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CONTENTS INHOUD
Journal of the
Department of Music
Tydskrif van die
Departement Musiek
Volume 29.1 2001
Editorial/Redaksioneel 3
Chronicles/Kronieke
The role and viability of Music Technology as a teaching
subject in tertiary music departments in South Africa
Musiekprys- en beurswenners gedurende 2000/
Carl van Wyk 5
Music prize and bursary winners during 2000 11
What not to say about ‘World Musics’ Inge Burger 23
The Unisa Music Foundation - Music that matters for all John Roos 28
Chopin - Fame resounding far and wide Virginia Fortescue 33
Ricordare XXVIII Joubero Malherbe 37
Music Examinations/Musiekeksamens
Die 2000 Unisa Suid-Afrikaanse Musiekstudiebeurskompetisie 45
The 2000 Unisa Overseas Music Scholarship Competition 52
Hennie Joubert Merietepryse - Merit Prizes 2000
Roll of Honour of Outstanding Achievers 2000 /
59
Ererol van Uitblinkers 2000
Candidates who have obtained the Unisa Licentiate in Music in 2000/
64
Kandidate wat die Unisa Lisensiaat in Musiek in 2000 verwerf het 73
1

2
Merietesertifikate aan Musiekonderwysers 2000/
Merit Certificates to Music Teachers 2000 74
Teaching Aspects/Onderwysaspekte
Piano Questions (9)/Klaviervrae (9) Joseph Stanford 76
Singing without frustration Xander Haagen 80
Personalia
Profiel: Unisa Musiekeksaminatore (20) Rina Cascione Danie Fourie 99
Claude Brown (23.04.1901- 05.12.1973) - A personal tribute John Joubert 101
Tribute to Lionel Bowman (3) Ella Fourie 103
In memoriam
Anna Maria (Duxie) Joubert (30.11.1911-11.08.2000) 111
Frederick Alexander Haagen (25.05.1924-27.12.2000) 113
Laura Muriel Searle (03.03.1928-28.01.2001) Victoria Reeve
Francois du Toit
117
Reviews/Resensies
New music publications/Nuwe musiekpublikasies Johann Potgieter 121
Wessel van Wyk
CD Reviews /CD-resensies Stefans Grové 133
Original composition/Oorspronklike komposisie
Prelude Peter Efstratiou 137

Editorial Redaksioneel
Soos gebruiklik word die eerste uitgawe van Musicus
van die jaar merendeels aan die prestasies van
kandidate en hul onderwysers in die jaar 2000 gewy.
Daar is baie name en mooi foto’s wat u kan deurlees.
Interessant is ook om van die beurswenners van
ander instansies en kompetisies kennis te neem.
Ons hartlike gelukwensing aan al die presteerders.
Carl van Wyk, now living on America, discusses
the role and viability of Music Technology as a teach-
ing subject in tertiary music departments in South
Africa. Inge Burger tells us ‘What not to say about
“World Musics”’ and Virginia Fortescue, one of the
judges of the Ninth Unisa International Piano Com-
petition in 2000 gives her impressions of the 14th
Frederick Chopin International Piano Competition
which she attended in Warsaw.
Die baie bekende en geliefde musiek-
eksaminatrise Duxie Joubert wat vir omtrent dertig
jaar baie nou bande met die Departement Musiek
gehad het, is in Augustus 2000 in Stilbaai oorlede.
Sy het jaarliks vir lang periodes die land deurkruis
en daar is seker min sentrums waar sy nie
geëksamineer het nie. Sy het belangrike bydraes
gelewer tydens die opleiding van eksaminatore en
het deur die jare derduisende musiekteorie-
vraestelle nagesien. Duxie was ‘n Unisa
musiekeksaminatrise in die ware sin van die woord.
Sy het die leerplanne tot in die fynste besonderhede
geken, kon tot die kern van ‘n saak deurdring, het
altyd ‘n egalige standaard gehandhaaf en kon haar
rol as vriendin en eksaminatrise by die sentrums
waar sy besoek afgelê het uitmekaar hou. Selfs na
haar aftrede het sy intens in die aktiwiteite van die
Departement Musiek belanggestel. Ons eer haar
nagedagtenis, stel haar besondere bydrae baie hoog
op prys en betuig ons innige simpatie aan haar man
Tobie en dogters, Minette en Charlene met hul
groot verlies.
The music world lost another formidable musi-
cian when Laura Searle (Mrs Osborne) passed away
in February 2001. She won the Unisa Overseas Mu-
sic Scholarship in the late forties, went to study in
London, returned to South Africa and combined the
roll of eminent teacher and successful pianist for
many years. She was a strong influence in the lives
of many budding pianists whom she taught at the
SA College of Music at the University of Cape Town.
They all loved her dearly. Our sincere condolences
to her daughter Victoria who also lost her father
Peter in December 2000.
The articles in the previous Musicus concentrated
on singing and the teaching of singing. In this edi-
tion we publish an article by Xander Haagen en-
titled ‘Singing without frustration’ which he com-
3

pleted in March 1999 as a tribute. He sadly died in
February 2001 in Freyburg. Although he emigrated
to Germany in 1975 he is still vividly remembered
by many of his singing students and colleagues.
In die rubriek Unisa Musiekeksaminatore val die
kollig op Rina Cascione. Joubero Malherbe se artikel
oor die Pretoria Operagroep is ryklik toegelig met
interessante foto’s. John Joubert, who lives in Bir-
mingham pays a personal tribute to Claude
Brown(1901- 1973) who had a tremendous influence
on music and the music tradition of The Diocesan
College (Bishops) in Cape Town. Ella Fourie con-
cludes her short series of articles on the famous
pianist Lionel Bowman, Joseph Stanford continues
with his column, Piano Questions, and John Roos
brings the diverse activities of his Music Founda-
tion to our notice.
4
The new South African Music Dictionary (SAM)
is available since August 2000, an important mile-
stone long overdue. This publication as well as
Lionel Bowman’s The Magic Touch: For pianists and
teachers and CD’s by South African artists or with
South African connections are reviewed.
Our original composition features a Prelude for
piano by Peter Efstratiou.
Giuseppe Verdi (born 1813) died in 1901. His
operas appear in the repertoire of almost all opera
companies in the world and many will be specially
performed to celebrate the centenary of his death.
This underlines his view that: ‘Success is never luck,
but a mysterious power of the successful’.
The next edition of Musicus will concentrate on
string and string teaching.
ing.
I am sure you will find this edition very interest

The role and viability of Music
Technology as a teaching
subject in tertiary music
departments in South Africa
Introduction
It is generally accepted that technology has become
an important factor in the arts. Music is no exception.
The term Music Technology is widely used,
but its definition is not clear and perhaps does not
even exist.
Technology has, in essence, to do with the use
of machinery and the programs that enable, activate
or drive the machinery, (in computer jargon 1 ,
hardware and software) whilst music has to do with
aspects of organized sound traditionally known as
‘music’. Thus, whilst the application of the term
music technology is hardly new, (if one were to consider
the first Edison player with its cylinders or,
any musical instrument or even the Maetzel metronome),
present day applications are complex and
pervasive, a far cry from Edison and his cylinder.
The impact that electronics and digitizing 2 has
made on music in general and the music industry in
particular, whilst not necessarily an unmitigating
artistic blessing, is nevertheless profound; in fact it
would not be an exaggeration to claim that the
music industry of the present time is substantially
a consequence of these developments.
Overview
Chronicles Kronieke
Technology associated with music impacts and affects
almost all aspects of the music process.
At the present time music machines 3 play a
much more comprehensive and sophisticated role
in the processes of music than ever before, often
from the conception of the work to the realization
of it as a saleable product - thus, production, reproduction
(both in hardcopy and software formats) and
Carl van Wyk
propagation, ie the machine also as a music instrument
and sound source. The ‘sound-source’ machine
is found in the form of sound modules, keyboards,
sound libraries, samplers, and synthesizers.
Rectification to the sound product is only restricted
by the patience, ingenuity and creativity of
the sound engineer. The varieties and degrees of
manipulation, rectification, distortion and other
techniques available for processing music are staggering
and infinitely variable. Furthermore, the ease
with which recorded materials can be communicated
and transferred digitally has created an explosion
of challenges and opportunities: challenges in that
accepted formats, protocols and understandings have
been thrown into disarray, (the present court ruling
against Napster 4 is a case in point), opportunities
in that the possibilities and potential for expansion,
invention and reinvention are virtually limitless.
University music departments should be alerted
to a golden opportunity for exploiting the popularity
of music technology as a saleable teaching product.
The debate about the validity and appropriateness
of studies of such a nature in a tertiary institution
has been largely overtaken by present realities,
some market-related, some based on reconsidering
the role of a university in its community.
In South Africa during the recent past, training
in sound, sound recording and recording technology
was undertaken by the official Broadcasting Corporation,
the SABC, with its apprentice-like approach,
(recruiting and training talented students
who would learn by example from the professionals
employed by the institution), some private sound
studios, one or two Technikons and a handful of
Universities. At Wits University 5 , for example, the
subject was confined to very small groups of stu-
5

dents at any given time.
This situation has changed radically: it is possible
to justify the teaching of music technology at
a university, both as a preparation to a future career
in the music industry and as a financially viable
proposition for the university. In my opinion
it is possible, practical and viable because one can
now house an entire recording studio in a single
computer.
Whilst the hardware and software required for
such a machine is still admittedly not cheap, the
cost of such an all-in-one machine 6 is nevertheless
still not more than a small fraction of the price that
the original set of modules would have cost.
An immediate reaction to this development has
been an injection of energy and know-how into the
world of amateur music. Thus, large recording studios
have been challenged by amateurs empowered
by this new, comparatively inexpensive technology.
These amateur musicians 7 are able to produce their
music offerings on a low-cost basis and sell them
with minimal infrastructural implications.
This phenomenon also constitutes an academic
opportunity, and with judicious choice of equipment
and software it would be possible, after the period
of repaying the initial purchases to function profitably
by teaching aspects of music technology as a
general course for interested students, and as a
dedicated course for students wishing to enter the
music profession in any of several specializations.
Music Technology and Composition
There are many ways to compose music. The traditional
pen/pencil/manuscript paper route is probably
still the most usual way of writing traditional
music, but a host of other possibilities also exist.
The availability of keyboards, computer notation
programs and synthesizers has relieved the wouldbe
composer of the need to have a theoretical knowledge
of notation or even music, and encourages the
instinctive approach.
A wide variety of software programs enable the
composer to compose. Some in fact are
preprogrammed composition packages and are able
to generate endless streams of music according to
predetermined parameters. These programs tend
to be either gimmicky, designed for dabblers and
dilettantes, or complex, designed for composers
6
experimenting with mathematical equations such
as fractals. Some programms offer score options in
variable formats, such as matrix, keyboard, and music
score, etc and many actually incorporate sequencers
which demand initial input and then trigger
compositions. Some programs automatically prepare
row-boxes for 12-tone composition; others require
a measure of individual input in order to complete
compositions using a preselected compositional path
of instructions. For the composer to choose a program
he/she would need to determine his/her preferred
‘normal’ work method. For example, if the
composer traditionally works from a keyboard, such
as the piano, a number of programs allow for a customized
input from the played source. Thus the
composer enters his composition by performing it,
the program stores the information and allows the
composer to edit and reperform it. It is quite normal
for such programs to allow individual, separate
tracks to be composed, accumulating the various
parts into the final composition in this manner.
Other programs favour the composer who prefers
to work with a pencil and score paper. In such a
case the mouse pointer replaces the traditional pen/
pencil and the program provides score paper on the
screen. As most composition programs incorporate
some form of macro help, the tedious composition/
arrangement/layout processes for traditional music
are speeded up considerably.
There are a number of negative aspects to the
computer-based approach to music composition, the
most significant being the need of the user to find
ways to interact with, perhaps even exploit the design
of the program, which might be customized
for very conservative, traditional music writing.
Another is the confine imposed by the size of the
computer screen, restricting access to prior or subsequent
material in the composition. Program designers
are aware of these shortcomings and the
truly professional packages have attempted to address
these limitations. The perfect program has
yet to be written.
Music Technology and Notation
All music programs automatically convert music
events into midi information and the midi information
into some form of music notation. The vast
majority of music programms for performance and

composition also automatically provide some form
of conversion to traditional music notation. Some
programs automatically default to music score, whilst
others require a command to allow the music score
to be visible. In fact, a real-time performance in
midi 8 is comparatively easy to convert to its equivalent
notation on the screen, and some programms
are especially geared to such a function, the end
product 9 being sufficiently attractive and professionally
finished off as to be saleable. Five of the most
successful of these programms are Sibelius, Finale,
Logic, Overture and Score Writer. In the case of
Sibelius, and a number of other programs, it is also
possible to scan music into the program, convert it
to a cleaned-up score and listen to it as a music
performance–the score is converted to sound via
midi. The most sophisticated of these programs also
allow for a flexible metronome beat, unscrambling
poor rhythmic performances and adding ‘humanizing’
factors to predetermined patterns.
Music Technology and Performance
In computer jargon, music performance as a live
event is described as being in real time. This term
applies to synthesizers used as music instruments,
and sound modules and computers when driven by
electronic keyboards. In this situation a midi interface
takes place, and various midi-compatible instruments
thereby communicate with each other.
An actual performance takes place, as would typically
occur when a band performs before a live audience,
or for a recording session. Real-time performance
software varies from very elementary programs
such as beginners Cake-Walk to sophisticated
and relatively expensive programs such as Logic and
Cubase. Many programs also offer the composer the
option of using midi and audio tracks simultaneously.
Music Technology and Recording
Digital recording using a computer is a comparatively
easy procedure. The standard (there are variants)
digital format is 16 BPS (bits per second) with
an operating rate of 44,100 samples per second.
There are many commercial sound recording software
programs which make this option available,
and as the working process of computers function
in 16-bit digital code, a high quality recording is
possible. The commercial CD recording requirement
of the recording industry is met by a number
of recording formats, such as WAV and AIFF, and
computers now include facilities for saving music
or sound files in these CD formats. Some of these
processes are already present in some of the normal
music programs, where both audio and midi
components can be recorded, mixed and converted.
Thus a program such as Peak, Sound Edit, Sound
Designer and many others allow for audio input of
music signals into the computer, its manipulation
and enhancement, and the production of a final professional
version.
Music Technology and Editing
The editing process employs devices which can be
applied to the audio/video recording to either enhance
the overall musical effect, or to correct performance
or recording defects. Amongst these the
following are the most important: cutting, copying,
splicing, removing noise, correcting poor frequency
characteristics, adding reverberation, improving
instrumental attack, harmonizing, removing
‘s’ sounds in vocals, correcting poor pitch, creating
or enhancing vibrato 10 , etc.
There are many software programs enabling the
sound engineer to manipulate, edit and finally produce
a saleable audio product. All of these processes
can now be handled effectively by onboard computer
software, and many music programs offer aspects
of the total professional package in slightly
restricted forms. Thus, Peak, Sound Edit, Sound
Designer and many others allow engineers to produce
fully professional audio outcomes from a single
computer.
Music Technology and Storage
Digital material can be stored in a variety of ways.
A drawback 11 of high-quality sound and video files
is the large amount of space these formats consume.
Several new approaches to the problem are being
considered. Thee solutions explore the idea of reducing
the size of files and expanding the storage
capabilities of storage media. The medium used for
sound storage is DAT (Digital Audio Tape), mini-
7

