraende konsonante neem die toonhoogte van
die meegaande vokaal aan. Daar moet deur die
betrokke konsonant gesing word (dit moet klink)
om die legato-lyn te bevorder; dit dien eintlik as ‘n
brug tussen vokale, maar sonder om daarop te talm.
Miller sê ook (1996:20) om ‘n nasale konsonant
intens te ‘humm’ in ‘n poging om diksie te verbeter,
sal eerder die legato-lyn benadeel, omdat die toon
hoofsaaklik op die vokaal gedra word. Die foneme
o.a. m, n en ng moet nie behandel word asof hulle
vokale is nie, behalwe wanneer hulle as
dubbelkonsonante voorkom. Deur die bogenoemde
konsonante onnodig lank te laat klink, word die
woorde waarin hulle voorkom buite verband
beklemtoon. Die verlenging van al die stemdraende
konsonante het oordrewe diksie tot gevolg. ‘Diction-conscious enunciation is not good diction.’
(Miller 1996: 21.)
Diftonge en triftonge vereis spesiale aandag.’The
guiltiest diction agent in undermining the legato
line is the unruly diphthong, with its close relative
the triphthong.’ (Miller 1996: 24.) Enkele
voorbeelde van diftonge is: (Engels) my, thine, boy
now, mountain, flow, view, one (Duits) beim, Haus,
bau, Häuser (Afrikaans) raai, nôi, vrou, leeu.
Triftonge is o.a.: (Engels) fire, choir, flower, our,
pure (Duits) Bauer (Afrikaans) waaier. In die geval
Daar moet so lank as moontlik op die vokaal gesing
word terwyl konsonante skerp, duidelik en blitssnel
geartikuleer moet word.
Verder noem Miller ook die gebruik om ‘n hoorbare
skeiding tussen die konsonant en die vokaal te maak
as nog ‘n teenwerker van die legato-lyn. Sommige
sangers sing ‘n woord wat met bv. ‘n eksplosiewe
konsonant (ploffer) of ‘n frikatief begin, gevolg deur
‘n vokaal, bv. sat, met ‘n vinnige ontploffing van
asem op die konsonant [s] wat verkry word deur ‘n
89
kort bobuik-impuls, onmiddellik gevolg deur nog
‘n impuls op die opvolgende vokaal. Die klankvloei
word dus drasties onderbreek. Die emosionele
inhoud [en impak] van ‘n woord bepaal ook met
hoeveel krag die konsonant moet klink. In ‘n woord
soos bv. peace moet die konsonant nie buite
verhouding hard klink nie. ‘No matter how fine the
basic breath coordination may be, no legato can
wend its way through such a battery of eruptions
and minor explosions.’ (Miller 1996: 21.)
word, moet vir die sleutelwoorde van die frase
gereserveer word.
Indien die sanger presies in tyd sing, sal die
natuurlike ritme van die lied self ontplooi. Dit word
op sy beurt ook weer deur ‘n goeie legato-lyn
bevorder.
Ontspanne kaak en mond
Die kaak moet volkome ontspanne wees. ‘n Stywe
kaak verhinder
• Die blitssnelle artikulasie van die konsonante
• Korrekte plasing, veral in hoë legato-passasies
en hoë gedrae tone
• Doeltreffende resonansie
• Willekeurige, vrye verandering van toonkleur
• Vokaalsuiwerheid.
Hoewel die artikulasie van die konsonant tot die
laaste breukdeel van die toonduur uitgestel moet
word, mag dit nie só laat gesing word dat dit die
twee woorde ineen laat vloei nie. Daar moet veral
hierteen gewaak word wanneer die tweede van die
twee woorde met ‘n vokaal begin. Christy (1974:
126) sê in so ‘n geval moet die brugkonsonant nie
beklemtoon word nie terwyl die daaropvolgende
woord of lettergreep effens beklemtoon moet
word.’A clean delivery of consonants permits both
clarity of diction and continuance of tonal flow.’
(Miller 1996: 22.)
Christy sê die kaak behoort dieselfde afstand oop
te wees vir alle vokale wat in ‘n reeks op dieselfde
toonhoogte en intensiteitsvlak legato gesing word.
Deur die resonansieruimte van die mond te verander
of die kaak vir die verskillende vokale verskillende
afstande te laat val, sal die legato-lyn beslis verswak
of vernietig word (Christy 1974: 89).
Die volgende aanhaling staaf watter invloed diksie
op die legatolyn het: ‘During singing, whose very
foundation rests on the breath cycle …, breath is
turned into tone. When unhindered by clumsy diction, the flow of vibrant sound results in an unrelenting legato line that can be contoured at will.’
(Miller 1996: 25.)
Hoewel daar ‘n mate van spanning in die lippe en
die omliggende spiere, veral dié van die wangstreek,
moet wees, mag dit nie gespanne wees nie. Slegs
wanneer die lippe en kaak soepel is, kan egalig van
een vokaal na die volgende, van een toon na die
volgende, met of sonder konsonante tussen-in,
gesing word. ‘Even a singer with perfect breathcontrol cannot sing floating notes unless the muscles
round and inside the mouth are free of tension.’
(Fuchs 1963: 44.)
Die ritme van die musiek
Alle literatuur wat oor interpretasie handel, stel
die noodsaaklikheid van die presiese handhawing
van die ritme van die musiek voorop. Tog kan die
ritme, indien dit nie subtiel gehanteer word nie, in
‘n vyand van die legato-lyn ontaard.
Verandering in toonkleur en dinamiek
Die legato-lyn word versteur sodra die ritme
uitgestamp word. ‘Do not belabour a good rhythm.
Let it dance along on its own merits. Let your musical accent be subtle and delicate.’ (Lawson 1955:
43 en 44.) Verder sê hy die spesiale aksente wat op
sommige woorde [en/of lettergrepe] geplaas moet
Legato is destroyed when force of tone is changed
suddenly. (Christy 1974: 123.)
Christy sê die toonsterkte en toonkleur van enige
toon, ongeag hoe lank of hoe kort, moet in die regte
verhouding met die voorafgaande en opvolgende
90
toon wees. Sangers neig soms om kort tone te sag
te sing. ‘n Toon is nooit te kort om ondersteun en
ontwikkel te word nie. Die reeks vokale van ‘n
legato-frase, hetsy repeterende tone, ‘n toonleerof arpeggio-passasie, moet ‘n homogene toonkleur
hê. ‘n Skielike verandering van donker na helder
[toonkleur] of omgekeerd is fataal vir legato
(1974:124).
gesamentlik hierdie horisontale lyn dien, ontstaan
die essensie van bel canto (in die breedste sin van
die begrip): die legato-lyn. Sonder die vermoë om
legato te sing, om ‘n lyn in die stem te hou, kan
geen sanger tot kunstenaar ontwikkel nie. ‘Chi non
lega, non canta, says the Italian maxim. (He who
does not join his notes, cannot sing.)’ (Fourie haal
Shakespeare s.j.: 29, aan: 1986: 151.)
Ten opsigte van die legato-lyn is dit dus belangrik
dat toonkleur en toonsterkte geleidelik moet
verander, toeneem en afneem. Geen toon mag
geïsoleerd gesien word nie, maar altyd as een skakel
in die geheel, d.w.s. in balans met die res van die
tone van die frase asook met die hele komposisie.
Oefeninge om legato-sang te bevorder
Die vermoë om dinamiek [en toonkleur] egalig te
verander, berus hoofsaaklik op goeie asembeheer
(Christy 1974: 123).
Daar moet so vroeg moontlik in die ontwikkeling
van die stem, sodra die sangstudent sy borskas tydens
uitaseming gelig kan hou en, volgens Fuchs, die
basiese begrip van plasing het, met legato begin
word. Hy sê die sangpedagoog moet die hoeksteen
[vir legato-sang] in die eerste lesse lê, sonder om
te veel te probeer verduidelik (Fuchs 1963: 102).
Reid (1965: 95) sê ook die wese van alle
stemoefeninge, veral in die beginstadium van
Omvang-uiterstes
opleiding, is legato.
Dieselfde reël soos in die geval van intervalspronge
is hier van toepassing: Al die tone moet op dieselfde
fokuspunt gedink word. ‘n Horisontale lyn moet
gedurig in gedagte gehou word. ‘Think on one line
or level of physical production, the natural, easy
speech level, if you wish tone in any range to be
easy, flowing and coordinated with previous [or succeeding] tones.’ (Christy 1974: 124.)
Fuchs (1963: 102) noem drie vereistes vir die eerste
legato-oefeninge:
Die omvang moet klein wees.
Geen woorde moet bygevoeg word nie.
Die intervalle moet klein wees.
Die sangpedagoog kan eie inisiatief by die saamstel
van sulke oefeninge gebruik.
Slotopmerking:
Al die tone van ‘n frase, asook van die hele lied,
word met konsentrasie in die horisontale lyn gehou.
Wanneer die bogenoeme faktore mekaar aanvul en
Die volgende oefeninge word chromaties
transponerend gedoen.
Oefeninge 1 tot 8 is primêre legato-oefeninge.
1.’n Eerste oefening vir die aaneenskakeling van vokale.
Die asem vloei in ‘n beheerde stroom en die vokaalverandering word primêr in die denke gevorm. Die
mondvorm en tongposisie sal spontaan aanpas.
91
2. Die volgende oefening moet liewer nie hoër as e2 gesing word nie.
2.1
2.2
(Litante 1962: 45.)
3.
(Christy 1974:217.)
4.
5.
92
6.
7.
8.
Oefeninge 4 tot 8: (Armhold 1963: 69 en 73).
Oefeninge 9 tot 13 is meer gevorderde legato-oefeninge.
9. Die legato-toonleer.
Die oefeninge word afwisselend op elk van die vyf vokale gesing. Die vokaalkleur moet in elke geval suiwer
bly.
Die een toon moet met die volgende toon saamsmelt (blend) sonder enige verandering van toonkwaliteit.
Die volume moenie tussen tone afneem nie. Die keel moet oop bly.
93
(Litante 1962: 44.)
10.
11.
(Armhold 1963: 69)
12.
(Armhold 1963: 73)
(Prof George van der Spuy)
13. Die groot toonleer van Lilli Lehmann.
(Lehmann 1924: 190)
94
Dié oefening is veeleisend en vra ‘n reeds gevorderde tegniek. Armhold beveel die oefening sterk aan,
maar sê dat dit aanvanklik nie langer as vyf minute geoefen moet word nie (Armhold 1963: 74).
Lehmann self sê die volgende i.v.m. die oefening: ‘…it equalizes the voice, makes it flexible and noble,
gives strength to all weak places, operates to repair all faults and breaks that exist, and controls the voice
to the very heart.’ En verder, ‘In my opinion it is the ideal exercise, but the most difficult one I know.’
(Lehmann 1924: 195) &
Bibliografie
Armhold, A.1963. Singing based on irrefragible laws. Cape Town: Tafelberg.
Bunch, M.1982. Dynamics of the singing voice. (Disorders of Human Communication) Wien: Springer.
Christy, Van A. 1974. Expressive singing. Volume 1. 3rd edition. Dubuque, Iowa: Brown.
Fourie, MJ. 1986. ‘n Ondersoek na sangpedagogiek met besondere verwysing na die Schubert-liedere as
onderrigliteratuur. MMus-verhandeling, Universiteit van Stellenbosch, Stellenbosch.
Franca, I. 1959. Manual of bel canto. New York: Coward-McCann
Fruchs, V. 1963. The art of singing and voice technique. London: Calder and Boyars.
Lawson, JT. 1955. Full-throated ease. A concise guide to easy singing. New York: Mills.
Lehmann, L. 1924. How to sing. (New rev. and supplem.) New York. Macmillan.
Litante, J. 1962. A natural approach to singing. London: Oxford University Press.
McKinney, JC. 1994. The diagnosis and correction of vocal faults. (New rev. and supplm.) Nashville,
Tennessee: Genevox.
Miller, R. 1996. On the art of singing. New York: Oxford University Press.
Reid, CL. 1965. The free voice. A guide to natural singing. New York: Coleman-Ross (Reissue) 1972, New
York: Joseph Patelson
Theron, MA. 1994. Aspekte van stemontwikkeling: ‘n Psigo-fisiese benadering. MMus-verhandeling,
Universiteit van Stellenbosch, Stellenbosch.
Magdalena Oosthuizen is lektrise in sang aan die Konservatorium vir Musiek van die
Universiteit van Stellenbosch
95
You too can teach singing!
James Conrad
Little did I know, when I started teaching voice
want to confuse students with technicalities, but
at the University of Durban-Westville in 1991,
basically worked through the exercises like a gym
that my early training at the Noord-West-Deutche
workout. The result was a constant stream of ex-
Musik-Akademie, Detmold, would stand me in
cellent young singers, not only the popular South
such good stead. Back in 1960 I had the good
African three tenors and a bass whose secret of
fortune, due to the intervention of singers Eliza-
success is mainly the fact that they all sing with
beth Söderstrom and Set Svanholm whom I met
the same technique, but even more important
at Glyndebourne, to be awarded a DAAD scholar-
to me, the large group of young people out in
ship, and to be accepted as a pupil by the leg-
the community, teaching the glorious simplici-
endary professor Fred Husler (voice production)
ties of good singing, without any strain or forc-
and Gunther Weissenborn (Lieder and orchestra).
ing. Since the closure of the University of Durban-
Husler’s philosophy was that one must treat the
Westville’s Music Department, I am now teach-
vocal apparatus as if you are preparing your body
ing privately and have found that a mixture of
for athletics or any other form of sport. He gave
pupils that range in age from 15 to 19, 25, 44
us 20 minutes three times a week of technical
and 61, all respond in the same miraculous fash-
exercises, not dealing with repertoire at all. He
ion.
believed that if you do quite simple exercises
correctly, your vocal apparatus will respond to
I am hoping that this may be of interest to the
your instructions when you are singing a song or
general music teacher or chorus master/mistress
an aria. This philosophy, instilled in me so many
who would like to enhance the voices of their
years ago, proved immanently suitable for teach-
choristers (or to anybody else who wants to de-
ing young black singers.
velop a voice). A by-product of teaching these
exercises is that your own voice will develop too!
For the last 9 years I have taught an adapted version of prof Husler’s system, mainly to young singers with exceptional vocal material. I believe that
singing must be absolutely natural, without any
deliberate manipulations or artificiality. I did not
96
Here are the exercises
1. Place the voice by saying the word ‘hummm’, then sing the following exercise in that position.
Exercise 1 (ascending and descending)
Then descend, repeating the following, falling by semitones to the original pitch
The first note must be at a comfortable pitch for the singer(s). Stop as soon as there is any feeling of
discomfort.
This exercise improves resonance, by introducing the sinus cavities as resonators, and by warming the
air in these cavities it serves as a quick way to warm up the voice in preparation for the subsequent
more vigorous exercises.
2. To exercise the muscles of the mouth, lips and tongue, we do a series starting with ‘mum’ (English
pronunciation) using a very vibrant ‘m’ sound involving the full lips. This is followed a semitone higher
by the same exercise to ‘pup’, making a sharp, explosive ‘p’ by just touching the outer edges of the lips.
Then follows, again a semitone higher, the first one that involves the tongue, namely ‘tut’. The tongue
here is placed at the tip of the upper teeth. The next (a semitone higher) is ‘nun’, placing the tongue
slightly further back at the root of the upper teeth, and the last one (a semitone up again) is ‘lull’,
placing the tip of the tongue touching the hard palate. After this begin again with ‘mum’. In all these
exercises the consonants must be as voiced as possible and they must be sung crisply quasi staccato. For
‘nun’ and ‘lull’ you must not move the jaw. Create the sound by moving the tongue only.
Descending, do only the first part of the exercise humming, descending in thirds.
Exercise 2
Ascending - repeat rising a semitone each time
97
Descending - repeat, humming, descending by downward leaps of a third (major or minor)
This exercise improves diction, by involving all the various positions of the lips and tongue needed for
clear enunciation of consonants. The descending humming is to relax the tension.
3. This exercise is sung on the chord of the dominant 7th using the combination of vowel sounds ‘ooh-ah’
(‘ooh’ as in ‘you’). The vowels must be pronounced very forward and very shallowly with the bottom lip
slightly protruding. There should be very little lip movement between ‘ooh’ and ‘ah’, and this exercise
should be sung more and more lightly as you go higher. There are three variations of this exercise:
Exercise 3a
Repeat, rising by semitones, then descend, also by semitones
98
Exercise 3b
Use the same notes, singing on ‘wah-ooh’ very lightly and non-legato, strongly accenting each ‘wah’.
This should be sung allegro. (Start with ‘wah’ instead of ‘ooh’.)
Exercise 3c
An advanced version of Exercise 3b, further developing control. The last top note of 3b is sustained.
When it is possible (as control improves), the sustained note should be sung making a decrescendo.
Exercises 3a, b and c all help to place the voice forward in the masque.
4. This exercise uses a broken chord slurring the upward intervals using ‘ha-hup, ha-hup, ha-ha’, then
descending staccatissimo. It should be sung in short, crisp notes and with a very active diaphragm, like
a real belly laugh.
5. Exercise 4
Don’t forget the laugh!
This exercise develops the use of the diaphragm.
99
the exercises must proceed directly from one to
General
another, to build up stamina.
All the exercises should start at a comfortable pitch
(about B or B for sopranos and tenors and G for
If you are an established singer, try these for fun -
basses and contraltos) and go up as high as is abso-
you may be amazed! Those of you who are trained
lutely comfortable without any strain. As the singer
singing teachers may ask ‘what about the other
progresses, the range will automatically extend in
vowel sounds and consonants?’ Well, they come by
both directions. Be careful that the last note of each
exercise, although a sustained note, must be sung
in exactly the same placing as the short notes preceding it. All the exercises must be sung absolutely
themselves when required.
A point to ponder
Professor Husler used to say: ‘Don’t make your voice
rhythmically. They may be used in group or indi-
important’. This is especially true in these exer-
vidual situations. The range and tempo can be in-
cises, so aim for a simple, uncluttered vowel sound
creased as the student develops. Please note that
without any manipulations. I wish you success! &
James Conrad with Musa Nkuna, Eddie Motlhakoane and Mfanafuthi Hlophe at
Gardenworld, Johannesburg 1998
James Conrad was Head of Opera for Napac and has established himself as a singing teacher
during the last decade
100
Singing teaching - facts and
fantasies
Désirée Talbot
To be a singer requires many things. First of all
Why was Callas such a magnificent performer? Be-
comes dedication and the ability to work hard for
cause she lived every word and even the musical,
years to achieve your aim, provided, of course, that
no singing parts of what she was performing. Why
you have the principal requirements - a voice and
was Nat King Cole such a superb singer? Because
musicality.
every note/word/phrase meant something. Why
were the Beatles such a success, because of the same
The two besetting sins are the conviction that you
reasons. I could go on and on but I will not mention
can achieve instant success with no ‘pain’–after all,
those who, although successful, have not reached
nowadays, most people believe that there is a ‘pill’
those heights, at least to my way of thinking, but
for every pain or setback.
do remember that expression/interpretation cannot be ‘put in after’.
Years ago the aspirant singer studied to be able to
sing opera, Lieder, songs and oratorio and the pro-
The vocal cords were for many centuries a mystery
cess of working toward these were long and ardu-
until in 1807 Bossini looked down a throat with the
ous–about eight years of studying and learning. Now,
aid of light reflected off mirrors. Manuel Garcia then
however, there are many more avenues open to those
constructed a laryngoscope in 1855 and looked down
who want to make a career in singing: musicals,
his own throat and in 1883 Emil Behnke and Brown
pop singing, cabaret, jazz, performing with a band
photographed the living glottis.
or some other form of backing and, of course, the
use of the microphone, but the talent and burning
Air passing through the vocal cords set them in mo-
desire to succeed have to be the driving force.
tion, vibrating at the pitch already predetermined
by the mind. But where does this air come from
Whatever one sings the words must be absolutely
and how is it propelled through the cords? The lungs
clear and well pronounced and the meaning of the
are filled with air pushing the diaphragm down and
words, of the sentence, of the work being sung,
outward, which downward motion pushes the tummy
must reflect the songwriter, poet, librettist’s in-
outwards. Then the process goes into reverse and
tentions to the fullest extent. It is absolutely un-
one sings.
thinkable that the singer/performer puts anything
else above this.
Some people have a greater capacity for air and if
101
they are tasteless singers they love to carry on sing-
ages the cords leading to a slight wobble which in-
ing a top, high note ad nauseam. It is recounted
creases unremittingly finally putting paid to voice
that Caruso got so fed up with a fellow singer–a
and career.
female soprano who kept holding her top C’s longer
than he did his that he took a potato onstage with
Of course, even without over-pushing and staining
him and stuffed it into her mouth.
the singers age can cause a wobble to develop and
the Italians have a wonderfully expressive saying
Whatever type of singer you wish to be, you must
regarding these singers who do not know when to
have a teacher and, unfortunately, there are many,
stop–La sua voce e molto amichevole–‘Her voice is
many charlatans who claim to be singing teachers
very friendly it waves to the audience.’
and they can convince their students because, unlike other musical instruments, a singer cannot see
One of the areas abounding in danger is that of teach-
their vocal cords working, nor keep a constant check
ing children or youngsters before the voice is ready.
on the larynx, tongue, palate or jaw, as a pianist can
see their fingers, hands, arms, etc. As a result, the
It is well known that boys’ voices break, usually
singer has to rely completely on the teacher, has to
between the ages of 12 and 16 – the boy who was a
believe and trust and has to have a rapport with the
soprano will then become, usually, a baritone or
teacher. One can see at once how an unscrupulous
bass, and the boy who sang as an alto, will become
or merely even ignorant person who possesses cha-
a tenor, but this is not a hard and fast rule and the
risma, an assured and confident manner and the
person responsible for training the voice must take
ability to fast-talk someone into something, rather
the greatest care in not trying to fix the voice type
like a con-man, can so easily ensnare pupils and keep
immediately. For many years it was a rule that no
them to their ruination.
training be done during the break period but this
has been proved incorrect and, provided no forcing
Apart from making their students push a piano with
in done, boys’ voices can be trained during this pe-
the diaphragm and stomach, some put bricks on the
riod. The songs given should be of limited range
students’ diaphragm while they are lying on the floor
and they should demand no loud singing. The focus
and say ‘breathe’. Perhaps the worst thing these so-
of the training should be accurate pitch, very gentle
called teachers get up to is convincing the student
diaphragmatic support, phrasing, interpretation and
that volume of sound is the most important thing.
correct use of lips and tongue.
