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On Wings of Song 2011 Presented by Apollo Music Trust Richard Cock &Music Enterprises
Johannesburg International Festival On Wings of Song 2011 Presented by Apollo Music Trust Richard Cock &Music Enterprises ARTISTIC DIRECTOR: FLORIAN UHLIG 1406-210x148 (P).pdf 1/10/11 12:15:33 PM C M Y CM MY CY CMY K Contents page Welcome message 4 Composer-in-Residence 2011: Mokale Koapeng 6 27 January Opening Concert/Symphony Concert I 7 28–30 January Collaboration with Schleswig-Holstein Musik Festival Auditions, Vocal Workshop/Masterclass, Concert 14 29 January Chamber Concert I 16 30 January Concert and Oratorio Recital 18 03 February Song Recital I 18 04/05 February Symposium Music and Exile: Songs, Styles and Sub-Texts 28 04 February Song Recital II 29 05/06 February Melodi Music Workshop Concerts 32 05 February Choral Concert 33 06 February Composers’ Workshop/Masterclass 37 06 February Piano Recital 38 08 February School Workshop Concerts 40 09 February Song Recital III 40 12 February Symphony Concert II 51 13 February Final Concert/Chamber Concert II 58 Sponsors & Partners 36 Biographies 60 Booking & Tickets 70 www.join-mozart-festival.org 3 Dear music-lovers, “Tout finit par des chansons – everything ends in songs”, Beaumarchais wrote as his last line in The Marriage of Figaro. By contrast, in the 2011 edition of the Johannesburg International Mozart Festival everything begins with songs. With its theme “On Wings of Song” (after the eponymous lied by Felix Mendelssohn), the Festival will take place between 27 January and 13 February, offering an exciting tribute to vocal music and to music inspired by vocal genres. The spectrum ranges from Mozart’s Requiem, via Schubert’s epic song- cycle Die Winterreise and African choral music, to cabaret songs by Weill and Eisler and back to a programme of operatic arias and duets by Mozart. -
Language Language of the School They Enrol Their Children At, Are Doing So in and Prefer Speaking English
Ambe Kha NATION IN DIALOGUE Ri September | 2013 Language culture & Sport The soprano’s ag rit e real music er H intelligence g in Liv ur L e o te a r b ee l l e e C C www.dac.gov.za whats from the inside... desk eptember is a month in which we mark The widely held perception that English is our nation’s rich heritage and diverse superior to indigenous languages holds no culture. WeEditorial are a country blessed with more truth than that notion the earth is flat. Good to great ......................................3 S a proud history and diverse traditions that Regrettably, many of us who are the victims inform our natural, artistic and creative of this perception have imparted it to the Heritage celebration ............................4 points of view, and our beliefs and value current generation. This is evident in, for systems. All of these make South Africa example, the dearth of young people who Technical Workshop on Official unique. We have an amazing story to use indigenous languages in our institutions share with the world. As we celebrate when they converse and interact with one Language Act ......................................4 Heritage Day, however, a question another. Putting aside all the ‘push’ factors needs to be asked about whether our such as multi-culturalism, multi-racialism DAC Data used in international heritage in its totality is fully preserved or globalisation, the fact is that in our competition ........................................5 or some parts of it are losing their workplaces and institutions we are witness value. to a shrinking generation of young people who proudly speak their mother tongue. -
Meaning, Value and Social Process in the South African History of Handel's Messiah