disk, Zip drive storage, and writable and rewritable
CD. (A large amount of material can be stored on a
single CD, and with the additional advantage of
compression systems such as MP3 audio and jpeg
graphics a vast amount 12 of material can be saved
to one CD). DVD recording allows a considerable
amount of digital information to be stored on one
CD and is presently available but relatively expensive.
Storage from the computer can be effected
through on-board or external writers and storage
devices.
Thus, it is possible to produce the final CD
through the same computer which was used to initiate
the first recording sessions for the project: a
single, ongoing process. Video storage is presently
catered for through the medium of CD Rom, but
DVD will almost certainly become the storage medium
of the future, and DVD burners are presently
available. They are however fairly expensive, but
may be expected to become more affordable as the
format becomes popular, and when legislation to
protect the video industry has been considered and
the necessary formalities standardized. A compression
system for DVD is presently available but its
legality is still being questioned.
Music Technology and Video
The provision of a sound track and a music score to
a video clip is an important function of the commercial
composer. Software programs such as
Protools, Cubase and Logic allow the composer to
integrate the music and video process, which immediately
incorporates both into one system and
both video and audio become activated by a single
command. The editing function enables exact synchronization.
Furthermore, some software programs
allow the importation of video material directly into
editing facilities embedded in the program, making
the editing of a clip or an entire movie a comparatively
easy procedure. Such software is provided
by the modestly priced Apple iMovie and the much
more expensive high-level Final Cut Pro. Predictably,
software catering for video and movie on computer
can range in price from comparatively affordable
to prohibitively expensive. Programs in the
upper range are designed for top-quality professional
applications.
8
Music Technology and Propagation
There are many ways of propagating and transmitting
music. In addition to the normal avenues, the
digital medium allows for instantaneous propagation
of music via the Internet. At the present time,
given the constraints of the internet and its dependence
on analogue/digital conversion via modems,
the size of the file to be transmitted is an important
consideration Systems for the compression of
bulky files have being developed and some of these
have succeeded in providing a very acceptable small
file-size final product. The availability of digital
telephone lines is considered a first step toward
the solution of this transmission problem and this
type of telephone line is presently available for consumers,
effectively slicing download times to seconds
rather than minutes and allowing for the rapid
transfer and reception of very much larger files.
The state-of-the art computer
The computer industry is enormously competitive
one and research and development is occurring at a
rapid rate. The state-of-the-art machine in the computer
world is an almost fictional concept as ongoing
development renders the term meaningless. A
computer that would be able to cope with the demands
of the newest music software would have to
subscribe to certain minimum specifications. These
include a reasonably fast processor, (at present
speeds of 1 gigabyte or more are available but probably
unnecessary), a substantial amount of RAM (128
- 192 megs is not unreasonable, given the competitive
price of RAM at the present time), input,
onboard and output devices compatible with music
requirements and a large hard disk. Machines such
as these are standard items at the present time,
and have become the stock-in-trade of the workplace
and in the home. The price of high quality
machines subscribing to both platforms has dropped
substantially. This trend is bound to continue and
accelerate.
At best, given the nature of the industry, a computer
is a poor investment. However, if consideration
is paid to long term upgradeability, a viable
sound laboratory with a ten year life span is possible.
The initial costs should be recouped within
two years. The remaining eight should provide a

lucrative profit margin, despite the inevitable upgrade
and replacement costs that need to be factored
into the equation.
A final thought
Despite the debate about the validity of Western
culture in South Africa, Western music remains a
popular choice and this is especially noticeable
amongst the choral communities. Formal study in
Western/International music is being seriously questioned.
For the purposes of this paper it is unnecessary
to consider reasons or outcomes for this particular
type of music because the music industry as
a whole is successful 13 , generating vast revenues
for the country. Universities are able to tap into
this lucrative resource by utilizing the opportunities
afforded for training in Music Technology: The
nature of the music being used does not constitute
a constraint to this activity.
Reference
Allen, C. Arranging in the digital world. Boston:
Berklee Press.
Buick, P. & Lennard, V. 1995. Music technology reference
book. Kent: PC Publishing. (www.music
booksplus.com).
Dobson, R. 1992. A dictionary of electronic and computer
music technology. Oxford: Oxford University
Press.
Notes
Dubmor, S. [Sa]. Sound synthesis and sampling.
Computer Music Journal, 24. Massachusetts: MIT
Press.
Levenson, T. 1994. Measure for measure: a musical
history of science. New York: Touchstone.
Mauricio, D.& Adams, S. The fundamentals of music
technology. Music Technology Publications.
(www.halpeterson.com/books.html).
Peterson, H. The school MIDI lab: teaching music
through technology. Music Technology Publications.
(www.halpeterson.com/books.html).
Schrader, B. 1982. Introduction to electro-acoustic
music. Englewood Cliffs: Prentice-Hall.
Schwanauer, S.M. & Levitt, D.A. (eds.). 1993.
Machine models of music. Cambridge, Mass.: Massachusetts:
MIT Press.
The sound synthesizer. (http://hem.passagen.se/
tkolb/art/synth/what_e.htm).
Waugh, I. Quick guide to digital audio recording.
Kent: PC Publishing. (www.pc-pubs.demon.co.uk/
index.html).
Waugh, I. Quick guide to MP3 and digital music.
Kent: PC Publishing. (www.pc-pubs.demon.co.uk/
index.html).
Whitmore, L. MIDI basics. Music Technology Publications.
(www.halpeterson.com/books.html).
1 This paper will use terms associated with the current international music industry. Many of these are related to computerbased
procedures, protocols or machinery.
2 The terms analogue and digital are used consistently in music technology to denote two radically different approaches to the
creation, transmission and storage of sound. The word analogue pertains to any manifestation analogous to the original sound
whereas the term digital refers to a distinct patterning system, which functions in code.
3 In the traditional context, acoustic musicians’ performances were recorded using tape recorders. The recordings were
processed in a recording studio, where defects specific to the physical sound were painstakingly rectified or improved. The
recording artist could have his or her performances improved by means of multi-takes, the final, ‘perfect’ result being the pasting
together of the best of many versions. The next steps in the process would be the production of the recording in a format that
consumers could purchase. These formats include 78’s, LPs (long-playing records), cassettes and open reel tapes, and presently
DAT, minidisks and of course CDs.
4 ‘The recent court rulings against Napster and MP3.com have made it clear that copyright violations won’t be tolerated. Not
only do digital music companies need licenses from the recording industry, but they also must work with music publishers to
operate legally.
9

But the publishers’ lucrative licensing structures might prevent cash-strapped startups from ever gaining access to top artists.
The hefty premium to legally distribute music could force competing online companies to merge to compete with the major
record labels.) While publishing rights organizations ASCAP and BMI haven’t gone after Napster in court as of yet, that possibility
still looms over the company. Having to pay multiple sources to offer music streams or downloads could force companies to pool
their resources. ‘You are going to see a consolidation of people and businesses that webcast content, because otherwise it would
be too expensive to pay all the licensing fees,’ said Derek Woodgate, founder of two independent record labels, Fringecore and
Young God Records. ‘The major record labels are already trying to consolidate themselves and come up with a way to bring
together their operations.’ MP3.com, which challenged the recording industry on copyright issues, lost its court battle and now
pays 1.5 cents per song for people to store music in its virtual lockers, and 1/3 of a cent each time a song is streamed. That money
goes to the musicians who perform the work.’
5 The School of Music at Wits University, amongst a handful of universities in South Africa has been active for many years in
teaching these processes to those students who were interested or specializing in music composition.
6 If one were to trace the development of the modern recording studio one would find a consistent trend – the use of
separate, independent modules networked by separate cables and powered by separate power supplies has been superceded by
integrated modules, and finally by integrated software. Thus, the single computer with appropriate software has replaced an
entire room filled with equipment. This trend is continuing, with software integrating more and more of the functions of the whole
process
7 It would be irresponsible to claim that the technology of the present time matches the technology of the recent past in
every aspect, but I have no doubt that in a short time the technology of the integrated computer and the integrated software
package will be equal to and eventually superior to the old music systems, both in quality and reliability.
8 A short note about midi: MIDI (Musical Instrument Digital Interface) is merely a set of protocols designed to allow
electronic music instruments to communicate with each other. Thus midi allows for the transfer of event data. This information
will allow a midi-compatible instrument to respond in an identical manner to the instrument which acted as the source of the data
, and the result will be audible sound. However, midi of itself is not sound.
9 The publishers of music at the present time are completely dependent on programmers skilled in this art, and some
programs even allow for ‘house-styles’ of printing.
10 The names ascribed to the processes are in many ways an exact description of the original methods employed: cut and paste
was, during the days of tape recordings the exact method used to deal with adding and removing sections of tape.
11 The WAV and AIFF CD formats have one serious disadvantage in terms of present day technology–they are byte-intensive,
making the transmission by Internet of WAV and AIFF files an extremely tedious process. Several byte-saving formats are
available on the Internet, ranging from really low-fi applications to fairly acceptable ones, such as RMF (Rich Music Format). One
of the most popular formats is MP3, which has the great advantage of reducing the quantity of bits used by a considerable
percentage. MP3 can be described as sub-standard in terms of true high fidelity, but in most situations is acknowledged to be
very superior to old recording media, such as cassette and LP’s. The MP3 format can be decompressed into the original CD
format.
10
12 In fact, a single CD is capable of storing up to 12 hours of recorded music in MP3 format.
13 Certain genres of music are much more popular than others are. Revenue earned by gospel music, for example, is amongst
the highest of all earnings in the RSA, and much of this genre consists of interesting local reactions to imported models.
Professor Carl van Wyk, South African composer, formerly of the School of Music
of the University of the Witwatersrand, Johannesburg now lives in America

Music prize and bursary winners
during 2000
Musiekprys- en beurswenners
gedurende 2000
NASIONALE KOMPETISIES
1 NASIONALE HENNIE JOUBERT KLAVIERKOMPETISIE
Eerste prys Grethe Nöthling Onderwyser: Ella Fourie
Tweede prys Inette Swart Onderwyser: Tessa Rhoodie
Derde prys Willem van Schalkwyk Onderwyser: Valerie van Biljon
Vierde prys Nadine Holemans Onderwyser: Ella Fourie
Vyfde prys
Kategoriepryse
Nico de Villiers Onderwyser: Johan Cromhout
OKB-Musiekprys Esthea Kruger Onderwyser: Catharina Struthers
Joan de Villiers-prys
Kakamas-
Willem van Schalkwyk Onderwyser: Valerie van Biljon
Musieksentrum-prys Grethe Nöthling Onderwyser: Ella Fourie
Frik de Beer-prys Grethe Nöthling Onderwyser: Ella Fourie
Manie Rust-prys Grethe Nöthling Onderwyser: Ella Fourie
Inette Swart Onderwyser: Tessa Rhoodie
Peter Ingwersen-prys Grethe Nöthling Onderwyser: Ella Fourie
Leon Gerber-prys Inette Swart Onderwyser: Tessa Rhoodie
Wellingtonse
Willem van Schalkwyk Onderwyser: Valerie van Biljon
Musiekverenigingprys Grethe Nöthling Onderwyser: Ella Fourie
Inette Swart Onderwyser: Tessa Rhoodie
Herman van Niekerk-prys Willem van Schalkwyk Onderwyser: Valerie van Biljon
• Kontakpersoon: André Serfontein (021) 873 1131(w) (021) 873 3633(h)
2 SANLAM MUSIEKKOMPETISIE VIR LAERSKOOLLEERDERS
Eerste prys Vicente Espi (Viool) Onderwyser: Jack de Wet
Tweede prys Mathilda Mennen (Klavier) Onderwyser: Claudine van Breda
Derde prys Moon Hee Lee (Klavier) Onderwyser: Alexander Johnson
Kategoriewenners
Klavier Mathilda Mennen Onderwyser: Claudine van Breda
Strykers Vicente Espi (Viool) Onderwyser: Jack de Wet
Blaasinstrumente Abraham Mennen (Saxofoon) Onderwyser: Hesta van Wyk
11

Ander instrumente Deo du Plessis (Slagwerk) Onderwyser: Stephen Pierce
Belowendste deelnemer,
10 jaar en jonger Megan-Geoff Prins (Klavier) Onderwyser: Mario Nell
Tygerbergprys Nadine Roussopoulos (Viool) Onderwyser: Madelein van Rooyen
Beste uitvoering van ‘n
Suid-Afrikaanse komposisie Danielle Swart (Klavier) Onderwyser: Claudine van Breda
• Kontakpersoon: Martie de Lange (021) 947 5174
3 HUGENOTE KOMPETISIE
Eerste prys Rea Prinsloo (Viool) Onderwyser: Jack de Wet
Tweede prys Ilse Minnie (Slagwerk) Onderwyser: Suzette Brits
Derde prys Carina Bruwer (Fluit) Onderwyser: Eva Tamassy
• Kontakpersoon: Rensche Janse van Rensburg (028) 316 2957
4 ATKV PRELUDE KOMPETISIE
Algehele wenner
Kategoriewenners
Grethe Nöthling (Klavier) Onderwyser: Ella Fourie
Klawerbord Grethe Nöthling (Klavier) Onderwyser: Ella Fourie
Kamermusiekensemble Hugo Lambrechts Slagwerkensemble
(Slagwerk) Onderwyser: Suzette Brits
Strykers Christoff Fourie (Tjello) Onderwyser: Heleen du Plessis
Blasers Anja Seifart (Fluit) Onderwyser: Erika Jacobs
Ander Instrumentiste
Beste vertolking van ‘n
Lindi Köpke (Slagwerk) Onderwyser: Suzette Brits
Suid-Afrikaanse werk Bloemhof Baroque Beauté Onderwyser: Zorada Temmingh
• Kontakpersoon: Ilse Schürmann (011) 886 4888
5 ATKV FORTE KOMPETISIE
Algehele wenner
Kategoriewenners
Erica Eloff (Liriese sopraan) Onderwyser: Werner Nel
Blasers Marlene Verwey (Fluit) Onderwyser: John Hinch
Kamermusiekenseble Die Boulevard Harmoniste Onderwyser: Richter Grimbeek
Klawerbord Rudolph de Vos (Orrel) Onderwyser: Wim Viljoen
Kathleen Tagg (Klavier) Onderwyser: Graham Fitch
Sang Erica Eloff Onderwyser: Werner Nel
Strykers
Beste vertolking van ‘n
Philip Nolte (Viool) Onderwyser: Peter Brunt
Suid-Afrikaanse werk Die Boulevard Harmoniste Onderwyser: Richter Grimbeek
• Kontakpersoon: Ilse Schürmann (011) 886 4888
12

