The History of the Clarinet in South Africa by Becky L. Steltzner M.Mus. (University of Southern California) Thesis Presented in partial fulfilment of the Degree of DOCTOR OF PHILOSOPHY in the South African College of Music Faculty of Humanities University of Cape Town February 2016 Supervisor: Prof. Dr. Rebekka Sandmeier University of Cape Town 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 Copyright © 2016 Becky L. Steltzner 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. Abstract This thesis explores and traces the history of the clarinet in South Africa. After discussing the problems of researching western European music history in South Africa from the arrival of the Dutch in 1652, and briefly summarising that music history up to the first clarinet reference, the thesis goes through the existing clarinet references. These have been sourced from travellers’ journals, newspapers, military histories, other theses, etc., with particular emphasis on the 19th century, since the clarinet was introduced to South Africa near the beginning of it, and the most unknown part of the clarinet’s South African history is within it. The references are noted, discussed, and where possible, the performers’ biographical details are given and discussed. This carries through to the beginning of the 20th century, at which point South Africa got its first professional symphony orchestra, and first College of Music. From here, the clarinet is deemed to be more readily available, so at this point, the focus changes to South African compositions for clarinet. Finally, a case study is done on Ali-Ben- Sou-Alle, who was the first clarinet soloist to visit South Africa, as well as one of the most interesting and mysterious characters encountered in this research. Declaration I, ….........................., , hereby declare that the work on which this thesis is based is my original work (except where acknowledgements indicate otherwise) and that neither the whole work nor any part of it has been, is being, or is to be submitted for another degree in this or any other university. I authorise the University to reproduce for the purpose of research either the whole or any portion of the contents in any manner whatsoever. Signature:………………………………………………. Date: ………………………………. Becky L. Steltzner Acknowledgements I would like to thank the following people: Professor Dr. Rebekka Sandmeier, my supervisor, whose insight gave clarity and direction to the whole project. It was refreshing always to walk out of a supervision session less worried, and more motivated, than I was going in. Felicity Grové, whose editing made my strange mixture of American and British English consistent. Rev. Gedeon Cloete of The Moravian Church Archives (SA), for giving permission to print the portion of the Genadendal diaries that include the clarinet reference. Antoinette Lohmann, who helped me with many of the old Dutch translations, which were by no means easy for me. Prof. Nigel Worden, of the Department of Historical Studies at the University of Cape Town, for giving insight into whether Leibbrandt’s translations were affected by his bias toward Willem Adriaan van der Stel. Carika Smit, who did much translation from Afrikaans into English; these translations will be of use to not just me, but many other people in the future. She also did the tedious and menial work of checking the citations for inaccuracies. Lucia Di Blasio-Scott, who helped me with some Italian translation. Natalie Lawrenson, who mobilised her family to find her grandfather’s piece (Lemmer, Romance in C) for clarinet and piano. Lastly, I would like to thank my husband, Mike Nixon, whose support was invaluable, and whose ability to cook meant that I was well fed throughout the degree. While I am relatively certain the major events have been found, there will always be more that can be read, so there is the possibility that earlier dates will be found, more clarinettists will be identified, and more details of concerts and pieces played will be unearthed. TABLE OF CONTENTS Chapter 1, Introduction ........................................................................................................... 1 Chapter 2, Literature Review ................................................................................................ 11 Chapter 3, Problems of Researching Music History in South Africa ................................... 25 Chapter 4, Preliminary Considerations: a) Where to start looking ................................................................................... 41 b) Where clarinets were not found ..................................................................... 45 Chapter 5, Western European Instrumental Music in the Early Colony ............................... 51 Chapter 6, The First Woodwinds in South Africa ................................................................. 55 a) The appearance of the first western European woodwinds—oboes .............. 55 b) Flutes, fifes, and Huguenots .......................................................................... 60 Chapter 7, Potential Clarinet References from the Late Dutch Period to the Final British Takeover ................................................................................... 67 Chapter 8, The Earliest Clarinet References in South Africa, 1803-1850 ............................ 75 Chapter 9, The Clarinet References in the Second Half of the 19th Century ........................ 97 Chapter 10, The Increasing Prevalence of the Clarinet in 20th-Century South Africa: a) Performances in the First Half of the 20th Century ...................................... 131 b) Compositions for Clarinet ........................................................................... 141 Chapter 11, Case Study: Ali-Ben-Sou-Alle ......................................................................... 149 Chapter 12, Conclusion ......................................................................................................... 165 Appendix 1, Creative Component Programmes ..................................................................... 169 Appendix 2, Chronological Database of 19th-Century Clarinet References in South Africa 181 Bibliography ........................................................................................................................... 201 Figures Figure 1, Moravian diary extract showing the clarinet played on 31 December 1807 ....... 83 Figure 2, Title page of Iwan Müller’s Concerto no.3 ....................................................... 100 Figure 3, Page 1 of the “Clarinetto Principale” part of Iwan Müller’s Concerto no.3 ..... 100 Figure 4, Advertisement for E.A. Lefebre, in Cape Annual Advertiser............................ 103 Figure 5, Photograph of the band of the 24th Regiment .................................................... 106 Figure 6, Natal Witness advertisement for 6 February 1869 20th Regiment Band concert ........................................ 113 Figure 7, Natal Witness advertisement for 6 March 1869 20th Regiment Band concert ............................................ 113 Figure 8, Natal Witness advertisement for 3 April 1869 20th Regiment Band concert .............................................. 114 Figure 9, The Journal, advertisement for Madame Bishop with “Clarionet Obligato” ............................................ 116 Figure 10, Pietro Alessandro Guglielmi, Gratias Agimus Tibi, manuscript ....................... 117 Figure 11, The Natal Witness, and Agricultural and Commercial Advertiser, advertisement for Ali-Ben-Sou-Alle concert ................................................ 155 Chapter 1 Introduction There is a need for the historical study of individual instruments in South Africa, because the only studies of this kind to date have been general, either to an instrument group, e.g. wind instruments, or military bands in South Africa, or to a city such as Durban, Grahamstown, Johannesburg, or Port Elizabeth, or to a region such as the West Transvaal, or to a genre such as chamber music in South Africa.1 As for the clarinet, the specific studies that have been done on it in South Africa are either purely repertoire- or technique-based.2 There are South African papers that have dealt with history of the clarinet in Europe,3 but none that cover specifically South African history. Further, with regard to information available on the clarinet in South Africa, some published information is entirely incorrect, starting with a date for its arrival in South Africa that is 30- 40 years before its invention,4 and continuing with incorrect information about the first clarinet recitalist.5 These examples will be discussed in more detail later, but clearly, a more thorough and accurate version of the clarinet’s presence in South Africa is needed. Why study European instruments at all in South Africa? South Africa is a mixed society, and has been for over three and a half centuries. Today, young people have the choice of studying either European