The size of the voice is determined by various factors including the size of the vocal cords, the size
There is one very interesting phenomenon in sing-
of the resonating cavities in the mouth, nose, throat,
ing – the counter-tenor. This is a specific type of
the forehead and the top of the chest, the projec-
male voice and should be treated as such – never
tion of the voice and, sometimes, the size of the
ever trying to make the possessor thereof anything
singer. To make every singer sing at full volume
else. The range of the voice is, as are most voices,
and to force them to try harder to sing louder dam-
two octaves, but the quality, the sound is very dis-
102
tinctive and should never be forced to try to sound
music and conducted, and he was very vehement
like a tenor of baritone or bass.
on this point.
When training, and again very gently, girls’ voices
Singing is a very energetic exercise yet many sing-
during and before the teen years, it should be re-
ers confuse the axiom ‘it must look easy’ with ‘mak-
membered that girls’ voices break as do boys. It is
ing it easy and relaxed’. Certain parts of the body
not at all so obvious but 90% of the time the young
must be relaxed when one sings but other parts must
girl will become the opposite of the pre-break girl.
be working like the devil.
A soprano will become a mezzo and the mezzo will
become a soprano. Usually the breaking period will
My personal listing of requirements for a singer puts
be later than a boys’ and, if the young girl is al-
personality, magnetism, simpatica, warmth, sincer-
lowed to sing mezzo roles (when she will become a
ity, charm and the ability to communicate amongst
soprano) it can lead to endless complications later,
the most important non-musical attributes, and, on
as also vice versa.
the musical side, complete mastery of technique
which engenders the sense of ease, beauty of tone,
I was fortunate enough to have long talks on this
liquidity of line, stillness of mind and body, musi-
subject with one of the great authorities of the hu-
cianship of the highest order and an individual sound
man voice – Dr Alfred Alexander, a Harley Street
and, of course, the ability to sing in tune. &
Ear nose and throat specialist, who composed vocal
Emeritus associate professor Désirée Talbot lives in Somerset West and taught singing at the South African
College of Music, University of Cape Town
103
Fiançailles pour rire
(Verhoudings om oor te glimlag)
Francis Poulenc (1899-1963)
Elizabeth Heyns
Na aanleiding van die wêreldwye 100-jarige
feesvierings ter ere van die geboortejaar van Francis
Poulenc (7 Januarie 1899, Parys) verlede jaar, is
die fokus opnuut geplaas op die wye verskeidenheid
van mediums waarin Poulenc gekomponeer het.
Rupert Mayr verwys hierna in sy omvattende artikel:
In Memory of Francis Poulenc (1899-1963) wat in
Musicus 27.2 1999 verskyn het. Poulenc het ‘n
ongelooflike musiekskat nagelaat: Nie alleenlik in
komposisies vir die klavier, operas, kamermusiek
en koorwerke nie, maar ook ten minste 150
Mélodies (Liedere) vir die stem.
and ease of pronunciation, a ‘freedom of
speech’ and a purely verbal elegance which
constitute a formidable stumbling – block for
singers without a deep understanding and experienced mastery of the French language.
Die Mélodies van Francis Poulenc bly egter dikwels
nog onontgin by sangers. Hierdie uitdaging moet
ook aan die begeleiers gestel word, want sonder
hulle entoesiastiese en deeglike samewerking sal
die sangers nie reg aan die vokale komposisies van
Poulenc kan laat geskied nie.
Pierre Bernac (1899-1979)
Die voortreflike siklusse wat hy gekomponeer het
As gevolg van Poulenc se musikale verbintenis met
sluit o.a. in Le bestiaire, Chansons gaillardes, Tel
die bariton, Pierre Bernac is ten
jour, telle nuit, La fraîcheur et le
minste 90 Mélodies vir die baritonfeu, La courte paille en ook
stem gekomponeer. Danksy Bernac
Fiançailles pour rire. Dit is
se besondere gawes as uitvoerende
ongelukkig so dat sangers oor die
kunstenaar, leermeester, mentor
algemeen in Suid-Afrika ‘n breër
en skr ywer het die styl en
repertorium in die Duitse lied
vertolkingskuns van die Poulenc
opgebou het as in dié van die
Mélodies nie verlore gegaan nie.
Franse Mélodies. Die Franse
Hy het die Mélodies vir alle
taalkursus is heel dikwels nie
stemme in sy meesterklasse in
ingeslote in die sangkursus aan
Londen, VSA, St. Jean de Luz en
universiteite, kolleges en privaat
in sy privaatstudio in Par ys
studios nie. Behalwe vir die
ingesluit.
leiding i.v.m. die uitspraak en
diksie word ook ‘n goeie kennis
Die skrywer maak hier graag meldvan die franse digkuns benodig.
ing van twee belangrike vroue-figMartin Cooper skrywe in 1970 in
ure in Bernac se loopbaan nl.
langspeelplaatnotas vir Claire
Suzie Chéreau, répétiteur vir
Winifred Radford, die Engelse
Croiza:
Pierre Bernac.
sopraan wat die eerste uitvoering
Parys: Januarie 1969
Even the early masters of
van Fiançailles pour rire in 1945
the Mélodie – Berlioz,
in London gegee het met Gerald
Gounod, Bizet, Delibes –
Moore as begeleier. Sy het ook Bernac se boeke in
whose prosody, or handling of the French lanEngels vertaal.
guage, was often barbarous by later standards, demand of their performers a clarity
104
Suzie Chéreau, wat aan die Conservatoire de Paris
studeer het, was oor 30 jaar Pierre Bernac se
briljante répétiteur vir sy internasionale sangers in
Parys o.a. Elly Ameling, Jacques Verhoeven, Gerda
Hartman en Barbara Hendricks, Bernard Kruysen.
Met geen kennis van die Engelse taal maar met die
warmte en spontaneïteit van Provence was die
sleutelwoorde: Allez! Chantez!
Thomas Grubb skrywe in die voorwoord van sy boek,
Singing in French:
Bernac’s personality, as a man, as an artist and as
a teacher, has been my inspiration, source of knowledge, and support in the writing of this book, as
well as in my own personal study.
Pierre Bernac aan die skrywer:
My little book on Poulenc will be
published in London in 1977. Be
careful with the dynamic levels in
La Dame d’André, surely you can
phrase longer in Il vole – but the
pp must float in Fleurs. You will
learn so much from your teaching
– sing well – but do not forget your
old Master.
aandrang van André Malraux het sy in 1933 begin
skrywe en daar het verskeie novelles o.a. SainteUnefois (1934) Le lit à Collonnes (1941) Les belles
amours (1954) en digbundels, Fiançailles pour rire
(1939) Le sable du sablier (1954) uit haar pen
verskyn. Na Louise se tweede huwelik met Graaf
Paul Pàlffy in Des. 1937 het sy in sy kasteel
Pudmerice in Slowakye (Hongarye) voortgegaan
met haar digkuns. Tydens die onstabiele periode
wat die uitbreek van die Tweede wêreld-oorlog
vooraf gegaan het, het sy ‘n reeks gedigte onder
die titel, Fiançailles pour rire versamel wat in Maart
1939 in Parys gepubliseer is.
Haar poësie kan as Simbolisties gesien word in lyn
met Mallarmé waarin die woorde vir klankwaarde
gebruik word, die spel van dubbele betekenis van
‘n teks – gebaseer op die temas
van liefde, dood, afskeid,
melankolie, vroulikheid en humor.
Fiançailles pour rire
Poulenc se noue verbintenis met
digters en kennis van die digkuns
van sy tyd het tot in 1937 geen
vroulike digters ingesluit nie. Die
In the Songmakers’ Almanac
komponis se kennismaking met
skrywe die begeleier, Graham
die sjarmante en beeldskone
Johnson:
Louise de Vilmorin in 1937 en met
Poulenc died at the comhaar digkuns het hom ïnspireer en
paratively early age of 64,
oortuig dat daar ‘n besondere
Elizabeth Heyns – sopraan, (Leonard
but he was indeed fortunate
dimensie in haar poësie is. Haar
Lemmer
–
Fluit),
Ria
Nel
–
klavier
that the writings and teachstyl was sentimenteel, vroulik,
Kleedrepetisie: o.a. Fiançailles pour rire
ings of Bernac provided a
vrolik, humoristies en tog ernstig;
– Francis Poulenc
firm base for a continuing
maar in teenstelling met
Klein Teater, Pretoria 8 September 1967
understanding of his style for
Apollinaire en Paul Éluard, wat hy
those who took the trouble
reeds getoonset het.
to look. He also left a marvellous legacy of
Na die komposisie van Tel jour, telle nuit van Éluard
gramophone records (mainly accompanying
in 1937 wou Poulenc graag vir die vroulike stem
Bernac) which are an inspiration for all those
skrywe – ‘n begeerte wat hy nou kon verwesenlik.
who perform Poulenc …..
Die eerste drie gedigte van Louise de Vilmorin wat
Poulenc in 1937 uit Fiançailles pour rire getoonset
Louise de Vilmorin (1902 – 1972)
het, was eenvoudig getitel: Trois Poèmes.
Die ses gedigte wat Poulenc in 1939 getoonset het
Louise de Vilmorin is in 1902 op die landgoed van
kr y egter die benaming van die digbundel,
Verrières–le–Buisson gebore in die gevestigde en
Fiançailles pour rire maar daar is geen aanduiding
bekende de Vilmorin familie van wetenskaplikes en
òf redes vir die keuse nie. Sangers sal dus tevergeefs
tuinboukundiges. Sy was die enigste dogter tussen
na ‘n verband soek tussen die titel, Verhoudings om
die vier broers, Roger, André, Olivier en Henry. Op
oor te glimlag en die ses gedigte.
105
1.
La Dame d’André (Die Dame van André)
In hierdie gedig wil dit voorkom of daar ‘n ligte flirtasie is tussen André en die meisie wat hy
toevallig by ‘n dorpsbal ontmoet het. Hy het haar bemin vir haar Sondag-vrolikheid maar sal haar
portret nie maar weer in ‘n foto-album verdof nie?
2.
Dans l’herbe (In die gras)
Die gedig handel oor liefde en dood: Hy het in die oop veld onder ‘n boom gesterf en het my geroep,
maar ek was te ver. Ek kan niks meer vir hom sê òf doen nie.
3.
Il vole (Hy vlieg)
Daar is ‘n woordspeling op ‘Il vole’ wat die dubbele betekenis van vlieg en steel het asook ‘n
verwysing na die La Fontaine fabel, Le Corbeau et le renard.
Waar is die kraai? Hy steel die kaas en vlieg weg.
Waar is my geliefde? Hy steel harte en vlieg weg.
Waar is die liefde? Dit vlieg.
Waar is dan die geluk? Dit vlieg.
Vind tog die rede vir hierdie gekheid en bring my wispelturige geliefde terug!
4.
Mon cadavre est doux comme un gant (My dooie liggaam is sag soos ‘n handskoen)
In hierdie gedig bied die vrou haarself aan as ‘n liggaam so sag soos ‘n handskoen. Haar oë is wit
skulpe en haar hande asof in gebed gevou terwyl haar liggaam swaar en oud geword het. Sy het die
wedloop van die jare verloor – neem haar weg, kinders, haar lewe is verby.
5.
Violon (Viool)
Violon is heelwat eenvoudiger: Dit is ‘n beskrywing van ‘n toneel in ‘n Hongaarse kafee langs die
Champs-Élysées. Die elegante vrou is betower deur die violis en sy viool en sy klaagtone vertolk haar
diepste versugting.
6.
Fleurs (Blomme)
Hier is die woord-klem op blomme: Wie bring hierdie wintersblomme met see-sand en soene bestrooi?
Die liefdesblomme verwelk en die hart se heilige beelde verbrand tot as in die vuurherd.
Die toonsettings van die gedigte
Hierdie siklus van ses Mélodies is die langste van die Vilmorin toonsettings (in teenstelling met Trois
Poèmes en Métamorphoses) en dateer uit die volwasse jare van die komponis en sy mees meesterlike
Mélodies naamlik 1935-1950.
Aangesien Louise de Vilmorin buite Frankryk was, in ‘n kasteel in Hongarye wou Poulenc met hierdie
komposisie in 1939 sy simpatie met haar afwesigheid en bewondering vir haar digkuns bevestig.
Pierre Bernac beskou hierdie siklus òf groep as ‘n goed-gebalanseerde eenheid terwyl Keith Clinton dit
weer as ‘six independent songs of differing character’ beskrywe.
Thomas Grubb wys daarop dat:
The composer usually composes a certain tessitura for a song because it offers a specific tonal climate
and dictates a vocal type and quality appropiate to it’s text.
106
… as a general rule, the songs of Debussy and most of those of Ravel and Poulenc suffer serious
deformation when transposed.
1.
Poulenc het in ‘n spesifieke toonaard gekomponeer vir ‘n spesifieke stem en om ‘n spesifieke
klankkleur te skep. Die subtiele verhouding tussen die toonaarde van die ses Mélodies bewys dat die
komponis ‘n geheelbeeld wou skep. Elkeen was opgedra aan ‘n spesifieke persoon.
La Dame d’André (A min/maj): Marie-Blanche de Polignac
Dans l’herbe (C min): Freddy
Il vole (E maj): Suzanne Peignot
Mon cadavre est doux comme un gant (E min/maj): Ninon Vallin
Violon (A min): Denise Bourdet
Fleurs (D maj): Solange d’Ayen
Geneviève Touraine, die suster van Gérard Souzay het die eerste uitvoering van Fiançailles pour rire
op 21 Mei 1942 gegee met Poulenc as begeleier.
2.
Die melodie of vokale lyn en musikale idees is gebaseer op die betekenis van die teks en ineen
gevleg met die harmonie van die begeleiding.
Dit is kenmerkend van Poulenc se styl dat die melodiese lyn dikwels net uit 2 en 4 maat-frases
bestaan. Gevolglik moet die sanger die gedigte goed bestudeer om die vertolkingslyn betekenisvol
te kan oordra.
Voorbeeld 1 La Dame d’André mm 3-8
107
Graham Johnson skryf:
All his life Poulenc had difficulty in writing long phrases where music grows and flowers into paragraphs. Rather was his technique one of cleverely juxtaposing ‘blocks’ of shorter ideas.
3.
Poulenc vereis van sy sangers ‘n uitstekende tegniese beheer oor die dinamiek-vlakke wat ‘n integrale
deel vorm van die kleurpalet van die komposisie. Hierdie wisselings kan soms oor twee mate wees òf
onmiddelik van ff na p op die hoë register asook ‘n sterker en meer resonante kwaliteit op die lae
register. Die sangstem kan baat vind by hierdie aspek aangesien dit kan bydra tot die ontwikkeling
van die stem – veral vir die sopraan wat miskien nie ‘n goeie lae register het nie.
Voorbeeld 2 Dans l’herbe mm 18-22
Voorbeeld 3 Il vole mm 30-34
108
4.
Die harmonie in die begeleiding, wat tonaal is, verleen ‘n kenmerkende klankkleur. Die melodiese
lyn in die sangparty word ondersteun deur die verdubbeling in die begeleiding. Die beste teksskildering
kom voor in die begeleiding van Il vole en Violon.
Voorbeeld 4a Violon mm 12-16
Voorbeeld 4b Il vole mm 1-5
109
In Violon neem die klavier die karakter van die viool aan en in Il vole word die begeleiding ook ‘n
asemrowende vlug op die klavier. Volgens Dalton Baldwin: ...we have the sensation of taking wings
and soaring, with little regard for the barline.
5.
Die tempo-aanduidings en spoed en verskillende terme word spesifiek deur die komponis aangedui en
moet noukeuring in ag geneem word aangesien dit ook deel van die kleurspektrum vorm. Bernac
wys soms op klein metronoomveranderings wat van waarde vir die vertolkings kan wees, en Suzie
Chereau dat Il vole vanaf ’n stadiger tempo in die teks moet opgebou word met die begeleier en
nieteenstaande die vele rustekens en kort mate in die Poulenc Mélodies die teksfrasering deur die
kennis van die gedig gedra word.
Voorbeeld 5 Fleurs mm 1-3
6.
Die vorm van die vokale komposisie is dikwels ‘n hulp tot memorisering vir sangers.
Die betekenis en stemming en vorm van die gedig is vir Poulenc die kern van die komposisie en
bepaal die musikale vorm.
Oor die algemeen maak Poulenc in sy styl wel gebruik van die tradisionele twee-ledige, drie-ledige
en die deurgekomponeerde vorm asook van kleiner eenhede.
In La Dame d’André wat in ABA vorm is word die tema van die openingsfrase twee keer herhaal maar
met nuwe temas tussen die dele ingevleg. Dans l’herbe is in ‘n meer kompakte ABA vorm wat
verdeel word in ‘n 12 maat eenheid, gevolg deur 6 maat eenheid en afsluit met ‘n 12 maat eenheid.
Net die algemene styl van die gedrae akkoorde bly dieselfde maar met nuwe musikale idees in
elkeen.
1
1
Daar is egter vyf dele in Il vole A-A -B-C-A wat as ‘a typical form’ deur Vivian Wood bestempel word.
110
Die hele vorm is gebou op identiese ritmiese en melodiese idees wat drie oorgangsdele bevat
waarin die teks herhaling in verskillende toonaarde en dinamiek-vlakke voorkom.
Teks herhaling is nie tipies Poulenc nie!
Mais où est mon amant? Il vole.
Mais où est le bonheur? Il vole.
Mais où donc est l’amour? Il vole.
Voorbeeld 6a Il vole mm 13-17
Voorbeeld 6b mm 25-29
111
Voorbeeld 6c mm 37-40
112
Vlnr: Dalton Baldwin (klavier), Elly Ameling (sopraan), prof Richard Behrens
(Direkteur van US Konservatorium) Endlersaal, Stellenbosch 22 September 1982
Interessante opnames
Daar is verskillende interessante opnames tot
sangers en begeleiers se beskikking:
Voyage à Paris, (Hyperion 66147). In die oorsigprogramnotas vir Voyage à Paris: The Mélodies of
Francis Poulenc, van 19 Mei 1984 in die Wigmore
Hall, London (Opgedra aan Winifred Radford) word
Die Nederlandse sopraan, Elly Ameling met die
Fiançailles pour rire deur Graham Johnson
pianis, Dalton Baldwin bied ons ‘n lewendige
bestempel as: This was music of light grace and
vertolking, betekenisvolle frasering en met sterk
charm in a charmless and graceless era.
melankoliese emosie in Dans l’herbe en Fleurs.
Colette Herzog, die Franse sopraan met Jacques
Die skrywer hoop dat hierdie kort uiteensetting ‘n
Février as pianis gee ‘n goeie weergawe van die
nuwe belangstelling in die Poulenc Mélodies sal
speelsheid in La Dame d’André en ‘n uitstekende
meebring.
beheer oor die swewende pp in Fleurs. En natuurlik
in pragtige Frans!
J’aime la voix - Poulenc. &
Maja Schermerhorn sopraan, Nederlandse opera en
lied – sangeres met John Blot as pianis beïndruk
met ‘n sterk lae register en ‘n uitstekende beheer
oor die dinamiek vlakke van die Poulenc styl.
Jeremy Sams skrywe in Record on Song vol.2 dat
die beste mees onlangse laserskyfopname oor die
Poulenc Mélodies vanaf die Songmakers’ Almanac
kom waarin Felicity Lott, sopraan meegewerk het.
Dit is beskikbaar op bestelling in Suid-Afrika as
113
Bibliografie
Boeke
Bernac, P. 1978. Francis Poulenc et ses mélodies. Paris: Buchet/Chastel. (Translated by Winifred Radford
London: Victor Gollancz 1977)
Bernac, P. 1970. The interpretation of French Song. (Translations of song texts by Winifred Radford.) London: Cassel.
Bloch, F. 1984. Francis Poulenc - Phonographies 1928-1982. Paris: Bibliothèque Nationale.
Blyth, A. 1988. (Ed) Song on Record No. 2. Cambridge: Cambridge University Press.
Buckland, S. 1991. Francis Poulenc ‘Echo and Source’ Selected Correspondence. 1915 – 1963. (Translated
and edited.) London: Victor Gallancz.
Grubb, T. 1979. Singing in French. London: Collier Macmillan.
Hell, H. 1958. Francis Poulenc. Musicien Francais. Paris: Librairie Plon. (Translated by Edward Lockspeiser.
London: John Calder 1959)
Johnson, G. 1996. The Songmakers’ Almanac. Reflections and Commentaries. London: Thames.
Keck, G R. 1990. Compiled. Francis Poulenc. Bio-Bibliography – 1899-1963. New York: Greenwood.
Mellers, W. 1993. Francis Poulenc. Oxford: Oxford University Press.
Vilmorin, A de. 1962. Louise de Vilmorin. Paris: Pierre Seghers.
Wood, V L P. 1979. Poulenc’s Songs. An analysis of style. Jackson, Miss: Mississipi University Press.