6 ABSA NASIONALE JEUGMUSIEKKOMPETISIE
Algehele Wenner
Kategoriewenners
Erik Dippenaar (Orrel) Onderwyser: Mario Nell
Blasers Anja Seifart (Fluit) Onderwyser: Erika Jacobs
Klavier Sylvia Jen Onderwyser: Ella Fourie
Perkussie Ilse Minnie Onderwyser: Suzette Brits
Strykers
Kategorienaaswenners
Renata van der Vyver (Altviool) Onderwyser: Louis van der Watt
Houtblasers Peter Ball (Klarinet) Onderwyser: Robert Carter
Jeremy Holdcroft (Klarinet) Onderwyser: Allan Thompson
Klavier Nico de Villiers Onderwyser: Johan Cromhout
Nadine Holemans Onderwyser: Ella Fourie
Koperblasers Alec Slabbert (Franse Horing) Onderwyser: Johan Pretorius
Orrel Andrea Kayser Onderwyser: Wim Viljoen
Strykers Katherine Roussopoulos (Viool) Onderwyser: Madelein van Rooyen
Ander Marina Solomon (Harp) Onderwyser: Linor Griffith
• Kontakpersoon: Marian Lucouw (041) 504 2508
KOMPETISIES BEPERK TOT 'N SPESIFIEKE STREEK
OOS-KAAP JEUG MUSIEKKOMPETISIE 2000
Laerskool Instrumentaal
Eerste prys Hayley Altenkirch (Fluit) Onderwyser: Colét van Zyl
Tweede prys Nancy Cheng (Klavier) Onderwyser: Petro Ferreira
Derde prys Kathryn Abrahams (Klavier) Onderwyser: Rentia Els
Hoërskool Instrumentaal
Eerste prys Taryn Karg (Klavier) Onderwyser: Erika Bothma
Tweede prys Sue-Anne van Eck (Fluit) Onderwyser: Lynn Hughes
Derde prys Lynne Bartle (Blokfluit) Onderwyser: Erna Cloete
Hoërskool Vokaal
Eerste prys Elize-Marie Reyneke Onderwyser: Erna Cloete
Tweede prys Lize Terblanche Onderwyser: Reinette Cerff
Derde prys Linmarco Hoffman Onderwyser: Rita Veldtman
• Kontakpersoon: Widor du Toit (043) 748 3167
13

14
MUSIEKBEURSE BY UNIVERSITEITE, TECHNIKONS EN MUSIEKSENTRUMS
1 UNIVERSITY OF CAPE TOWN
Twamley Undergraduate Scholarship David Cohen
I Musicanti Chamber Orchestra Award Olivia van Gass
A van Hulsteyn Scholarship Justin Krawitz
Council Scholarships Jason Reolon, Vaughn Fransch, Pumeza Matshikiza,
Stephan le Roux
Myra Chapman Postgraduate Scholarship Clare Webb
Myra Chapman Undergraduate Scholarship Jan Matthews
Johnny Windham Scholarships Albie Odendaal, Ryan Morison, Shereen Parker,
Madeleine du Toit, Andrew Beck, Pieter Rooi
Alba Windham Scholarship Xandi van Dyk
Alfred Libochowitz Prize Marc Uys
Gerry Meyer String Prize Annemi van der Merwe, Olivia van Gass, Naomi Tagg,
Waldo Alexander, Philip Martens
Meyer Levinson Prize Xandi van Dyk
Peter Klatzow Prize Braam du Toit
Anton Rupert Prize David Cohen
Valerie Anderson Scholarship Nontuthuzelo Puoane
Stephanie Garnett Memorial Prize Philip Martens
Lesley Arnold Award Jean-Pierre Gabriels
Professor WH Bell Prize David Cohen
Music Second Year Prize Justin Krawitz
Norman Nossel Prize Justin Krawitz
Michael Geoffrey Brumage Scholarship Justin Krawitz
Eric Chisholm Memorial Prize Bongiwe Mapasa
Zook Fields Piano Prize Wesley Jonas
Ruth Ormond Prize Pumeza Matshikiza
Percy Ould Prize Annemi van der Merwe
Gregorio Fiasconaro Prize Melanie Scholtz
2 UNIVERSITY OF NATAL
Phil Harber Scholarships for Jazz Lebohang Mothabeng, Bonani Mambi
Barbara Aitchison Viola Bursary Gary Pomeroy
Arts & Culture Trust Bursaries Lebohang Mothabeng, Macdonald Setlotlo, Vusumuzi
Zulu, Thandeka Mazibuko, Mpho Mathabe
Classical Music Scholarship Brandan Hollins
Fulbright Scholarships Mageshen Naidoo, Bronwyn Forbay
Ronnie Madonsela Scholarships for Jazz Victor Pooe, Shaun Duval, Mooketsi Kgoadi,
Mandla Masuka, Bonani Mambi, Makhoba Mzwaki
Paulos Msimango Memorial Scholarships Lethukuthula Sokhela, Thandazile Khuboni,
Makhosi Mbatha, Thandeka Mazibuko, Sifiso Zondi,

SASMT
Vusumuzi Zulu
Vusumuzi Zulu
UND Graduate Scholarships Katheryn Olsen, Lee Watkins
3 UNIVERSITEIT VAN DIE ORANJE-VRYSTAAT
FAK-UOVS Musiekbeurse Wandie Kramer, Cecilia van Vuuren
Ou Presidensie-Stigtingprys
(beste derdejaar student met
'n orkesinstrument as hoofrigting) Hanrich Claassen (Tjello)
Ou Presidensie-Stigtingprys
vir die beste nagraadse student Annamarie Bam
Fanie Beetge Merieteprys vir
Musiekopvoedkunde Jana van der Merwe, Tinus Ries
UOVS Kamermusiekprys Marise Koen (Klarinet)
Margaret van der Post-beurs vir Sang Stephen Grobler
4 UNIVERSITEIT VAN PORT ELIZABETH
Charles Bryars-beurse
Wenner Ciska de Lange
Tweede plek Alexander Hitzeroth
Derde plek Nicolette Venter
Verdere beurse Danél Bower, Margaux Lamont, Joni Wilké, Kerry Wright,
Renata Alley, Nelisa January, Sulani Heunis, Zelda
Kirschner, Clive Pringle, Marlon Louis, Marissa
McLeod, Gareth Williams, Anri Serfontein (MMus),
Randall Whittaker (MMus)
5 POTCHEFSTROOMSE UNIVERSITEIT VIR CHRISTELIKE HOËR ONDERWYS
MC Roode Gedenkbeurs Douglas Bull (Fagot), Sophie Grobler (Klavier),
Pierre van der Westhuizen (Klavier)
Rina Hugo Beurs vir Sangers Jacques Imbrailo
Rina Hugo Werwingsbeurs vir Sangers Mandie de Villiers
Departement Musiek Personeelbeurs Willemien Viljoen (Konservatoriumleerling: Klavier)
Universiteitsmusiekbeurse
Orrelbeurs geskenk deur die Finansiële
Anja Engelbrecht (Saxofoon), Katrien Jooste (Viool),
Bernard Krüger (Klavier), Lesley-Ann Mathews (Klavier),
Derrick Pule (Sang)
Steunburo (PU vir CHO) Magda Pelser
Maria Coertse Sangbeurs Mandie de Villiers
15

Van Zyl Houghbeurs vir Strykers Leonie van Hamburg (Tjello)
Departement Musiek Ensemble-Beurs Charl Louw (Klavier), Pierre van der Westhuizen (Klavier)
Francois du Toit Ensemble-Beurs Charl Louw (Klavier), Lesley-Ann Mathews (Klavier)
FAK/PU vir CHO Musiekbeurse Jorien Barnard (Klavier), Nico de Villiers (Klavier),
Henning Rust (Klavier), Willemien Viljoen (Klavier),
Abrie Oberholzer (Klavier)
Millie van der Merwe Merietebeurs Itumeng Morakile
NRF-Reisbeurs Pierre van der Westhuizen, Sophie Grobler
6 UNIVERSITEIT VAN PRETORIA
Pretorium Trustbeurse Rudolph de Vos (Orrel), Marlene Verwey (Fluit), Stephen
Pierce (Klavier), Lee-Ann Harty (Klavier),
Inette Swart (Fluit), Eugene Joubert (Klavier),
Grethe Nöthling (Klavier)
Oppel Greeff-prys Merryl Neille (Fluit)
7 UNIVERSITEIT VAN STELLENBOSCH
Mabel Quick Oorsese Beurs Esté Visser (Klavier)
Hans Endler-beurs Stefan Grové, Michelle Goodburn
Charles Johnman-prys Petro Engelbrecht
Dorothy Johnman-prys Anjulie de Vos
Molteno-beurs André van Daalen
PS du Toit Musiekprys Chantal Fourie
Pieter de Villiers Musiekprys Petro Engelbrecht
JC Coetzee Musiekbeurse vir
Kerklike Orrelspel
Anneke Blatherwick, Karin Cloete, Johan Gouws,
Egbertus Hanekom, Sonja van der Linden
Myra Chapman Voorgraadse Musiekbeurse Thomas Channell, Chris Coetzee,
Linda de Villiers, Roché Fourie, Nellie Von Gordon
Myra Chapman Nagraadse Musiekbeurse Jolanda Amoraal, Eric Gerber,
Michelle Goodburn, Ineke Smit
Anton Hartman Musiekbeurse Elizabeth Blanckenberg, Michelle Goodburn,
Sibylle Pfeiffer
Hilda Hendrikz Musiekbeurse Thomas Channell, Conroy Cupido, Jaco Ferreira,
Zenobia Kloppers, Jolene McCleland
Esther Mentz-beurse Thomas Channell, Jacques Geldenhuys, Zenobia
(Gideon Roos-Beursfonds) Kloppers, Tara Stevenson, Martha de Jongh,
Christine Theunissen, Adéle van Niekerk, Roché
Fourie, Sonja van der Linde, Paul Bestbier
HA Molteno Nagraadse Musiekbeurse Petro Engelbrecht, Ineke Smit, Wiaan van Zyl
Elize de Villiers Musiekprys Emile De Roubaix
Betsie Cluver Musiekbeurs Drini Malan
16

US Vrouevereniging Musiekbeurs André van Daalen
Mabel Quick Musiekbeurse Jolene McCleland (Sang),
Petro Engelbrecht (Klavier)
FAK-US Musiekbeurse Elsabé Retief, Elizabeth Blanckenberg
JLM Franken Musiekbeurs Carina Bruwer
Het Jan Marais Nationale Fonds beurse Arno Jones, Inge Pietersen, Martha de Jongh,
Marisa Tolken, Christine Theunissen
Vereniging vir Volksang en-musiek Danieta van Deventer
Stellenbosch Boere-orkes beurs Inge Pietersen
Anna Pretorius Musiekbeurse Tessa van der Walt, Adéle van Niekerk
Konservatorium Stipendium vir Verdienstelikheid Esté Visser
Elphick Stefan Grové
Lionel Bowman-beurs Thomas Channell, Justine Napier,
Adéle van Niekerk
8 UNIVERSITEIT VAN SUID-AFRIKA
Departement Musiek
PJ Lemmer Oorsese Musiekstudiebeurs
vir Voordraerslisensiaat Anzél Gerber (Tjello)
DJ Roode Oorsese Musiekstudiebeurs vir
Onderwyserslisensiaat Sonia Hwang (Klavier)
Onderwyser: Joseph Stanford
Stephanus Zondagh Oorsese
Musiekstudiebeurs vir Orrel Grant Bräsler (Orrel)
Onderwyser: Wim Viljoen
Samro-prys (beste vertolking van 'n
Suid-Afrikaanse komposisie) Laetitia Feldtmann (Klavier Onderwyser)
Onderwyser: Ella Fourie
Gertrude Buchanan Gedenkprys Laetitia Feldtmann (Klavier Onderwyser)
Onderwyser: Ella Fourie
Unisa Suid-Afrikaanse Musiekstudiebeurs asook die
Hennie Joubert Musiekvriendekringprys
Eerste prys Lee-Ann Harty (Klavier)
Onderwyser: Joseph Stanford
Tweede prys Sharon Lotter (Saxofoon)
Onderwyser: Chatradari Devroop
Du Toit-Van Tonder Musiekstudiebeurse Warrick Moses (Klarinet)
Onderwyser: Becky Steltzner
Tessa Smith (Sang)
Onderwyser: George van der Spuy
Samro/Vladimir Viardo klavierstudiebeurs
(beste pianis onder ouderdom 20 jaar) Lee-Ann Harty (Klavier)
Onderwyser Joseph Stanford
17

Samro/Unisa/Deon van der Walt
Vokale Studietoekenning Tessa Smith
Onderwyser: George van der Spuy
Samro-prys (beste vertolking van ‘n
Suid-Afrikaanse komposisie) Lee-Ann Harty (Klavier)
Onderwyser: Joseph Stanford
Klassieke Sonateprys vir Klavier Ingrid Bredell
Onderwyser: Elsabé Feldtmann
9 COLLEGE FOR THE ARTS, WINDHOEK NAMIBIA
The First National Bank Prize of Excellence Danré Strydom
10 PRETORIA TECHNIKON
Morrisonbeurs en trofee Sonica Botma
Friends of the Opera (Pretoria) Sascha van Tinteren, Bennett Lekota
Departementele beurse Beular Makhetha, Allen Sim, Deirdré van Schalkwyk
Pretorium Trust Beurs Sonica Botma
Johan Botha trofee Sonica Botma, Beular Makhetha
Technikon Millenium Beurs Sascha van Tinteren, Lara Baerveldt
11 VRYSTAAT MUSICON
Musicon Solistekompetisie
Kategoriewenners
Koperblaas Madré van der Walt
Houtblaas Hanlie Fouché
Strykers
Musicon Klavierkompetisie
Herman Strauss
Senior Hoërskool Nico de Villiers
Junior Hoërskool Sumé Saaiman
Laerskool Heather Thorne
Savmo Beurse
Departement van Sport, Kuns, Kultuur,
Dorette Roos (Tjello), Neil van Zyl (Tjello),
Yvonne Brand (Trompet), Francois Henkins (Viool)
Wetenskap en Tegnologie Beurse Jeffrey Mafereka, Thabo Moeti
12 MUSIEKSENTRUM HUGO LAMBRECHTS
Student van die Jaar Ilse Minnie (Slagwerk)
Onderwyser: Suzette Brits
18

Prestige Trofee Ilse Minnie, Lindi Köpke, Hanri Badenhorst,
Anél Galvin (Slagwerkkwartet)
Onderwyser: Suzette Brits
Instrumentale Bekerwenners:
Houtblaas Amanda van der Vyfer
Onderwyser: Arisa Voges
Koperblaas Alec Slabbert
Onderwyser: Johan Pretorius
Slagwerk Lindi Köpke
Onderwyser: Suzette Brits
Strykers Katherine Roussopoulos
Onderwyser: Madelein van Rooyen
OTHER BURSARIES
1 SAMRO (SOUTHERN AFRICAN MUSIC RIGHTS ORGANISATION, LIMITED)
1.1 Samro Overseas Scholarships for Instrumentalists
Serious Music
Winner Amanda Goodburn (Violin)
University of Cape Town/Royal Northern College of Music, Manchester
Runner-up Liesl Stoltz (Flute)
University of Cape Town/École Normale de Musique, Paris
Incentive Award Mohamed Khota (Guitar)
University of the Witwatersrand
Samro/Gettleson String
Study Award Alison Lansdown (Cello)
University of Stellenbosch/Mozarteum, Salzburg
Samro/Bonhams Instrumental
Music Study Award Liesl Stoltz (Flute)
University of Cape Town/École Normale de Musique, Paris
Jazz/‘Popular’ Music
Winner Kesivan Naidoo (Guitar)
University of Cape Town
Runner-up Mageshen Naidoo (Guitar)
University of Natal
Incentive Award Jurgens Henrico (Drums)
Technikon Pretoria
Samro/Bonhams Instrumental
Music Study Award Bruce Muirhead (Guitar)
University of Cape Town
19

