Practise what you preach: Stanford's German songs

Charles Villiers Stanford (1852-1924) had an immense influence on the young composers who were his students at the Royal College of Music in London where he taught from 1883. Unlike many other composers, Stanford committed his views on composition to paper: they are to be found in his book Musical composition: a short treatise for students (1911) and in certain chapters (especially “The composition of music”) of his book Interludes, records and reflections (1922). The application of his strict ideas on composition to his own German songs (all eighteen on texts by Heine), reveals that he generally adheres to his own advice: he practises what he preaches. An analysis of the songs also shows them to be worthy of much wider recognition. With a few exceptions, the meaning of the text is very convincingly and movingly conveyed

Herbert Howells’s “Two Afrikaans songs” (1929)

The English composer Herbert Howells (1892-1983) did not understand the Afrikaans language, but he did hear it spoken when he travelled in South Africa in 1921. In his letters from South Africa he made very negative comments on the sound of the language. In this article his “Two Afrikaans Songs” of 1929 (Eensaamheid and Vryheidsgees, on texts by Jan F E Celliers) are analysed in order to determine whether his settings in a language foreign to him are convincing. It is concluded that the songs reveal remarkable sensitivity to the Afrikaans texts. Howells probably consulted the Afrikaans-speaking South African mezzo-soprano Betsy de la Porte, who was a student at the Royal College of Music in London where he was teaching. The “Two  Afrikaans Songs” are a surprising, extraordinary and invaluable contribution to the Afrikaans song repertoire

Practise what you preach: Stanford's German songs

Charles Villiers Stanford (1852-1924) had an immense influence on the young composers who were his students at the Royal College of Music in London where he taught from 1883. Unlike many other composers, Stanford committed his views on composition to paper: they are to be found in his book Musical composition: a short treatise for students (1911) and in certain chapters (especially “The composition of music”) of his book Interludes, records and reflections (1922). The application of his strict ideas on composition to his own German songs (all eighteen on texts by Heine), reveals that he generally adheres to his own advice: he practises what he preaches. An analysis of the songs also shows them to be worthy of much wider recognition. With a few exceptions, the meaning of the text is very convincingly and movingly conveyed

“Musiek kan my teken”: klanke, voëlgeluide en musiek in die digkuns van Lina Spies

The appearance of Lina Spies’s eighth volume of poetry, Duskant die einders (This side of the horizons, 2004) prompted a reinvestigation of her oeuvre. This volume was preceded by Digby vergenoeg (Close by far enough, 1971, which was awarded the Ingrid Jonker and Eugène Marais Awards), Winterhawe (Winter harbour, 1973), Dagreis (Day journey, 1976), Oorstaanson (Leftover sun, 1982), Van sjofar tot sjalom (From Shofar to Shalom, 1987), Hiermaals (1992) and Die skaduwee van die son (The shadow of the sun, 1998). The auditive aspects of Spies’s poetry have not previously been explored in detail. This investigation presents a further perspective on her poetry, adding to the commonly accepted notion that her work concentrates on themes of loneliness, the craving for a child, spiritual hurt, religion, words, nature, cats, friends, family relations, and famous individuals. An analysis of her eight volumes clearly indicates that the auditive experience plays a major role in her life and poetry. There are numerous examples of references to sounds, birdcalls, music, composers and specific compositions. Many of the sounds relate to her youth and her study period in Amsterdam. Among the birdcalls the cooing of doves is conspicuously present. Spies’s background as an Afrikaner child determined her understanding of music. She had piano lessons (unsuccessfully) and was exposed to the Saturday evening radio programme “U eie keuse” (Your own choice), from which some of the references in her poetry stem. The music pieces which found their way into her poems reflect the poet’s personality, and form part of the more accessible melody-driven category of music, for example works by Mozart and Schubert, her favourite composers. She regards the German art song as especially significant, as it constitutes a connection between her two passions: words and music. During her singing lessons she sang many art songs, and there are references to songs by Beethoven, Schubert, Schumann, Grieg and Brahms. Spies’s musical knowledge sometimes finds expression in her striking use of music terms

Herbert Howells’s “Two Afrikaans songs” (1929)