THE ESTABLISHMENT OF A MUSICAL TRADmON: MEANING, VALUE AND SOCIAL PROCESS IN THE SOUTH AFRICAN HISTORY OF HANDEL'S MESSIAH Submitted in fulfilment ofthe requirements for the degree of Doctor ofPhilosophy, in the Graduate Programme in Music, University ofKwaZulu-Natal, Durban, South Africa. CHRISTOPHER COCKBURN December 2008 DECLARATION I declare that this dissertation is my own unaided work. All citations, references and borrowed ideas have been duly acknowledged. It is . being submitted for the degree of Doctor of Philosophyin the Faculty of Humanities, Development and Social Science, University of KwaZulu Natal, Durban, South Africa. None of the present work has been submitted previously for any degree or examination in any other University. 15 December 2008 111 ABSTRACT Handel's Messiah occupies a unique position in the musical life ofSouth Africa. No item from the canon of 'classical' European choral music has been performed more often, over a longer period oftime, and in a wider range ofsocial contexts. This thesis seeks to answer two broad and interrelated questions: what were the social processes which brought this situation about; and how were perceptions ofMessiah's meaning affected by its performance in social contexts markedly different from those ofits origins? I concentrate on the two South African choral traditions for which Messiah has been central- those ofthe 'English' and 'African' communities - and on the period from the first documented performance ofany item from Messiah until the emergence ofa pattern ofannual performances, which I take as a significant indicator ofthe historical moment at which the music could be regarded as firmly established in its new context. -
Kennedy Center
KENNEDY CENTER Gold Medal in the Arts SATURDAY,Gala APRIL 14, 2018 ZEITZ MUSEUM OF CONTEMPORARY ART AFRICA CAPE TOWN, SOUTH AFRICA Stephanie and Karel Komárek, Co-Chairs The Kennedy Center International Committee on the Arts welcome you to the Kennedy Center Gold Medal in the Arts Gala celebrating Basil J.R. Jones and Adrian P. Kohler John Kani Sibongile Khumalo Dr. Gcina Mhlophe McCoy Mrubata Gold Medal in the Arts Past Recipients 2005 ST. PETERSBURG 2012 MADRID OLIVIA DE HAVILLAND, PEDRO ALMODÓVAR, VALERY GERGIEV, MARTHA SARA BARAS, PLÁCIDO INGRAM, IRWIN JACOBS, DOMINGO, PACO PEÑA, MÆRSK MCKINNEY MØELLER, TAMARA ROJO TREVOR NUNN 2013 PRAGUE 2006 LONDON JIŘÍ BĚLOHLÁVEK, SOŇA DARCEY BUSSELL, ČERVENÁ, KAREL KOMÁREK, MICHAEL CAINE, JUDI DENCH, JR.,MAGDALENA KOŽENÁ JEREMY IRONS, JACOB ROTHSCHILD, LILY SAFRA 2014 UAE HOOR AL-QASIMI, BADR 2007 BEIJING JAFAR, QUINCY JONES, SONG ZUYING, ARIF AND FAYEEZA NAQVI, MINISTER SUN JIAZHENG ZAKI AL NUSSEIBEH 2008 BUENOS AIRES 2015 PARIS NORMA ALEANDRO, JULIO PIERRE BOULEZ, LESLIE BOCCA, PALOMA HERRERA, CARON, ALEXANDRE DESPLAT, MERCEDES SOSA YASMINA REZA 2009 ISTANBUL 2016 DUBLIN CIHAT AŞKIN, CANA GÜRMEN, SIR JAMES GALWAY, SIR VAN AHMET KOCABIYIK MORRISON, FIONA SHAW, JIM SHERIDAN, ENDA WALSH 2010 TOKYO TADAO ANDO, MIDORI, 2017 MILAN KANZABURO NAKAMURA, SALVATORE ACCARDO, YUKIO NINAGAWA CARLOS BULGHERONI, RENATO BRUSON, GIANANDREA NOSEDA The Kennedy Center International Committee on the Arts proudly bestows the Gold Medal in the Arts in recognition of extraordinary achievement in the arts each year at its international summit. The Committee awards inspiring individuals, whose lifetime achievements have created, nurtured, supported, and championed the world’s greatest arts and artists. -
An Analysis of the Musical Style of Miriam Makeba
AN ANALYSIS OF THE MUSICAL STYLE OF MIRlAM MAKEBA BY NOMFUNDO XALUVA XLVNOMOOl A MJNOR DISSERTATION SUBMlTTED IN PARTIAL FU LFILLMENT OF THE REQUIREMENTS FOR THE A WARD OF THE DEGREE OF MASTER OF M-USIC FACULTY OF HUMANITIES SOUTH AFRICAN COLLEGE OF MUSIC UNIVERSITY OF CAPE TOWN 2009 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town II. DECLARATION This work has not been previously submitted in whole, or in part, for the award of any degree. It is my own work. Each significantcontribution to, and quotation in, this dissertation from the work, or works, of other people has been attributed, and has been cited and referenced. SIGNATURE DATE �I to/-zoo� Nomfundo Xaluva III For my father, Sam Xaluva IV AN ANALYSIS OF THE MUSICAL STYLE OF MIRIAM MAKEBA By Nomfundo Xaluva 025 Edingight Flats Rondebosch Cape Town A minor dissertation submitted in partial fulfillment of the requirements for the award of the degree of Master of Music. South African College of Music Faculty of Humanities University of Cape Town South Africa 2009 Abstract The motivation behind this study is to explore the musical style of the late Miriam Makeba. The intention is that it will add a valuable contribution to the study of South African musicians and those subsequent scholars, with a common interest, will use the work to further the analytical study of the musical style of South African jazz. -