1.2 Samro Undergraduate Bursaries for General Music Study in Southern Africa
Serious Music
Full Bursaries
Half Bursaries
20
Jean-Pierre Gabriels University of Cape Town
Gisela Hans University of Cape Town
Albert Horne University of Cape Town
André van Daalen University of Stellenbosch
Christo Viljoen University of Stellenbosch
Alexander Hitzeroth University of Port Elizabeth
Gareth Williams University of Port Elizabeth
Brendan Hollins University of Natal
Thandulwazi Ncube University of Natal
Gary Pomeroy University of Natal
William Silk University of Natal
Leoni Armour University of the Orange Free State
Wandie Kramer University of the Orange Free State
Gabrielle do Santos Technikon Pretoria
Deirdré van Schalkwyk Technikon Pretoria
Allen Sim Technikon Pretoria
Sacha van Tintern Technikon Pretoria
Josua Cloete University of Pretoria
Stéfan Doveton University of Pretoria
Helen Welz University of the Witwatersrand
Justin Krawitz University of Cape Town
Sonja van der Linden University of Stellenbosch
Chester Meyer University of the Orange Free State
Frances Laycock University of Pretoria
Dorette du Toit University of Pretoria
Melanie Cavanagh University of the Witwatersrand
Jazz/‘Popular’ Music
Full Bursaries
Michael Bester University of Cape Town
Tshepo Mngoma University of Cape Town
Jason Reolon University of Cape Town
Justin Sasman University of Cape Town
Mkhululi Ngwenda University of Port Elizabeth
Lindelwa Dalamba Rhodes University
Jenny Legodu Technikon Natal

Half Bursaries
Admiral Mavuso Technikon Natal
Cedric Sangweni Technikon Natal
Shaun Duval University of Natal
Skhumbuzo Khumalo University of Natal
Lethukuthula Sokhela University of Natal
Tracy Xaba University of Natal
Mzamo Bhengu Technikon Pretoria
Stephan Greyling Technikon Pretoria
Henning Joubert Technikon Pretoria
Sipho Ndhlovu Technikon Pretoria
Mlungisi Xipu University of Fort Hare
Pumelelo Frans Rhodes University
1.3 Samro Undergraduate Bursaries for Music Education Study in Southern Africa
Full Bursaries
Melanie Drake University of Cape Town
Lucky Efalao University of Cape Town
Abigail Jaftha University of Cape Town
Bronwyn Tosh University of Cape Town
Tara Elliot University of Stellenbosch
Johanna Tredoux University of Stellenbosch
Etienne Eksteen University of the Western Cape
Thomas Moeketsi University of the Western Cape
Xolani Siqwepu University of Fort Hare
Makhosi Mbatha University of Natal
Lebohang Mothabeng University of Natal
Tracy Robinson University of Natal
Janice Retief University of Pretoria
Helen Krige University of the Witwatersrand
Sandile Cele Potchefstroom University for CHE
Motheo Seemane Potchefstroom University for CHE
Half Bursaries
Mignon Roux University of Stellenbosch
Nigel Sefoor University of the Western Cape
Cindy Smythe University of Pretoria
Eulalia Harwood Potchefstroom University for CHE
Nomakhaya Mahlaule Potchefstroom University for CHE
21

1.4 Samro Intermediate Bursaries for Music Composition Study in Southern Africa
Serious Music
Full Bursaries
Jazz/‘Popular’ Music
Full Bursaries
22
Ryan Hill University of Cape Town
Benjamin Turner University of Natal
Miles Warrington University of Natal
Louis Walters University of Pretoria
Petrus van der Westhuizen Potchefstroom University for CHE
Melissa van der Spuy University of Cape Town
Roland Moses University of Natal
1.5 Samro Post-Graduate Bursaries for Indigenous African Music Study in Southern Africa
Serious Music
Full Bursaries
Jazz/‘Popular’ Music
Full Bursaries
Nunziatina Faxi University of Cape Town
Morakeng Lebaka University of Pretoria
Madimabe Mapaya University of the Witwatersrand
1.6 Degree-/Diploma-linked Bridging Courses in Music (Global Grants, Institution
makes individual student funding allocations)
University of Cape Town
University of Stellenbosch
University of the Western Cape
University of Natal
Technikon Natal

What not to say about
‘World Music’
One must assume responsibility for being in a weird
world.
(Castaneda 1990:97)
To develop a ... world view that is realistic - that is,
conforms to the reality of the cosmos and our role in
it, as best we can know that reality - we must constantly
revise and extend our understanding to include
new knowledge of the larger world. We must
constantly enlarge our frame of reference.
(Peck 1990:205)
Contemporary music education philosophy endorses
multicultural awareness1 . It demands that the
music educator should broaden his or her world view
particularly with reference to the musics of the
world2 . In this quest the music educator inevitably
encounters and employs language. Language both
reflects and forms thought, individually as well as
collectively. The way in which a new concept is introduced,
influences and continues to influence the
subsequent experience of, and intellectual response
to, that particular phenomenon3 .Words represent
concepts, and concepts are embedded in the world
view of a particular culture. World view is formed
and nurtured through the natural enculturation process
which is inherent to any culture and to every
individual human being’s development. Concepts
are therefore culture-specific4 on one level, and
person-specific on another level. It is therefore essential
that the music educator be aware of this,
carefully re-assesses his or her language usage and
Inge Burger
ensures that appropriate terminology is employed,
thereby promoting and nurturing true understanding5
.
When venturing beyond familiar culture zones
musicologists often project inappropriate concepts
and terminology (pertaining to the world view of
the investigator) onto the foreign culture6 .These
concepts are clumsily applied to the newly-encountered
music, thereby capsizing the enquiry and experience
and distorting the actual meaning of the
music enquired into. It is therefore essential to
purge and refine one’s thoughts if any life-enhancing
advancements are to be affected through the
work one engages in. Simultaneously, musical vocabulary
and musical discourse have to be sensitized
and expanded in accordance with the variety
and diversity of musical phenomena that enter our
experiential and thought fields. Sorting out the ‘cobwebs
and dust balls’ spun by the perpetuation (often
unawares) of wrong or outdated information,
ignorance, arrogance and fear is uncomfortable yet
essential. True purging is not a once-off event - it is
a continually-recurring process. To illustrate these
issues a number of examples may be cited.
The first example that comes to mind is the
typical verbal response to music that is culturally
foreign to a listener. The music might be described
as ‘primitive’ or ‘out of tune’. The semantic field of
‘primitive’ includes notions of irreducibility; little
evolvement; crudeness; of relating to the begin-
23

ning of things; lack in sophistication or subtlety of
thought, feeling or expression; simpleness. (See
Merriam-Webster 1961, 1986:1801.) The word
‘primitive’ should be avoided when people, human
cultures and their expressive traditions are discussed7
.
As for claiming a musical performance to be ‘out
of tune’, one would hope that the listener is aware
of the fact that diverse pitch systems are used across
the world, and that he or she has determined what
sort of pitch system the music at hand has been
conceived in8 . Only if a person is suitably enlightened
in this regard would an adequate and fair assessment
of intonation be possible. Likewise, since
our awareness and knowledge of the musical systems
of the world have grown substantially over the
past century or so9 , it is no longer sufficient to refer
to a particular pitch system as (merely)
pentatonic. One should qualify which pentatonic
scale is being referred to - whether it is the Western
equal-tempered pitch system, a
‘Chinese’ 10 ,‘Javanese’ 11 or another pentatonic system.
There is, in the global context, no such thing
as ‘the’ pentatonic scale. There are many such systems,
and they are all equally legitimate culture
facts within their respective contexts12 .
Another case in point is the application of terms
such as ‘folk’, ‘art’, ‘popular’, ‘ethnic’ or ‘tribal’ as
eg music categories in multicultural music education
materials. Presenting these as separate categories
seems to imply that ‘folk’, ‘ethnic’ or ‘tribal’
music is neither ‘art’ nor ‘popular’ and that ‘art’ is
not produced by ‘tribes’ or ‘folk’! The current body
of scholarship relating to cultures across the world,
clearly shows that this categorisation needs to be
revised.
A final example are the words ‘polyrhythm’ and
‘cross rhythm’ - terms created for certain Western
music rhythmic phenomena13 but also commonly
employed in ethnomusicological literature on African
music14 . The Nigerian master musician Meki
Nzewi objects to both these terms on the basis
24
that they imply conflict - ‘againstness’, ‘cross-ness’,
‘complexity almost beyond comprehension’ 15 , and
‘feelings of confusion’. He contends that African
music is not conceptualised in this way. The heart
and essence of African musical expression is in ‘togetherness’,
‘with-ness’, a sense of community and
the principle of ‘variety within unity’, where the
spirit of ubuntu permeates the musical structures
and interrelationships within the ensemble. That is
what has to be communicated clearly when African
music is presented and discussed, because such is
the essence of African music philosophy16 . He therefore
uses the term ‘inter-rhythm’ as an African, culturally
substantiated substitute for ‘polyrhythm’, and
presents this concept as a ‘unique African musical
manifestation’. 17
This disciplined approach should be the maxim
of all our musical thinking, whether our focus is
that of the Western musicologist, music educator
or ‘world music’ scholar.
In our efforts to broaden our world views and
refine our thoughts about world musics we might
find resonance amongst concepts across different
cultures, often in the absence of precisely translatable
words. Conversely, we might embark on a
search for familiar musical concepts in a foreign (to
our ears) musical tradition - and not find them there
at all. Or we might find ourselves confronted with
ideas that are altogether alien to our world
view18 .Whatever our response (and that depends on
our tolerance levels), the challenge is to intellectually
and experientially penetrate the newly encountered
music, reflect on it sensibly in thought
and then relate to it verbally in a way that would
convey truthful perceptions of it, in going beyond
that - in becoming acquainted with the concepts
they portray, that we truly expand, balance and
clarify our human and cosmic circumference,
thereby not only broadening our understanding, but
also deepening it.

Notes
1. See ‘ISME World Music Cultural Policy Statement’ in Lundquist and Szego (1998:15-19).
2. See for instance the publication by Anderson and Campbell (1989); also Mngoma (1990), Burger (1992) and Oehrle (1988).
3. For example, calling sun-dried lumps of mud ‘mud cakes’ might adequately describe them to an adult mind, but inspire a child
to try and eat them!
4. Kubik (1985:2) states it as follows:
Understanding means recognition of something in the context and within the boundaries of a convention. However,
conventions are determined culturally and understanding is, therefore, culture-bound. Conventions are also transmitted.
Hence, understanding can be learned.
5. ‘... before one can structure effective music education programmes, the culture and nature of a people must be understood’
(Mngoma 1990:121). The chapter ‘Concepts’ in Merriam’s book (1964:63-84) is recommended reading. See also Oliveira
Pinto (1996).
6. See Kubik (1985:2).
7. See Hood (1985). Dargie (1996:29) makes the following comment with regard to Xhosa music:
The most important Xhosa traditional musical instruments look deceptively simple: musical bows with a stick and a single
string, some resonated by using the mouth, others with an attached resonator. Yet these apparently simple instruments are
very difficult to play well, and produce a quite unexpectedly complex of music.
8. Krader (1980:280), for instance, refers to Westerners’ inclination to be prejudiced with regard to Western perfect pitch.
Khabi Mngoma made it his intent to disprove all notions that ‘... Blacks cannot sing Western music’ conceived in equal
temperament. He emphasised that it is a matter of training, and always trained his pupils and choirs to be able to perform in
both the Western tempered and the African acoustic pitch systems, so that they could perform both Western and African
repertoire with appropriate intonation. (See Burger 1992.)
9. See Hood on ‘Ethnomusicology’ in Apel (1970:298-299).
10. See Pian in Apel (1970:153, 155).
11. See Hood on ‘Java’ in Apel (1970:436).
12. See for instance Tracey (1958).
13. See for instance the entry on polyrhythm in Arnold (1983, 2:1466) where it is defined as ‘... simultaneous use of different
rhythms in separate parts of the musical texture’, and it is cited as being ‘... a characteristic feature of some 14th century
music, and also some 20th century pieces’. See also the entry on polyrhythm in Apel (1970:687-688), and the one on cross
rhythm in Arnold (1983 1:517). The latter describes cross rhythm as ‘... the regular use of conflicting rhythmic
groupings, for example of three notes against four’. The Minuet of Bach’s Fifth Keyboard Partita is cited as an example that
‘... has a conflict of two-against-three almost throughout’ (ibid).
14. See for instance Arom (1991), Ballantine (1965), Kubik (1981:92-93) and Nketia (1982:134-138,211).
15. Gbeho (1954:62) for instance comments under a heading entitled ‘cross rhythm’ that ‘... so complicated is its nature that
[he] think[s] the average musician who is familiar with printed music can hardly follow its complexity’, and further down he
states that ‘... the effect of this [cross rhythm] is beyond comprehension.’ (ibid).
16. Meki Nzewi, personal communication (lectures) Pretoria, 1999, 2000. See also Nzewi (1998).
17. I recommend this book (Nzewi 1997), which makes very interesting reading. Inter-rhythm is discussed from page 36
through to page 41. He states the following:
Terminologies are the codes with which we penetrate the peculiar knowledge of a discipline. Any new or modified terms we
introduce in our search for proper, systematic discussion of the facts of African musical thoughts and practices ... are liable
to disputations before definitive endorsement. (ibid:41)
18. See for instance Kubik (1984:49), Kubik (1987) (the entire article) and also Amoaku (1985) (the entire article).
25