The English composer Herbert Howells (1892-1983) did not understand the Afrikaans language, but he did hear it spoken when he travelled in South Africa in 1921. In his letters from South Africa he made very negative comments on the sound of the language. In this article his “Two Afrikaans Songs” of 1929 (Eensaamheid and Vryheidsgees, on texts by Jan F E Celliers) are analysed in order to determine whether his settings in a language foreign to him are convincing. It is concluded that the songs reveal remarkable sensitivity to the Afrikaans texts. Howells probably consulted the Afrikaans-speaking South African mezzo-soprano Betsy de la Porte, who was a student at the Royal College of Music in London where he was teaching. The “Two  Afrikaans Songs” are a surprising, extraordinary and invaluable contribution to the Afrikaans song repertoire

Southern African connections among students who studied at the Royal College of Music in London between 1883 and 1899

Until the establishment of the South African Conservatorium of Music in Stellenbosch in 1905 and the South African College of Music in Cape Town in 1910, there was no institution on a bigger scale where a musician could receive advanced classical music training in South Africa. Talented students had to embark on a long voyage overseas and face the difficulties of surviving in very foreign circumstances. Often they were taught in South Africa by teachers who had studied in Europe, and who certainly inspired them to follow the same course, especially since South Africa’s musical life, although surprisingly lively (as will be alluded to later in this article), could not nearly approach that of the main centres of Europe. Some students might have been the most talented among their peers in South Africa, but were confronted with very high standards in Europehttp://www.journals.co.za/content/journalam2017Musi

"Their death shall in no wise have been in vain" : Gideon Fagan's studies at the Royal College of Music in London, 1922-1926

Die Suid-Afrikaanse komponis Gideon Fagan (1904-1980) het tussen 1922 en 1926 aan die Royal College of Music (RCM) in Londen studeer. So het Fagan sy ouer broer Johannes (1898-1920) nagevolg wat in 1920 selfmoord gepleeg terwyl hy ’n student aan die RCM was. Wanneer sy broer se tragiese dood in ag geneem word, kan afgelei word dat die begin van die 17-jarige Gideon se studie emosioneel ’n uiters moeilike ervaring was. Gideon Fagan het in ’n bekende komponis ontwikkel en was die eerste Suid-Afrikaansgebore dirigent wat internasionale erkenning verwerf het. Die dood van sy broer Johannes was nie tevergeefs nie: Dit vind neerslag in die hersiening van werke van Johannes en in die toonsetting van die lied Klein Sonneskyn.The South African composer Gideon Fagan (1904-1980) studied at the Royal College of Music (RCM) in London between 1922 and 1926. Fagan followed in the footsteps of his elder brother Johannes (1898-1920) who had committed suicide in 1920 while a student at the RCM. Considering his brother’s tragic death, beginning his studies must have been emotionally extremely difficult for the 17-year-old Gideon. Gideon Fagan became a well-known composer and the first South African born conductor who gained international recognition. The death of his brother Johannes was not in vain: It is reflected in Gideon’s revision of some of Johannes’s works and in the setting of the song Klein Sonneskyn.http://www.journals.co.za/ej/ejour_culture.htmlgm201

The context of the Royal Music School and the Royal Academy of Music in Munich and their South African born students, 1874–99