Sibongile Khumalo, to Trace Er Footsteps Zokufa at Lusandak@Markettheatre
11 - 17 SEPT BUZZA weekly supplement of the Market Theatre Foundation CREATING A NEW NARRATIVE FOR A 30-YEAR LEGACY CASA : LOOKING BACK / LOOKING FORWARD In December 1987, more programme billed as CASA : conference in Amsterdam thirty than 300 South African artists Looking Back / Looking Forward. years ago and is a wonderful performed and discussed the reason to celebrate the lively cultural future of South Africa “As South Africa’s leading cultural cultural relations between our in Amsterdam’s main theatres. institution we are delighted to two countries with 5 days of Thirty years later, a contingent of partner with the Embassy of the cultural activities.” Dutch artists and South African Kingdom of the Netherlands to artists will come together at the promote a multi-disciplinary The five day event presented by Market Theatre Foundation this programme of film-screenings, the Market Theatre Foundation week to re-imagine opportunities workshops, performances and in partnership with the Embassy for cultural engagement. discussions across our different of the Kingdom will take place business units to critically reflect from Thursday 14 to Monday 18 In a dynamic partnership on the CASA ’87 event and to September. Read this week’s BUZZ between the Market Theatre engage the minds of a different for the full programme. Foundation and the Embassy of generation of artists to envision the Netherlands, South African the possibilities for the future of Admission is free for all CASA: and Dutch artists will engage each cultural collaboration between Looking Back / Looking Forward other in a series of skills-sharing South Africa and Dutch artists.”, events. -
February 2021
January in perspective – global markets Chart 1: Global returns to 31 January 2021 Just when we thought it was safe to come back 20% from holiday and pick up where you left off, a 15% new phenomenon entered into the market; one which many, including ourselves, are still trying to 10% fully understand. That said, the effects of this phenomenon are clear – an increase of 1 625.1% 5% in the price of GameStop Corp. in January alone -0.8% 0% (the share’s range during the last five days of 3.9% 0.3% 3.0% 0.8% -1.0% -1.1% -0.9% -2.1% January was between $61.13 and $483.00); and -5% -3.3% the 525.5% monthly gain in AMC Entertainment YEAR MONTH (5-day trading range between $3.85 and $20.36), -10% to mention just two of the “targets” of the so- -15% called “wallstreetbets” group on the reddit NIKKEI HANG CHINA INDIA FTSE DAX S&P MSCI MSCI BBG SENG 100 500 WRLD EM GBL internet platform. Just to prove how crazy this AGG trend was, GME Resources - an Australian nickel exploration company with nothing to do with the Perhaps the bigger issue at stake here is the US or crazy day traders – rose 40% in January (it extent to which there is some form of rose 85% in three days during the last week in coordinated effort to manipulate share prices, January), presumably because some traders and what larger role have short-sellers had on the confused its stock exchange code (GME) with prices of securities in the past. -
Soweto Gospel Choir