References
Amoaku, K. W. 1985.Toward a definition of traditional African music: A look at the ewe of Ghana, in More
than drumming: essays on African and Afro-Latin music and musicians, 31-40, editor I. Jackson. Westport:
Greenwood.
Anderson, W. M. and Campbell, P. S.1989. Multicultural perspectives in music education.Virginia: Music
Educators National Conference.
Apel, W. (ed.). 1970. Harvard dictionary of music. 2nd rev. and enl. ed. London: Heinemann.
Arnold, D. (ed.). 1983. The new Oxford companion to music. 1 & 2. Oxford: Oxford University Press.
Arom, S. 1991. African polyphony and polyrhythm: musical structure and methodology. Cambridge: Cambridge
University Press.
Ballantine, C. 1965. The polyrhythmic foundations of Tswana pipe melody, in African Music, 3(4): 52-67,
editor H. Tracey. Roodepoort: International Library of African Music.
Burger, I. M. 1992. The life and work of Khabi Mngoma. PhD thesis, University of Cape Town, Cape Town.
Castaneda, C. 1990. Journey to Ixtlan: the lessons of Don Juan. [S.l.]: Penguin.
Dargie, D. 1996. Xhosa women’s songs: The Ngqoko women’s ensemble, accompanying notes to recordings
done in June 1995. AIMP & VDE-GALLO.
Gbeho, P. 1954. Music of the Gold Coast, in African Music, 1(1): 62-64, editor H. Tracey. Roodepoort:
International Library of African Music.
Hood, M. 1970. Ethnomusicology, in Harvard dictionary of music, 298-300, editor W. Apel. 2nd rev. and enl.
ed. London: Heinemann.
Hood, M. 1970. Java, in Harvard dictionary of music, 435-440, editor W. Apel. 2nd rev. and enl. ed.
London: Heinemann.
Hood, M. 1985. All musical cultures are about equally complex, in More than Drumming: essays on African
and Afro-Latin music and musicians, 21-29, editor I. Jackson. Westport: Greenwood.
Krader, B. 1980. Ethnomusicology, in The new Grove dictionary of music and musicians, 6:275-282, editor
S. Sadie. London: Macmillan.
Kubik, G. 1981. Music and Dance, in Cultural atlas of Africa, editor J. Murray. Oxford: Phaidon.
Kubik, G. 1984. How my research developed from 1959 to now. Papers presented at the 4th symposium on
ethnomusicology, 7th to 8th October 1983, 48-51, editor A.Tracey. Grahamstown: International Library of
African Music.
Kubik, G. 1985. African Music: the dimension of cross-cultural understanding, in The South African Journal
of Musicology, 1(1): 1-5, editor R.Walton. Pretoria: Musicological Society of Southern Africa.
Kubik, G. 1987. Space/Time concepts and Tusona ideographs in Luchazi culture, in African Music, 6(4): 53-
89, editor A. Tracey. Grahamstown: International Library of African Music.
Lundquist, B. and Szego, C. K. (eds.). 1998. Music of the world’s cultures: a source book for music
educators. ISME/CIRCME.
Merriam, A.P. 1964. The anthropology of music. [Evaston, Ill.]: Northwestern University Press.
Merriam-Webster. 1986. Webster’s third new international dictionary. Springfield: Merrian-Webster.
Mngoma, K. 1990. The teaching of music in South Africa, in The South African Journal of Musicology,
26

10:121-126, editor R.Walton. Pretoria: Musicological Society of Southern Africa.
Nketia, K. J. H. 1982. The music of Africa. London: Gollancz.
Nzewi, M. 1997. African music: theoretical content and creative continuum - the culture-exponent’s
definitions. Oldershausen: Institut für didaktik popularer musik.
Nzewi, M. 1998. Strategies for music education in Africa: towards a meaningful progression from tradition
to modern, in Ubuntu: music education for a humane society: conference proceedings of the 23rd world
conference of the International Society for Music Education, editor C. van Niekerk. Pretoria: ISME.
Nzewi, M. 1999, 2000. Personal communications during lectures. Pretoria.
Oehrle, E. 1988. Role of the ethnomusicologist in altering the course of South African music education, in
Papers presented at the 6th symposium on ethnomusicology, 1st to 3rd October 1987, 40-42, editor A.
Tracey. Grahamstown: International Library of African Music.
Oliveira Pinto, T. de. 1996. The discourse about others’ music: reflecting on African-Brazilian concepts, in
African Music, 7(3): 21-29, editor A. Tracey. Grahamstown: International Libray of African Music.
Peck, S. 1990. The road less travelled. London: Arrow.
Pian, R. C. 1970. China, in Harvard dictionary of music, 151-157, editor W. Apel. 2nd rev. and enl. ed.
London: Heinemann.
Sadie, S. (ed.). 1980. The new Grove dictionary of music and musicians. Vol. 15. London: MacMillan.
Tracey, H. 1958. Towards an assessment of African scales, in African Music, 2(1): 15-20, editor H. Tracey.
Roodepoort: International Library of African Music.
Dr Inge Burger is a part-time lecturer in
Ethnomusicology at the University of Pretoria
27

The Unisa Music Foundation celebrated its 10th anniversary
in November last year. During the past
ten years this Music Foundation was instrumental
in organizing and presenting ten international music
competitions, three national competitions as well
as the Concours Panafricain de Musique.
Apart from these events, high-profile concerts
by internationally renowned musicians established
the Unisa Music Foundation as a significant role
player in South Africa’s music life. The Foundation
has indeed been fortunate to make a difference in
crucial areas of local musical activities–thus fulfilling
its mission to promote music that matters in all
its facets at Unisa and in all communities in Southern
Africa.
Our authorities are slowly beginning to realize
that music is just as important as daily bread to all
citizens. Music can no longer be regarded as a fringe
or luxury activity. No, music is a central and necessary
part of human existence! Music is something
special people do for other people’s benefit.
Music Educational Programmes
True to its mission, the Music Foundation contributed
financially to no less than 20 music educational
and other projects. The Foundation is actively involved
in the recorder tuition project conducted by
Miss Amanda Low in Soshanguve. This music education
project is funded by Sasol. Every Saturday
morning during school terms, a team of tutors travel
to the Ochrim Music School in Soshanguve (north
of Pretoria) to teach local children the basic concepts
of music with the aid of the recorder. (The
28
The Unisa Music Foundation
Music that matters for all
John Roos
recorder was chosen because of its accessibility each
pupil were given a recorder to practice their lessons
at home).
Mandy Low’s recorder class at the Ochrim Music School in
Soshanguve. This project is funded by Sasol
Providing instruments such as violins, flutes or clarinets
to every students is a costly exercise. However,
this tuition project is slowly beginning to expand
with the introduction of tuition in piano, violin
and cello. Guitar lessons are also envisaged.
This pioneering music tuition project is the first of
its kind to be introduced on a regular basis and in
an organized manner in this sprawling
neighbourhood.
One year has lapsed since the introduction of
this project and the results are encouraging. Tutors
are already preparing some of their recorder
pupils to enter theoretical and practical examinations.
The Technikon Northern Gauteng has also
made comfortable class rooms available on the TCE
campus.

Tutor Grietjie Coetzee found a quite corner at the Ochrim Music
School to teach Caiphus Lodi and friend
Pieter Grobler introducing a beginner to the marvels of the piano’s
black and white keys
Tshepo Mokane instructing a pupil how to come to grips with a
violin and its bow
Solomon Mokgatle guiding Caiphus hands during his first cello
lesson
Olivera Nikolic hugging her star recorder pupil after he succeeded
in performing a difficult passage during an individual lesson
The Unisa Music Foundation also assisted in organizing
a joint graduation ceremony of the following
three music schools: the Thusanang Music School
(headed by Grace Rangata), the Kwetliso Music
School (managed by Elsie Thivane) and the MC Art
Academy (managed by Martha Lekonyane).
Before this ceremony (where certificates were
handed to students who passed their practical or
written music examinations) the audience consisting
of family members and interested persons were
thrilled by the students’ exciting performances.
29

l to r : Dawid Kimberg (bass), Allen Sim (tenor), Henning
Wagner (conductor), Elizabeth Lombard (alto) and Lize Thomas
(soprano), after the performance of JS Bach’s Mass in B minor in
the Old Mutual Hall op 5 November 2000
Save the Symphony
As its contribution to saving the symphony as an art
form, the Unisa Music Foundation was involved with
presenting or arranging ten orchestral concerts during
its concert schedule in 2000 including performances
by the Chamber Orchestra of South Africa
(COSA), the Johannesburg Philharmonic Orchestra
(JPO) and the youth orchestra, Simfonia Juventi.
The orchestra and choir concerts included a performance
of Bach’s Mass in B minor to celebrate the
250th anniversary of the composer’s death. The
Pretoria Bach Choir performed Handel’s Messiah.
The Unisa Ad Libitum Choir performed with the
Wits Baroque Ensemble in the Unisa Conference
Hall. The Helix Vocal Ensemble presented a fascinating
programme covering a thousand years of
music. A visiting choir from Germany, the
Lindenholzhausen Male Choir gave a joint concert
with the Pretoria Serenaders. The South African
Council for English Education (SACEE) presented
the SACEE Jacaranda Song Festival as part of the
concert schedule.
Chamber Music
A total of ten chamber music concerts provided performance
opportunities for especially South African
musicians. Musicians from abroad who appeared
30
in this series included the French cellist, Jérome
Pernoo, winner of the 1996 International String
Competition, the Spanish Guitar Ensemble,
Entrequatre and the Flemish Recorder Ensemble
‘Vier of ‘n Rij’. A group of young opera singers
from Italy performed a programme in honour of the
composer Bellini, entitled ‘Bellini Brillliance’.
Solo recitals
The 11 Solo Recitals included performances by Irish
Pianist, John O’Conor, after the Opening Ceremony
of the 9th Unisa International Piano Competition
2000 presented in collaboration with Vodacom.
The first Prize Winner of 1998 Unisa International
Organ Competition, Polish organist, Waclaw
Golonka, also performed during this season.
l to r: Eddie Davey (Unisa’s Organ Curator), Mrs Elizabeth
Polanczyk, Waclaw Golonka and Mr Zbygniew Polanczyk from the
Polish Embassy after Mr Golonka’s organ recital at Unisa on 22
October 2000
The British organist, David Goode, Winner of
the Calgary International Organ Competition, also
gave a recital on the Rieger Organ at Unisa. South
African organist, Mario Nell, performed organ works
by the Czech composer, Peter Eben, in this series
while Henning Wagner paid hommage to JS Bach in
his recital on the Rieger Organ. Piano recitals included
performances by Jonathan Oshry (South Africa),
Florian Uhlig (Germany), Joseph Banowetz
(USA), Dror Biran (Israel) and Ju Jin (China) in a

joint recital with her compatriot violinist XIE Nan.
Russian Guitarist Nikita Koshkin, also featured in
this series.
l to r: Prof. and Mrs Antony Melck, Prof Wim Viljoen, David
Goode (seated) Nicolas Southey and Willie Steyn after David
Goode’s organ recital on 8 November
Lieder Recitals
The neglected art of Lieder Singing was promoted
in two ‘An die Musik’ Lieder Recitals in which Mimi
Coertse introduced the following young singers:
Antoinette Olivier (soprano), Rouel Beukes (bass)
in one programme and Johanni van Oostrum (soprano)
and André Howard (baritone) in another.
Vodacom concert tour by Dmitri Vorobiev
From 1 February to 4 March 2001 the Winner of the
9th International Piano Competition, performed a
total of 19 concerts in 7 of the 9 provinces in South
Africa, including 4 appearances with orchestra.
Vodacom made it possible to offer Vorobiev at
affordable prices not only to the bigger centres but
also to places as far apart as Wellington, Phalaborwa
and Rustenburg.
This strenous tour was part of Dmitri Vorobiev’s
First Prize ‘package’ at the Ninth Unisa International
Piano Competition 2000 which included a
cash prize of USD 23 000 and a Blüthner Model B
grand piano. These performance opportunities are
not simply a test of endurance but are, in fact, essential
training for any aspiring concert pianist wishing
to follow an international career.
l to r : Dr. Martin Ryan, Dmitri Vorobiev and Mrs Deddel Voss
at the Lost Palace before Dmitri’s recital in Rustenburg
l to r: Sophia de Jong, Dmitri Vorobiev and René Eloff at the
guesthouse before Dmitri’s concert in White River
All the audiences in the following centres enjoyed
Dmitri Vorobiev’s interpretations of some of the
great master pieces in the piano repertoire to such
an extent that they want him back!
31

3 February East London
5 February Port Elizabeth
6 February Knysna
8 February Cape Town
9 February Bellvile
10 February Cape Town
11 February Wellington
13 February Stellenbosch
14 February Cape Town
16 February Bloemfontein
17 February Pretoria
18 February Phalaborwa
21 February White River
23 February Pretoria
24 February Rustenburg
27 February Potchefstroom
1 March Durban
2 March Pietermaritzburg
3 March Franschhoek
Conclusion
The Unisa Music Foundation endorses the statement
that ‘(musical) gifts and genius only mean an infi-
nite capacity for taking pains’ (Jame Ellice Hobkins).
32
The Foundation also recognises that quality ex-
ists and must be recognised. ‘Quality is real and
important. Currently some self-defeating habits of
thought are rife, namely that quality itself is a form
of elitism. For some inexplicable reason it is ac-
ceptable to honour Olympic Sport Stars, but call-
ing an artist great is branded elitist. We agree that
fairness is essential, but so is quality. If we fail to
recognize and appreciate the highest level of
achievement, we fail to encourage any achievement
and we condemn ourselves to mediocrity. And in
the long run that’s not fair to anybody. The chal-
lenge is not to drag down quality in the name of
fairness - or vice versa - but to encourage and honour
both’. (Jan Swafford)
The Unisa Music Foundation will take infinite
pains to meet the challenge of maintaining this
delicate balance in all its future activities as it en-
courages our young musicians to keep the flame of
the great musical heritage they represent burning
to light up all our future.
John Roos is director of the Unisa Music Foundation at the
University of South Africa

Chopin -
Fame resounding
far and wide
The 14th Frederick Chopin International Piano Competition
took place in Warsaw from 4 to 22 October
2000. Held first in 1927 and since 1955 every five
years, this event, claiming to be the world’s oldest
piano competition, is certainly one of the most prestigious.
Today the first prize is 25 000 US$ and a
gold medal.
The Frederick Chopin Society is housed in the Ostrogski Castle
To be accepted as a competition is already an
achievement, and most of the 98 chosen to perform
in last year’s First Stage could boast of prices
won elsewhere. Initial elimination had already been
made based on video recordings or national auditions.
In an interview during the competition the marvellous
pianist Eugen Indjic, a member of the jury,
Virginia Fortescue
declared: ‘This competition is exceptionally important.
The only problem is that first prize is all that
counts; it’s first prize or ... scandal. The excellent
pianists who receive the remaining awards unfortunately
fade away. They play here and there but they
never count like the winner does.’
Winner of the competition: Yundi Li(China)
However, winning competitions is not everything.
Indjic said that although he had only won fourth
place in the 1970 Warsaw competition this success
actually brought him more concerts than his second
place in the Rubinstein and third place in the
Leeds competitions. Previous lists of Chopin prizewinners
reveal that Vladimir Ashkenazy in 1955 and
Mitsuko Uchid in 1970 both came second. At the
33