Tydskrifte
Clifton, K. The Vilmorin Songs of Francis Poulenc. Journal of Singing. NATS. Jan/Feb 1999
Radford, W. Pierre Bernac. The man and the artist. NATS Bulletin May/June 1982
Fonografie
Colette Herzog (s) Jacques Février (p) 1963
Elly Ameling (s) Dalton Baldwin (p) 1978
Diskografie
Maja Schermerhorn (s) John Blot (p) 1991
Elizabeth Heyns, liriese sopraan, was dosent in sang aan die Universiteite van Potchefstroom en Stellenbosch
114
Vocal misuse and abuse in singers
Colleen Philp
Introduction
the most part, never received basic voice
training, and secondly, because young
Vocal misuse and abuse is perhaps the most under
voices should ideally not be subjected to
emphasized threat to potential singers in South
the strenuous demands of popular mu-
Africa today. As a result of over 23 years experience
sic during the years of puberty. The most
both as a private teacher and as a lecturer in voice
perilous activity for young voices is the
at the University of Natal, the University of Durban
American Musical which has become a
Westville, Natal Technikon, and Kearsney College,
cult feature in S.A. schools. More voices
I have become increasingly disturbed by dangerous
are ruined by these highly demanding
vocal habits in an alarmingly high proportion of the
works than can be imagined. (Talbot
singing population in this country. Considering the
1991: 9)
huge number of singers involved in the music industry, it is interesting that few people have writ-
The influence of popular, gospel, heavy metal and
ten about vocal misuse and abuse in singers. Some
rock singers on the vocal health of children and
parallel work has been done by Bastian (1989),
youths is becoming extremely dangerous as chil-
Sataloff (1985 and 1987), Schoning (1993). The
dren are great imitators and will pick up incorrect
rise in popularity of gospel music amongst the South
methods of vocal use by being constantly exposed
African population has resulted in large numbers of
to it by the media and the recording industry. In
gospel singers. I have observed some of them dur-
South Africa at the present time, music classes are
ing various performances and in teaching situations
generally still too large making it impossible for
where they have come to me for help because they
the teacher to identify vocal misuse and abuse. Some
have experienced strain in the vocal organs. The
school music conductors complained that they are
great majority have had vocal problems which ap-
unable to give individual attention to each singer
pear to result from misuse of the voice through an
and therefore find it very difficult to pick up vocal
apparent lack of knowledge of the basic technique
problems.
of singing. Their voices showed signs of strain from
being forced off the cords and the tone quality was
affected resulting in hoarse or breathy sounds and
What is vocal abuse?
an inability to reach high notes without a shouted
kind of vocal production. The same has applied to
Vocal abuse causes laryngeal trauma which poses
many singers of cabaret, rock and popular music.
numerous threats to the health and longevity of the
voice. Abusive behaviours include substance abuse,
The introduction of rock and popular mu-
such as smoking and heavy consumption of alcohol;
sicals in our schools has caused untold
inhalation of dust, smoke or noxious gases; exces-
damage to adolescent voices, firstly be-
sive throat clearing or coughing; screaming or cheer-
cause the pupils taking part have, for
ing; excessive crying or laughing, and singing when
115
ill or exhausted. These vocal problems may even
Signs of vocal misuse
result from a sudden, single occurrence of abuse,
such as one American baby which developed nod-
These are most often demonstrated as disturbed
ules after a single scream.
vocal quality such as breathiness, harshness, hoarseness, a pinched or tight sound and breaks in the
Signs of vocal abuse
voice. There is frequently discomfort and tension
in the throat on singing and difficulty in reaching
These may include voicelessness (aphonia), hoarse-
high notes. Vocal misuse often results in a short-
ness, breathiness, or a harsh tone. Vocal fatigue,
ened range, vocal fatigue, intonation problems and
pains in the throat or neck, lowered pitch and de-
the inability to sing softly. The misused voice some-
creased volume may also be present. Trauma to the
times has an unpleasant wobble, a guttural tone, a
vocal folds from vocal abuse must be diagnosed
thin, white tone and a flat pitch to the sound. A
through medical examination by a throat specialist.
tremolo can also be heard in singers who have forced
One abuse which needs attention in our schools is
the lower register too high. These vocal faults are
schoolboys being forced to take part in war cries at
to be found in all singers but, according to voice
school sports matches or swimming galas. They have
therapists, throat specialists and voice teachers who
been observed to suffer vocal strain for at least a
have been questioned, they are found predominantly
week afterwards and were unable to sing due to
in singers in the fields of light music, such as gos-
inflamed vocal cords. Their voices were husky and
pel, musical theatre, cabaret, jazz, heavy metal and
had dropped into laryngeal resonance. Teenage girls
rock music. Most misuse of the singing voice can
involved in cheerleading suffered similar damage
be correctly diagnosed and treated by a competent
and had to abstain from choral singing for some
singing teacher over a period of time and with pa-
weeks. It is most frustrating for voice teachers pre-
tient, consistent work by the singer. If the case
paring pupils for matriculation or other external
history also shows evidence of vocal abuse, for ex-
examinations to face the constant threat of war cries
ample voicelessness or persistent hoarseness, the
and cheerleading ruining their carefully prepared
vocal cords of the singer may need to be examined
work.
by a throat specialist to exclude physiological damage to the larynx.
These vocalisations are produced by
hyperadduction and violent vibration of
Causes of vocal misuse
the vocal folds. They cause varying degrees of laryngeal irritation ranging from
Robert T Sataloff, MD who is in the unique position
vascular engorgement to haematoma.
of being a singer and voice teacher as well as an
Pathologic changes in the vocal folds
otorolaryngologist in the United States, has writ-
usually follow extended use of these abu-
ten many articles in medical journals, such as Laryn-
sive behaviours but in some cases even
goscope, where he discusses vocal misuse and abuse.
a single episode of abuse can be suffi-
In ‘Ten Good Ways to Abuse your Voice’ he lists the
ciently violent to cause vocal fold injury.
following: do not warm up before you use your voice;
(Prater 1984: 75)
do not study singing; do not exercise; speak as you
would never dare to sing; wear yourself out; sing
What is vocal misuse?
the wrong music; sing in noise; speak in noise; conduct; teach voice.
Misuse of the voice in singers is excessive or inappropriate voicing which can be corrected.
The following list of probable causes of vocal misuse was compiled after questioning 74 people in-
116
volved in the professional use or treatment of the
nique of singing to develop an understanding of
voice. They are listed in order of importance.
how their voices function.
• Lack of technique
Most singers would benefit greatly from
voice lessons with a specialist in voice
Lack of technique including posture, breathing,
training. All singers should continue to
placing and support - was cited by 60 people
work occasionally with a voice coach
interviewed - more than twice as much as any
even after entering the professional
other factor - as the main cause of vocal prob-
world of singing, as the technique needs
lems. Those questioned included popular and
to be carefully monitored in case of any
classical professional singers as well as produc-
slips into faulty technique. Many ‘trained’
ers, choral conductors, voice teachers, throat
singers are sadly unsuccessful in their
specialists and voice therapists. All 74 inter-
singing careers because they are not
viewed stated unequivocally that the study of
aware of the vocal faults that have crept
the basic technique of singing was advisable for
into their voices. (Sataloff 1987: 17)
all singers, including those in the fields of gospel, cabaret, jazz, musical theatre and popular
A history of extensive voice use with-
music. With the exception of two singing teach-
out training, or premature training with
ers, all the performers and voice teachers did
an inappropriate repertoire may under-
not believe that cabaret or jazz singers would
lie persistent vocal difficulties later in
lose their own particular style and vocal sound
life. (Sataloff 1981: 254)
by having voice training. Many, including rock
and cabaret singers, felt that the voice would be
• Singing unsuitable repertoire
protected from damage by undertaking the study
of singing technique. The singers would be able
Professional and amateur singers are often
to belt safely without straining the vocal cords.
tempted to sing a role not suitable for their
One who disagreed, felt that they should all study
voice type in order to secure a part in a perfor-
the basic technique of singing but that the train-
mance. Singing in the wrong range causes ex-
ing should be short (about two years) and that
treme tension and strain in the vocal organs and
certain techniques such as passaggio and the sing-
is a serious misuse of the voice. It could result
ing of classical songs should be excluded. It was
in hoarseness and eventual aphonia. It was cited
generally felt that voice training in the basic
as the second highest cause of vocal problems in
technique of singing would enhance their own
singers.
particular style and assist them to realise their
full potential, while protecting them from vocal
Baritones want to be tenors, lyric so-
misuse and abuse and lengthening their careers.
pranos want to be coloraturas, etc. Most
There are, of course, exceptions to the many
commonly, young singers want to sound
badly used voices in the fields of popular, rock,
older than their years. Attempts to make
musical theatre and gospel. Some outstanding
the voice something that it is not, or that
untrained popular singers have naturally well-
it is not yet, often stress the voice and
placed voices and good breathing technique and
produce significant harm. Unfortunately,
are not in need of a serious programme of voice
young singers are occasionally encour-
training but this is definitely the exception
aged to sing inappropriate material by
rather than the rule. ‘Natural’ singers would,
music school faculty in order to fill
however, still benefit from training in the tech-
needed roles in operatic productions, or
117
to enhance the apparent maturity of a
misuse. Singing with poor sound equipment and
recital. All of us must resist the tempta-
noisy monitors also causes strain on the vocal
tion to stretch voices beyond their
cords. Outdoor performances place a great strain
proper limits, choosing repertoire with
on the voice and should be avoided where pos-
the greatest of care. (Sataloff. 1985: 25)
sible except where excellent sound equipment,
including monitors, are provided. Once again the
Singers should not be tempted to accept roles
singer should rely on technique and ‘feel’ rather
that are unsuitable for the voice or to sing songs
than his ear.
that are in the wrong range for the voice type.
Light or lyric voices should not sing dramatic
Pop singers are required to sing with
roles as this could result in serious and perhaps
loud electric instruments in concert halls
permanent damage to the voice. Young singers
not designed for musical performance,
should avoid the temptation of singing certain
or outdoors. (Sataloff 1987: 16)
roles (such as the heavy Wagnerian roles) intended for mature dramatic voices. Teenagers
These instances can cause elevated vo-
should not sing popular songs in a belting style
cal loudness which is frequently accom-
until their voices and bodies are mature and their
panied by an increase in laryngeal ten-
vocal technique is sound. Many young voices have
sion resulting in vocal strain. If this situ-
never reached their full potential because of
ation is allowed to persist, e.g. in occu-
indulging in the performance of pop, rock and
pational settings, vocal fold irritation will
cabaret at a young age. It is not possible to sing
usually result with vocal hoarseness fol-
this music safely without very good placing and
lowing soon thereafter. (Prater 1984: 77)
support of the voice. The body and vocal cords
of a young teenager are not developed enough
If a badly trained or untrained classical singer
to cope with the demands made by forceful con-
tried to project over an orchestra, the voice
temporary songs or strenuous operatic or orato-
would have to be forced and would soon suffer
rio arias.
damage. Similarly, if an untrained popular singer
sang against loud bands or in noisy environments,
• Forcing the voice off the throat
the voice would become strained and tired.
Auditory feedback is impaired when singing with
Six voice teachers, five gospel and pop singers,
an orchestra or a band and the singer should rely
seven conductors and three voice therapists were
on technique and ‘feel’ ( proprioceptive feed-
among those who condemned this practice. The
back) rather than by his ear. Pop singers should
sound resulting from forcing off the cords is
invest in properly adjusted monitor speakers to
harsh, hard and unpleasant to listen to. It can
assist them in these situations where the noise
eventually result in serious damage to the vocal
levels are exceptionally high due to electrical
cords.
instruments and exuberant audiences. Singers
in choirs often sing too loudly in an effort to
• Singing or speaking against high background
hear their own voices against the choir. This leads
noise levels
to vocal abuse and should be strongly condemned.
To solve the problem and give a better tone to
Situations such as travelling in noisy vehicles,
the choir:
working near or with heavy machinery, using
motorised sports equipment or talking while lis-
Sing as if you are giving a voice lesson
tening to live rock music can result in vocal
to the person standing on either side of
118
you and as if there is a microphone im-
voice properly, e.g. if the voice gets sore
mediately in front of you that is record-
or tired after singing continuously over
ing your singing for your voice teacher.
a longish period. (Talbot 1991: 37, 38)
(Sataloff 1985: 25)
Teaching is difficult to assess because the reOne good way for a singer to monitor
sults are affected by the length of training un-
his loudness is to cup his hand to his
dertaken and by the age and ability of the stu-
ear. This adds about 6 db. to his per-
dent. Some of the signs of poor teaching are:
ception of his own voice and can be a
Vocal tiredness after voice lessons; pain in the
very helpful guide in noisy surroundings.
throat after voice lessons; lack of vocal stamina;
(Sataloff 1981: 255)
a constricted tight voice; a harsh quality to the
voice; poor breath control; forcing or pushing
• Poor teaching
the tone; tremolo or uncontrolled vibrato; singing persistently in the chest register or off the
Poor teaching has been cited as a major cause
throat; breaks in the voice; inability to sing
of vocal misuse through incorrect methods of
softly; no control over variations in dynamics and
teaching the technique of singing. Twelve of
tone colour; inability to achieve volume or pro-
those questioned listed poor teaching as a cause
jection without the aid of a microphone; clav-
of vocal problems in singers. Sixty named lack
icular breathing with raised shoulders; swelling
of technique as the major cause of vocal prob-
of blood vessels in the throat; bad posture; be-
lems. As these two areas are both related, these
ing made to start singing most of the vocal exer-
numbers can be added together to give a figure
cises in the lower register instead of working in
of 72 out of 74 people stating that incorrect or
the middle range of the voice and then progress-
non-existent technique is the main cause of vo-
ing down or up; being given ascending scales in
cal misuse. Receiving incorrect teaching in the
preference to descending scales before the stu-
early years of singing can ruin the future pros-
dent has learned to place and support the tone
pects of any singer and prevent them from
in an adequate manner; insistence on continual
achieving their full potential. Voice teachers
fortissimo singing; forcing voices to sound overly
must be chosen with great care. Maintaining oc-
mature at a young age. Maturity should be
casional voice lessons with a good teacher is im-
gradual and natural, not forced.
perative for the professional performer who can
easily slip back into bad habits.
• Singing popular and gospel music
There are more charlatan singing teach-
Popular singing includes all forms of contempo-
ers in the world than in any other field
rary Western music such as rock, heavy metal,
of music tuition...Learning to sing (ex-
musical theatre, jazz, cabaret and gospel. Clas-
cept in the fields of rock, pop etc.) is a
sical singing includes opera, oratorio, art songs,
slow arduous business which can take
folk songs and ballads. It is interesting to note
between four and eight years.... A safe-
that of the eleven people who cited ‘pop’ sing-
guard for the student is to see what other
ing as a major cause of vocal problems, nine were
students of that particular teacher have
throat specialists and voice therapists who had
achieved over many years in the field
to treat voices which were damaged from sing-
they wish to enter.... Young singers
ing popular and gospel music incorrectly. Six
should never hesitate to leave a teacher
throat specialists cited popular singing as one of
whom they feel is not training their
the main causes of voice problems. Five said they
119
saw more damage in untrained rather than trained
feminine. The same notes can also
singers and more in popular than classical sing-
emerge with the tough, gutsy, more mas-
ers. The sixth could not comment as he had dealt
culine quality of what is known as the
mainly with opera singers. Five voice therapists
chest register. Opera and concert sing-
saw more voice problems in popular than classi-
ers use this second bold-sounding tone
cal singers. Two thirds of the choral conductors
with great effect, but sparingly and
interviewed had observed vocal problems in stu-
rarely, if ever, above E, knowing that if
dents singing popular music. Half had heard evi-
the chest register is carried higher it will
dence of vocal problems in gospel singers. It has
drag down the rest of the voice and ruin
been said that it takes twenty years to make a
it. (Rushmore 1971: 118)
really good singer but it is possible to acquire
an adequate technique in two years of concen-
Ten of those questioned felt the practice of over-
trated bi-weekly voice lessons to assimilate the
extending the chest register was a serious mis-
essential principles of correct singing and pre-
use of the voice and commented on it specifi-
vent damage to the voice. The professional clas-
cally, even though it already falls under the title
sical singer would, however, need at least four
of lack of technique. This is a dangerous prac-
to six years of study, depending on age, back-
tice leading to serious vocal misuse and even-
ground and ability.
tual breaks in the voice. The range becomes
shortened and the singer is unable to reach high
The pop musician may be reluctant to
notes. The ability to exercise control over varia-
receive voice training, fearing that it will
tions in tone colour and dynamics is lost and the
change vocal quality to an operatic
singer finds it impossible to sing softly. Many
sound. To assure compliance, the phy-
young singers are attracted to the technique
sician should correct this common mis-
because the strong guttural sound produced in
conception, explaining that good sing-
the chest register is considered highly desirable
ing technique can be applied to any sing-
for young immature voices that are as yet un-
ing style and is designed to prevent in-
able to produce volume in any other way.
jury. (Sataloff 1987: 16)
...the rock singer may find himself in a
Many popular singers today have had
situation in which nothing but the in-
excellent vocal training in the fundamen-
tensity of the pure chest voice will give
tals of posture, breath support, diction,
him the sound he and his director or
legato, freedom of production and tone
producer wants. The dilemma: should
quality. These fundamentals are normally
he risk vocal damage? The solution can
highly desirable regardless of the type of
lie in transposition. If pure chest voice
singing in which later specialisation
is the timbre you feel you must use, do
takes place. (Christy 19: 29)
not hesitate to transpose to a lower key
so that the song’s range remains within
• Carrying the chest register too high
the safe confines of chest voice. Singers
of both sexes are fairly safe if they do
...many women are capable of singing
not pull chest voice higher than the E or
the notes from A, below middle C (and
F above middle C. (Lyons and
lower) up to C’ (and even higher) in two
Stevenson 1990: 23)
different qualities of tone. One sounds
warm, round and what we think of as
• Singing too loudly
120
• Speaking badly
culoskeletal tensions incurred by them.
• Belting when tired or with insufficient
The psychological constitution of a singer
sup port
affects the vocal mechanism directly.
The voice is an exquisite messenger of
Belting, a style of singing at a loud volume in
emotion. The nervous system mediates
which the chest register is used to its upper-
fine motor control. Overwhelming emo-
most limits, is a quick way to add energy to a
tion often results in a tremor of the voice.
singing performance in pop or cabaret. It is ex-
The autonomic nervous system controls
tremely damaging to the voice unless expertly
mucosal secretions and other functions
placed and well supported. One of the produc-
critical to voice production. (Sataloff
ers of musical theatre and a professional jazz
1987: 20)
singer and voice teacher stated that training in
the technique of singing was essential for all sing-
Feelings of anxiety could evolve into ten-
ers in the popular fields of music because it would
sion and vocal harshness, fear could
enable them to belt without damaging the voice.
inhibit voice altogether and cause com-
All the professional rock and pop singers inter-
plete voice loss. Insecurity, amongst
viewed agreed with this point of view.
other things, could be demonstrated by
low volume and fluctuating pitch.
It places a fierce strain on vocal cords
(Reynolds 1994: 84)
to be overdriven in this manner. Belting
at high volume levels and high pitches
The experienced performer learns to control his
requires Herculean breath energy, coupled
anxiety and to build it into the energy and emo-
with a great deal of muscular tension in
tion that he will convey to his audience. In those
the throat, facial muscles and muscles
less experienced, extreme anxiety may be wors-
of the shoulders and torso. To sing for
ened by insufficient rehearsal time and inad-
an extended time in such a rigid man-
equate technique. Inadequate preparation can
ner can cause severe vocal damage.
be a devastating source of vocal misuse.
(Lyons and Stevenson 1990: 23)
• Physical tension
Signs of vocal misuse due to excessive belting
could include pain or discomfort in the throat,
• Dry air or airconditioning
hoarseness, or a veiled, unclear quality. The
singer would probably also experience difficulty
• Bad posture
in singing notes normally within his range. The
belting technique of pop and cabaret singers is
Standing incorrectly with the weight over the
exciting to listen to and young singers try to
heels alters the shape of the abdominal and back
emulate them without having studied voice
muscles enough to adversely affect the voice.
technique. This results in sometimes lasting
Tensing the muscles in the arms and shoulders
damage to the voice.
can cause tension in the neck which will affect
the larynx. Elongating the frontal muscles of the
• Emotional stress
neck creates serious problems with tone and
intonation.
Emotions such as anxiety, fear and frustration
can result in misuse of the voice due to the mus-
121
frequently sing louder than the choir in demonstrating a point. They often sing in the wrong
range for their voices when teaching the various
parts during rehearsals. Giving instructions to a
noisy, undisciplined choir can also place a strain
on the voice. The use of a microphone is advisable though not always possible. Three years before this research began, a man had been auditioned by a university choral conductor and was
found to have a pleasant baritone voice. He was
recently heard by the author - and a voice therapist - and found to have serious vocal problems
with huskiness of the speaking and singing voice
and dyplophonia. On being questioned, he admitted that his problems had started three years
ago when he began to train a primary school
choir and had to demonstrate and teach them
their parts by singing all the various voice parts
- soprano, alto, tenor and bass - himself. The
voice had been grossly misused and appeared to
be beyond help. All of the choral conductors interviewed believed that the speaking and singing voices of choir conductors and music teachers would be protected from vocal abuse by basic training in the technique of singing and health
of the voice.
The posture of the body affects the production of the singing voice. Just as the
voice is dependent on correct breathing
so the breathing depends entirely on correct posture. (Armhold: 24)
Bad posture can cause the following: inability to
sing long phrases; thin white tone; lack of volume; strain on the vocal cords; staring eyes;
frowning; swelling of the blood vessels at the
side of the neck; tiredness; a flat soft palate resulting in an edgy harsh tone, particularly in the
high register; difficulty in breathing to the base
of the lungs; inability to use the support muscles
correctly.
Anderson (1897), Mulgrave (1955) and Byles
(1978) all comment on how the expansion of
the thoracic cavity is restricted by ‘slumped’
posture which not only decreases the volume of
air available for phonation but may also add to
extrinsic and intrinsic laryngeal muscle strain.
(Reynolds. 1994: 42)
• Coup de glotte (shock of the glottis)
Hard glottal attack is produced by adducting the vocal folds prior to the initiation of expiration and building up
subglottic pressure until it is released as
an abrupt explosion that initiates vowel
production. This can irritate the vocal
cords which in turn results in a hoarse
or harsh voice. Prolonged use of hard
glottal attack may result in more serious lesions including chronic laryngitis,
vocal nodules or laryngeal polyps.
(Prater 1984: 76)
• Choral singing
A great many singers who seek physicians’ advice are primarily choral singers. They are often enthusiastic amateurs, untrained but dedicated to their
musical recreation. (Sataloff. 1981: 255)
They should be particularly warned about the
‘Lombard effect’ which is the tendency to increase volume and intensity of the tone in response to increased background noise. This is a
common vocal abuse in the choral environment.
One solution to this problem is to advise the
singers to cup one hand to an ear if they need to
check on their own individual sound and intonation during rehearsals. Choral singers should
warm up their voices individually before going
to a choir practise as the choir warmup is usually too quick and intense to be of real benefit
and often causes tension in the throat rather than
relaxed muscles toned up and ready for use.
• Incorrect microphone technique
• Lack of sleep
• Poor or spread vowels
• Choral conducting
Singers who are also choral conductors should
take great care not to strain their voices as they
122
• Teaching singing
Teaching singing can be very tiring to the voice.
The teacher not only uses the speaking voice for
hours on end but often demonstrates to pupils of
different voice types, causing vocal strain and sometimes voice abuse. It is advisable to spend about
twenty minutes in warming up the voice before
commencing a long day of teaching.
The following causes of vocal problems were each
cited by only one person interviewed: lack of physical fitness; white singing; poor voice; incorrect practising, dehydration; sloppy diction; atrophy of the
muscles in the throat; weakness of the muscles in
the body; pianissimo schools of singing; incorrect
diet; no time to give individual attention in choirs.
Conclusion
The task of correcting many ingrained vocal faults
and preventing damage to voices attaches great responsibility to the teaching of singing. It would seem
imperative that all singers, voice teachers and choral conductors have training or workshops in the
recognition, prevention and treatment of vocal misuse and abuse. If the foundations are not correctly
laid the building will finally fall.
...there are only two Vocal Schools in
the whole world: the good, from which
the best results are obtained, and the
bad, in which the reverse is the case.
(Marchesi: viii) &
Bibliography
Armhold, A.1963. Singing based on irrefragible laws.
Cape Town: Tafelberg.
Barker, J. 1982. Physiology, vocal problems, the
young voice student and the teaching problems involved. Unbound notes. A copy is in the author’s
possession.
Bastien, RT.1989. Prevention of voice disorders.
