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City Research Online Schoeman, Ben (2016). The Piano Works of Stefans Grové (1922-2014): A Study of Stylistic Influences, Technical Elements and Canon Formation in South African Art Music. (Unpublished Doctoral thesis, City, University of London) City Research Online Original citation: Schoeman, Ben (2016). The Piano Works of Stefans Grové (1922-2014): A Study of Stylistic Influences, Technical Elements and Canon Formation in South African Art Music. (Unpublished Doctoral thesis, City, University of London) Permanent City Research Online URL: http://openaccess.city.ac.uk/16579/ Copyright & reuse City University London has developed City Research Online so that its users may access the research outputs of City University London's staff. Copyright © and Moral Rights for this paper are retained by the individual author(s) and/ or other copyright holders. All material in City Research Online is checked for eligibility for copyright before being made available in the live archive. URLs from City Research Online may be freely distributed and linked to from other web pages. Versions of research The version in City Research Online may differ from the final published version. Users are advised to check the Permanent City Research Online URL above for the status of the paper. Enquiries If you have any enquiries about any aspect of City Research Online, or if you wish to make contact with the author(s) of this paper, please email the team at [email protected]. The Piano Works of Stefans Grové (1922-2014): A Study of Stylistic Influences, Technical Elements and Canon Formation in South African Art Music Ben Schoeman Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Musical Arts City, University of London School of Arts and Social Sciences, Department of Music Guildhall School of Music and Drama September 2016 Table of Contents TABLE OF MUSIC EXAMPLES ............................................................................................................................ 5 LIST OF TABLES .............................................................................................................................................. 15 LIST OF FIGURES ............................................................................................................................................. 15 ACKNOWLEDGEMENTS .................................................................................................................................. 16 ABSTRACT ...................................................................................................................................................... 17 ABBREVIATIONS ............................................................................................................................................ 18 INTRODUCTION ................................................................................................................................. 19 1. FOREWORD ................................................................................................................................... 19 2. THE AIMS AND INTENTIONS OF THE THESIS ................................................................................... 26 3. CHAPTER OUTLINE AND THEORETICAL FRAMEWORK OF THE THESIS ............................................ 26 4. A REVIEW OF LITERATURE AND OTHER SOURCES .......................................................................... 30 4.1 PiipalàWitigsàoà“tefasàGoésàlifeàadàoks ........................................................................................... 30 4.2 Further sources on Stefans Grové ............................................................................................................................... 35 4.3 Other supporting literature ........................................................................................................................................... 36 5. A CATALOGUE OF THE COMPLETE PIANO WORKS BY STEFANS GROVÉ .......................................... 39 CHAPTER 1.......................................................................................................................................... 45 A HISTORICAL OVERVIEW OF PIANISM IN SOUTH AFRICA AND STEFANS G‘OVÉS POSITION WITHIN THIS CONTEXT .................................................................................................................... 45 1. INTRODUCTION ............................................................................................................................. 45 2. A HISTORICAL OVERVIEW OF PIANISM IN SOUTH AFRICA .............................................................. 47 2.1 The early beginnings ........................................................................................................................................................ 47 2.2 The activities of JS de Villiers and the establishment of the Stellenbosch Conservatoire ...................... 52 2.3 The British influence on South African pianism: the South African College of Music ............................... 56 2.4 Erik Chisholm (1904-1965) ............................................................................................................................................. 60 2.5 Developments in other parts of South Africa .......................................................................................................... 63 2.6 UNISA Music Examinations ............................................................................................................................................ 67 3. STEFANS G‘OVÉS POSITION WITHIN THE CONTEXT OF SOUTH AFRICAN PIANISM ....................... 71 CHAPTER 2.......................................................................................................................................... 78 THE PIANO MUSIC OF STEFANS GROVÉ – A STYLISTIC SURVEY ................................................ 78 1. INTRODUCTION ............................................................................................................................. 78 2. THE FIRST PERIOD: GROVÉS EA‘LY YEA‘S OF STUDY (CA. 1939-1947) .......................................... 84 2 3. THE SECOND PERIOD: G‘OVÉS NEO-BAROQUE PHASE (1947-1958) .............................................. 97 4. THE THIRD PERIOD: GROVÉS ‘OAD TO MATU‘ITY (1959-1983) .................................................. 107 4.1 Atonality and Expressionism ....................................................................................................................................... 107 4.2 Utility Music ...................................................................................................................................................................... 120 5. THE FOU‘TH PE‘IOD: MUSIC F‘OM AF‘ICA (1984-2014) .......................................................... 130 5.1 Goésàlage-saleàpiaoàoksàfoàtheàáfiaàpeiod .............................................................................. 131 5.2 A discussion of structural and stylistic features in the shorter movements and miniatures for piano in GoésàMusic from Africa series ............................................................................................................................... 148 5.3 áàiestigatioàofàtheàidigeousàáfiaàeleetsàiàGoésàpiaoàusi .......................................... 163 5.4 EleetsàofàlateàstleàiàGoésàfouthàstleàpeiodàMusic from Africa) .................................................. 183 CHAPTER 3....................................................................................................................................... 198 THE REALISATION OF TECHNICAL ELEMENTS IN THE PIANO WORKS OF STEFANS GROVÉ .......................................................................................................................................................... 198 1. INTRODUCTION ........................................................................................................................... 198 2. THE REALISATION OF TECHNICAL PRINCIPLES IN G‘OVÉS PIANO WORKS WITH REFERENCE TO NEUHAUS, GÁT AND SÁNDOR ..................................................................................................... 204 2.1 The reiteration of a single note .................................................................................................................................. 205 2.2 Five-finger hand positions and ornamentation .................................................................................................... 209 2.3 The performance of scale passages .......................................................................................................................... 217 2.4 The lateral adjustments of the hands in arpeggios or broken chords .......................................................... 220 2.5 The performance of successive intervals, with specific reference to octave-playing ............................. 223 2.6 The playing of chords ..................................................................................................................................................... 231 2.7 The execution of wide leaps ........................................................................................................................................ 235 2.8 Polyphonic passages ....................................................................................................................................................... 239 3. G‘OVÉS USE OF A‘TICULATION .................................................................................................
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