Lorenzo Di Nozzi Lorenzo Soweto Gospel Choir Music Directors David Mulovhedzi (1948-2009), Diniloxolo Ndlakuse, Kevin Williams Performers Jeho Fata, Phili Faya, Shimmy Jiyane, Bongani Khumalo, Thembisa Khuzwayo, Lebo Mahlatji, Sibongile Makgathe, Lucas Mello, Lungisani Mhlongo, Mandla Modawu, Original Msimango, Mulalo Mulovhedzi, Melusi Ndawonde, Maserame Ndindwa, Diniloxolo Ndlakuse, Gregory Ndou, Sipho Ngcamu, Zanele Ngcamu, Linda Nxumalo, Sipokazi Nxumalo, Rebecca Nyamane, Linda Sambo, Portia Skosana, Kevin Williams Producer Andrew Kay Executive Producer/Director Beverly Bryer Associate Producers Margot Teele & Toni Rudov Company Manager Jimmy Mulovhedzi Choreographer/Choir Master Shimmy Jiyane Costume Designer Lyn Leventhorpe Record Producer Diniloxolo Ndlakuse & various (Divine Decade) Tour Manager Tessa Kay Production/Lighting Tyrone White Stage Manager Maija Putans PROGRAM There will be an intermission. Sunday, February 16 at 7 PM Zellerbach Theatre Soweto Gospel Choir’s tour is sponsored by South African Airways. 13/14 Season | 15 PROGRAM NOTES "Hiyo Mthate," traditional "Ziyama'umelusi," traditional "Kae Le Kae," traditional arr: V. Jiyane/F. Sidumo "Libala Kuye," traditional arrs: V. Shabalala/V. Madondo/L. Mhlongo "Emlanjeni/Yelele," traditional arr: J. Mulovhedzi "Asimbonanga/Biko," J. Clegg/P. Gabriel "Avulekile Amasango/One Love," A Shabalala/B. Marley "Calvary," traditional arr: B. Ncube "Bridge Over Troubled Water," P. Simon/A. Garfunkel "Meadowlands," S Vilakazi "Put Your Hand in the Hand" medley, G. McLellan/M. Dawson/S. Ford "Nomalanga," M. Shabalala Dance, traditional "Lizalis'indingalako/Thina Sizwe," traditional "Shosholoza," traditional arr: L. Bok/V. Msimango "Many RIvers to Cross/Swing Low," J. Cliff/traditional arr: J. Mulovhedzi "Njalo," traditional "Shosholoza," traditional arr: L. Bok/V. Msimango "Arms of An Angel," S. -
Roodepoort Theatre – a Brief History of the Building
Roodepoort Theatre – A Brief History of the Building Pro Musica – 1980 to 2008 The Roodepoort Civic Theatre was founded in 1980. T he theatre operated as a 328 seater auditorium and an 80 seater box theatre. On the initiative of its first director, Weiss Doubell, the theatre became, apart from a receiving theatre, also a producing theatre with its own production units – the Pro Musica Orchestra, Opera Company and Opera Chorus. The name of the theatre was later changed to the Pro Musica Theatre. The Theatre was initially subsidised by the Roodepoort City Council (later the City of Johannesburg). Sponsorships had to be found to help finance its enterprises, projects such as audience development, and productions, to ensure sustainability. Up until 2008, Pro Musica presented 400 opera performances and 500 symphony concerts. Renowned international artists regularly performed in the theatre such as Nigel Kennedy (violinist), Christian Blackshaw (pianist, Mischa Maisky (cellist), Oxana Yablonskaya (pianist), Gerd Seiffert (horn-player), Ilan Rogoff (pianist), Marisa Robles (harpist), Gary Carr (bassist), Gérard Souzay (baritone), Elly Ameling (soprano), Sir Thomas Allen (baritone), Gundula Janowitz (soprano) and Jenny Drivala (soprano). Famous South African artists also performed here – Mimi Coertse (soprano), Deon van der Walt (tenor), Werner Nel (baritone), Oystein Liltved (bass), Sibongile Khumalo (mezzo-soprano), Otto Maidi (bass), Hans van Heerden (baritone), Marita Napier (soprano), Manuel Escorcio (tenor), Francois du Toit (pianist), Ben Schoeman (pianist), Alma Musica Trio, Petronel Malan (pianist) and Zanta Hofmeyr (violinist). The performing arts councils, especially the Performing Arts Council of the Transvaal (PACT), often presented their productions in the Pro Musica Theatre. -
SIBONGILE KHUMALO (Posthumously)