Principles of singing.11.
Christy, van A. 1967. Expressive singing.Vol 1.
Dubuque: Brown.
Lyons, J. & Stevenson, L.1990. Principles of pop
singing. New York: Schirmer.
Marchesi, M. n.d. The Marchesi vocal method. London : Enoch.
Prater, R. & Swift, R. 1984. Manuel of voice therapy.
Boston:Little, Brown.
Reynolds, MA. 1994. An investigation into selfawareness of vocal abuse with special reference to
final year student-teachers. MA thesis. University
of Natal, Durban.
Rushmore, R.1971. The singing voice. New York:
Dodd & Mead.
Sataloff, RT. 1981. Professional singers : The science and art of clinical care. American Journal of
Otolaryngology.
Sataloff, RT.1985. Ten good ways to abuse your voice:
A singer’s guide to a short career (Part I ).
Laryngoscope.30.
Sataloff, RT.1987. Common diagnoses and treatments in professional voice users. Ear Nose and
Throat Journal..
Schoning, M.1993. The role of singing in music
education. MMus thesis. University of Pretoria,
Pretoria.
Talbot, D.1991. The singers manuel. Cape Town:
College Tutorial Press.
Colleen Philp (soprano), teaches voice at the University of Natal (Durban) at Kearsney
College and runs a private studio in Durban
123
George van der Spuy
gesels oor sang
Om te kan sing is binne die bereik van enige
aanvoeling, kan dit gebeur dat die eindresultaat ook
normale mens met ‘n vry en natuurlike praatstem.
maar meganies sal wees.
Om goed te kan sing vereis egter veel meer. Indien
die persoon beskik oor ‘n goeie en welluidende
Tegniese vaardigheid is weliswaar noodsaaklik, en
sangstem het hy alreeds ‘n voorsprong bo een met
stel die sanger in staat om die inhoud van die teks
‘n minder goeie stem. ’n Goeie en betroubare
met volkome oorgawe weer te gee. Maar dikwels
tegniek onder meer, is soos op enige ander gebied,
gebeur dit dat ‘n pragtige stem tegnies welluidende
‘n vereiste.
klanke voortbring sonder enige musikale
aanvoeling.
Weens die feit dat die sanger se instrument nie
sigbaar is nie, strek sy tegniese ontwikkeling oor ‘n
Aspekte van sang, soos dié van uitspraak diksie,
lang tydperk. Dit is ‘n veeleisende taak wat geduld
frasering, toonskakerings, styl en ritmiese
en volharding vereis omdat die stem ‘n delikate
aanvoeling kan reeds op ‘n vroeë stadium op
instrument is en stemme van persoon tot persoon
interessante manier gekoppel word aan die tegniese
verskil.
aspek daarvan. So ‘n onderrigprogram is nie
eenvoudig nie, maar is stimulerend vir die
Oor tegniek is daar baie geskryf, en bestaan daar
onderwyser en vir die leerling en is lonend op die
uiteenlopende menings, maar ‘n goeie en
lange duur. Die leerling moet hom reeds van vroeg
betroubare tegniek is ‘n basiese vereiste. Die aard
vergewis van die volgende:
en betroubaarheid van die tegniek sal ook die
There is no shortcut to perfection
sukses, al dan nie, van die sanger se
interpretasievermoë bepaal.
en
There is no success without discipline and no
discipline without sacrifice
Dit gebeur meermale dat oorwegende klem gelê
word op suiwer tegniek, ten koste van die regmatige
musikale aspek. Selfs met eenvoudige tegniese
‘n Onderwyser vind dit dikwels dat ‘n leerling
oefeninge kan ‘n verbeeldingryke student se
ongeduldig raak weens sy stadige vordering. Die
sluimerende musikale persepsie geprikkel en
leerling hou egter nie rekening met die stadige
ontwikkel word. Met sodanige benadering sal dit
ontwikkelingsproses van die stem nie, en gooi tou
die taak van die onderwyser, met die oog op verdere
op vanweë gebrek aan motivering, dissipline of
opleiding, heelwat ligter en aangenamer maak. Sou
deursettingsvermoë. Dan kry die onderwyser
dit gebeur dat die leerling net tegnies aanploeter
dikwels ten onregte die blaam.
met klanke sonder betekenis of musikale
124
aanvaarbaar nie.
Uit die skrywe van Fetis, ‘n halwe eeu gelede kom
die volgende:
• Ook wanneer daar in ‘n vreemde taal gesing
word, word min moeite gedoen deur die stu-
The mechanical part of singing, even the most
dent om vir ‘n uur of wat met ‘n woordeboek ‘n
perfect, is an indispensable part of the merit of
vertaling te ontsyfer.
a good singer, but it is not all. The most successful delivery of the voice, the most perfect intona-
Sou die aanleer van ‘n lied op die regte manier
tion are the means by which a great singer ex-
hanteer word, kan daar nog reg geskied aan die
presses the sentiment which animates him, but
interpretasie en sal die taak van die onderwyser
they are nothing more than means and he who
aansienlik verlig word.
should persuade himself that the whole art of
the singer is comprised in them, might some-
Die eerste stap in die regte rigting is om die inhoud
times give his audience a degree of tranquil plea-
van die teks te bestudeer en deeglik te verstaan.
sure, but would never cause them to express
vivid emotion.
In die tweede plek moet die korrekte uitspraak,
aksent en die betekenis van elke woord bepaal word.
Die eerste prioriteit van ‘n sanger moet dus wees
Daarna word die sinne hardop voorgedra. Indien daar
om ‘n vry, welluidende en musikale toon voort te
genoeg tyd is om te besin oor die dieper betekenis
bring. Hier eindig die proses egter nie, en die
van die gedig, word die woorde gepraat op die ritme
suiwerheid van die toon en vaardigheid van die
van die musiek.
tegniek dien slegs om die sanger groter vryheid te
gee met ‘n betekenisvolle weergawe van die teks
Nou eers behoort die melodie aangeleer te word,
en die musiek.
deur dit op al die vokale te sing. Sodra die musikale
aksente korrek aangevoel word, kan die woorde op
Indien ‘n student doelgerig is en met toewyding
die melodie gesing word. Die gedeeltes wat
werk is dit binne sy bereik om die fisies en
moontlik tegniese probleme kan veroorsaak, geniet
emosionele, van meet af aan as eenheid, met sukses
afsonderlik aandag.
te ontwikkel. Die wagwoord van elke sangstudent
behoort te wees:
Ten laaste word noukeurig aandag gegee aan die
geheel vir finale musikale afronding. Om ‘n goeie
Werk en nogmaals werk
ritmiese vloei en aanvoeling te behou dink aan die
volgende:
Die manier waarop ‘n lied of aria aangeleer word
1.
Sing woorde en nie lettergrepe nie.
beïnvloed ook die voordrag daarvan. Die algemene
2.
Sing frases en nie woorde nie.
neiging by studente is soos volg:
3.
Sing ‘n lied en nie frases nie.
• Die melodie en woorde word tot vervelens toe
Indien hierdie proses met erns en ywer aangepak
herhaal, en kom die leerling by die les, word
word, behoort dit enige sanger in staat te stel om
daar nog steeds van die blad gesing.
die teks met musikale aanvoeling op ‘n interessante
• ‘n Flou verskoning van ‘n student dat hy dit
wyse oor te dra aan die gehoor.
moeilik vind om woorde te memoriseer is nie
125
Om te verseker dat sy gesigsuitdrukking geskik is
gedoen kan word om die situasie te red of te
vir die aard van die lied, of vir enige wisseling van
verbeter.
temperament, kleur of dinamies kontraste, is dit
‘n goeie beginsel om die voordrag voor ‘n spiëel
Die onvermoë om goed te interpreteer is ook geen
uit te voer.
stemfout wat met oefeninge uitgewis kan word nie.
Deur noukeurig aandag te gee aan tempo en
Te veel ligaamlike beweging is steurend en
dinamiese tekens kan ‘n redelik bevredigiende
onvanpas, maar onnatuurlike styfheid is ook
voordrag gelewer word. Die persoonlike element
ongewens. Die kunstenaar met ervaring leer om
waar die sanger met sy stem moet skilder en ‘n
die middeweg in die regte houding te projekteer.
duidelike en musikale beeld moet oordra, kan egter
nie op skrif gestel word nie.
Die belangrikheid van die woorde van ‘n lied kan
nie genoeg beklemtoon word nie. Voordat ‘n stu-
Nabootsing of doen soos jy gesê word, is ook geen
dent in die publiek optree moet hy die teks deeglik
oplossing vir die probleem nie. ‘n Student moet
uit die hoof ken. Dit is ‘n swak gewoonte om voor
met verdrag die vermoë ontwikkel om vir homself
‘n gehoor van ‘n blad te sing. Daar is maniere om
te dink, sy eie intelligensie te gebruik en sy eie
hierdie gewoonte te oorkom. Hoor wat Martha Gra-
persoonlikheid te ontwikkel. Dit verg jare van harde
ham, ‘n groot kunstenares, wyslik te sê het:
en toegewyde werk, om in die eerste plek goed te
kan sing, en tweedens ‘n bekwame interpreteerder
One of the cardinal sins is mediocrity. There is
te word wat op sy eie voete kan staan en sy eie
already too much of this in the world.
verantwoordelikheid kan aanvaar en hanteer.
Wie daarna streef om sukses te behaal sonder
Een van die mees ooglopende foute by jong sangers,
inspanning, luister na die sage van Sinbad the Sailor:
is die meganiese wyse waarop ‘n lied voorgedra
word, ongeïnspireerd en vervelig. Hulle is nie bewus
Who so seeketh eminence without labouring for
van die onderskeid tussen metriese en ritmiese
it, loseth his life in the search of vanity.
aksente nie. Die gevolg is dat woorde en minder
belangrike lettergrepe met dieselfde toonsterkte
Interpretasie word dikwels saamgevoeg as ‘n deel
gesing word. Dit is eentonig en nie bevorderlik vir
van vier fisiese komponente van sang – respirasie,
goeie diksie nie.
toonproduksie, resonans en artikulasie. Alhoewel
interpretasie sonder twyfel die aard van die klank
Net so opvallend, indien nie meer so nie, is die
beïnvloed is dit streng gesproke soos ook in die
onvermoeë of agterlosigheid van die sanger om
geval van musikalitiet, geen fisiese proses nie. Die
frases deur te sing tot die einde toe. ‘n Frase eindig
onderwyser kan wel sekere wenke gee i.v.m.
nie voordat die laaste konsonant gehoor word nie.
interpretasie maar in die finale analise kan
interpretasie nie aangeleer word nie. Ontbreek dit
Een belangrike vereiste tot die bemeestering van
aan skeppende verbeeldingskrag om esteties te
die wye veld van vokale literatuur en wat ‘n
reageer op die woorde van musiek, en is daar ‘n
essensiële faktor is m.b.t. interpretasie, is
gebrek aan genoeg persoonlike vryheid om uiting
musikaliteit. Laasgenoemde bestaan uit die
te gee aan wat hy innerlik ervaar, is daar min wat
126
volgende vier elemente nl ritme, toonhoogte,
an evenness of voice scale, and certainly a tech-
tempo en dinamiek. Soos reeds vroëer vermeld is
nique which in time would become so perfect
musikaliteit ‘n ingebore talent. Dit is daar of dit is
mechanically as to show me to forget technique
nie daar nie. Dit mag egter sluimerend of
while I sing and devote my attention exclusively
onontwikkeld wees, in welke geval dit met studie
to the interpretation of the music and the text. I
kan ontwikkel.
was invariably careful to keep within the limits
of my voice, for I always have felt that no tone is
Ritme is die element wat alle musiek van die
proper to sing that carries a power which mars
vroegste vorm tot die avant garde musiek van vandag
it’s quality. There is nothing in a so-called ‘big
in gemeen het. Musiek sonder ritme is soos ‘n
tone’. To make a big noise for the sake of induc-
lewelose wese.
ing applause, is not singing and certainly far-removed from artistry.
Om die ware polsslag van ‘n stuk te voel, moet die
sanger as’t ware die metronoom inwendig voel. Om
As jong sangers vanaf ‘n vroeë stadium af opgelei
saam met ‘n metronoom te sing sal nie die ritme
word as musikus, en geleer word om die literêre
verbeter nie. Die meganiese slag van die
inhoud van die teks te waardeer, en aangemoedig
metronoom sal die vry vloeiende beweeglike
word om dieper te delf in die rykdom van die vokale
frasering se ondergang beteken. Die metronoom is
literatuur, sou daar ongetwyfeld meer konsert
handig om die regte tempo aan te dui, maar skakel
kunstenaars op die horison verskyn het. Die
die metronoom af voordat die musiek begin.
welluidendste stem slaag selde daarin om die
belangstelling van ‘n gehoor te behou met
Korrekte toonhoogte is ‘n sanger se eerste prioriteit.
betekenislose klanke. So ‘n voordrag sal reeds vroeg
Selfs die geringste afwyking van die toonhoogte
in die verloop van die program tekens van verveling
moet ten alle koste vermy word.
toon. Ernest Newman, kritikus van beroep, het as
volg van die beroemde Nellie Melba geskryf:
Dit is van groot belang om die korrekte tempo van
‘n lied te vind. ‘n Lied verander van karakter as dit
Melba’s singing was uninterestingly perfect, and
te stadig of te vinnig gesing word. Een van die ware
perfectly uninteresting.
kenmerke van opregte musikaliteit is om die
korrekte tempo van ‘n lied, ritmies presies aan te
Die hantering van styl soos dit voorkom in
voel van die begin.
verskillende geskiedkundige tydperke bv Barok-,
Romantiese, Impressionistiese en ander
Dit word aan die voordraer oorgelaat om te besluit
kontemporêre skole, speel ‘n belangrike rol met
watter tempo mees geskik is vir die karakterisering
die interpretasie van vokale werke. Veel is
en uitbeelding van die lied. ‘n Sensitiewe begeleier
daaromtrent geskryf en genoeg informasie is
sal onmiddelik enige wisseling van tempo aanvoel.
beskikbaar
vir
‘n
student
om
genoeg
agtergrondkennis in te samel met die studies van
Op die gebied van die kunste word nooit stilgestaan
sy verskillende vokale werke.
nie. Dit is ook waar van die sanger se kuns. John
M’Cormack skryf as volg:
My endeavours lie in the direction of acquiring
Ander aspekte van sang soos verhoogsoptrede,
selfversekerdheid en temperament wat deel vorm
127
van die groter spektrum sal geleidelik ontwikkel
mination are as indispensable as voice itself and
soos die sangtegniek verbeter en ontwikkel.
patience and perseverance are but plain everyday necessities.
Vir sommige persoonlikhede is dit moeilik om
goedbedoelde kritiek van sy onderwyser te aanvaar.
All that the best teachers can do for pupils is to
Hy moet egter besef dat wanneer hy nog geen
put them on the right track and see that they don’t
perspektief of oordeelsvermoë het om sy stem te
go astray.
beoordeel nie, hy sy onderwyser wat hy as
leermeester gekies het, ook moet vertrou. Pogings
The rate of their progress depends entirely on
tot self-analise sonder ervare leiding is feitlik
their own capabilities and their own endeavours.
hopeloos. Om Burns aan te haal:
The true student of art will make it his or her
ambition to strive to attain the highest possible
It would greatly aid
degree of excellence remembering that:
if it didn’t cheer us,
To hear ourselves
They only cease to rise,
As others hear us.
That cease to climb.
Onderwysers kry soms die blaam as ‘n student nie
Aan die sangers wat met sukses bekroon wil word
na wense vorder nie. Dit mag wel gebeur, maar die
‘n finale wenk:
rol van die student, en die bydrae van die onderwyser
om hom te help in die regte rigting word treffend
Hasten slowly and without losing heart, put your
in die volgende aanhaling uiteen gesit:
work twenty times upon the anvil. &
For success in singing, brains, energy and deter-
Prof George van der Spuy woon tans in Somerset-Wes waar hy ‘n aktiewe sangstudio bedryf
128
An aesthetic, critical and educational survey of the
integrated arts approach at the Lady Grey Arts Academy
with special reference to vocal training
Botes Gresse
Definitions And Clarification
For the purpose of this elucidation the following
definitions will apply:
Arts refer to but are not restricted to all forms and
traditions of dance, drama, music theatre, visual arts,
crafts, design, written and oral literature of which
serve as means for individual and collective creativity and expression through performance, execution,
presentation, exhibition, transmission and study.
Culture refers to the dynamic totality of distinctive spiritual, material, intellectual and emotional
features which characterise a society or social group.
It includes the arts and letters, but also modes of
life, the fundamental rights of the human being,
value systems, traditions, heritage and beliefs developed over time and subject to change.
Heritage is the sum total of wildlife and scenic parks,
sites of scientific and historical importance, national
monuments, historic buildings, works of art, literature and music, oral traditions and museum collections and their documentation which provides the
basis for a shared culture and creativity in the arts.
Preamble
Throughout the centuries the change of the economic foundation of a society had had a great impact on the ideological forms to which a society
adheres to: aesthetics, philosophy, politics, religion,
science, and the law department. As Marx explains
this in the preface to his Critique of Political
Economy (1859): ‘It is the mode of production in
material life which determines the general characteristics of the social, political and spiritual pro-
cesses of life’. He also points out that it is man’s
social existence which determines his consciousness
and not his consciousness that determines his existence.
From these we can deduce that the progress of art
and culture is dependent on the progress of the
material conditions and, in particular, the social
organization of any era in history which can either
limit or extend the cultural and artistic possibilities of that era. Thus, the society at any given time
determines the artistic and cultural levels of the
time.
When considering the past, three distinct eras in
the history of artistic production come to the fore.
The first was when art belonged to a society as a
whole and which spoke to all in the same way. This
is also known as collective art.
In the second era there was a diversification in artistic production which is linked to the drive of individual artists within social groups that affiliate
themselves to a specific artistic trend.
The third era, in which we find ourselves today, saw
the creation of the so-called ‘man culture’ in which
artistic production is heralded by the mechanical
revolution in the production of literature, fine art,
music and dance. This transformed the relationship between the nature of the work of art and society.
This leads up to the integration of all the art disciplines to the concept of ‘total theatre’. All the arts
are combined in one production in which all art
disciplines enjoy equality - one art discipline does
129
not form an end in itself, but as a whole they operate together as a means towards a common goal.
One fills up the gap another left, and in this integrated formal structure the message of the production, whether social, religious, political or for entertainment, can be carried over in a clear, crisp
manner to the mass culture of today.
Historical moments in the establishment of arts
education
In May 1981, the then State President, Mr M
Viljoen, announced a Commission of Inquiry into
the Promotion of the Creative Arts under chairmanship of Dr J H T Schutte. Some of the recommendations by this Commission were as follows:
‘1
3(f)
3(h)
The Commission considers getting the community in general more involved in, informed about and interested in the arts as
one of the most important tasks that must
be carried out in connection with the promotion of the arts in South Africa. Involvement in the arts, and in culture in general,
forms a necessary stimulus for the growth
of the community.
The creation and experience of art are
complementary. Without an artistically informed community, the practice of the arts
will inevitably languish.
The inculcation of an awareness and an appreciation of art must begin at home and
at school.
29(b) Provision of more high schools for art,
music and ballet are necessary for pupils
who are interested in the ‘pure’ arts such as
painting and sculpture...’ (Music education
policy 1993:85-86)
Various recommendations by this Commission and
other policy declarations soon followed and were
implemented to further advance nurturing in and
through the arts, however, not always equally successfully. The important role of arts education became a hollow refrain, echoed by policy makers in
various government and local sectors in South Africa.
The sad fact of the matter is that a huge discrepancy exists between the content of these policies
and the actualisation of the said policies. The truism ‘The map is not the terrain,’ is applicable in
this case. Having an ambitious policy is not enough
- any policy can only be benchmarked to the carrying out of it. It is obvious that a literate, cultured
and refined society is envisaged. However, not much
has happened, from the Academy’s viewpoint, in
realising these ideals at an institution that is specifically geared towards the carrying out of the White
Paper on Arts, Culture and Heritage.
As the Lady Grey Arts Academy is one of very few
institutions of its kind in South Africa, one would
imagine that policy-makers and stakeholders would
grab the opportunity and render support with some
kind of assistance. Sad to say, it is not the case and
a re-evaluation of the execution of how policy should
be carried out might bring relief.
The decision to study the findings of foreign examples of statements regarding arts education contributed to a great extent to the importance of arts
education to be viewed seriously.
Already in The Tanglewood Declaration (Boston,
USA, 1967) the following was issued:
‘We believe that education must have as major
goals the art of living, the building of personal
identity and nurturing creativity...’, ‘The arts afford a continuity with the aesthetic tradition in
man’s history. Music and other fine arts, largely
nonverbal in nature, reach close to the social,
psychological, and psychological roots of man in
his search for identity and self-realization. Educators must accept the responsibility for developing opportunities which meet man’s individual
needs and the needs of a society plagued by the
consequences of changing values, alienation, hostility between generations, racial and international
tensions and the challenges of a new leisure’ (Music education policy 1993:100).
130
On 18 June 1984 H J Resolution 452 was passed in
the House of Representatives, United States of
America:
‘Recognizing the important contribution of the
arts to a complete education...’, serve as a powerful expression of thoughts and feelings as a means
to challenge and extend the human experience,
and as a distinctive way of understanding human
beings and nature;’ ‘...can develop discipline, concentration, self-confidence;’ ‘...helps to develop
high levels of skill, literacy, and training essential to enable individuals to participate...’ (Music education policy 1993:101).
One of the main arguments running through the
Queensland (Australia) Policy Statement: Education
and the Arts (1980) is the argument of non-redundancy, i.e. ‘unless the arts are taught as an integral part of the curriculum, students are denied
a range of valuable experiences that cannot be
provided or duplicated by any other group of subjects’ (Music education policy 1993:103).
improved material conditions in order that they
have a better quality of life. Individuals have psychological, emotional, spiritual, and intellectual
expression, all of which enquire nurture and development for them to realise their full potential, and
act as responsible and creative citizens’ (The Handbook on Arts and Culture 1998:5).
Under the heading arts education, par 31 states:
‘Education in arts, culture and heritage should embrace opportunities for making, performing, presenting as well as appreciating the many expressions of South African culture...’ and in par 32
‘Arts, culture and heritage education must entail an integrated developmental approach leading to innovative, creative and critical thinking.
The whole learning experience creates, within a safe
learning environment, the means for shaping, challenging, affirming and exploring personal and social relationships and community identity (The Handbook on Arts and Culture 1998:10).