Leeds 1984 competition, Louis Lortie was placed
fourth, and went on to win international acclaim
whereas the first three are less well-known. John
Lill, winner of the 1970 Moscow Tchaikovsky competition,
described music competitions as ‘a necessary
evil.’ Nevertheless, music lovers are given an
opportunity to hear some amazing talent in the best
conditions. The young players are subjected to an
ordeal by fire. Some–like Tamino–come through.
Be that as it may, these events are here to stay.
The competition is organised by the Frederick
Chopin Society, which is housed in the Ostrogski
Castle, a beautiful late 17th century place rebuilt
after its destruction in World War Two. It includes a
concert room seating 180, a museum, a library with
photographs and recordings, and office space. Among
a multitude of educational activities, the Chopin
Society features ‘Meetings with Chopin’ : free concerts
for school pupils which include a guided tour
of the museum, and a talk on the works of Chopin
and the times in which he live.
Hanna Wróblewska-Strauss, the museum dedicated
curator, has assembled a comprehensive and
fascinating exhibition entitled ‘Chopin - Fame resounding
far and wide’. Illustrated by a sumptuous
and scholarly catalogue, the exhibition commemorates
the 150th anniversary of Chopin’s death, and
provides to a certain extent, a picture of Chopin’s
life and the phenomenal growth after his death of
his reputation as a composer.
The Poles are justifiably proud of Chopin as a
national hero - not as a warrior or a national hero -
not as a warrior or a statesman, but as a musician.
He is a beloved ikon, not in a narrow nationalistic
sense, but because the music of one of the world’s
greatest composers has a special place in civilization.
The Philharmonic Hall where the competition
takes place was originally opened in 1901, but, like
so much of Warsaw, was bombed in September 1939
and completely destroyed by the end of the war. It
34
was re-opened in 1955 with a large hall seating over
one thousand and a small hall for chamber music.
One is impressed by its spaciousness, marble floors
and stairs, comfortable seats, magnificent chandeliers
and, most important of all, splendid acoustic.
On glancing at the programme, I was immediately
struck by the number of Oriental competitors.
Out of the 94 who played in the First Stage,
47 were of Oriental origin. Among those who
reached the second stage was Ju Jin, who it will be
remembered came third in the Unisa International
Piano Competition in Pretoria February 2001. More
and more musicians from the Far East are reaching
the level required for these international competitions.
It used to be a popular belief amongst Poles
that to play Chopin properly, you had to be Polish.
(However none of the twelve Polish entrants reached
the finals.) How can one comprehend the nature of
Chopin’s Polishness and express this in the performance
of his works? A knowledge of his period and
the effects of exile on such a complex personality
would in part be necessary. His Mazurkas and
Polonaises are the most obvious examples of music
inspired by a national tradition, but the character
of each dance is as far removed from today’s young
Poles as from any other young people. So these dance
forms metamorphosed by Chopin are considered a
special test for Chopin interpreters.
The Warsaw competition’s daily Gazette (which
made compulsive reading) emphasized that it was
most unusual to select 38 instead of the expected
36 for the Third Stage. Perhaps, I thought, the jury
cannot agree! But we were told that it was because
of the unusually high quality of the players.
Nevertheless, it would be impossible for a large
jury to be completely unanimous. Just as their playing
differs, so their tastes vary. Up to a point, that
is. The interviews that jurors gave were particularly
interesting.

I quote from the newsletter:
I’ve noticed that people who play classical music
well and who respect Mozart and Beethoven play
Chopin without any kind of logic.
Eugen Indjic
I believe that if someone plays Mozart well, they
have the predisposition to interpret Chopin well.
Martha Argerich
The competition’s organisers often select previous
Chopin prize winners to adjudicate Marta Argerich
who won first prize in 1965, and seven other former
laureates were among last year’s 22 jurors. In 1980
Argerich quitted the jury in protest at Ivo
Pogorelich’s elimination. Paradoxically, nothing
could have furthered his career more than the
media’s handling of this sensation!
Another juror, Adam Harasiewicz, was asked this
question:
Do you think that someone who dropped out of
a previous competition, such as Ivo Pogorelich, could
do better nowadays?
Harasiewicz replied:
‘I was not present at that competition, but ... I don’t
think he would have had greater chances today.
Pogorelich chose to play beyond the usual rubato;
... his Chopin was rather like Bartók, although I don’t
deny that Pogorelich was technically excellent. I’ve
heard his Polonaise [op 53] which was played staccato–it
was too joyful. It’s a sober polonaise, which
shouldn’t be performed in such a manner, especially
at this competition.
Adam Harasiewicz
It appears that liberties of tempo and of expression
in general (as well as sartorial eccentricities) are
viewed askance in Warsaw!
The 2000 repertoire was as follows:
Stage One
(1) One Nocturne from a list of seven
(2) Two Etudes from selected groups
(3) One Ballade, or Barcarolle op 60 or Fantasia op 49
Stage Two
(1) One of four selected Polonaises
(2) One Scherzo
(3) One of five Waltzes
(4) Various: group of Preludes; Berceuse; Tarantella; etc
Stage Three
(1) Group of Mazurkas
(2) Either of Sonatas op 35 or op 58
Finals
Either of the two Concertos
35

Entrants had to be aged between 17 and 28. They
had the choice of four Steinways or three Kawais
for their performance.
Finalists
First : Yundi li (China)
Second : Ingrid Fliter (Argentina)
Third : Alexander Kobrin (Russia)
Fourth : Sa Chen (China)
Fifth : Alberto Nosè (Italy)
Sixth : Mika Sato (Japan)
It was impossible not to be impressed by the virtuosity
of all the competitors. Their dexterity and
mastery of the instrument was simply breath-taking,
and I salute their dedication and ambition.
During the early stages - I did not hear the Third
and Fourth rounds - I began imperceptibly to take
this technical ability for granted and I was aware in
many cases of two major shortcomings: pieces were
played unnecessarily fast, and the forte and
fortissimo were unnecessarily loud. I think this could
be due to lack of experience and to an inability to
judge relative dynamics. One could not blame the
hall or the piano.
Paul Badura-Skoda had telling words to say about
this kind of playing:
Today I heard a performance of the Etude in a,
op 10 no 2, the speed of which probably beat all
Olympic records. It was the quickest rendition I have
ever heard. I don’t know what the point was.
And again:
To be a good interpreter of Chopin’s music, first
and foremost you mustn’t be a Schopenhauer You
know, in German ‘hauer’ is somebody who plays
very noisily.
36
Scottish born pianist, Virginia Fortescue, is living in retirement in
Normandy, France
Mention must be made here of Badura-Skoda’s
recital held in the elegant music-room of the
Ostrogski Castle. His programme was Bach’s B flat
Partita, Schubert’s B flat posthumous Sonata and
Chopin’s b minor Sonata. It was a memorable experience
and balm to the ears to hear playing of this
calibre - so controlled, so free of frenetic exaggeration,
in surrounding where Chopin himself would
have felt at home.
Paul Badura-Skoda
Jury members stressed that the correct reading
of the text is of paramount importance. In 1998 the
Foundation for the National Edition of the Work of
Frederick Chopin was established and aspiring
Chopin players would do well to consult this new
critical and practical publication, based on all available
sources. All the major solo works which constitute
the programme of the Chopin Piano Competition
are now available.

Ricordare XXVIII
Dis laatsomer in 1957. Ons sit op die stoeptreetjies
en luister na al die sangers wat kom voorsing het
vir die eerste volskaalse aanbiedings van die
Pretoriase Operagroep.
‘Haai jong’ sê Gé Korsten hier langs my, ‘daardie
ou sing deksels goed!’ Dis Joseph Sprenkels wat ‘n
tenoor-aria voorsing vir ‘n rol in Pagliacci van
Leoncavallo of Die Nuwe Dominee van Peter Rorke
wat in Desember aangebied wou word.
‘n Klompie musici en sangers in Pretoria het in
1955 bymekaar gekom en die behoefte aan ‘n
Operagroep deeglik bespreek. Peter Rorke, die seun
van die musiekonderwyser Owen Rorke, was baie
musikaal en entoesiasties. (Owen Rorke was veral
bekend daarvoor dat hy die eerste persoon in Suid-
Afrika was wat die gewilde ‘Melody-way’ metode
van musiekonderrig toegepas het.)
Na twee openbare vergaderings het Peter Rorke
(voorsitter), Louis Knobel (bariton) en Albrecht
Lewald (sangonderwyser) die leiding geneem om
die Pretoriase Operagroep te stig.
Daar is dadelik met werwing van erelede begin.
Vandag klink dit snaaks as jy lees dat ‘n erelid teen
betaling van R6,30 jaargeld twee gratis sitplekke
en voorkeurbespreking kon kry.
Die heel eerste uitvoering van dié groep was
dan ook ‘n konsertweergawe van Carmen van Bizet.
Die rolverdeling in Desember 1956 was:Carmen -
Marie du Plessis, Don José - Gé Korsten, Escamillo
- Louis Knobel en Micaela - Mattie Krüger. Die
Yskor-orkes is gedirigeer deur Peter Rorke. Dit was
‘n groot sukses, maar al die sangers, helpers en
tegnici het gevoel dat ‘n ware aanbieding met dekor,
Joubero Malherbe
kostuums, beligting en rekwisiete tog nodig is. Daar
is toe besluit dat die volgende aanbiedings so
aangebied sou word.
Na die sukses met die konsertaanbieding van
Carmen, was dit vir ons almal verblydend dat die
Stadsraad van Pretoria en die voormalige
Departement van Onderwys, Kuns en Wetenskap
besluit het om die Pretoria Operagroep geldelik te
ondersteun. Nou was daar darem geld vir dekor en
kostuums, maar as ‘n ware amateurgroep moes alle
dienste deur vrywilligers gelewer word. Daar is
besluit om twee eenbedryfoperas in 1957 aan te
bied naamlik Pagliacci van Leoncavallo en ‘n
splinternuwe Afrikaanse opera van ons eie Peter
Rorke naamlik Die Nuwe Dominee.
Ek wens u kon daar wees om die
opgewondenheid te sien. Almal wou weet wat hulle
kan doen. Aangesien ek al baie kostuums ontwerp
het vir toneelopvoerings, is ek dadelik aangesê om
die kostuums vir beide produksies nie net te
ontwerp nie, maar ook na te sien as die sangers dit
maak. Ja, elkeen moes maar self sorg dat hul
kostuums gemaak word.
Die materiale se uitsoek en aankoop was my
werk, want net jy weet wat reg is vir jou ontwerpe.
Met die naslaan van voorbeelde van die drag in
Calabua, Italië, waar Pagliacci afspeel, was ek getref
deur die kunstige versiering byvoorbeeld van hulle
voorskootjies, en was die dames van die koor gou
besig om die mooiste voorskote te maak.
Met al die navorsing na die karakters van die
Commedia de Arte uit die 17e eeu het ek my byna
vasgeloop. Gewoonlik word Pagliacci aangetrek soos
37

Pierrot, dis in daardie los wit tuniek met die swart
pomponne en wye kraag, maar ek ontdek toe dat
Pagliacci volgens ‘n Italiaanse ensiklopedie
heeltemal ‘n karakter van sy eie was. Pagliacci kom
van die Franse woord ‘paillaise’ wat matras sowel as
hanswors beteken. Ek vra toe vir Elna, die vrou van
Gé Korsten, om hom te klee in streepmateriaal en
wye kraag met pomponne. Ek het geweet dat dit
kritiek sou uitlok want daardie bekende prentjie
van Caruso in die Pierrotkostuum by die trom is
oral bekend. Al genade was om ‘n nota in die program
te laat druk om te verduidelik–maar, o wee–
nie almal lees hulle programme deur nie.
Pagliacci was nogal moeilik om aan te bied op
die klein verhogie van die Pretoriussaal, in die een
vleuel van Pretoria se stadsaal. Die spelers en
sangers moes hulle maar aanpas, om nie te praat
van die orkes wat op die grondvloer van die verhoog
opgestel is nie. Dit het veroorsaak dat minder
sitplekke vir die gehoor beskikbaar was, dus het
die operagroep besluit om die ontevrede publiek
wat nie kaartjies kon kry nie ‘n tweede kans te gee
en die twee operas in die nuwe Aula van die
Universiteit van Pretoria te herhaal in 1958, met
slegs ‘n paar veranderinge.
Die rolverdeling vir die eerste aanbieding op 5,
6 en 7 Desember 1957 was as volg: Pagliacci in Afrikaans.
Woorde en musiek deur Leoncavallo:
Afrikaanse vertaling: Virgo du Plessis, Kostuums -
Joubero Malherbe, Dekor - Ewan Mackillop,
Dirigent en Regie - Peter Rorke, Orkesleier - Erwin
Broedrich. Rolverdeling: Nedda (toneelspeelster) -
Charlè Albertyn, Canio (toneelspelerleier) - Gé
Korsten, Tonio (nar) - Dennis Reinecke, Silvio (ryk
jong boer) - Ben Engelbrecht en Beppe
(toneelspeler) - Joseph Sprenkels.
Die openingsaand was opwindend want die
gehoor was opgewonde oor die nuwe groep. Die
openingstoneel waar Dennis Reinecke met sy ryk
baritonstem as Tonio, die boggelrugnar, die inleiding
tot die tragedie deur ‘n skrefie van die voorgordyn
sing, het almal aangegryp. Charlè Albertyn het
uitstekende sang en spel gelewer en was ‘n heerlike
kokket as Columbine in die spel binne die spel. Gé
Korsten het homself oortref as Canio en in Vesti la
giubba het hy die gehoor aan sy voete gehad. Saam
38
met Pagliacci het Peter Rorke sy eie ligte operaeenbedryf
gedirigeer.
Die Nuwe Dominee speel af op ‘n plattelandse
dorpie wat wag om hulle nuwe predikant te
verwelkom. Al die jong meisies van die dorpie se
ma’s het hul dogters opgetof, want hulle het gehoor
die dominee is ongetroud! As hy aan die einde
arriveer kom ‘n maer ou mannetjie met ‘n kierie
aangestrompel. Watter pret was dit nie. Hier het
Hans van Heerden sy eerste operarol gesing as die
burgemeester, Raadslid Petrus Koekemoer. Nou was
ons verseker dat ons gehore sou lok na hierdie
suksesvolle aanbiedings.
Na die herhaling van bogenoemde operas in die
Aula in November 1958, wou ons graag ‘n groter
opera aanbied. Die keuse het geval op Madama Butterfly
van Puccini. Ons het nou ook die ondersteuning
van die Universiteit van Pretoria bygekry. Die beter
fasiliteite en hartlike samewerking met die
kultuurburo en Aulakomitee het ook die keuses van
operas beïnvloed.
Ons kon Hermien Domisse kry as regisseur,
Anton Hartman as dirigent van die Pro Musica-orkes
en uitstekende soliste: Gé Korsten - Pinkerton, Butterfly
- Nellie du Toit en Saline Koch, Sharpless -
Bob Borowsky, Suzuki - Marie du Plessis, Die Buddis
Bonze - Hans van Heerden en Louis Knobel as Prins
Yamadori om net die hoofkarakters te noem. As
Helena Strauss van die Cantarekoor van destyds dan
nog die koor afrig–dan is mens verseker van ‘n puik
aanbieding - wat Madama Butterfly dan ook was op
21, 23, 25 en 26 Maart 1960.
Die dekor deur Ronnie Phillips was so mooi in
sy eenvoud. Ek kon my weereens verdiep in die
navorsing van kleredrag in Japan asook in
byvoorbeeld die teeseremonie en ander gebruike.
Ons het besluit dat die geishameisies in skakerings
van pienk en blougroen sou wees. Hulle ‘obi’s’ wat
styf om hul middels gebind was, en selfs tot nege
meter lank kon wees, het in twee lang vlerke agter
hul rûe gehang. Die kraag van die kimono-kleed
moes nooit die buiging van die nek agter bedek
nie, want vroeër was beweer dat daardie nekkie,
die mooiste deel van die vrou vir die manne van
Japan was.
Die trouklere van Butterfly was versier met

