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South African Orchestral Music: Five Exponents Author(S): Veronica Mary Franke Source: Acta Musicologica, [Vol.] 84, [Fasc.] 1 (2012), Pp

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South African Orchestral Music: Five Exponents Author(S): Veronica Mary Franke Source: Acta Musicologica, [Vol.] 84, [Fasc.] 1 (2012), Pp South African Orchestral Music: Five Exponents Author(s): Veronica Mary Franke Source: Acta Musicologica, [Vol.] 84, [Fasc.] 1 (2012), pp. 87-125 Published by: International Musicological Society Stable URL: http://www.jstor.org/stable/23343910 Accessed: 22-06-2017 13:27 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms International Musicological Society is collaborating with JSTOR to digitize, preserve and extend access to Acta Musicologica This content downloaded from 146.230.187.77 on Thu, 22 Jun 2017 13:27:52 UTC All use subject to http://about.jstor.org/terms South African Orchestral Music: Five Exponents* Veronica Mary Franke University of KwaZulu Natal (Critical literature devoted exclusively to the development of orchestral music in South Africa is relatively sparse. No book chapters or books in their entirety are dedicated to a study of South African orchestral music; fur thermore, over the past twenty-five years, only a handful of published articles has appeared, predominantly in the South African Journal ofMusicology} In order to fill * This article is an expanded version of a paper read at the joint RMA and SMI Meeting held in Dublin, July 2009. My thanks go to the National Research Foundation in South Africa for their generous support. Some expressions used throughout the paper are in need of clarification. First, the term orchestral composition refers to works using European-style conventional arrangements of large instrumental ensembles effectively organized into standard groups (woodwind, brass, strings, and percussion), and does not include vocal or choral compositions with instrumental accompaniment. Second, South African, indigenous, and home-grown are synonymous and refer to any composer, whether of black or of European descent, raised and educated in South Africa. 1 Studies on South African art music include Jan Bouws, Musiek in Suid-Afrika (Brugge: Voorland, 1946); Bouws, Suid-Afrikaanse Komponiste van Vandag en Gister (Cape Town: Balkema, 1957); Eric Rosenthal, 125 Years of Music in South Africa: Darter's Jubilee (Cape Town: Darter, 1969); South African Department of Information, ed., Performing Arts in South Africa (Pretoria: Department of Information, 1969); Jacques P. Malan, ed., South African Music Encyclopedia, 4 vols. (Cape Town: Oxford University Press, 1979-86); Bouws, Solank Daar Musiek is... : Musiek en Musiekmakers in Suid-Afrika, 1652-1982 (Cape Town: Tafelberg, 1982); and Peter Klatzow, ed., Composers in South Africa Today (Cape Town: Oxford University Press, 1987). Three recent publications (Christine Lucia, ed., The World of South African Music: A Reader [Newcastle-upon-Tyne: Cambridge Schol ars, 2005]; Stephanus Muller and Chris Walton, eds., A Composer in Africa: Essays on the Life and Work of Stefans Grové [Stellenbosch: Sun Press, 2006]; and Grant Olwage, ed., Composing Apartheid: Music for and against Apartheid [Johannesburg: Wits University Press, 2008]), while excellent resources, and indispensable to scholars, contain a paucity of detailed analyses on South African art-music genres. For example in Composing Apartheid, only one chapter deals directly with art music—chapter 13, "Arnold's van Wyk's Hands," by Stephanus Muller. The remaining chapters pertain primarily to South African jazz, and traditional and popular music. Over the past twenty-five years, diverse analyses of individual compositions have appeared in the South African Journal ofMusicology and Musicus. Articles dedicated specifically to the study of orches tral music include Mary Rörich, "Tonal Procedures in Graham Newcater's Third Symphony," South African Journal of Musicology [= SAMUS] 7 (1987): 17-34; James May, "Arnold van Wyk's Two Symphonies: An Introduction," Musicus 19, no. 2 (1991): 102-8; Christopher James, "An Exam ination of Compositional Methods in Stefans Grové's Concertato Overture 'Five Salutations': An Orchestral Study on Two Zulu Themes," SAMUS 12 (1992): 107-22; Bertha Spies, "Peter Klatzow's Hamlet: A Drama in Music and Movement," SAMUS 24 (2004): 65-84; Hannes Taljaard, "Inter preting Tonality in Three Compositions for Orchestra," SAMUS 24 (2004): 29-64; Michael Blake, This content downloaded from 146.230.187.77 on Thu, 22 Jun 2017 13:27:52 UTC All use subject to http://about.jstor.org/terms 88 Veronica Mary Franke the void, the present essay traces the origins of South African orchestral music and moves through