The Integrated Approach
In her introductory message to The White Paper on
Arts, Culture and Heritage, June 1996, Ms Mabandla,
deputy minister of Arts, Culture, Science and Technology, stated the following:
‘The ambit of arts and culture policy will always be
highly charged and emotional, because the arts,
culture and heritage are concerned with the most
central aspect of humanity, the formation of identity’ (The Handbook on Arts and Culture 1998:2).
She concluded her message with this striking invitation:
‘Now is our time to sing, to dance, to paint and to
create. This is our right as citizens of South Africa.
There is so much to look forward to, and so much
work to be done’ (The Handbook on Arts and Culture 1998:3).
One of the underlying values stated in the draft
White Paper on Arts, Culture and Heritage reads as
follows:
‘Humans are holistic beings. They not only need
At the Lady Grey Arts Academy, where Music (serious music as well as contemporary / light music),
Speech and Drama, Fine Art, and Dance are taught
from Grades 1 to 12, an integrated approach is followed. This integrated approach has been inspired
by the before mentioned policies and values on art
education as spelled out by various educational institutions, Governments and stakeholders, nationally and internationally. The important role the arts
subjects play in the approach of the more academic
subjects can never be underestimated and the result of the integrated approach of the four arts itself when combined in new stage productions, surpassed all expectations. Thus, at the Academy, the
term integrated arts is understood in two mutually
inclusive ways.
It soon became evident that learners with one or
more art subjects were more tenacious, more conscientious and generally found new work easier to
understand than learners not exposed to this integrated approach. Upon investigation, it was obvious that the different arts subjects taught learners
131
insights to the production, the logistics may become any director’s nightmare. In the end however,
the Lady Grey Arts Academy is able to present a
well-rehearsed, well-thought through product which
is a delight to both audiences and participating artists.
certain skills that they could not apply previously
in their purely academic work. These skills include:
self-discipline, self-confidence, excellent perception
of the self and others, verbal and nonverbal communication skills, coordination, motor skills, focus,
imagination, realisation of potential, the will to
complete a task and a sense of pride in achievements, just to mention a few.
This creative process, working towards a common
goal (outcome), is exhilarating, stimulating and
develop educational concepts, life skills, conception and insight to a degree that can be achieved in
no other way in any classroom situation. The educational process hereby becomes a challenge with
successful outcomes guaranteed: Is this not what
effective education and training is all about?
The value of incorporating elements of the arts subjects in the teaching of academic subjects (other
learning areas), became the main point of departure. Questions that arose were: ‘How can Biology
be taught by using elements from Fine Art? How
can Accounting be taught using elements from
Speech and Drama? How can Mathematics be taught
using concepts from Ballet?’ These questions were
pondered by all staff members, whether involved in
purely academic or arts subjects. Soon the integrated
approach became reality.
The Importance of Vocal Training at the
Academy
Apart from all the skills taught in and through the
various arts and academic subjects, vocal training
becomes a focal point - one can almost refer to it as
the backbone of the integrated approach.
Since the arts subjects taught learners so much, it
would be foolish not to use these subjects in the
teaching of Academic work.
In the integrated production the actor is also expected to be a confident and trained singer, as a
soloist, or part of the chorus or smaller vocal ensemble, especially when acting out a major role.
Thus, the Arts, Culture and Heritage Learning Area
became a tool that is used in the teaching and facilitating of subjects which actually have very little
in common with it. A new world has opened for the
creative (hard-working!) teacher and the learner.
The understanding, enjoyment and positive outcomes now being experienced, changed the face of
‘schooling’ dramatically.
The dancer must, depending on the specific choreographed requirements, also assist in the chorus
parts, whether in a temporary motionless or active
dance scene. Quite often the lead dancers are expected to sing solo parts or perform in ensemble,
thereby contributing to the production vocally and
not just in choreographed, non-verbal action.
At the Academy the integrated approach is also used
in the creation of works for the stage. In each production, all four of the arts are present to some or
other degree. Ver y often a production is
workshopped with the learners, with the teachers
from the different Art Departments as facilitators.
Thus, the Department of Speech and Drama would
be responsible for the acting and a text, the Department of Fine Art for costume design, props and
decor, the Department of Dance and Movement for
all scenes requiring choreography and the Department of Music would handle all demands for incidental music. Such a project takes time and effort as each Department starts adding its own creative
The opposite is also applicable to the musician
specialising in vocal (soloist) and choral training who
must be skilled actors and dancers to a certain extent. The better-skilled and trained all-rounder performers in a cast, the more ambitious and challenging the productions undertaken, becomes - especially when the workshop method for an original
production is followed. With a greater all-rounder
input available from most, if not the complete cast,
the quality of the end result of such a production
132
reaches unforseen heights.
So far nothing has been mentioned about the young
artists concentrating mainly on the Fine Arts. They
also train as actors, dancers and singers, depending
on their availability in a very full and busy daily
training programme and majoring subject choices.
The main contribution of the fine artist (also as
singer/actor/ dancer), however, is rooted in the fact
that they are emotionally and physically part of the
shaping of a production thus enabling them to express themselves visually more effectively and taking on the leading role in the design and creation
of appropriate decor and production scenery.
Whether the fine artist is also a dancer or actor or
chorus member, singing once again is the expected
common contribution to the production.
Choral Training
Choral training takes place on a daily basis at the
Academy as part of the normal educational
programme [It must be stated that choral training
is optional]. The foundation is laid in the training
choir (junior choir) where attention is focussed on
voice production, diction, correct breathing technique, musical interpretation and understanding,
including the reading of music notation.
As from Grade 6, learners, having successfully completed their junior choral training, join the Concert Choir where further advanced training follows.
Choristers are exposed to all choral genres and
musical styles and are able to present an annual
full-length choral performance, undertake productions of musicals, oratorio, masses, etc. and participate on invitation in special choral productions.
Performances can consist out of only sacred, secular or purely light and entertaining selections from
the standard programme, or can be performed in
combination. The integrated approach, however, is
always followed where appropriate.
Being an Arts Academy, most choristers are involved
in the training of one or more of the art disciplines
mentioned, either on a curricular or extra-curricu-
lar level, thus complementing the integrated arts
approach.
Individual vocal training
Most of the learners enrolled at the Academy study
one or more musical instruments, including individual vocal training. Vocal training can be done in
either one or both of the following genres: serious
music and contemporary/light music. In both genres
specific graded course material is studied (eg. Unisa,
Trinity College, Almsa) whether they prefer to do
an external examination or just an internal evaluation on the graded course.
The vocal repertoire is further extended with works
which form part of specific performances (eg. House
Concerts, vocal solos and ensembles as part of the
choir programme, solo parts in specific choral genres
[eg Masses], ‘street concerts’, music evenings,
etc.). Thus a standard of vocal training and performance is set for the teacher, learner as well as parent.
This achieved standard at any given time functions
as a guide to allocate solo performances in the various categories mentioned above, and/or to take on
the duty of voice leaders in the individual voice
groups of the choir or stage production, ensuring a
high standard of performance from fellow singers
at all times. Learners following both the serious
and contemporary courses are of course very versatile in their approach and can adapt with the greatest ease between various musical styles which is to
the benefit of the theatre productions attempted.
Voice training at a young age is done in group (class)
context, though individual attention is given for
preparation and participation at eisteddfods or music festivals. The point of departure at all times will
be the natural voice, while concentrating on the
development of musical interpretation and understanding, correct phrasing and diction without indulging into technicalities beyond their grasp.
From school Grade 7 more advanced individual training is given, always taking the physical and emo-
133
tional development of the individual into serious
consideration. Special care is taken, especially in
the case of boys, not to overtax the still developing
vocal chords, once again using the natural voice as
the basis. In the case of senior learners, a more
technical approach is followed to develop voice
quality and projection, and to establish a sound foundation for future training of the voice when it has
finally matured.
Voice training is mostly done in the presence of the
teacher and learners are seldomly allowed to do
practical singing (preparation) on their own. The
reason is to avoid wrong habits to be established
and to guide the developing voice into maturity.
Once again senior learners, especially those doing
music as a subject and with singing as their practical instrument, are allowed to do preparation on
their own. By this time the latter group has established a sound basis of vocal application and responsibility, which allows for this additional input.
The main focus at all times is the sense of enjoyment and achievement that the individual experiences. The fact that they can apply their individually trained skills on a daily basis in choir rehearsals, stage productions, formal and informal concerts,
etc., acts as motivation and encouragement to constantly striving towards higher goals.
For these artists, trained and skilled as singers, instrumentalists, dancers, actors, designers and painters, the stage unfolds into a paradise - a world without boundaries.
Situation
The Lady Grey Arts Academy is situated in the picturesque town of Lady Grey in the North Eastern
Cape, 250 km from Bloemfontein. Classes in the
Academy are restricted to a maximum of 27 learners per grade and only one class per grade. Learners are subjected to auditions in the four art disciplines for enrollment. A total of 19 specialist teachers attend to the education and training of the
present 245 learners. &
Bibliography
Contributors: Van den Berg, M: Head, English Department, Lady Grey Arts Academy and Ferreira,
M: Department of Music, Lady Grey Arts Academy.
Smit, E & Hauptfleisch, S. 1993. Effective Music
Education in South Africa. Pretoria: Human Sciences
Research Council.
The South African Handbook on Arts and Culture.
1998. Cape Town: Creda Communications.
Williams, R. 1958. Culture and Society: 1780 - 1950.
London: Windus.
Botes Gresse is principal of the Lady Grey Arts Academy
134
Finding the free voice
Nellie du Toit
Katherine Hepburn: Without discipline, there’s no
There is no ideal sound. Sounds are only symptom-
life at all.
atic of well or poorly coordinated body function.
Every voice is unique, having its own expressive
In my forty years of teaching experience I seldom
quality and range, and changing voices require sen-
got a voice on virgin soil. In other words, I seldom
sitivity and support.
got a free voice as nature created it. So often I’ve
experienced that teachers try to create another
There are no two people alike in this world, even
voice from a natural voice. What for? Why not build
in personalities. Every lesson for every student must
on the natural sound? Without finding the basic
therefore be individualized. This means not only
sound, the student is to go on year after year, real-
listening for the technical and artistic needs of the
izing nothing but superficial refinement of the lim-
moment, and the emotional dynamics current in
ited voice. Is the sound freely produced, or manu-
the student, but also maintaining an awareness of
factured? Any sound that feels uncomfortable, is
where he is in his psychosomatic cycle. Although
wrong.
different voices have individual problems, the basic
principles are the same.
No one knows how the brain decides what is beautiful and what not. People have different tastes and
Speaking and singing are unique gifts of creation
ideas to what is beautiful and what is the right sound.
that elevate humankind above the noble animal
Welfare of the voice and free production should be
kingdom around us. The vocal folds of the human
both the teacher’s and student’s first concern.
person were clearly intended for speech and for song.
The singing voice combines the physical, spiritual,
One often gets the polite teacher that believes that
artistic and technical capabilities of human powers.
as little as one should argue about religion and politics, just as little should one debate about vocal
Teaching voice is more difficult than teaching key-
techniques. This teacher says you must just sing
board or any instrument. The instrument of the
naturally and is too polite to make any specific cor-
singer is the human body. Many parts of the instru-
rections. He/she will probably also say, ‘There are
ment are invisible. The voice teacher must resort
as many techniques of singing as there are teachers
to imagination, fantasy and images to teach his stu-
of singing, and we all use different languages, terms
dent, although the scientific teacher who only be-
and expressions - but we’re all looking for the same
lieves in vocal science will probably say, ‘Don’t you
thing’ (which we are not - neither technically or
dare use any of that imagery stuff around me.’
aesthetically - beyond a generally shared hope for
successful performance).
The teacher must listen to the voice and be able to
135
analyse its problems. He must teach his student
is the understanding. Sophisticated singing will oc-
singer how to listen. The student should know just
cur with the development of physical coordination
enough of the anatomy of singing to be able to un-
and new aural concepts. Perhaps the single most
derstand how it works.
important task of any teacher is to see that this
coordination occurs regardless of the sound. In so
One should work for complete freedom of the mecha-
doing, the student will be led to discover his own
nism and not strive at first for a beautiful, ‘rich’ or
voice rather than someone else’s concept of what
even big voice. Big singing is not always beautiful
his voice should be. One values not what one is
and artistic singing. The true singing tone is free,
told, but what one discovers. The teaching can be
ringing, and sincere. Freedom in singing brings reso-
directed in such a way that what the student discov-
nance and control. A free production enables the
ers is really what has been taught all along - but the
voice to meet the demands made upon it by the
student must make the discovery. Through the years
song’s technical and musical difficulties. It is the
of my teaching experience, I found that this is what
responsibility of the teacher to introduce proce-
happens most of the time.
dures and encourage physical habits conducive to
the development of a free singing tone.
Concepts most meaningful are those to which one
is led as a result of one’s own understanding of the
The profession of voice teaching comprises a life
basics:
time of learning, and it is questionable whether one
• Breathing for singing as it contrasts with breath-
can ever be fully equipped. No single teacher with
ing for everyday living.
‘vocal secrets’ has all the answers to vocalism. Even
• The physical laws that govern phonation.
experienced teachers seek for new concepts and
• The acoustical principles that govern resonance
knowledge in matters pertaining to voice, although
and sound travel. These fundamental laws of na-
‘tricks an gimmicks’ don’t always solve the prob-
ture, coupled with clear and rational thinking,
lem.
will lead one to teaching concepts that will be
functional and uniquely one’s own. These are
Without certain basic concepts, the studio voice
the qualities of great teaching.
teacher - experienced or not - has no basis on which
to accurately interpret the information that is avail-
The teaching style must be warm, encouraging, de-
able.
termined, enthusiastic, understanding, sympathetic,
energetic, knowledgeable and firm in expectation.
The new teacher, whether fresh out of college or a
My firm belief that the great singer is doing noth-
seasoned professional performer, must base his in-
ing more than naturally producing a tone, leads me
struction on valid pedagogical concepts, rather than
to believe that we should seek only to use the voice
on borrowed opinions or subjective sound prefer-
as nature intended. When singers on stage, espe-
ences.
cially in opera, are occupied with so many simultaneous activities, the voice must function in a spon-
Many vocal exercises have been passed from teacher
taneous, natural manner. The teacher must lead the
to student and diligently practised. It is not enough.
student to that kind of voice production. His means
It is not the doing that produces vocal progress, it
are through the natural sound.
136
The exercises one sings depend on what the teacher
matter of development of co-ordination of all parts
hears and sees. They may be similar for certain stu-
of the singing instrument, and the elimination of
dents, but should always be tailored to the indi-
all interferences. In freedom of voice production
vidual needs of a given singer. When I offer exer-
there are no changes of production throughout the
cises in the studio, I do so keeping in mind the
entire range of the voice.
purpose of voice exercises. We sometimes find a
technically intense teacher who ignores the correct
Singing ‘off pitch’ is a common fault amongst sing-
literature or music tuition but thinks only of the
ers. It is rarely due to imperfect hearing. It is usu-
mechanism of the voice, although he/she has no
ally caused by a bad production, or by a deteriora-
knowledge of the physical and acoustic functioning
tion of the larynx brought about by faulty singing -
of the voice.
or through a lack of vitality. Pure intonation comes
only when the production is free. Volume of tone
Soft humming of rapid scale passages is valuable in
should be limited to what the instrument can com-
the development of freedom and flexibility. It is
fortably produce.
extremely valuable for all types of male voices to
hum to the extreme low and high range. Naturally
Another significant point to be made about the re-
in the high range, it will be in the upper or ‘fal-
training of voice production, is that after building
setto’ voice quality, but it will develop muscles
awareness, renewed vocalizing should not be aimed
needed in the production of the high notes.
at producing ‘beautiful’ sound. To learn a new use
of the voice, it is initially wiser to explore a range
Typically, voice exercises are used to help develop:
of sounds, including some that one would never
• freedom
exhibit in public. If the singer attempts too early in
• focus.
the retraining process to refine or ‘prettify’ the
voice, the old muscle patterns, programmed in from
The development of freedom is tantamount to the
years of repetition, are likely to make a comeback.
efficient mechanized action of the vocal folds and
the articulatory mechanism. It includes the obvia-
Deep awareness of the singers’ own bodies will en-
tion of constrictive tension within the unseen
sure vocal health, no matter what music they tackle.
mechanism and visible tension in the face, neck,
The most powerful tool for correcting persistent
chest, back, abdomen and legs. Focus, an extension
tension patterns, is the mind’s awareness of the
of freedom, is the development of healthy, ringing
body. It is not possible to develop sufficient aware-
sounds, which allow the voice to communicate
ness and control while engaged in the act of sing-
colour, language and projection. Acoustically, focus
ing. Find new, easier muscular coordinations, like
is the coordinated alignment of formants and har-
the teachings of F M Alexander or Mosche
monics in ways that create the singing sounds the
Feldenkrais. Alexander recognised that improved
teacher desires. Flexibility, agility, range extension,
posture and movement were elusive unless one
etc., are all part of the goals of exercises, but these
learned to stop ‘endgaining’. By this term he meant
are accomplished as a by-product of freedom.
the goal-directed mind-set which in itself produced
the unwanted tension.
A high degree of freedom of voice production is a
A free body brings a free voice. Last but not least,
137
Marafioti said, ‘The education of the mind ... comes
We strive continually to grow in the mastery of our
first in the exploitation of every art.’ The teacher’s
art, because that pursuit shapes and defines the per-
task is to help the student to develop a spiritual
sons we wish to be. Only those who are ‘alive’ in
and mental as well as a physical basis. The principle
the art of music have the power to inspire others to
of habit formation is of fundamental importance in
spend a lifetime pursuing the joys of music.
&
training the singing voice, and practice procedure
usually subserves the purpose of habit formation.
Bibliography
When a perfect technique becomes habitual, it ap-
Bachner, L. 1944. Dynamic Singing. New York:
pears spontaneous and natural.
Fischer.
Fields, VA. n d. Training the Singing Voice. New York:
King’s Crown.
The technical skills prepare the singer for the rep-
Linklater, K. 1976. Freeing the Natural Voice. New
ertoire he or she is to perform. Learn to sing the
York: Drama.
song until you’re hardly conscious of the words or
Nats Bulletin. Various years.
the music. Then it will be internalised, spontane-
Vennerd, W. 1967. Singing, the Mechanism and the
ous, alive, and a part of your personality.
Technic. New York: Fischer.
Wilson, HR. n d. The Solo Singer. New York: Fischer.
The primary object of all voice training, then, is to
‘train’ the brain so that it becomes capable of subconsciously directing and controlling the functioning of the vocal apparatus.
Dr Nellie du Toit, professional opera and lieder singer, taught singing at the Universities of Cape
Town and Stellenbosch and is still active as a singing teacher
138
Artikels
/ Articles
Feature
Music Education in the context of
the African Renaissance challenge
On 19 and 20 May 2000 the Department of Education hosted a workshop with the theme Music in
Schools–The Way Forward at a prestige hotel at the
Johannesburg International Airport.
Professor Kader Asmal, Minister of Education presented the keynote address: Addressing Youth and
Economic Needs of South Africa through Innovative Music Education Concepts. Professor Asmal’s
address is published in The South African Music
Teacher, July 2000, 135 edition, pages 12-14
We are publishing the text of the speeches of the
three Speakers: Ms Marguerite Barker-Reineke, of
SAMET, Mr Rod Harrod of PROmpt Trust and Ms
Marianne Feenstra of NUME who led the panel discussion before the delegates joined the various commissions where the groups focused on recommendations. The topics under discussion were:
1. Music Education, Social Reconstruction and Promotion;
2. Music Education and Career Opportunities in
allied Industries and
3. Outcomes-based Music Education in terms of
pedagogy assessment and articulation.
Making connections through the Arts with
Commerce and Technology
Marguerite Barker-Reineke
Introduction
The technological and economic imperative of the
new curriculum is marginalising and dismantling the
Arts. Music, art, drama and dance programmes at
our schools are in disarray and some are already
destroyed. Schools, technikons, and universities are
being pressurised and funded to serve commercial
and corporate needs. Schooling, by that I mean education and training is being geared for preparation
for the world of work. Corporations continue to
demand that the schools serve the very real but
narrow goal of employability.
And arts educators continue to fail to make the connection. Arts educators can and must believe that
the arts can add value and meaning to the educational agenda. The arts will have to show the technological world, the commercial world that what it
is asking is too limited for its own good. We, the
arts educators have to show them that the arts can
serve our country and our youth in powerfully important ways that will enhance education, life and
yes, enhance the ability of people to be productive
citizens. We must win schools and industry. I suggest four ways of thinking about how we in South
139
Africa can help practitioners and teachers of the
arts to connect with the self-interest of commerce
and give quality to the world of technological work.
Thinking Aesthetically
Koreans and Germans are known to put together a
reliable and well-made product. That means that
all along the line people care about what they are
doing. Through the study of music we transform
the way we think and operate. We recognise the
beauty of order, we seek for perfection of detailswe want a good product. Let us educate like the
Koreans and Germans, when young school leavers
in these countries have benefited from arts education programmes which have always been at the
core of their curricula and join the work force they
fill the assembly lines with people also trained as
artists, musicians and dancers.
Thinking Creatively
We all know that the 4th R is reasoning. Abstract
reasoning, thinking ambiguously, solving complex
problems, and consciously asking critical questions.
The reasoning person sets goals and can envision
outcomes. Commerce needs people who act with
self-discipline, make decisions, evaluate problems,
and solve and then finish a job. Mechanisation and
systemisation needs this kind of artistic reasoning.
Solving problems in an artistic way energises and
excites. Stimulated people stay at work. The delight in action is a factor to deter dropout and excessive labour turn over. Surely a concern to us all.
Thinking Communicatively
Effective commercial enterprise requires efficient
communication. All the art forms are tools with
which to communicate They are forms of thought
every bit as potent in what they convey as the ‘symbols’ of maths or science. In an information soci-
ety if people who cannot communicate they are
marginalised. They are the way we humans talk to
ourselves and each other. Education in the arts is
seen as primary a search for meaning. When we deny
children access to a major expressive mode such as
music, we deprive them of the ‘meanings that the
making of music makes possible’.
By denying children full access to the arts we impoverish the mind. We create an under-class of uncultured citizens. The result is a lesser human being. Such people do not make good business people,
good plumbers and good salespeople. Can we afford another generation of lost youth?
Thinking Culturally
Another vast area that is unique to the arts is what
they teach us about other people and ourselves. The
arts establish a basic relationship between the individual and the cultural heritage of the human family. The foundations of peace between the peoples
of the earth depend on the intercultural connections and exchange. Recognising our global interdependence is the backbone of commerce today.
How can we have teamwork any other way? For
the South African business imperative of
multicultural team building, the concise time factor is urgent: We need this right now.
The greatest gift one person can give another is to
share their culture. The most revealing way to do
this is through the Arts.