In a previous Afrikaans article, "Die konteks van die Koninklike Toonkuns-akademie in München en sy Suid-Afrikaans gebore studente, 1902-1909: Mabel Wuesto, Vera de Villiers, Daisy Bosman en Irma Lohner" (translated: "The context of the Royal Academy of Music in Munich and its South African born students, 1902-1909: Mabel Wuesto, Vera de Villiers, Daisy Bosman and Irma Lohner"), an inquiry was undertaken into the possibility of the presence of South African born music students at the Royal Academy of Music in Munich, a very prominent city of music. The article covered the period 1902-1909. The point of departure for this article was the concept place. Keywords related to this concept are context, milieu, landscape, city scape and space. A possible "thick description" was attempted in order to place the four students within the context in which they operated in Munich. The first aim of the present article, an extension of the first article, was to determine whether there were any South African born students who studied at the Königliche Musikschule (1874) and its successor, the Königliche Akademie der Tonkunst (1892), during the 25 years between 1874 and 1899, that is the period preceding the era of the four students mentioned in the former article. Secondly, these students had to be situated in the context of the development of the institutions.Die uitgangspunt vir hierdie artikel is die konsep plek. Daar is eerstens gepoog om vas te stel watter Suid-Afrikaanse studente in die 25 jaar tussen 1874 en 1899 aan die Königliche Musikschule (1874) en sy opvolger, die Königliche Akademie der Tonkunst (1892), in München studeer het. Tweedens was dit die doelwit om die studente binne die konteks van die ontwikkeling van die instansies te plaas. Aan watter invloede is die studente blootgestel deur die kontak met interessante medestudente van oor die hele wêreld en die groot verskeidenheid fassinerende dosente? Die belangrikste bronne is die jaarboeke wat elke jaar vanaf 1875 verskyn het (die eerste een oor die akademiese jaar 1874/1875) en beskikbaar is in die Beierse Staatsbiblioteek en die argief van die Hochschule für Musik und Theater in München. Die Musiekskool en die Toonkuns-akademie kan as konserwatief gereken word: Damestudente en manstudente moes aparte ingange en trappe gebruik, en die beroemde komposisie-onderwyser Rheinberger was byvoorbeeld 40 jaar lank 'n dosent. Die volgende vyf persone word bespreek: Hugo Lentz (gebore in Keiskammahoek, studeer toneelspel, 1881-2), Florence Fraser (Philippolis, klavier, 1886-7), Violet Whiteford (Fort Beaufort, sang, 1893-4), Jeannie Muller (Graaff-Reinet, sang, 1895-6) en Johanna Singenberger ("St. Francis", viool en klavier, 1896-8). Navorsing oor die latere lewens van hierdie persone is nou nodig sodat vasgestel kan word hoe hulle die omvangryke indrukke en ervaring wat hulle in die "plek" München versamel het aan hulle gemeenskappe oorgedra het.http://www.journals.co.za/ej/ejour_akgees.htmlam2013gm201

Characterisation and the use of references to psalms, hymns and hallelujah songs in Marlene van Niekerk’s novel Agaat

The qualities of the main characters in Marlene van Niekerk‟s Afrikaans novel “Agaat” (2004) are often emphasised by the use of references to classical, folk and sacred music. As religious songs constitute an integral part of the Afrikaans community, it is fitting to include references to the texts of psalms, hymns and hallelujah hymns in an Afrikaans novel set on a farm. The novel makes extensive use of such references to portray the characters and their context. These references form one of the most important means of characterisation in the novel. The texts are often used by the characters in a harsh and ironic way – and without respect for the religious content – but there are also some touching situations in which the original religious context is retained.Die eienskappe van die hoofkarakters in "Agaat" (2004), 'n roman van Marlene van Niekerk, word telkens deur middel van verwysings na klassieke, volks- en gewyde musiek na vore gebring. Aangesien gewyde liedere 'n onmiskenbare deel van die Afrikaanse samelewing vorm, is dit gepas om verwysings na die woordtekste van psalms, gesange en hallelujaliedere in 'n Afrikaanse plaasroman in te sluit. Marlene van Niekerk maak in "Agaat" ruim van sulke verwysings gebruik om die karakters en hulle konteks te skets. Dit vorm een van die belangrikste karakteriseringsmiddels in die roman. Die tekste word dikwels skerp, ironiserend en sonder respek vir die godsdienstige inhoud daarvan deur die karakters gebruik, maar daar is ook roerende situasies waarin die oorspronklike religieuse konteks behou word.http://www.puk.ac.za/literator/gm201

Loneliness, solitude, freedom : Joseph Joachim's F-A-E life motto ("Frei aber einsam") and Karel Schoeman's novel Hierdie lewe (1993)