CITATION: SIBONGILE KHUMALO (Posthumously) Sibongile Khumalo was South Africa's first lady of song. Equally at home in the genres of jazz and opera, she performed on the stages of The Royal Festival and Elizabeth halls at the Southbank Centre in London; The Kennedy Centre in Washington DC; North America's oldest music festival, the Ravinia in Chicago; the Het Muzik Teater in Amsterdam, as well as every major theatre and jazz club in South Africa. Sibongile Khumalo was born on 24 September 1957 and grew up in Orlando West, Soweto. Her parents Grace and Khabi Mngoma were active community members involved in cultural upliftment, and instilled in her an abiding love and appreciation for South African music. Her mother, Grace Mngoma (nee Mondlane) worked as a nursing sister and what is known as a health visitor, a nurse who visits family to promote healthy lifestyles especially of young children. Her father, Professor Khabi Mngoma, was an historian and professor of music at the University of Zululand. In 1987 he was awarded an honorary doctorate by Wits in recognition of his service to the culture of the nation and its music. Guided predominantly by her father's influence, Sibongile studied violin, singing, drama and dance from the age of eight under Emily Motsieloa, pianist, leader of an all-women's band and influential musical personality in township circles. At the age of 14, Khumalo knew she wanted to be an opera singer but her father discouraged her. There were no opportunities for black people in South Africa, especially opera singers. -
Encountering Bheki Mseleku: a Biographical-Analytical Consideration of His Life and Music
Encountering Bheki Mseleku: A Biographical-Analytical Consideration of his Life and Music By Nduduzo Makhathini Submitted in partial fulfilment of the degree Masters of Music (50% performance / 50% dissertation) Faculty of Arts and Social Sciences Stellenbosch University Supervisor: Dr Stephanie Vos Co-supervisors: Prof. Stephanus Muller, Dr Jonathan Eato March 2018 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. Date: March 2018 Copyright © 2018 Stellenbosch University All rights reserved 2 Stellenbosch University https://scholar.sun.ac.za Note to the Reader This Masters degree is consists of two components: a performance, for which I submit a portfolio of one solo performance and one ensemble performance; and a thesis, which is the text contained in the rest of these pages. Each component contributes 50% towards the degree. The performance portfolio is available at the following links: REFLECTIONS (solo piano) URL: https://vimeo.com/jazzinsouthafrica/makhathini-perf-1 Password: Reflections IKHAMBI (ensemble) URL: https://vimeo.com/jazzinsouthafrica/makhathini-perf-2 Password: Amathambo 3 Stellenbosch University https://scholar.sun.ac.za Note about the Performances Musical Connections with Mseleku I come to this work as one of many pianists, composers, and musicians deeply influenced by Bheki Mseleku’s music. -
Download National Orders Booklet 2008.Pdf
Order of Proceedings PRESENTATION OF NATIONAL ORDERS OUNION BUILDINGS PRETORIA 28 OCTOBER 2008 10:30 − 12:30 1. Nominees of the National Orders and guests take their seats 2. Arrival of President Kgalema Motlanthe 3. The National Anthem 4. Word of welcome by the Chancellor of National Orders 5. Ceremonial oration by the Grand Patron of National Orders 6. Investiture of the National Orders • THE ORDER OF MENDI FOR BRAVERY • THE ORDER OF IKHAMANGA • THE ORDER OF MAPUNGUBWE • THE ORDER OF THE COMPANIONS OF OR TAMBO 7. The President, the Chancellor, the Advisory Council, together with the recipients of National Orders proceed to the upper lawns on the western side of the Union Buildings’ West Wing for a photo opportunity 8. Guests proceed to the marquee on the western lawns of the Union Buildings Luncheon Grand Patron of National Orders President Kgalema Motlanthe Chancellor of National Orders Rev Frank Chikane The Advisory Council on National Orders Ms M Burton, Mr FG Brownell, Ms S Williams-De Bruyn, Prof B Figaji, Dr J Kani, Mr AM Kathrada, Prof C Landman Ms R Mompati, Bishop M Mpumlwana, Mr MMTB Msimang, Dr Y Muthien (Chairperson) and Lt-Gen G Ramano ii Recipients ORDER OF MENDI FOR BRAVERY GOLD 1. Thamsanqa Blessing Fihlela “Hugo Nkabinde” (Posthumous) 2. Nomava Shangase (Posthumous) ORDER OF IKHAMANGA SILVER 3. Peter Henry Abrahams 4. Ronnie Govender 5. Bryan Habana 6. Alfred Hutchinson (Posthumous) 7. Barbara Jurgens 8. Keorapetse William Kgositsile 9. Sibongile Khumalo 10. Ladysmith Black Mambazo 11. Zakes Zulu Mokae 12. Percival Montgomery 13. Lionel Morrison 14. George Mxadana 15.