Conclusion
We need more and better arts education to produce better-educated human beings, and citizens
who will evolve and add value to a worthy South
African civilisation. We need to remind our business and educational leaders that artistic habits of
thinking and acting communicatively, culturally,
creatively and aesthetically are habits of thought
that contribute significantly to their interests. We
need to teach the arts for this to become obvious.
140
We will not be a nation that is qualified until we are
a nation that is cultured. &
plications for Education. William J Moody (ed).
1990. New York: Teachers College Press.
Acknowledgement
Reference
I wish to acknowledge ideas and inspiration for this
article to Charles Fowler in a chapter entitled One
Nation, Undercultured and Underqualified, pp.159169, which appeared in Artistic Intelligences: Im-
Moody, W J (ed). 1990. Artisitic Intelligences: Implications for Education. New York: Teachers College
Press. &
Marguerite Barker-Reinecke is a lecturer at the School of Music of the University of the
Witwatersrand
PROmt Trust
Rod Harrod
PROmpt stands for Professional Music, Performance
and Technology. Our purpose is to instigate a pilot
for Contemporary Music Education at FET level.
PROmpt was also responsible for bringing together
the grouping that is currently being Gazetted by
SAQA to form a Contemporary Music Standards Generating Body.
Now, having alienated a few, let’s see if we can’t
increase the number….
How many of you traveled to this Workshop on horseback?
None? Why not? The horse is a beautiful animal.
And it used to be the main form of transport up
until a hundred years ago. But, of course, the world
has moved on with the invention of the motor car
and the airplane. We accept this, and it doesn’t detract from the magnificence of the horse or the skills
of an expert horse-person. But it does mean that
we don’t train so many equestrians and, in the main,
horse riding has become a sport or a pastime. We
do, however, train many people in mechanical engineering and other work connected with building
and repairing motor cars.
141
So, when it comes to music, why do we get so resistant to change? Why do we insist that the beautiful
music that we learnt must be the only form of music education that future generations should receive?
This, when the world of music appreciation has
changed – some may say for the worse – but, never
the less, changed significantly.
May I illustrate, with this graph depicting sales of
music currently in South Africa? Yes, Classical Music goes to 5,5%, Jazz to 2,89% and Contemporary
Music in all its genres and facets to a whopping
89%. And yet Contemporary Music does not feature in the curriculum, to any significant degree, at
any level of education in South Africa.
Before I hear the cliched cry ‘Oh, but a good grounding in theory and the classics is good for any kind of
music I will shout back – no it is not.’ If this were
really the case, then every classical musician in the
world would sit down and write a HIT song to fund
their primary passion for life. But they can’t, for
the simple reason the ethos of classical music is
that of attaining standards of good, better, best;
whereas, to be different within a framework is the
following of Contemporary Music success.
Rudolph Nureyev made an interesting observation
shortly before his death: ‘Two kinds of dancers: Perfect steps; perfect technique. Then there is music
dancer. Not so perfect. Make mistakes. But music
go right through body onto audience.’
they have nine recording studios on campus, proved
one thing: the world of Music Education has changed
dramatically in the last few years. All over the world
curriculums are changing, new institutions opening
up, new courses developed.
Not just in strict musical aspects, but all the affiliated offshoots connected to sound, technology and
performance. Today it is not sufficient to be able to
play scales and read a score; often these things are
not even necessary, particularly with the more advanced computer programmes. But there are
myriad’s of other skills that need to be acquired to
sustain a career in the modern music industry. And
yes, although many of them will be self-employment, there are jobs to be developed in Contemporary Music.
It’s estimated there are 100 000 new jobs waiting
to be developed, in South Africa, not just as musicians and performers, but in all aspects.
Now, before I alienate everybody, let me pull a few
back from the brink.
The Xenophobic among you. ‘What’s this Limey doing, trying to sell us Americanisation and BritPop,’
I can hear you mumble. Well, I’m not!
Alvin Petersen and I deduced there were two major
differences between most developed countries
methods in their changes in musical education, and
South Africa, or indeed the African Continent.
I picked up that quote from a CD-Rom given to the
keynote speaker, Alvin Petersen, and myself after
we attended the first International Conference on
Contemporary Music in Further and Higher Education. It was held earlier this year at the Liverpool
Institute of Performing Arts, which is on the site of
Sir Paul McCartney’s old Grammar School. He is
their lead patron, with Joan Armatrading also on
the Board.
First, there is the unavoidable fact that, whereas
institutions throughout Europe, Australia, New
Zealand, America etc have to cap the number of
students with a firm instrumental grounding, on
entry – there are so many trying to get in. By contrast, in this country, 90% of the population has never
had the opportunity to even touch a musical instrument.
The conference, and visits to various institutions in
the UK like the University of Westminster, where
Then there is the absolute necessity that any training and teaching for contemporary music should have
142
a strong South African and African flavour. I can assure you that is not because I wish to ingratiate
myself with authorities, and my newfound family
and friends in South Africa.
No, not at all, but, because, as I said earlier, the
secret of Contemporary Music is, to be different.
The World does not want rap, rock, reggae or R& B
from South Africa. It wants South Africa.
I also have the very interesting CD-Rom that is the
Outcome of a Research Team based at the University of Salford in Manchester, which the British
Government funded to the tune of nearly R2 Million. I won’t have time to play it all – it’s extremely
interesting as it goes into Assessment in Popular
Music Performance but it is a very useful tool when
it comes to developing Unit Standards etc.
About the CD-Rom
But that does not mean ethnic cultural sounds from
yesteryear either. In retaining African identity we
must be careful not to confuse culture with art. The
emphasis of art is, after all, creative skill, indicating something new, contemporary and forward looking. Culture, on the other hand tends to look to
the back, to history, roots and what has gone before.
The ideal must be to draw from the rich African
heritage and develop, fuze, into something new,
something different, something creative, something
easily identifiable as South African.
This won’t happen by leaving youth on street corners – they will just assume that what they see on
the goldfish bowl is what the world wants more of,
tomorrow, from them, and go out and copy it.
However, there are certain global benchmarks on
which we can call for assistance in constructing universal aspects of Unit Standards in the area of Contemporary Music Industry Education and Training.
Much work has been done. Though I must say that
one of the biggest problems in this area is the speed
at which technology is changing by the day.
Tutors with whom we have formed links overseas
keep complaining that sometimes their students are
more up to date than they are! The students have
more time to sit on the Web. However, many institutions and government departments are keen to
assist us in whatever way they can. I have brought
some examples of both course-work and brochures
of various institutions.
The CD-Rom is designed as a template, aimed to
initiate and encourage discussion on issues arising
from the assessment of popular music performance.
It is aimed to aid assessors and as a staff development source.
We’ll miss the credits and look at the staff development advice. This basically is a series of steps for
facilitators to train teachers, and the best ways to
involve them, from:
Learning Principles
How to provide for them
Their needs – selecting the right people
What roles they will perform
Time allowed
And, of course, the learning environment.
Under the title of Support Materials are included
sections for those new to planning Staff Development, with notes on such topics as:
How students learn ---(you know the sort of thing:
I Hear – I forget
I See – I remember
I Do – I understand)
Then things like the Student/Tutor relationship
Common themes in creative arts, individuality etc.
Moving on to the big picture we are given an overview of Common Themes in creative and Performing Arts with various vital attributes, linking them
all. Illustrations are given of the links between music
performers with:
Art, Fashion and New Media
143
Performing Arts
Creative writing and
Technology and design
It is perhaps in the area of defining and assessment
of creativity that the CD-Rom comes into its own.
Let’s play the sections on:
Defining Creativity &
Individuality and Creative Processes
...they then go on to open the discussion of Popular Music in Education and a suitable approach…
They discuss the comparison with Western European
Classical Music using a process of Similarities and
Differences to illustrate.
It is debated under titles like:
Canon
Composition
Persona
Stylistic Diversity
And Group Vs Solo
Similarly, under Popular Music Performance Elements various indicators are given under:
What to Hear
Sound
Style
And What to See
Physical presence and
Communication etc
With elements appropriate for assessment indicated
like:
Instrument and Vocal Technique
Ensemble playing
The Programme
And, Communication
To rush through the Assessment Model in this presentation would neither give justice nor serve purpose.
The compilers even advise it must be taken step by
step. However, I will cheat a little and jump to”
Stage 5 Performance Assessment Case Studies
Here, five contrasting acts all developed from the
University of Salford, perform and are assessed with:
Mock Grades
Background Information
Assessment Criteria
and Assessment Comments
using a grid that has been detailed earlier.
The music media is also discussed in depth, before
going on to discuss assessment criteria.
The Principals of Assessment, under headings like :
Validity, Reliability, Relevance & Transferability
And Purposes of Assessment are also investigated,
together with Types of Assessment like:
Group or individual projects
Self and peer assessment
Assignment
Essay
Dissertation
Exam and
Viva Voce
If nothing else, I hope this brief review will indicate not only the intrinsicacies of assessment in
popular music education and its differences from
other forms, but also the importance of educating
and training South African scholars in this area.
After all, the Contemporary Music Industry is the
world’s Second Largest economic growth and new
job creator to computers. Even in South Africa at
present, that only registers 0,48% of World R285
Billion record sales (with the rest of the continent
taking up a mere 0,12% more) the Contemporary
Music Industry pays into the exchequer at least R250
million in VAT on records, ticket sales and equipment, without other taxes. And it gets nothing back.
144
This also means that any money spent on education
and training in this sector would be a good investment, as it would be returned in taxes by the growth
of the market, let alone the all-important jobs created.
before they get a proper job – rather the job they
start as kids, that gives sustainability employment
for life.
No longer; sex, drugs & rock and roll
But: cash, jobs & food for the soul &
No, Contemporary Music can hardly, as some still
think, still be considered the sort of thing kids do
Rod Harrod is Executive Director of the PROmpt Trust
The sound of silence
Marianne Feenstra
schools, but also within our society. Yet almost evIt is with a sense of great excitement and expecta-
eryone is from a different organization. With the
tion that the National Union of Music Educators is
multitude of music organizations currently in SA,
participating in this workshop. When we approached
one might well ask whether this does not simply
the Minister in November 1999 to express certain
reinforce the point of view that we are all people
concerns about music education in South Africa to-
seeking to justify the existence not only of our jobs,
day we expected, at most, a sympathetic ear and a
but also of the very subject that we teach. Is music
word of consolation. That we are all gathered here
education the last dodo that laid no eggs?
today indicates just how seriously Prof Asmal has
NUME was established precisely because music edu-
taken what we had to say, and we wish to thank him
cators have come to realize that most organiza-
for arranging this symposium.
tions are so entrenched in promoting and accept-
Each one who is here today is, in fact, expressing
ing a hopelessly outdated, colonialist view of what
concern at the future of music, not only within our
music education is, that they have ceased to be ef-
145
fective in our vibrant society. And when we talk
and Verdi had operas banned because the govern-
about organizations, we include the most impor-
ment of the day found them subversive. More re-
tant organization of all in music education – the
cently, the works of the great 20th century Russian
Department of Education. At almost every school,
composer, Dmitri Shostakovich, suffered the same
the music staff has been declared redundant: offi-
fate at the hands of Stalin. And wasn’t it ‘Nkosi
cial acknowledgment that there is no future for this
sikel’iAfrica’ that joined an elite list of banned works
subject. As things stand, only the enormously
in South Africa?
wealthy, the incurably stupid or a pathological optimist will consider a career in music. And so, de-
It is fashionable to link the arts–music, drama, dance
spite the number of organizations present here to-
and the visual arts–together, but we are today look-
day, we are facing the very bleak reality of the sound
ing at music. As a social tool and as a tool for effect-
of silence in our schools, our communities, our fu-
ing social promotion, music has no equal amongst
ture.
the arts. The reason? Music is accessible to all. I
But NUME believes passionately that this situation
would like to remind you that Stevie Wonder, Ray
can and must be changed, and for this reason we do
Charles and Andrea Bocceli are regarded as some
not see ourselves as yet another infertile dodo egg,
of the finest musicians of the 20th century. You do
but as a vital creature that will show the way for-
not have to be able to see to make music. Despite
ward by promoting an innovative music education
Prof Xulu’s assertions 1 , I must remind you that
system. And this means that much of what we say
Itzhak Perlman and the South African singer Gerda
might not fall comfortably on establishment, or even
Hartmann are regarded as superb musicians. You do
anti-establishment, ears. We are not here to sing
not have to be able to move to make music; and
songs of praise. We are also not here to winge. We
may I remind you that Beethoven composed some
are here to sound off for music education.
of his greatest works when he was completely deaf?
The programme today features a three-pronged ap-
You do not necessarily have to be able to hear to
proach, each of which must be discussed by a sepa-
make music.
rate commission:
• social reconstruction and promotion
Is this reflected in our society? No. In our society
• career opportunities
music has been promoted either as an elitist activ-
• outcomes-based music education
ity for the highly gifted, or as a kind of primitive
NUME has strong views on each of these issues, and
venting of emotion. It is no secret that, in the old
we will briefly outline each one.
Department of Education and Training, music was
not taught in any way that could reflect its social
position. Choral singing was encouraged. Has this
Commission 1 Social reconstruction and promo-
changed at all? No. Contrary to everyone’s hopes,
tion
the new education policy preferred to take away
music education from everyone, rather than seek
The social role of music has throughout the ages
to redress the imbalances of the past by making
been acknowledged as a vital one. deities are praised
music education available to all. Contrary to
most highly by means of music; rituals are accom-
everyone’s hopes, the stereotypes of the past have
panied by music; armies go to war marching to
been ever more thoroughly entrenched. If we want
music; mothers sing their babies to sleep. In Plato’s
a choir to sing at a symposium arranged by the Min-
Republic certain scales were banned for having an
ister of Education, it may not be a choir from a
inappropriate effect on people’s emotions; Mozart
school for the disabled; it may not reflect the joy,
146
the sense of community, that the disabled person
sioning of music education from Grades 1 to 9. Re-
finds in making music. And so, because you have
member, too, that it is a simple matter to demand
been denied the privilege of hearing and seeing
social reconstruction through a certain kind of mu-
this joy live–because the officials that arranged this
sic. But there are thousands of people in our coun-
symposium refused to allow the disabled commu-
try who might object to being regarded as not being ‘up to standard’ because a physical condition
nity to share their joy with you, despite this union’s
repeated requests–because the disabled community
is not officially represented here today, and because
social reconstruction means that we have to confront our fears and prejudices, I will now play you a
short video recording of the choir of the Prinshof
School for the Visually Disadvantaged.2
Dare we say that people who do not move while
they sing are not quite ‘up to standard’? The discriminatory social judgement to which Prof Xulu
referred is exactly the kind of problem that music
education can address. NUME represents a great
diversity of people and views, and we do not advocate one system above any other. What we are demanding is a renewal–an African renaissance–in
which the ability to make music, to enjoy music
and to perform music, and the kind of music that is
made, enjoyed and performed, is not shackled by
that they did not bring upon themselves makes music
education inaccessible to them.
Commission 2 Career opportunities
Almost every financial institution in this country
(and elsewhere) has at some time or another used
music as part of its advertising campaign. To illustrate briefly: I myself have a so-called ‘Arts & Culture’ savings card; a leading bank supports the annual arts festival in Grahamstown; another bank
sponsors the popular TV programme ‘Noot-vir-Noot’.
But what about the student who wishes to pursue a
career in music? Prejudices surface yet again. My
bank, in its advertising brochure, specifically excludes a degree in the humanities and thus in music education; other banks follow suit. The perception is that music is a sort of unviable, elitist activ-
racial or by any other stereotypes.
ity, somewhat akin to joining your local gym (you
We regard music as one of the most important so-
just as easily walk to work; you waste your money
waste your money on exercising when you could
cial reconstruction tools at the disposal of the edu-
learning to sing when we can all sing in the shower).
cation system. And, since education and social reconstruction begins at school, this is where we want
The current syllabi for music education–and here
to see music education: at every school in South
subject for senior certificate purposes–do very little
Africa. But no approach to education can be suc-
to dispel this myth, or to convince financial institu-
cessful when the official policy of the department
tions that their policies are wrong. In the current
includes music within a compulsory arts learning
senior certificate syllabus, learners have to perform
area, but promptly proceeds to remove the educators who are capable of teaching the subject. We
proficiently on their chosen instrument and learn
acknowledge the Minister of Education’s state-
tory of Western art music. The alternative choice is
ment that the national department has no control
to pass an examination of the University of South
over the manner in which each provincial MEC for
Africa in which learners have to perform proficiently
Education interprets the provisioning of educators.
The reality, however, is that music educators were
on their chosen instrument and learn less theory,
the first to be removed from the education system.
limiting the discussion deliberately at this point, as
In our view, the most important issue to be ad-
other aspects need to be addressed under the next
dressed by the first commission will be the provi-
commission.
3
we are talking specifically about music offered as a
some theory, which includes harmony and some his-
which includes harmony and no history at all. I am
147
But what is the result in practice? How many ca-
• assistant at a CD shop
reers can one follow with this kind of training? Well,
• in the legal field, application of copyright laws
the good news is that you can become a performer,
and royalty agreements
but no-one is quite sure where. You might be able
• sound engineering and recording
to play in an orchestra, but the slightly less good
• instrument building, including piano tuning and
news is that no-one is quite sure whether you would
instrument repairs, and the making of traditional
be able to find one to play in. The bad news is that
instruments
you will probably end up teaching; the worse news
• music therapy
is that it will not be in a Government school be-
• teaching
cause music posts have almost all been declared
redundant. The worst news is that, should you be
These aspects, we are sure, will be addressed by
physically disabled, the Department of Education
the second commission, and the basic requirements
will most certainly not employ you, because you
for pursuing these careers will be assessed. But of
can only teach music; and if you happen to have
one thing we are more than confident: you certainly
been employed by a Provincial Department of Edu-
do not need the current Senior Certificate syllabus
cation previously, you will already have been de-
or a Unisa Grade 7 or Grade 8 or Performer’s Li-
clared redundant for the same reason, and you are
centiate music examination, for the majority of
actually compelled to resign because no other posts
these careers.
are available to you. The sound of silence becomes
almost deafening.
Commission 3 Outcomes-based music education
But if the financial institutions offering bursaries
In the brief analysis of the current situation given
and loans to students, the music educators advising
above, it is blatantly obvious that the issue around
Curriculum Development in the Department of
which every aspect revolves is the effective imple-
Education and the music departments at the vari-
mentation of an outcomes-based approach to music
ous universities had spent a few brief moments ask-
education. Many people–and we would surely not
ing around about career opportunities for musicians,
be far off the mark by maintaining that most people
they could easily have come up with the following
present here today–have heard of this term, but
selective list:
are not quite sure what it means. Briefly, it involves
• performer in the classical, jazz, traditional, or
first and foremost determining what you regard as
any other musical style
your end-goal with music education. The process
• conductor – choral, orchestral or big band
has been clearly detailed in the Department’s Draft
• composer, including serious music, film music
Document on the National Curriculum Framework
and advertising jingles
for Further Education and Training 4 . Do we wish
• arranger, including the making of back tracks
to train frustrated, jobless, aspirant performers of
• music publishing and setting
classical music? Then obviously the route to follow
• archiving and documentation, including the docu-
in music education is the one that the Department
mentation of our disappearing indigenous mu-
of education currently approves: learners play a
sics that have survived only in the oral tradition
Unisa music examination and end up starving in an
• acoustician
attic but presumably loving every minute of it. Do
• music librarian
we wish to produce frustrated, jobless, performers
• discographer
of indigenous music? The obviously we demand the
• lexicographer
teaching of indigenous music to the exclusion of all
148
else in schools and we will succeed admirably. Do
Endnotes
we wish to produce satisfied, well-rounded musi-
1. Prof M K Xulu, Deputy Director General in the
cians who can contribute fully to the economy?
Department of Arts, Culture, Science and Tech-
Musicians who not only can support themselves, but
nology, delivered a paper entitled Indigenous
can also support a family? Musicians who reflect the
Music in Schools on Friday 19 May 2000 as one
diversity of our culture? Musicians that can initiate
of the introductory speakers to the symposium.
an African renaissance, that need not leave the coun-
His paper may be accessed on the Dept of
try to be appreciated for their artistic and financial
Education’s website. the view was expressed that,
worth? Then first and foremost we must set aside
in certain societies, the person who cannot move
our prejudices and we must set aside our prefer-
(by which is implied effect dance movements or
ences and we must set aside thoughts of protecting
dance-like steps) to music is not considered mu-
our own interests and start by considering the needs
sically ‘up to standard’.
of the entire South African community. Once we
2. The recording was one made by the SABC as
have gone that distance, it will not be difficult for
part of the programme Hosanna for SABC2. It
the third commission to recommend the basic re-
was broadcast on 27 February 2000.
quirements for unit standards to reflect that aim.
3. The Honourable Minister of Education’s speech
may be accessed on the Department of
The mission statement of NUME reads as follows:
education’s website. In this, he committed him-
‘To achieve the recognition of music education as
self to reassessing the provisioning of music and
an integral part of the cultural life of all South Afri-
arts educators at schools throughout the coun-
cans and to ensure that the interests of all music
try.
educators are represented in the Education Labour
4. Published May 2000, p.21.
Relations Chamber and on all platforms where decisions about education are made.’ A South African
solution for a South African problem: that is all that
the National Union of Music Educators demands. &
Marianne Feenstra is General Secretary of the National Union of Music Educators (NUME)
149
‘n Historiese perspektief op die
beskerming van musiekuitvoering – met
spesifieke verwysing na Suid-Afrika
Marita Groenewald
Die voortbestaan van Westerse kunsmusiek is tans
poging om sy aansien te vergroot die produksiekoste
wêreldwyd in die weegskaal omdat sosiale, politieke
van baie van die fluitfeeste wat vir mans gehou is
en ekonomiese verandering in veral die 1980’s
persoonlik gedra. Selfs die filosoof, Plato, het sy
regerings wêreldwyd genoodsaak het om hul
finansiële steun aan opera gegee (Mavroulides,
finansiële steun aan musiekuitvoering drasties te
1975:58).
1
verminder (Seaton, 1991:34).