its various stages of development culminating in current composi tional techniques. In so doing it offers a critical appreciation of the contributions of five South African composers, namely Arnold van Wyk, Stefans Grové, Roelof Temmingh, Peter Klatzow and Hendrik Hofmeyr, all of whom have been prolific, pivotal protagonists in the sphere of orchestral music, making incalculable contri butions to this repertory. Van Wyk, one of the pioneers of an art-music tradition in South Africa, was the first South African to gain international recognition as a composer. Grové, Temmingh, Klatzow and Hofmeyr have amassed œuvres whose scope and variety are impressive, and have won prestigious composition prizes that attest to their audacious and inexorable search for new musical horizons. The over whelming majority of orchestral compositions of all five composers has been com missioned by both local and international organizations, with many works having notable international performances. Analytical descriptions of orchestral compositions of the selected exponents identify characteristic features, comment on compositional language, methods and style, and point to the resonance of these musical ideas and formulations within the context of art-music traditions spanning three generations of South African composers. In particular, I establish that tonality, conventional formal processes, thematic elaboration, and contrapuntal writing remain compelling aspects of the musical grammar of South Africa's orchestral music repertory.21 take into consid eration the synthesis of Western art forms with indigenous or exotic musics. This aspect, however, does not constitute the primary focus. While South African orches tral music reflects a diverse array of influences—derived from Afrikaans, Dutch, in digenous African, Malay and other sources, including jazz idioms—it remains firmly anchored in European musical traditions. At this stage, it is necessary to establish some points of understanding concerning the origins of South African orchestral music. "The Present-Day Composer Refuses to Budge: Case Studies in New South African Orchestral Music," SAMUS 25 (2005): 127-43; Winfried Lüdemann, "Arnold van Wyk's Primavera: Music of Another South Africa," SAMUS 26/27 (2007): 87-107; and Stephanus Müller, "'n Blik op die Resep siegeskiedenis van Hendrik Hofmeyr se Sinfonia Africana," Musicus 37, no. 1 (2009): 19-23. A few postgraduate theses deal with individual South African composers and their œuvres, and may in clude a chapter on orchestral composition, such as Thomas Pooley, "Composition in Crisis: Case Studies in South African Art Music 1980-2006," (master's thesis, University of the Witwatersrand, 2008), Chapter Three, "Expediency in the Field: Peter Klatzow's Orchestral Music," 59-85. 2 Tonality is used in the broadest sense, referring to orderly collections of pitch phenomena and relations between them. This content downloaded from 146.230.187.77 on Thu, 22 Jun 2017 13:27:52 UTC All use subject to http://about.jstor.org/terms South African Orchestral Music: Five Exponents 89 Origins The roots of orchestral music in South Africa may be traced to the visiting theatri cal troupes and concert artists that frequented the Cape at the dawn of the nine teenth century. Whilst it remained a Batavian Republic (1803-6), only French tour ing companies visited, on their way to or from Mauritius, and this trend continued during the first fifty years of British rule, so that few British artists performed in the Cape.3 The discovery of gold and diamonds in 1884 catalysed a dramatic change of events, and the last two decades of the nineteenth century witnessed a relent less stream of entertainers, opera troupes, musicians and dancers disembarking at ports such as Cape Town, Durban, and Port Elizabeth, which provided access to the interior cities of Kimberly and Johannesburg.4 The vast majority came from Britain; a few others were from Holland, Germany, France and Italy. The sizeable influx of skilled European and British musicians had considerable impact on mu sical life. At first any structure comprising four walls and a roof might function as a venue. As larger communities became centres, and as the economy and trans portation network grew, purpose-built theatres and halls became available, and or ganized musical activity more widespread. At these functions, Jacques P. Malan observes, "smart clothing, boxes, bars, foyers, gas lighting or electricity and social conventions combined to create a sense of cultured well-being."5 Amateur and pro fessional musicians flourished under the umbrella of various cultural associations, including performing organizations devoted to instrumental, choral, dramatic, and operatic
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