City Research Online City, University of London Institutional Repository 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 (Unpublished Doctoral thesis, City, University of London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/16579/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. 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City Research Online: http://openaccess.city.ac.uk/ [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 Principal Writings on Stefans Grové’s life and works ........................................................................................... 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 GROVÉ’S 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 GROVÉ’S 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: GROVÉ’S EARLY YEARS OF STUDY (CA. 1939-1947) .......................................... 84 2 3. THE SECOND PERIOD: GROVÉ’S NEO-BAROQUE PHASE (1947-1958) .............................................. 97 4. THE THIRD PERIOD: GROVÉ’S ROAD TO MATURITY (1959-1983) .................................................. 107 4.1 Atonality and Expressionism ....................................................................................................................................... 107 4.2 Utility Music ...................................................................................................................................................................... 120 5. THE FOURTH PERIOD: ‘MUSIC FROM AFRICA’ (1984-2014) .......................................................... 130 5.1 Grové’s large-scale piano works from the ‘African’ period .............................................................................. 131 5.2 A discussion of structural and stylistic features in the shorter movements and miniatures for piano in Grové’s Music from Africa series ............................................................................................................................... 148 5.3 An investigation of the indigenous African elements in Grové’s piano music .......................................... 163 5.4 Elements of late style in Grové’s fourth style period (Music 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 GROVÉ’S 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. GROVÉ’S USE OF ARTICULATION .................................................................................................. 245 4. SELECTED EXAMPLES OF GROVÉ’S DISTINCTIVE USE OF PEDALLING ...........................................