2
‘n Koning se sosiale status is verder grootliks
Musiekuitvoering kon egter sedert die antieke
gegrond op die skouspelagtigheid van sy paleis, die
Griekse tyd nie sonder beskerming voortbestaan
aantal musici en die omvang van die
nie. Die rede hiervoor is dat musiekuitvoering nie
musiekaktiwiteite aan sy hof (Steinitz, 1975:560).
self voldoende fondse kan genereer nie (Banks,
Dit het daartoe gelei dat die Hertog van Brunswick
1997:10, Church, 1997:32) en dat dit nooit op enige
selfs so ver gegaan het om in die sewentiende eeu
tydstip in die geskiedenis binne die vermoë van
buitensporige hoë belastings te hef, met slawe
Westerse kunsmusiek was om winsgewend te wees
handel te dryf en soldate te verminder in ‘n poging
nie.
het
om voldoende fondse vir sy hofopera te bekom en
musiekuitvoering egter deur die eeue ‘n belangrike
sodoende sy status te kon handhaaf (Bukofzer,
rol in die samelewing gespeel en daarom was dit
1947:398). Omdat die beskerming van musiek as ‘n
vir die regeerders, adel en weldoeners deur die
simbool van ‘n koning se mag beskou is, is dit
verskillende eeue ‘n belangrike prioriteit om
dikwels as ‘n politieke speelbal tussen adelikes
musiekuitvoering te beskerm en finansieel te
gebruik. Dit is ook soms gebruik om die aandag van
ondersteun.
politieke misdrywe af te lei. So het die Franse
Volgens
Mavroulides
(1975:7)
staatsman Mazario volgens Bukofzer (1947:40)
Dit blyk egter ook dat die beskermers van die kunste
buitensporige bedrae aan operahuise dwarsoor
en veral van musiekuitvoering dit nie net altyd
Europa beskikbaar gestel om so die aandag af te lei
gedoen het ter wille van die kunste self nie, maar
van die feit dat hy voortdurend sy buurlande aangeval
ook om hul aansien en status te verbeter (Grout &
het.
Palisca, 1988:206). Vanaf die antieke Griekse tyd
tot ongeveer die laat sewentiende eeu het die
Op grond van die status wat die beskerming van
verskillende konings dan ook met mekaar
musiekuitvoering aan ‘n persoon verleen het, het
gewedywer
en
dit ook as ‘n middel gedien om die grense tussen
musiekinstrumente vir hulle howe te bekom
die verskillende sosiale klasse af te breek. ‘n Persoon
(Albert, 1968:3). Die beroemde antieke Griekse
kon op grond van sy deelname aan musiek sy status
generaal, Epaminandos, het byvoorbeeld in ‘n
verbeter. So het Jean Baptiste Lully (1639 – 1682),
om
die
beste
musici
150
alhoewel hy uit die werkersklas afkomstig was, op
beskik om as alleen befondser van die kunste op te
grond van sy vermoëns as komponis ‘n aristokratiese
tree nie (De Bruyn, 1998:11).
posisie beklee (Bukofzer, 1947:406). ‘n Sanger soos
Caffarelli (1703 – 1783) het soveel finansiële steun
Die krisis wat musiekuitvoering in Suid-Afrika tans
ontvang dat hy ‘n hertogdom bekom het (Bukofzer,
beleef, word dikwels voor die deur van die huidige
1947:399).
regering gelê. Hierdie persepsie kan toegeskryf
word aan die feit dat die krisis wat die finansiering
Met die opkoms van die middelklas in die laat
van die kunste betref min of meer saamgeval het
agtiende eeu het musiekbeoefening verder bygedra
met die politieke veranderinge wat in Suid-Afrika
om die grense tussen die adel en middelklas af te
plaasgevind het. Die huidige probleme wat die
breek. Die middelklas het in hierdie tyd begin om
uitvoering van Westerse kunsmusiek betref, en
die sogenaamde ‘aristokratiese luukshede’ waarvan
waarvan die krimpende konsertgehore maar een
musiek deel was, te ondersteun, te beoefen en te
aspek is, kom egter wêreldwyd voor en is nie net
beskerm (Lück, 1996:145). Omdat die beoefening
tot Suid-Afrika beperk nie. So, byvoorbeeld, meen
van Westerse kunsmusiek nie meer net tot die howe
Larry Wilker, president van die Kennedy Center in
beperk was nie, het musici oor die algemeen ‘n
Washington, DC (Church 1997:32), dat die rede
hoër status begin geniet en was hulle nie meer soos
waarom jongmense nie kunsmusiekkonserte bywoon
die vorige eeue bediendes aan ‘n hof nie (Mayr,
nie, toegeskryf kan word aan die feit dat die kunste
1996:123). Dit het egter meegebring dat hulle
omtrent heeltemal verdwyn het uit Amerikaanse
minder finansiële sekuriteit gehad het. In dié tyd
skole. Die direkteur van die National Cultural Re-
het lede van die publiek egter toenemend hulle
sources in die VSA, Charles Fowler kla ook oor die
finansiële ondersteuning van musiekuitvoering
gebrekkige kulturele opvoeding van die
gesien as ‘n manifestasie van die nasionale trots wat
Amerikaanse jeug in ‘n hoofstuk met die titel ‘One
onder die middelklas geheers het. Hulle was selfs
nation, undercultured and underqualified’ (1990:
bereid om ‘luukshede’ soos operageselskappe en
159).
musiekwetenskaplike navorsing te finansier (Müll,
1990:37).
Die Suid-Afrikaanse regering stel egter steeds fondse
vir die uitvoerende kunste beskikbaar maar dikwels
In die twintigste eeu was daar egter in vergelyking
word die fondse grootliks aangewend vir amptenare
met die vorige eeue ‘n afname in die gewildheid
se salarisse en administratiewe kostes. So het die
van alle vorme van Westerse kunsmusiek. Tog het
Oos-Kaapse wetgewer in 1997 honderd ses en vyftig
die meeste regerings dit as hulle plig beskou om as
kultuurbeamptes aangestel om kuns en kultuur in
beskermers van Westerse kunsmusiek te bly optree
en het hulle tot ongeveer die 1980’s groot bedrae
geld vir die beoefening daarvan beskikbaar gestel
(Seaton, 1991:394). Soos reeds genoem is, het die
meeste regerings egter sedertdien hul steun aan
musiekuitvoering begin verminder (Lebrecht,
dié provinsie te bevorder. Van die R21,2 miljoen
wat vir die kunste in 1997 in die provinsie begroot
is, is R17,4 miljoen (dus ongeveer 80%) aan salarisse
bestee en ’n verdere R581 000 aan administratiewe
kostes. Verder het die Oos-Kaapse begroting geen
1997:6). Dit is ook die geval in Suid-Afrika waar die
voorsiening gemaak vir enige projekte rakende kuns
regering vanaf 1962 – 1994 die grootste beskermer
en kultuur nie, sodat die aanstelling van
van musiekuitvoering was. Sedert 1994, toe die
kultuurbeamptes (waarvoor daar geen werk is nie)
nuwe regering aan bewind gekom het, het die staat
dus met reg bevraagteken kan word (Herbst,
egter aangedui dat hy nie meer oor die nodige fondse
1997:29).
151
‘n Ander rede wat aangevoer word waarom Westerse
bevat. Ten spyte van uitreikpogings blyk dit tog dat
kunsmusiek in Suid-Afrika nie voldoende befondsing
die kunste en veral musiekuitvoering steeds as
van die staat en selfs die privaatsektor ontvang nie,
‘luuks, wit elitisties’ beskou word (Solomon,
is dat swartmense nie liefhebbers van Westerse
1997:15). As die regering en donateurs uit die
kunsmusiek is nie. Hierdie persepsie kan moontlik
privaatsektor egter oortuig kan word dat die
daaraan toegeskryf word dat swartmense tydens die
beoefening van Westerse kunsmusiek voldoen aan
apartheidsjare nie toegelaat was om byvoorbeeld
die behoefte van die individu op sosiale, politieke
simfoniekonserte by te woon en aan opera-
en ekonomiese gebied, dat Westerse musiek nie ‘n
produksies deel te neem nie (Eichbaum, 1995:3).
luukse of ‘n simbool van die wit ‘elite’ uit die
Sedert hulle egter meer blootgestel word aan
apartheidsjare is nie, en dat die individu in ‘n
Westerse kunsmusiek is daar ook by hulle ‘n
demokratiese land geregtig is daarop om die tipe
behoefte om dit te beoefen (Odendaal, 1997:3).
musiek te beoefen wat hy / sy verkies, behoort die
beoefening van musiek meer finansiële
ondersteuning te trek.
Die behoefte om musiekonderrig te ontvang, blyk
byvoorbeeld uit ‘n brief van Josephine Dlayane, ‘n
leerling wat in 1998 aan die Musikhane
Die huidige krisis van musiekuitvoering in ‘n
gemeenskapsprojek deelgeneem het (onveranderd
onsekere ekonomiese klimaat gaan egter groot eise
aangehaal).
aan Suid-Afrikaanse musici stel. Musici sal moet
3
aanvaar dat daar baie min gestruktureerde
I am very happy to attend music classes because it
werksgeleenthede beskikbaar is. Net soos in vorige
is very important to me, and do you know the rea-
eeue sal hulle bereid moet wees om as entrepre-
son why I attend music classes because I want to be
neurs self werk te genereer en om ‘n verskeidenheid
a teacher in music … I like music, because music
take te verrig soos privaat musiekonderrig,
keep me out of the streets and I have a reason why
ensemblespel, en om betrokke te wees by die breër
I say this, because I don’t want to be a thief and I
gemeenskap, hetsy as uitvoerder of as onderwyser.&
don’t want to be a trouble maker and I don’t want
to give my parents a problem (Dlayane, 1998).
Bronnelys
Om dus die voortbestaan van Westerse kunsmusiek
Albert, A. 1968. Opera in Italy and the holy Roman
in Suid-Afrika te verseker en finansiële
empire. (In Abraham, G (ed). The New Oxford Dic-
ondersteuning daarvoor te bekom, behoort daar,
tionary of Music, 4:1-9.)
Banks, J. 1997. Music is big business in Britain. BBC
afgesien van die bestaande musiekonderrig-
music magazine, 5(5): 10, Jan.
programme, ‘n nog hoër premie geplaas te word op
Bukofzer, MF. 1947. Music in the Baroque era: from
musiekonderrig in gemeenskappe wat vroeër nie
Monteverdi to Bach. New York: Norton. Church, M.
toegang gehad het tot musiekonderrig nie.
1997. Castles in the air. BBC music magazine, 5(8):
Sodoende word gehore vir die toekoms ook verseker
32.
De Bruyn, G. 1998. Onnies se salarisse glo vier keer
(Du Toit, 1997). Volgens Kaiser en Engler (1995:3),
internasionale bestuurskonsultante vir die kunste,
hoër as ander mense sin. Rapport: 11, Sept. 27.
is dit veral opmerklik dat donateurs uit die
Dlayane, J. 1998. Brief aan die projekleier van die
privaatsektor makliker fondse beskikbaar stel aan
Musikhane gemeenskapsprojek, 10 Jun.
byvoorbeeld ‘n orkes wat ‘n breë spektrum van die
(Oorspronklike kopie in die rekords van die
bevolking bedien en wat selfs ‘n onderrigkomponent
Musikhane gemeenskapsprojek.)
152
Du Toit, B. 1997. Mondelinge mededeling aan
Mayr, R. 1996. In memory of Anton Bruckner (1824
outeur. Jeffreysbaai. (Transkripsie van onderhoud
- 1896). Musicus, 22(2): 122 – 140.
in besit van outeur.)
Müll, E (ed). 1990. Austria land of music. Vienna:
Eichbaum, J. 1995. Why is opera relevant to the
Federal Press.
new South Africa? Scenaria, 187:3-7, Nov.
Fowler, C. 1990. One nation, undercultured and
Odendaal, T. 1997. Gobbato ‘n waaghals wat
opera na almal bring. Kalender bylae by Beeld : 3,
underqualified. (Moody, W J (ed). Artistic intelli-
Nov 18.
gences: implications for education. New York: Teach-
Seaton, D. 1991. Ideas and styles in the Western
ers College Press.)
musical tradition. California: Mayfield.
Grout, DJ & Palisca, C V. 1988. A history of Western
Solomon, A. 1997. The universal significance of
music. 4 ed. New York: Norton.
Herbst, T. 1997. Arts famine becomes a feast. The
Western art music. The South African Music
Teacher. 129 : 15 – 18, Jan.
cultural weapon. 29, Nov.
Steinitz, P. 1975. German Church Music. (The New
Hulse, L. 1991. The musical patronage of Robert
Oxford History of Music, 5:557 – 561.)
th
Cecil, first earl of Salisbury (1563 – 1612). Journal
of the Royal music association, 116 : 24 – 40. Jan.
Endnotas
Kaiser, M M & Engler, P S. 1995. Strategic planning
in the arts: a practical guide. New York: Kaiser &
1
Engler.
Die term ‘musiekuitvoering’ verwys vir die
doeleindes van die artikel na alle vorme van
Westerse kunsmusiek, insluitende opera.
Lebrecht, N. 1997. When the music stops …
2
meestersgraadverhandeling wat die skrywer
managers, maestros and the corporate murder of
onder leiding van dr B M Spies voltooi het.
classical music. Sydney: Simon & Schuster.
Lück, H. 1996. 200 memorial celebration 1996.
Franz Berewald–an avantgardist of Romanticism.
th
Hierdie artikel is ‘n uittreksel uit ‘n
3
Die Musikhane Gemeenskapsprojek, in 1994
gestig deur dr B M Spies, is die Skool vir Tale
Musicus: 24(2): 143 – 145.
en Kunste : Musiek van die PU vir CHO se
Mavroulides, PJ. 1975. The ancient musical culture,
bydrae om musiekonderrig te verskaf aan
literature and drama of the Greeks. Translated by
leerlinge wat voorheen nie toegang gehad het
Mary McCallum. Anthen: Sybilla.
tot musiekonderrig nie.
Marita Groenewald is tans verbonde aan die Hoërskool Lichtenburg se musieksentrum
153
Toekenning / Awards
Richard Alan Charles Cock
Doctor of Music (honoris causa)
Mr Chancellor, I have the honour to present to you
Richard Alan Charles Cock, for the degree of Doctor of Music, honoris causa. We have before us a
musical virtuoso of unparalleled distinction, a man
whose wonderful singing voice and skills as a conductor of choirs and orchestras have brought huge
pleasure to millions of South Africans, and although
he is not going to sing to us tonight, it is my great
pleasure to sing his praises for a change.
Richard Cock was born in Port Elizabeth and started
school at Woodridge, and his roots are deeply embedded in this area because he spent all his holidays during his youth with relatives in East London
and on his uncle’s farm near Kei Mouth. During these
holidays on the farm, he threw himself heart and
soul into rural life, riding on tractors, helping with
milking and ploughing and at the same time, effortlessly picking up Xhosa, as he worked alongside
the local people, and grew to know and to love them.
Thus it was that he decided categorically, early on,
that he was going to be a farmer, and ultimately
that he would take over the running of his childless
uncles’ farm.
So where is the music, you may ask? Well actually
music was not top of Richard Cock’s agenda at this
stage. We have a late developer on our hands, not
the usual childhood prodigy. Even more surprising
is the fact that Woodridge, his school, offered no
musical tuition of any kind–neither class music nor
individual lessons. Not a note did this young boarding school lad sing or play at school until he moved
to Bishops in Cape Town at the age of 12. Fortunately, however, his parents had some foresight, and
from the age of six he had a few piano lessons
squeezed in during holidays–so a small seed had
been sown (and I use this agricultural metaphor very
deliberately).
This little musical seed was later nurtured, when,
aged about 10, young Richard went to spend a weekend with a family in Port Elizabeth. The family’s
daughter was a student at Rhodes University and
she sang in Mama Gruber’s choir. One thing led to
another and Richard was asked to sing. This was
literally the first time that the child had ever sung
154
publicly, and when he did, they complimented him
warmly on his wonderful voice, and the musical seed
grew just a tiny bit mor. Nevertheless, when he
moved to Bishops, at the age of 12, Richard Cock
was still firmly determined to become a farmer, and
it was only through the encouragement of the Bish-
School of Church Music. There, he became director of music at the Cathedral Choir School, and discovered that he was a very talented teacher as well.
Through his involvement in the annual musical Festival he learned much about organising big events,
and developed a relaxed and informal management
style which was to stand him in good stead later.
ops musical director, that he joined the choir and
decided to change from the piano to the organ.
At this stage, music still played second fiddle to
farming in Richard Cock’s mind, and by the end of
his matric year he had already registered for agricultural studies at Cedara, and had received his
military call-up papers (these were the days of conscription). Then the sky fell in over our prospective
young farmer’s head: the farming uncle sold his farm!
To give himself time to adjust to this devastating
turn of events, which left him absolutely desolate,
he opted for a post-matric year. Having lost interest in matters agricultural by now, he singlemindedly wiped the cow-dung out from between
his toes in order to get on with the business of excelling rather in music, which, his music teacher
persuaded him, offered him a very good chance of a
successful career.
Mastering any musical instrument is a rigorous and
demanding undertaking ... and now began a period
of strenuous musical activity, based initially at the
Cape Town College of Music. There, he raked in all
the music prizes, including a very desirable scholarship to the Royal School of Church Music, where
he continued to win prizes and awards too numerous to mention. During his years in Cape Town he
was also the organist and choirmaster for St Michaels
Observatory church, and he realised that he had a
natural talent for administration and leadership as
well.
His singing career also flourished: he became South
Africa’s first professional countertenor (which, incidentally, is not a singing waiter, but a male alto
voice), and found himself greatly in demand in this
role when he moved to England, in 1978, to take
up a prestigious scholarship at Chichester’s Royal
Richard Cock gets involved in his music, and has
become enormously versatile over the years, taking on any aspect of a concert, from booking venues and arranging rehearsals, to conducting the
performers and also performing himself.
He has also had to come to grips with a number of
key musical terms over the years, such as the following:
• Vibrato is a technique used by singers to hide
the fact that they are on the wrong pitch.
• Accidentals are wrong notes.
• Glissando is the musical equivalent of slipping
on a banana peel.
• Agitato is a violinist’s state of mind when she
drops her bow in the middle of a piece.
• A trill is the musical equivalent of an epileptic
seizure, and
• A conductor is a musician who is adept at following many people at the same time.
But back to the serious matters:
After some years in Britain, during which he became a Fellow of the Royal College of Organists,
Richard Cock came back to South Africa in 1980,
and breathed new life into the National Symphony
Orchestra as Music Director. His inspired vision
enabled the orchestra to meet many of the challenges which it faced during the country’s transition, including accusations of elitism and major cuts
in subsidy. And his efforts were gargantuan: he, more
than anyone else in the country, succeeded in bringing classical music to the people–witness the numerous popular concerts featuring black artists,
choirs and conductors, through which he made the
orchestra a national asset, accessible to all. Witness
155
his innovative open-air concerts, such as the
Emmarentia Garden Winter Series, Musical Fireworks, music in the Zoo and tours from Cape town
to Cairo; witness the magnificent oratorios sung by
the black choirs of the East London region. Sadly,
though, not even the heroic action of Richard Cock
and his team could save the fine orchestra, and, as
we all know, in late January this year the final curtain went down on the National Symphony Orchestra after 76 years. The finger of blame points to
poor marketing, donor fatigue, and unenthusiastic
state, and a view that classical music is a fusty relic
of a tiny Euro-minority in South Africa.
Despite these mother grundies, music as a discipline is at least as international as the works of
Shakespeare; great artists are great because they
are givers of joy, and this has been the special contribution of Richard Cock over the years.
He has shown his extraordinary ability to enthuse
and inspire people across all cultural groups and
ages, and finds it amazingly easy to get musicians
and audiences alike to have the time of their lives
and keep coming back for more. This goes strongly
counter to the views of the great conductor, Sir
Thomas Beecham, who rather sourly noted that there
are only 2 kinds of audiences: one coughing and the
other not coughing, and that there are two golden
rules for an orchestra: start together and end together; the public doesn’t give a damn what goes
on in between.
Such sentiments must be quite a challenge to one
such as Richard Cock, whose primary aim is to get
people to play music, and to enjoy listening to it to
boot! But we can safely say that he has succeeded.
As conductor, he is in great demand countrywide,
especially for the popular Last Night of the Proms
concert, and it is as choral trainer and conductor
that he is best known, with the power of music enhanced by the magical effect of words, as many know
from his Songs of Praise concerts. His recent election as Fellow of the Royal School of Church Music
recognises his dedication and service to church
music in South Africa, evidenced by his founding of
the SABC choir (now the symphony choir of
Johannesburg), and the internationally recognised
SABC Chamber choir (now the renowned Chanticleer Singers), and 12 years as organist and music
director at St Mary’s Cathedral.
In addition, he firmly believes that it is time for
people of different cultural groups to take back responsibility for their own musical life and traditions.
Now a freelancer, he travels tirelessly around the
country, stimulating musical activity and revitalising
interest in this important facet of our country’s rich
cultural tapestry. His voice is regularly heard, discussing music on radio talk shows, and he plays a
prominent role in a range of national musical initiatives: he chairs the Apollo Music Trust and the
African Youth Ensemble Music Education Trust; he
co-directs the Nation-building Massed Choirs Festival, conduct several massed choirs for primary and
secondary children around Johannesburg, and serves
as trustee on numerous other bodies which aim to
nurture and encourage music in our country. He is
clearly determined to keep musical change apace
with political and social changes.
Here is a recognised maestro, recipient of the
SAMRO prize for conducting and of two Artes awards;
a man who enjoys rave reviews wherever he goes,
and who also just happens to love what he does. We
have indeed to be thankful that the unidentified
uncle, to whom I referred earlier, did not oblige
him by giving him his farm! Rhodes University has
not been known to award honorary degrees to farmers who achieve a high chicory output!
Instead, we have before us, a skilled and consummate master of musical technique and artistry, who
has achieved brilliance in his field. This musician
has, more that anyone in the country, succeeded in
bringing music to our people, and he has given us
great hopes for the musical future of our country.
Mr Chancellor, the career of Richard Cock is an
outstanding example of what can be achieved by
the dedicated and disciplined application of great
156
natural talent which has been nurtured and put the
best use. It is fitting that this University, which can
itself boast of sending some fine musical practitioners into the national and international fold, should
be able to recognize this talent. It is thus with great
pleasure that I have the honour to request you, Sir,
to confer upon Richard Alan Charles Cock the degree of Doctor of Music, honoris causa.
Niel Immelman
Fellow of the Royal College
of Music, London (FRCM)
By statute, Fellows of the Royal College are limited in number. Names are inscribed in the Fellow’s
Book; its early pages contain the signatures of such
illustrious musicians as Beecham, Casals, Elgar,
Rubenstein, Stokowski, Sibelius, Richard Strauss,
Toscanini and Vaughan Williams. Among the current
150 Fellows are Daniel Barenboim, Pierre Boulez,
Bernard Haitink, Peter Maxwell Davies, Itzhak
Perlman, Simon Rattle, Mstislav Rostropovich,
Andras Schiff and Joan Sutherland.