lomme vir skoonheid, voëls vir ‘n vrye gees en
wolke vir drome. Die bruid dra ‘n hooftooisel, so’n
eienaardige driehoekige pet van spierwit materiaal–
hierdie hoedjie, ‘n ‘tsumo kakushi’, moet glo die
horings van jaloesie verberg.
Daar word drie keer ‘saki’ of yswyn gedrink uit
drie verskillende kommetjies, want drie is ‘n
gelukkige syfer vir Japanners. Die paartjie is nou
getroud maar die bruid trek ‘n kleed wat met rooi
gevoer is aan voordat sy tussen die gaste beweeg.
Aan die einde van die eerste bedryf het ons een
aand iets mooi beleef. Dit was die aand toe Saline
Koch die rol van Butterfly vertolk het. Die ligte het
verdonker, Suzuki het die lampe aangesteek en
verdwyn. Pinkerton sing van sy onstuimige hart,
Butterfly betree huiwerend die trappies en toe
onverwags aan die einde van hierdie liefdesduet raap
Gé Korsten die fyne Saline Koch op en dra haar
seëvierend na binne. ‘n Fantastiese einde van die
eerste bedryf.
In die laaste bedryf verskyn die klein kindjie
van Butterfly. ‘n Klein oulike dogtertjie het die rol
vertolk. Sy was gereeld op haar pos maar die eerste
aand was sy effe onseker en toe Sharpless (Bob
Borowsky) vra ‘wat is die naam van die kindjie’ kom
dit kliphard oor die voetligte: ‘Christinie!’ tot groot
vermaak van die gehoor.
Na die sukses van Madama Butterfly was ons so
begeesterd dat daar besluit is om vir die einde van
die jaar iets in ligter luim aan te bied. Op die 23,
26 en 28 November 1960 het die begaafde Iris Roux
op versoek van die Pretoriase Operagroep,
Lenteliefde (Lilac Time), wat baseer is op die lewe
van Franz Schubert, as ‘n musiekblyspel aangebied.
Weereens was die Aula by die Pretoria Universiteit
elke aand gepak.
Dit was ‘n groot rolverdeling. Leslie Phillips was
skitterend in die rol van Schubert. Die drie meisies
Veit van die Dreimädelhaus was Ralie Meyer, Wina
Rudolph (Cameron) en Trudi Koeleman (wat naam
gemaak het in Nederland). Louis Knobel was Pa Veit.
Die orkes is gedirigeer deur Solly Aronowsky, die
dekor deur Bill Parker en Alewyn Burger en
kostuums deur Joubero Malherbe. Dit was ‘n
heerlike sjampanje-aanbieding, en het vol sale
getrek.
Teen hierdie tyd het ons besef dat die
Pretorianers ‘n ware behoefte aan aanbiedings van
opera getoon het. Mimi Coertse het in 1961 alreeds
beroemdheid oorsee verwerf en ons wou haar
dolgraag hê as Lucia di Lammermoor want sy het ‘n
reusesukses gehad met die rol. Ongelukkig kon dit
nie waar word nie en moes ons iemand soek. Die
Amerikaanse sopraan Sylvia Carlisle, toe woonagtig
in Kassel in Duitsland, het ingewillig om die rol te
vul.
Ek sal nooit vergeet hoe ontsteld Basil Taylor
was, toe hy wat op my versoek, haar mate aangevra
het en die antwoord vir my kom wys het nie. ‘Good
gracious Joubero, she’s enormous! Look bust 100,
waist 82!’ Die mate was in sentimeters en ons was
nog doenig met duime.
Sylvia het goed gevaar in die veeleisende rol.
Toneelgewys was sy miskien minder briljant. George
Fourie was skitterend as Lord Henry Ashton, die
broer van Lucia. Sir Edgar, Master of Ravenswood,
is gesing deur Gé Korsten, en resensente het hom
die ster van die aand genoem. Hans van Heerden
was die Kapelaan. Hy sou kort daarna die kans hê
om dieselfde rol in Graz Oostenryk teenoor Mimi
Coertse te sing en dit op kort kennisgewing.
Hermien Domisse se spelleiding was uitstekend
en met Jack Hulley se beligting is daar ‘n ware
misterieuse toneel geskep tydens die liefdesduet
tussen Lucia en Edgar. Die kostuum vir Lucia het
ek dan ook ontwerp in kleure van die Skotse
hoogland. Haar pers heidekleur ragfyn stola het soos
‘n miswolkie om haar gekronkel.
Ek moet darem vertel van ‘n benoude oomblik.
Die President in daardie dae, sy edele CR Swart
wou graag kom na ons opvoering op ‘n Saterdagaand.
Ek het na vele gesukkel uiteindelik Skotse rokkies
(‘kilts’) in die hande gekry op bruikleen van Christian
Brothers Colllege, maar dié Saterdagmiddag
sou die skoliere deelneem aan ‘n Skotse orkeswedstryd
en dan moes ek sowat 25 ‘kilts’ terugneem
en dan kon ek dit na die wedstryd kom haal. So
teen sesuur die middag daag ek toe op vir die ‘kilts’.
Wat sou ek sien. Oral op die veld hardloop seuns
rond in hulle ‘kilts’ in die skemer. Ek kon myself
nie keer nie en peil op hulle af, gryp een en beveel
‘You’ve got to take it off’ terwyl ek aan die rokkie
39

Carmen - 1962
Gé Korsten & Marina de Gabarain
40
Der Wildschütz (Lortzing)
Xander Haagen & Gert Scheepers
Der Wildschütz (Lortzing)
Carmen (Bizet)
Saline Koch as Michaela
Lilac Time (Schubert’s Life)
Willem van Tonder (Ferdinand Binder), Trudi Koeleman (Tilli Veit),
Wina Cameron (Willi Veit) & Boy Holtzhausen (Andreas Braun)
Foto’s: Dotman Pretorius

pluk. Skielik hoor ek ‘Sir, sir, there’s a mad woman,
help!’ Sir het kom help maar dit het baie lank
geneem voordat die 25 kilts in my motor was. Die
prentjie in die manskleedkamer van die Aula, wat
my begroet het, sal ek nooit vergeet nie. So’n
verskeidenheid van onderbroekies sal seker nie gou
weer gesien word nie. Gelukkig moes die President
eers verwelkom word en kon die gordyn ‘n
paar minute later eers opgaan.
Teen hierdie tyd het ons besef dat ons ‘n langer
speeltyd moes hê, dus is Lucia di Lammermoor van
Gaetano Donizetti op 28, 30 Augustus, 2, 4, 6 en 7
September 1961 in die Aula opgevoer.
Brahms het dikwels van Wenen gereis net om ‘n
opvoering van Carmen van Bizet by te woon. Hy
was nie die enigste een nie. Toe die Pretoriase
Operagroep aankondig dat ons Carmen gaan opvoer,
het navrae van oral gekom en het operaliefhebbers
selfs in busse gekom van ver.
Dit was die beleid van die Pretoriase Operagroep
om liefs ons eie sangers te gebruik en so het ons
Maud Weyhausen wat in Wenen studeer het genader
vir die hoofrol. Sy was bereid om in Afrikaans te
sing aangesien ons die puik vertaling van Gideon
Roos en Esther Mentz gebruik het.
‘n Paar weke voor die opening het ons berig
ontvang dat Maud Weyhausen siek was. Na ‘n
rondgeskarrel was die geluksgodin ons genadig en
het ons een van die heel beste Carmen-vertolkers
in Pretoria verwelkom. Haar naam was Marina de
Gabarain en om alles te kroon was sy Spaans! Sy het
toe net Carmen in die Paryse Operahuis gesing. Sy
het oral in Europa gesing en was ‘n gewilde sangeres
selfs in Glynbourne in Engeland. Dirigente onder
wie sy gesing het is byvoorbeeld Cantelli, Barbirolli,
Stokowski, Malcolm Sargent, Lorin Maazel, ens. Sy
het beskik oor ‘n rare warm kwaliteitstem met ‘n
verstommende omvang. ‘n Ware alt-koloratuur, wat
baie skaars is. Daarby kon sy met haar vurige
persoonlikheid ongelooflik goed toneel speel. Glo
my ‘n ware vonds. So ‘n Carmen is skaars.
Een probleem was dat sy natuurlik nie in Afrikaans
kon sing nie, maar sy het die Engelse libretto
al vantevore gesing dus was dit soms snaaks om te
hoor ‘She attacked me first’ van Carmen en dan die
koor se ‘Na die tronk, na die tronk’!, maar
desnieteenstaande kan die Carmen-aanbeiding
beskou word as heelwaarskynlik ons beste
aanbieding.
In die orkesput was Jeremy Schulman in volle
beheer van die Pro Musica-orkes en kon die sangeres
verseker wees van meelewende begeleiding. Die
regie van Aart de Villiers is bygestaan met sterk
leiding van die onvergeetlike Anna Neethling-Pohl.
Hoe goed onthou ek die eerste keer toe Anna by ‘n
repetisie vir Marina wou leiding gee:
‘Nou kyk Marina, as jy uitkom uit die
sigaretfabriek wil ek hê dat, die mans wat in twee
rye sal staan, aan jou moet vat’ en dis net daar dat
die Spaanse bloed in hierdie Carmen van ons se are
begin kook. ‘No! Carmen vill not be touched. Shé
chooses who shall touch her! That is the Spanish
way’. Twee titane konfronteer mekaar, weeg mekaar
op en besluit ‘ons verstaan mekaar’.
Die rol van Don José het aan Gé Korsten behoort.
Gé kon hom geweldig inleef in sy rolle. In hierdie
rol was hy soms oorweldigend. Marina het ‘n welige
bos pikswart hare gehad en het dus nie ‘n pruik
gedra nie. In die derde bedryf waar die smokkelaars
(waarvan Carmen en José nou deel is) oornag, vind
daar ‘n stryery tussen José en Carmen plaas. Sy is
moeg vir hom en hy voel verstote. Gé het hom so
ingeleef en teenoor die vurige Marina was dit of ‘n
lont aan die brand gesteek is. Hy gryp haar aan die
hare, vergetende dat dit nie ‘n pruik is nie en pluk
só hard terwyl hy sing dat die trane oor haar wange
rol van die seer.
Sy was woedend en besluit daar en dan dat sy
gaan wraak neem.
Met die volgende opvoering was haar plan netjies
uitgewerk. In die taverne van Lillas Pastia verlei sy
vir José maar hy hoor die sinjaal uit die barakke en
besef hy moet terug. Sy vererg haar dan en dis net
hier wat Marina haar wraak geneem het. ‘No, no,
you do not love me’ sing sy, gryp sy swaard van die
tafel en gooi dit só ver weg dat dit agter die gordyn
verdwyn. Die angs op Gé se gesig was ‘n studie in
frustrasie, want volgens die opera moet hy binne ‘n
paar minute ‘n swaardgeveg met sy kaptein, Zuniga
hê. Ons wat agter die verhoog was maar nie by die
swaard kon kom nie hoor toe die volgende: ‘Carmen,
I adore you’ in volle stem en dan met ‘n
41

Pagliacci - Gé Korsten
42
Lucia di Lammermoor
(Donezetti)
George Fourie (Sir Henry Ashton)
& Sylvia Carlisle ( Lucia)
Lilac Time - Pretoriase
Operagroep
Lucia di Lammermoor (Donizetti)
Carmen- Pretoriase Operagroep
Marina de Gabarain & Norman Bailey
Madama Butterfly
(Puccini)
Gé Korsten (Pinkerton),
Nellie du Toit (Butterfly)
Foto’s: Dotman Pretorius

draaibeweging na agter ‘n benoude:’Waar is my
swaard?’ Gé was verlore, want tok-tok-tok en daar
staan Zuniga gereed vir die tweegeveg met swaarde.
Buite raad spring Gé tot voor Zuniga (Louis
Berkman) en bal sy twee vuiste kompleet soos ‘n
seuntjie wie se ‘oumatjie’ (‘n hopie grond)
omgeskop is. Daardie prentjie sal ek nooit vergeet
nie–ook nie die ligte geproes in die gehoor nie.
Escamillo is ‘n flambojante karakter en Norman
Bailey wat aan Rhodes Universiteit studeer het en
toe eers in Linz en later in Covent Garden hoofrolle
gesing het, behalwe ander gasoptredes, was net die
regte sanger vir hierdie rol. In sy stiervegter
mondering, pragtig versier, met goud en borduursel
het hy soos die ware Jakob daaruit gesien. Ek onthou
nog dat elke keer wanneer Escamillo en Carmen in
haar spierwit valletjiesrok met mantilla en waaier
in die laaste bedryf, op die verhoog verskyn het,
het die gehoor spontaan hande geklap.
Miskien moet ek uitwei oor die kostuum van
die stiervegter. Die Matador se kostuum, ‘Traje de
luces’ of direk vertaal ‘klere van lig’ is aan die einde
van die 18e eeu vasgelê. Daar bestaan glo nog ‘n
besondere versameling uit hierdie tydperk se
stiergevegkostuums in die vorm van matadorwasbeeld.
Die outentieke kostuums wat hulle aan
het se ontwerpe word toegeskryf aan die beroemde
Spaanse skilder Goya.
Die pragtige opgestopte baadjie en kniebroek
word met goud versier, maar selde met silwer. Dit
word voltooi met ‘n valletjieshemp en ‘n
helderkleurige, meestal rooi, lyfband. So’n
uitrusting kan baie maklik nege tot tien kilogram
weeg.
Die hooftooisel of ‘montera’ is gewoonlik swart
met twee ore aan die kante en ‘n swart stertjie of
‘coleta’ agter. (Vroeër dae het alle stiervegters as
kenteken hulle hare in ‘n gevlegte stertjie gedra.)
Net terloops, sommige kenners meen dat die
Engelse woord ‘queue’ van ‘coleta’ afkomstig is.
Die gelukkige dametjie vir wie hierdie hoedjie
of montera gegooi word, weet dan dat die bul aan
haar opgedra word. Word die bul aan die skare gewy,
dan wuif die stiervegter die montera hoog in die
lug en laat val dit in die arena. (‘arena’ is die Spaanse
woord vir ‘sand’.)
Die uitrusting is eers voltooid met ‘n ‘capote
de pasec’. Dit is ‘n pragstuk van ‘n mantel in goud
en helder kleure geborduur met godsdienstige of
blomme temas.
Die drie Banderillos wat die Matador bystaan is
in helder kleure aangetrek. Hulle dra die lang
assegaaitjies met bont linte wat in die bul se skof
gesteek word. Die rooi mantel met die dolk is dan
die uiteindelike wapen.
Ons was gelukkig genoeg om hierdie
ingewikkelde kostuums in ‘n klein klerefabriek van
Eileen Sulski te laat maak. Sy het waarlik getrou
die ontwerpe nagevolg en sekerlik bygedra tot die
sukses van die opvoering.
Iets wat my altyd sal bybly was ‘n toneeltjie wat
afgespeel het nadat die laaste gordyn gesak het.
Gé Korsten was dié aand besonder begeesterd en
het homself oortref in die slottoneel waar hy
Carmen doodsteek–toe Jeremy Schulman by hom
kom het hy met trane in sy oë sy arms om Gé geslaan
en gesê: ‘My boy, you moved me tonight.’
Die rolverdeling vir die hoofkarakters was: Morales
(kaptein) - Evert Munnik, Micaela (vriendin
van Don José) - Saline Koch, Zuniga (kaptein) - Louis
Berkman, Don José (sersant) - Gé Korsten, Carmen
(sigeunerin) - Marina de Gabarain, Frasquita
(sigeunerin) - Ralie Meyer, Mercedes (sigeunerin) -
Margarethe Coetzee, Lilias Pastia (herbergier) - Boet
Dommisse, Escamillo (stiervegter) - Norman Bailey,
El Dancairo (hoofsmokkelaar) - Arthur Ferneyhough,
El Remendado (smokkelaar) - Cornelius Visser,
musiekdirekteur - Jeremy Schulman, spelleiding -
Anna Neethling-Pohl en Aart de Villiers, orkes - Pro-
Musica en dekor - Kobus Esterhuysen.
Die byrolle was deurgaans goed gekies maar
melding moet gemaak word van die simpatieke
vertolking van Saline Koch as Micaela en die
kostelike spel van Boet Dommisse as die herbergier.
Kan u glo dat Carla Pohl wat sulke hoogtes bereik
het oorsee, die plaasvervanger of ‘understudy’ was?
Intussen was daar in 1963 sprake van die daarstelling
van Kunsterade en die bou van die Staatsteater waar
43