Volgens Dahlberg (2007) kan eensaamheid beteken om sonder ander mense te wees, of alleen te voel tussen ander mense, maar ook om rustig en kreatief te voel binne jou eie eensaamheid. Laasgenoemde kan alleenheid (solitude) genoem word. Dit is bekend dat die beroemde violis Joseph Joachim die begrip "Frei aber einsam" ("Vry, maar eensaam") as lewensmotto aanvaar het. Daarby was dit vir die skrywer van hierdie artikel uiters opvallend dat die begrippe eensaamheid en vryheid opmerklik dikwels in Karel Schoeman se roman Hierdie lewe voorkom. Hierdie konsepte word in die artikel op die lewens van Joachim en Schoeman en op sy roman Hierdie lewe toegepas. Die doel van die artikel is dus om verbande tussen twee wyd uiteenlopende kunstenaars en kunswerke uit twee verskillende eeue te probeer vind. In Oktober 1853 het Schumann, Dietrichen Brahms hulle buitengewone, gesamentlike F-A-E-sonate in Düsseldorf as verrassing vir Joachim aangebied. Hierdie kunstenaars (asook Clara Schumann) was hegte vriende en was bewus van Joachim se lewensmotto "Frei aber einsam" (afgekort tot die letters F-A-E). Hierdie letters kan in die musiektoonhoogtes F, A en E omgesit word en dus as 'n motief in musiekkomposisies ingesluit word. Uit 'n ontleding van Joachim se lewe en sy briewe kan afgelei word dat hy dikwels intens eensaam gevoel het. Die feit dat hy as Jood en Hongaar gebore is en hom in 'n hoofsaaklik Christelike Duitssprekende wêreld bevind het, het ook tot sy gevoel van buitestanderskap bygedra. Schoeman se werk word gekenmerk deur karakters wat dikwels oorweldigend eensaam is. Hy skryf in sy outobiografie, Die laaste Afrikaanse boek (2002), geredelik oor sy eie eensaamheid en alleenheid, maar ook oor sy vryheid. Hierdie gevoelens word weerspieël in sy roman Hierdie lewe (1993), waarin 'n ou vrou op haar sterfbed terugdink aan haar lewe op 'n afgeleë plaas. Sy oordink haar eensaamheid en alleenheid, maar ook die vryheid wat sy aan die einde van haar lewe ondervind. Sy is eensaam, maar vry (E-A-F - "Einsam aber frei"); dus in die omgekeerde volgorde van Joachim se lewensmotto. Op hierdie manier hou die inhoud van die roman op verrassende wyse verband met Joachim se F-A-E-motto.It is a well-known fact that the famous violinist Joseph Joachim (1831-1907) adopted the words "Frei aber einsam" ("Free, but lonely") as his personal life motto. When reading Karel Schoeman's Afrikaans novel Hierdie lewe (This life), the author of the article found it extremely apparent that the concepts of loneliness and freedom are often referred to. Karel Schoeman's Afrikaans novel Hierdie lewe (1993, published in English as This Life, 2005 and in French as Cette vie, 2009) has received much attention and was awarded the prestigious Hertzog Prize for Afrikaans literature in 1995. Schoeman (born 1939) had also won the prize in 1970 and 1989. Many aspects of the novel have been analysed, and a book on Schoeman's oeuvre, Sluiswagter by die dam van stemme: beskouings oor die werk van Karel Schoeman (Lock-keeper at the dam of voices: reflections on the work of Karel Schoeman), edited by Burger and Van Vuuren, appeared in 2002. For the cover page of this book Schoeman chose Caspar David Friedrich's painting of the lonely monk at the sea (Der Mönch am Meer, 1808-10; Nationalgalerie, Berlin). Van der Mescht (2005) published an article on the correspondences between the novel and the paintings of Friedrich (1774-1840). The present article endeavours to determine possible congruities between the use of the motto (Frei aber einsam - Free but lonely) in the personal and artistic life of the famous violinist Joseph Joachim and the application of the concepts of loneliness and solitude (eensaamheid and alleenheid respectively in Afrikaans) and freedom (vryheid) in Schoeman's life and in his novel Hierdie lewe. Why was this musical motif important to Joachim and what did he understand by this motto? What can be deduced from Joachim's and Schoeman's lives about what these words meant to them? The article therefore aims to establish correspondences between two significantly different works of art from two different centuries. The concepts of loneliness and freedom were also investigated in Schoeman's autobiographical Die laaste Afrikaanse boek (The last Afrikaans book, 2002), which, on publication, caused great surprise, as Schoeman is known to be a very private person.http://www.litnet.co.za/cgi-bin/giga.cgi?cmd=cause_dir_news&cat=201&cause_id=1270am2013gm201