Niel Immelman was born in Bloemfontein where
he received his early training from his mother and
Leo Quayle before entering the Royal College of
Music in London. He was still a student when Bernard Haitink invited him to play Rakhmaninov’s
Paganini Rhapsody with the London Philharmonic
Orchestra. This highly successful debut was followed
by concerts at London’s Royal Festival Hall and the
Amsterdam Concertgebouw and it marked the beginning of a concert career that has taken
Immelman to every continent. His CD recordings
have received outstanding critical acclaim including Classic CD magazine’s ‘Pick of the Year’.
Immelman is Professor of Piano at the Royal College of Music and he has given masterclasses at the
Berlin Hochschule, the Chopin Academy in Warsaw,
the Hong Kong Academy for the Performing Arts,
the Moscow Conservatoire and the Toronto Royal
Conservatory.
Yvonne Huskisson
Campbell
Doctor of Music (honoris causa)
South African-born pianist joins the musical elite
Niel Immelman has been invited to become a Fellow of the Royal College of Music for his services to
music. He will receive the FRCM from the RCM’s
President, His Royal Highness, The Prince of Wales,
in November.
Dr Yvonne Huskisson Campbell was born on 13 January 1930. She was awarded a PhD in 1959 at the
age of 29. Her thesis topic–The Social and Ceremonial Music of the Pedi–was a most unusual subject
at that time.
Dr Huskisson began her career as a teacher, teach-
157
South African Music Encyclopaedia, and produced
almost 620 000 authenticated transcribed recording from around Africa.
• For the Republic Festival in 1971, she produced
a collection called 71 Recording of the Music of
Malay and Coloured People of the Cape.
Dr Huskisson received an Artes Award in 1978 for
her vast contribution to African Music, When she
retired, the SABC honoured her with their Music
Award. Her involvement and contributions over the
years have laid the foundation for the development
of African music today. This includes the popular
music on which recording studios now thrive.
ing Music, Afrikaans, Geography and History at various secondary schools. She then taught music at
college level, and was appointed as Head of the Department at the Potchefstroom Onderwyskollege in
the early sixties. She later joined the SABC, where
she became well known as Programme Coordinator
for Ethnic, or Bantu Music, as it was then known. In
the eighties, she was promoted to Production Manager of Black Music for radio and television, in which
capacity she worked until her retirement in 1985.
• In 1962, the SABC published what has become a
standard reference work by Dr Huskisson, titled
Bantu Composers of Southern Africa. The Human Sciences Research Council brought out
supplements to this text in 1966, and again in
1983. A revised edition was published in 1992,
in collaboration with the Foundation for the Creative Arts.
• Dr Huskisson documented no less than 6 816
compositions by black composers for Radio Bantu.
This enabled the composers to register their
copyright and to enjoy proper recognition.
• In the field of African Music, she also made a
major contribution to the four volumes of the
Since her retirement Dr Huskisson has continued to
be active, both in the field of ethnomusicology and
in service to the community. She accompanies black
choirs on the KwaZulu-Natal coast, and assists them
to reach new heights in the performance of significant works. This energetic lady still travels abroad
regularly, studying the musical cultures of the countries she visits.
The University of Pretoria honours Dr Huskisson with
a DMus (honoris causa) for her pioneering work,
her determination, her selfless devotion to the development of African Music, and for the invaluable
contribution she has made to the preservation and
documentation of Indigenous music and cultural
practices.
James Steven Mzilikazi
Khumalo
Doctor of Musicology
(honoris causa)
James Steven Mzilikazi Khumalo (Jimmy) was born
on 20 June 1932 at Vryheid in KwaZulu-Natal. He
spent his early childhood at Hlabisa and Vryheid.
He matriculated at Fred Clarke High School in
Soweto and trained as a teacher at the Pretoria Bantu
Normal College.
158
the University of the Witwatersrand being bestowed
on him at the beginning of 1998.
He spent 28 years of his life as a lecturer, teaching,
in particular, segmental phonology and tonology at
both undergraduate and postgraduate levels. One
of his main contributions was a new analysis of the
morphological structure of Zulu and Southern Sotho
which incorporates a paradigm of tense and aspect.
This approach has helped tremendously in simplifying the teaching of the morphology of African languages. He was among the first South African phonologists to teach and read papers on the application to African Languages of the theories of, among
others, autosegmental phonology, CV-phonology,
feature geometry, underspecification, lexical phonology and optimal domains. Numerous present day
scholars were his pupils.
He has served as external examiner for Zulu and
African Languages at universities such as Unisa, Vista,
Durban-Westville, Natal (Durban) and Lesotho.
His BA (1956) and Hons BA (1972) were conferred
by Unisa, his MA (1981) and PhD (1988) by the University of the Witwatersrand.
He first taught at the Wallmanthal Secondary School;
thereafter he taught at several high schools - Lady
Selbourne, Mamelodi and Mamelong Nqabeni, the
last-mentioned as principal.
He has contributed many articles to journals, and
chapters in important books edited by eminent
scholars. In 1990 he was awarded the prestigious
Via Africa Prize for Linguistic Studies for his article
‘Leftward Ho! in Zulu Tonology’ published in the
South African Journal of African Languages.
During his years as a teacher he was a member of
the Transvaal United Teacher’s Association (TUATA).
In 1962 and 1963 he was editor of the Unions’s magazine, and served as president of TUATA in 1965 and
1966. In October 1969 TUATA awarded him a Certificate of Merit for distinguished service for the
years 1955-1969.
He has been an active member of bodies concerned
with the promotion of research into African Languages, for example the African Languages Association of Southern Africa (ALASA) and the Zulu Language Board. Between 1989 and 1992 he was Chairperson of the Golden Branch of ALASA, and served
as Vice-Chairperson of the main body between 1990
and 1993. He was Vice-Chairperson of the Zulu Language Board from 1992 to 1995.
Khumalo joined the Department of African Languages at the University of the Witwatersrand as
language assistant in 1969, eventually being appointed Head of Department in 1988. He retired at
the end of 1997, the status of Professor Emeritus at
Mzilikazi Khumalo made his debut as a composer in
1959 with the song Ma Ngificwa Ukufa (When death
befalls me). It was immediately acclaimed and was
prescribed for the teachers’ choir section of the first
national choral festival of the African Teachers’ As-
159
sociation of South Africa (ATASA) held in
Bloemfontein in 1962. Thereafter he was regularly
commissioned by ATASA and other organisations to
compose for choral music contests and special occasions in South Africa and neighbouring states, such
as Swaziland and Botswana. To date he has to his
credit over 30 compositions and about 30 arrangements of folk songs and traditional hymns.
He has won several song-writing contests. His prize
winning song, Halala Yunisa (Congratulations Unisa)
was composed for Unisa’s centenary celebration in
1972, while Isibaya esikhulu se-Africa (The big African ‘kraal’) won him the African Bank 10th anniversary song-writing contest in 1984.
He supplied the greater portion of the African music incorporated by Alexander Rahbari, the eminent
international conductor and composer, in his symphonic poem Half Moon, presented by the South
African National Youth Orchestra and a black massed
choir in 1984. This work was performed both in South
Africa and abroad receiving national and international acclaim.
Mzilikazi Khumalo’s greatest composition is the
music of UShaka KaSenzangakhona (Shaka, son of
Senzangakhona), an epic in music and poetry. The
poetry was written by Prof Themba Msimang of
Unisa’s Department of African Languages. The initial score for orchestra was provided by Dr Chris
James of the Musicology Department at Unisa. This
90 minute work is the longest piece of serious traditional choral music composed by a black South
African. It is now available on CD and cassette, and
has been warmly received by South Africa.
Many of his compositions are based in full or in part
on typical African musical modes. His study of
tonology helped him to incorporate in his compositions combinations of notes which took cognisance
of the tonal pattern of the spoken word.
Even as a college student, Mzilikazi was often asked
by his teachers to assist in the training and con-
ducting of school choirs. As a teacher he trained
and directed school and adult choirs which obtained
first position in the National Eisteddfod of ATASA
in the years 1962, 1963, 1965, 1968 and 1970.
For many years he has conducted one of the most
stable church choirs, the Soweto Songsters. This
choir of the Salvation Army toured Great Britain in
1978, England, Scotland and Norway in September1987, and the USA and Jamaica in 1992.
Over the past 10 years he has featured as one of the
main conductors of massed choirs at various music
festivals.
Since 1988 Prof Khumalo has been music director
with Richard Cock of the Sowetan Massed Choir
Festival (Gauteng), the Caltex Massed Choir Festival (Cape Town) and the Sowetan/Caltex/SABC 1
Massed Choir Festival (Gauteng and Durban). These
non-racial festivals have proved to be very popular
among lovers of choral music, and have given exposure to choirs from all sections of the South African
singing community. They have also introduced South
African composers and vocal soloists to the general
public. It is no wonder that this annual festival is
promoted under the title: ‘Nation Building’.
A highlight of Mzilikazi Khumalo’s musical career
was his invitation in January 1995 by the Minister
of Arts, Culture, Science and Technology to chair a
committee of academics to present South Africa
with its new national anthem. The current compact
National Anthem is the result.
Prof Khumalo is still fully involved in musical activities. He continues to be in great demand as an
adjudicator at music competitions, a task in which
he has been involved for over 35 years. He is still
active as a choir director, and freely gives of his
expertise at workshops throughout the country.
He is Vice Chairperson of the Board of the South
African Music Rights Organisation (SAMRO), and is
a trustee of the Endowment for the National Arts.
160
He is Chairperson of the committee working on the
publication of African songs in dual notation. This
committee published the first volume of ‘Africa
Sings’ in May 1998.
The above summary of Mzilikazi Khumalo’s contributions paints a picture of a serious-minded person
who approaches every task given to him with rare
enthusiasm. In every venture in which he features
he generates confidence among his colleagues and
assumes a leadership role.
In spite of his impeccable scholarship for which he
is well recognised by his colleagues in African Languages, the larger South African community knows
and admires him for his dedication in the field of
choral music. What is most remarkable is that he
reached such great heights in a discipline practised
only after normal working hours. This meant much
sacrifice on his part.
By honouring prof Khumalo with the degree of Doctor of Musicology (honoris causa) Unisa applauds
the distinguished achievements of a true South African scholar of exceptional intellect.
Roelof Temmingh
kulturele betekenis gelewer buite die bovermelde
terreine - dit word dan ‘n Besondere Erepenning
genoem.
Vorige pryswenners die afgelope twintig jaar op die
gebied van musiek:
1982
Erepenning vir Musiek
Die Akademie vir Wetenskap en Kuns se erepenning
is bedoel as erkenning, binne die doelstelling van
die Akademie, van besondere kulturele prestasie
op terreine wat nie suiwer letterkundig of
wetenskaplik is nie. Die volgende verwante gebiede
kom in aanmerking:
• Visuele kunste wat onder andere die volgende
kunsvorme insluit: Skilderkuns, beeldhoukuns,
argitektuur, weefwerk, keramiek, mosaïek,
fotografie, advertensiewese, animasie-rolprente
• Toneelkuns
• Musiek
• Rolprentkuns
Op die gebied van die uitvoerende kunste roteer
die erepenning tussen toneelkuns, musiek en
rolprentkuns.
Op aanbeveling van ‘n Fakulteitsraad kan die
Akademieraad ‘n erepenning toeken vir werk van
1986
1988
1991
1994
1997
2000
Pieter de Villiers
Anton Hartman (postuum)
(Besondere Erepenning)
Nellie du Toit
George Z van der Spuy
Hennie Joubert (postuum) (Besondere
Erepenning vir Musiekbevordering)
Marita Napier
Chrislomón Swanepoel
Leo Quayle
Stefans Grové
Roelof W Temmingh
Wat betref die toekenning aan Prof R W Temmingh:
Die dokumente wat aan die Kommissie vir
Uitvoerende Kunste voorgelê is, verskaf ‘n
omvattende oorsig oor prof Temmingh se bydrae
tot ‘n blywende Suid-Afrikaanse musiekskat.
Dit illustreer die wye verskeidenheid en
omvangr ykheid, maar beklemtoon ook die
onmiskenbare hoë gehalte van sy komposisies.
Roelof Temmingh het alreeds bewys gelewer dat
161
hy een van die mees talentvolle komponiste is wat
Suid-Afrika nog opgelewer het.
Die feit da hy al drie operas (wat suksesvol uitgevoer
is) geskryf het, is alreeds voldoende rede vir die
bekroning.
Die Erepenning is op 12 Oktober 2000 tydens die
Akademie se bekroningsplegtigheid in die
Endlersaal, Universiteit van Stellenbosch aan prof
Temmingh oorhandig.
Angelo Gobbato
Doctor of Music (honoris causa)
grated with his family to South Africa, and was educated at Marits Brothers’ College in Rondebosch.
He then read Science at the University of Cape Town
and was awarded a first class Honours degree in
Chemistry in 1963. It was shortly after this that he
made a difficult choice and decided to abandon a
promising career in Science and devote himself to
his first love, music. So, in 1966 he went to Milan
and studied singing with Carlo Tagliabue, and attended the rehearsals and performances of the operas presented at La Scala, Italy’s premier opera
theatre. Having completed his studies he returned
to Cape Town, and was fully launched in his illustrious musical career of performer, director and
teacher.
There are some interesting parallels here. Professor Angelo Gobbato’s predecessor at UCT was Maestro
Fiasconaro whose son Marcello was an athlete and world
record holder for the 800 metres. Angelo’s father
was a world renowned long distance runner who won
the London-Brighton Marathon, and his son is now
a distinguished musician.
Angelo Gobbato was a leading performer as operatic baritone in many operas as well as directing
many operatic productions before evolving into his
current position as Director of Cape Town Opera.
In addition to his role as highly acclaimed performer
and director on the opera stage, Professor Gobbato
is passionately committed to public education and
spreading the knowledge and love of opera to as
many people as he can reach. He is a highly sought
after lecturer who has contributed frequent lectures
to the UCT Summer School and presented a series
of programmes for the SABC entitled ‘Opera in
Action’.
Professor Angelo Gobbato is the Director of the
Opera school within the South African College of
Music of the University of Cape Town, and also Director of Cape Town Opera. In these capacities he
has made enormous contributions to the development of music in the Western Cape, particularly
during the last five years of the democratic transformation.
Angelo Gobbato was born in Milan, Italy, but emi-
During his career Professor Gobbato has been the
recipient of many awards and prizes. These include:
• in 1971: the Nederburg Opera Prize for his role
of Papageno in Die Zauberflöte;
• in 1981: the Nederburg Opera Prize for his production of La forza del destino;
• in 1986: awarded the title of Cavaliere nell
Ordine al Merito della Repubblica Italiana by the
Italian Government;
162
• in 1994: the Nederburg Opera Prize for his production of Turandot;
• in 1999: obtained the Merit Award from the Arts
and Culture Commission of the Western Cape
for his contribution to the vocal arts.
Perhaps Professor Gobbato’s greatest contribution
has been in attracting talented young black singers
to opera, not only as future famous soloists, but
also as members of the chorus. Examples of these
and other successful graduates delighting audiences
here and abroad are:
So the opera director has to be everywhere. It is a
question of:
‘Angelo qua, Angelo la, Angelo su, Angelo giu...
Angelo, Angelo, Angelo.’
Vice Chancellor, I have the honour to request you
to confer the degree of Doctor of Music, honoris
causa, on Angelo Gobbato, ‘un Direttor di Qualita’.
Emmarentia Scheepers
Doctor Musicae (honoris causa)
• Abel Motsoadi, baritone, who was a finalist in
the prestigious Cardiff Singer of the World Competition.
• Sibongile Mngoma, soprano, one of South
Africa’s most sought after lyrical sopranos.
• Fikile Mvenjelwa, baritone, well known for his
operatic performances throughout South Africa.
• Angela Gilbert, soprano, who after making several triumphant operatic appearances in South
Africa, has achieved the signal honour of being
the first South African singer to be included in
the New York Metropolitan Opera’s Young Artists Programme.
• Marisa Vitali, soprano, who has been launched
into a successful international career beginning
in Bonn and later in other venues in Germany
and Italy.
Professor Gobbato has promoted excellent standards for musical skills, language development, and
stagecraft, and has thus developed a genuinely
South African Opera Culture. It is certainly not by
chance that operatic choruses such as the ‘Brindisi’
from La traviata form part of the syllabus for the
national choral competition for our community
choirs.
Vice Chancellor, your surely appreciate that being
Director of Opera is no easy task–selecting the right
singers, getting the costumes, the orchestra, enough
funding, attracting audiences; the Director has to
be everywhere. He even prepared huge quantities
of spaghetti for the performers last year in the wonderful student production of L’elisir d’amore at the
Baxter.
Emmarentia Scheepers is op 8 April 1926 in Heidelberg Transvaal gebore, en voltooi haar skoolloopbaan
aan die Hoër Volkskool, Heidelberg. Sy begin op
skool reeds sanglesse neem, en na skool skryf sy in
by die College of Music, Universiteit van Kaapstad.
Sy voltooi haar studie daar cum laude in 1947.
Hierna sit sy haar studie voort in Londen by die
Opera Studio en werk saam met Benjamin Britten
en die English Opera Group. Vervolgens word sy as
leerling aanvaar deur die Italianer Maestro Santo
163
Santonocito, wat haar stem laat ontwikkel tot soprano drammatico, ‘n stemtipe bekend in Italië as
una voce da teatro, ‘n stem vir groot teaters. Op
hierdie tydstip in haar loopbaan het sy haar naam
verander na Emma Renzi (afgelei van haar voornaam)
omdat die Italianers groot probleme met die
uitspraak van haar van gehad het.
Met haar nuwe sangmeester in Italië het sy in Milaan
gewerk, en in die mekka van opera–La Scala–
opgetree. Haar artistieke lewe was daarna ‘n
katalogus van suksesse met optrede na optrede in
al die groot operahuise in Italië en daarbuite, onder
andere by operafeeste in Barcelona, Lissabon, Bordeaux en Caracas (Venzuela), ook in die beroemde
Teatro Colon in Buenos Aires en die Kennedy Centre in Washington. Een van die groot hoogtepunte
in ‘n glansryke loopbaan was om te sing by die
spesiale galakonsert wat in 1972 gehou is ter
herdenking aan die vestiging van die Liceo
Operahuis in Barcelona.
In Suid-Afrika het sy opgetree by die
openingsgeleentheid van drie groot teaters: Die
Johannesburgse Stadsteater, die Nico Malan in
Kaapstad en die Staatsteater in Pretoria. Sy het ook
die uitsonderlike eer gehad om die Golden Jubilee
Turandot in La Scala te sing met ‘n staande ovasie
van een van die mees kritiese gehore in die wêreld.
Sy is ook hoog aangeprys vir die dramatiese
aanbieding van haar rol.
Sedert 1979, terug in Suid-Afrika, is sy genooi om
‘n operakursus by die Universiteit van die
Witwatersrand te begin onder leiding van Anton
Hartman. Daarna was sy van 1981 tot met haar
aftrede in 1991, hoof van die Operadepartement
van die Pretoria Technikon. In 1992/93 het sy
Italiaanse opera-onderrig vir die Truk-studio gegee
en is tans senior lektrise in sangonderrig in
Italiaanse opera en stemonderrig by die Universiteit
van die Witwatersrand.
Sy is tewens op vaste basis by die PU vir CHO
betrokke as eksterne eksaminator in die
sangafdeling, en haar betrokkenheid by die
evaluering van sangstudente van die Konservatorium
is van onskatbare waarde.
Die spesiale pryse en toekennings (nasionaal en
internasionaal) wat Emma Renzi in die loop van haar
roemryke loopbaan verwerf het, is bewys van haar
besondere vermoëns. In 1974 ontvang sy in Parma
die gesogte Verdi D’Oromedalje vir die beste Verdisanger van die seisoen, en in 1976 ontvang sy die
Parma Lirica-medalje. Dit word in 1984 gevolg deur
die Adelaide Ristori-toekenning van die Italiaanse
regering. Sy ontvang in 1986 die Vita-toekenning
vir haar interpretasie van Santuzza, en in 1987
ontvang sy die Suid-Afrikaanse Orde vir Voortreflike
Diens. In 1992 ontvang sy ‘n spesiale toekenning
van Nederburg vir haar bydrae tot opera in SuidAfrika, en in 1995 ontvang sy die ATKV-toekenning
vir besondere bydraes tot klassieke musiek in SuidAfrika.
In die georganiseerde musieklewe in Suid-Afrika het
sy steeds ‘n rol gespeel, byvoorbeeld in nasionale
en internasionale beurskomitees (Unisa, die
Departement Nasionale Opvoeding, SAMRO,
Roodepoort Eisteddfod, SAUK).
Graag wil die PU vir CHO erkenning aan Emmarentia
Scheepers verleen deur die toekenning van die
graad Doctor Musicae (honoris causa) in die
fakulteit Lettere en Wysbegeerte op grond van die
volgende:
• haar besondere statuur in die operawêreld, wat
onderstreep word deur die feit dat sy die eerste
Suid-Afrikaner was wat in La Scala in Milaan in
‘n hoofrol opgetree het;
• sy het hoofrolle gesing in die groot operahuise
in Europa en Noord- en Suid-Amerika en saam
met beroemde name onder leiding van die
wêreld se belangrikste dirigente opgetree;
• haar besondere talente en ervaring het sy
konsekwent teruggeploeg in haar eie land, en
instellings vir hoër onderwys en ook die PU vir
CHO het al grootliks daarby gebaat en baat nog
steeds daarby. As nederige en gelowige mens
het sy haar Godgegewe talent ontwikkel en die
vrugte daarvan met volle oorgawe aan die
gemeenskap teruggegee.
164
&
Oorspronklike Komposisie/ Original Composition
Gebed vir klarinet in Bb en klavier
Braam du Toit
Braam du Toit is op 25 Februarie 1981 gebore en
teaterproduksie Siklus vir skaduteater en
gaan skool op Swellendam. Hy ontvang sy eerste
meisieskoor gepre- mière by Montagu se
klavierlesse op 13-jarige ouderdom en begin op 16
jeugkunstefees, waar dit ‘n goue toekenning
sy eerste werke vir klavier en solo-instrumente
ontvang het.
komponeer. Alhoewel hy geen onderrig in
komposisie ontvang nie, korrespondeer hy met Pe-
Gebed het ontstaan uit liefde vir die klarinet se
ter Klatzow, wie hom baie ondersteuning bied.
sangkwaliteit en die gedigte van Donald W Riekert.
‘n Projek wat musiek, dans, digkuns en teater insluit
Sy fokus verskuif later na werke vir a capella koor,
word vir 2001 beplan.
waar die werke Mis vir die jeug en Die môrester
(ook deur Donald W Riekert) die lig gesien het. ‘n
Braam studeer tans aan die SA Kollege vir Musiek
Groot belangstelling in teaterwerk is ook baie
by die Universiteit van Kaapstad en beoog om later
prominent en in 1999 word die musiek-
musiek te kombineer met die teater- en filmbedryf. &
165
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171
172
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