Opera dan onder andere opgevoer sou word.
Die Pretoriase Operagroep het intussen al planne
gehad om ‘n ‘volksopera’ aan te bied en het ons
dan besluit om voort te gaan met die aanbieding
van Der Wildschütz van Albert Lortzing. Nie was
die werk alreeds deur Jan Esterhuizen in Afrikaans
vertaal nie, maar ons kon die gewilde bas Frederick
Dalberg kry om die kostelike rol van die ou
onderwyser Baculus wat wilddief word, te sing.
Ek wens u kon van die repetisies bygewoon het.
Fred het ons laat lê van die lag. Sy mimiek van
iemand wat onwetend op ‘n stoel gaan sit waarop ‘n
stuk taai gom is was ‘n toertjie om nooit te vergeet
nie. Die gom was later oral, maar toe hy die lang
stringe taai gom om sy groot ore draai kon ons maar
die repetisie skrap want die stemme was rou van al
die gelag.
Het u geweet dat Fred Dalberg ‘n Pretoria-seun
was? My man het vertel hoe Fred en sy broer as
hoërskoolseuns, maar toe met die van van
Dalrymple, bo in die kloktoring van die Pretoria
Boys High School ‘n sanguitvoering gegee het.
Nou weet u waarom Die Wilddief volbespreek
was. Dit was ‘n vrolike aanbieding wat gestaan het
onder regie en musiekleiding van die alombekende
Georg Gruber, vroeër van die Weense Seunskoor
en later van die Rhodes Kamerkoor. Aart de Villiers
was die spelleier en Walter Mony was
konsertmeester van die saamgestelde orkes. Dekor
deur Bill Parker en kostuums deur myself. Die
rolverdeling het ‘n hele aantal sangers bevat wat
diep spore getrap het op hul gebied.
Rolverdeling in volgorde van verskyning: Baculus
- Frederick Dalberg, Gretchen - Saline Koch, ‘n Gas
44
Joubero Malherbe is ‘n bekende musiekjoernalis en aanbieder van die
program Musiekposbus op Radio Sonder Grense
- Deon Lewis, Barones Freimann - Nellie du Toit,
Nanette - Monica D Naudé, Graaf von Eberbach -
Xander Haagen, Baron Kronthal - Gert Scheepers,
Pankratius - Louis van Niekerk, Gravin von Eberbach
- Carla Pohl. Aanbiedings - Aula (Universiteit van
Pretoria) op 27, 29, 31 Augustus en 2 en 3 September
1963.
Die Wilddief was dus die Pretoriase Operagroep
se swanesang. Heelwat van ons het in die beginjare
van Truk (Transvaalse Raad vir Uitvoerende Kunste)
nog saamgewerk, so byvoorbeeld met die heel eerste
aanbieding, wat Tosca van Puccini was, was van ons
koorlede asook sangers wat vir ons gesing het, op
die verhoog. Persoonlik was ek gevra om na die
korrektheid van die kostuums om te sien. Dit het
nogal heelwat pret met ‘n verkeerskonstabel teweeg
gebring met al my briefies in die ruitveërs, want
skoene, materiale ens was dringend nodig en
staanplek in die middestad maar skraps.
Maar tog was dit anders. Al die vrywillige helpers
van vroeër wat getimmer, gehamer, geverf en
geoefen het soms tot twee-uur in die nag, was daar
nie meer nie. Ons het hard gewerk ja, maar ons was
begeesterd. Ons het gebedel vir toebehore, ons het
prakseer, ons het plan gemaak, ons het gelag en as
jy na al die ure van harde werk net ‘n bos blomme
gekry het, was dit genoeg.
Die beloning was dat ons iets wat groter as
onsself was tot stand kon bring.

MUSIC EXAMINATIONS MUSIEKEKSAMENS
Die 2000 Unisa
Suid-Afrikaanse
Musiekstudiebeurskompetisie
In 2000 is 15 kandidate uitgenooi om deel te neem
aan die Unisa Suid-Afrikaanse Musiekstudiebeurskompetisie
wat op 12 en 13 Oktober 2000 in
die Ou Mutualsaal van Unisa in Pretoria plaasgevind
het. Hierdie kandidate is op grond van hul prestasie
in die Graad 8 praktiese musiekeksamens van die
Universiteit van Suid-Afrika deur die onderskeie
musiekeksaminatore aanbeveel om aan die
Musiekstudiebeurskompetisie deel te neem. Hulle
het om beurse en pryse ter waarde van R38 000
meegeding. Die getal deelnemers per instrument
was as volg: hobo - een, blokfluit - een, fluit - twee,
klavier - vyf, sang - twee, klarinet - een, kitaar -
een, orrel - een en saxofoon - een. Die ouderdomme
van die kandidate het gewissel van 16 tot 25 jaar.
DEELNEMERS AAN DIE UNISA SUID-AFRIKAANSE
MUSIEKSTUDIEBEURSKOMPETISIE
Agter: Anneke Lamont (Begeleier), Carin van Graan (Klavier - Kroonstad), Ryan Morison (Klavier - Kaapstad), Brendan Hollins
(Klavier - Durban), Thorben Louw (Kitaar - Worcester), Warrick Moses (Klarinet - Kaapstad), Elizabeth Blanckenberg (Hobo -
Stellenbosch), Dimitro Moses (Sang - Paarl), Linda de Villiers (Blokfluit - Stellenbosch)
Voor: Annelie de Villiers (Fluit - Stellenbosch), Sonja van der Linden (Orrel - Stellenbosch), Lee-Ann Harty (Klavier - Pretoria), Ingrid
Bredell (Klavier - Pretoria), Inette Swart (Fluit - Pretoria), Sharon Lotter (Saxofoon - Pretoria), Tessa Smith (Sang - Pretoria)
45

Die kandidate het om die volgende beurse en pryse
meegeding:
• Twee Unisa Suid-Afrikaanse Musiekstudiebeurse,
naamlik R7 000 vir die wenner
en R6 000 vir die naaswenner.
Hierdie studiebeurse word deur die Departement
Musiek, Unisa, beskikbaar gestel. Die wenner en
die naaswenner het ook elkeen ‘n Hennie Joubert
Musiekvriendekring-prys van R600 ontvang.
Hierdie pryse word sedert 1987 deur die Hennie
Joubert Musiekvriendekring bewillig. Hierdie
organisasie beywer hom vir die uitvoering van die
ideale wat Hennie Joubert (1926-1986) gekoester
het vir die verhoging van die standaard van
musiekbeoefening onder die Suid-Afrikaanse jeug.
• Twee Du Toit-Van Tonder Musiekstudiebeurse
van R4 000 elk
Dié beurse word beskikbaar gestel uit die rente op
‘n nalatenskap van Cecil Henry du Toit (1937-1985)
en word sedert 1986 toegeken.
• Robert Clough Musiekstudiebeurs van R4 000
Die Robert Clough Musiekstudiebeurs word
beskikbaar gestel uit die rente op ‘n nalatenskap
van Robert Clough (1936-1987). Dit word sedert
1989 jaarliks toegeken.
• SAMRO/Vladimir Viardo Klavierstudiebeurs
van R5 000
Hierdie studiebeurs is deur die Suider-Afrikaanse
Musiekregte Organisasie, Beperk geborg, deur sy
Steunfonds vir die Nasionale Kunste en word aan
die beste jong pianis onder die ouderdom van 20
toegeken.
• SAMRO/Unisa/Deon van der Walt Vokale Studietoekenning
van R3 000
Hierdie toekenning is moontlik gemaak deur die
46
opbrengs van ‘n galakonsert wat Deon van der Walt
in 1997 in samewerking met Samro en Unisa by die
Staatsteater in Pretoria aangebied het. Hierdie
beurs word aan die beste graad 8 sangkandidaat
toegeken.
• Samro-prys van R3 000
Die Samro-prys is deur die Suider-Afrikaanse
Musiekregte Organisasie, Beperk geborg, deur sy
Steunfonds vir die Nasionale Kunste en word
toegeken aan die deelnemer wat die beste
uitvoering van ‘n Suid-Afrikaanse komposisie lewer.
Dié prys word sedert 1994 toegeken.
• ‘n Klassieke Sonateprys vir Klavier van R800
Dié prys word sedert 1999 toegeken vir die beste
voordrag van ‘n klaviersonate van Haydn, Mozart of
Beethoven, soos voorgeskryf in Lys B van die graad
8 klavierleerplan.
Die wenners was soos volg:
• Unisa Suid-Afrikaanse Musiekstudiebeurse
Wenner: Lee-Ann Harty (Klavier) van Pretoria
Onderwyser: Joseph Stanford
Naaswenner: Sharon Lotter (Saxofoon)
van Pretoria
Onderwyser: Chatradari Devroop
• Twee Du Toit-Van Tonder Musiekstudiebeurse
Warrick Moses (Klarinet) van Kaapstad
Onderwyser: Becky Steltzner
Tessa Smith (Sang) van Pretoria
Onderwyser: George van der Spuy
• Robert Clough Musiekstudiebeurs
Inette Swart (Fluit) van Pretoria
Onderwyser: John Hinch
• Samro/Vladimir Viardo Klavierstudiebeurs
Lee-Ann Harty (Klavier) van Pretoria
Onderwyser: Joseph Stanford

• Samro/Unisa/Deon van der Walt Vokale Studietoekenning
Tessa Smith (Sopraan) van Pretoria
Onderwyser: George van der Spuy
• Samro-prys
Lee-Ann Harty (Klavier) van Pretoria
Onderwyser: Joseph Stanford
• ‘n Klassieke Sonateprys vir Klavier
Ingrid Bredell (Klavier) van Pretoria
Onderwyser: Elsabé Feldtmann
WINNERS
Lee-Ann Harty
(Piano)
Lee-Ann Harty (19) is currently a second year music
student at the University of Pretoria where she receives
piano tuition from Prof Joseph Stanford.
In 1996 Lee-Ann was a finalist at the international
‘Virtuosi per Musica di Pianoforte’ competition
in Ústi-nád-Labem in the Czech Republic. In
1996 and 1998 she won the piano category at the
Volkskas National Youth Music Competition in Port
Elizabeth.
Lee-Ann was chosen to perform as a soloist with
the National Symphony Orchestra in 1997 for their
annual Concerto Festival. In 1998 she was invited
to perform at the International ISME conference
held in Pretoria. Lee-Ann has performed at lunch
hour concerts held at the University of Pretoria and
has received master classes from Andrjez Jasinski,
Noël Flores and Joseph Banowetz, amongst others.
Lee-Ann was awarded a Pretorium Trust bursary for
the year 2000.
Competition Repertoire:
Villa-Lobos Preludio from Bachianas Brasilieras
no.4
Temmingh No’s 2, 5 & 6 from Ses Oorblyfsels
Liszt Au bord d’une Source
Rachmaninov Sonata no 2, op 36
Sharon Lotter
(Saxofoon)
Sharon Lotter (18) is ‘n Graad 12 leerling aan die
Hoërskool Waterkloof. Sy ontvang verskeie
toekennings vir sang, dwarsfluit en sopraan- en
altsaxofoon.
In 1999 is sy houtblaser en koperblaser afdeling
wenner van die ATKV Prelude Musiekkompetisie
en naaswenner in die ABSA Nasionale
Musiekkompetisie. In 1999 tree sy ook as solis op
saam met die NSO en JSO in hul onderskeidelike
concerto feeste. Sy speel Unisa graad 8 saxofoon
en dwarsfluit asook Royal Schools graad 8 vir
47

dwarsfluit.
In 2000 neem sy deel aan die TWIYCA
Internasionale Musiekkompetsie te London en
verwerf ‘n plek onder die eerste tien in die
houtblaas afdeling. Sy neem ook deel aan ‘n
internasionale saxofoonkursus in Parys. Sy is tans
‘n beurs aangebied vir saxofoon van UCT Universiteit
in die VSA. In 2000 beklee sy ook die hoofrol in
die musiekblyspel ‘Grease’.
Kompetisierepertorium:
Telemann Sonata in a (Siciliana - Vivace)
Mozart Rondeau uit Concerto no 2 in D,
K314
Debussy Syrinx
Milhaud No’s 2 & 3 (Modère - Brazileira)
uit Scaramouche Suite
Klavier: Anneline Ball
48
Warrick Moses
(Clarinet)
Warrick Moses (21) was born in Cape Town and
began studying the clarinet at the age of 9, making
his concerto debut in 1997 with the UCT Symphony
Orchestra under Alan Stephenson.
In 1998, he was awarded a scholarship to attend
the Aberdeen International Music School, where he
received tuition from Alison Waller, the Edinburgh
String Quartet and other members of the Scottish
National and Chamber orchestras. In 1999, Warrick
was selected to perform as a soloist with both the
CTPO and KZNPO, under Bernard Gueller and Dr
David Tidboald respectively.
Warrick has had several works written for and
dedicated to him by South African composers, among
them Robert Fokkens and Peter Klatzow. Warrick
is currently in his final year of a BMus degree at the
SACM, UCT under the tutelage of Becky Steltzuer.
He has recently been awarded the prestigious
Fulbright Scholarship for a 2 year course of postgraduate
study in the United States, commencing
in September 2001.
Competition Repertoire:
Uhl Etude no 2 from 48 Studies for
Clarinet, Volume 1
Blatt Etude no 46 from 50 Classical
Studies for Clarinet
Brahms Sonata in E , op 120 no 2
Lutoslawski Dance Preludes
Piano: Anneke Lamont
Tessa Smith
(Singing - Soprano)
Tessa Smith (23) who was born and raised in
Pretoria, is currently studying singing with Prof
George van der Spuy in Somerset West.
In 1998 she received a BCom Accounting Sci-

ences degree from the University of Pretoria.
From 1994 to 1998 she received vocal training
from Kammersängerin Mimi Coertse. She was a
daughter in the State Theatre’s 1997/98 production
of Fiddler on the Roof and sang the role of the
Shepherd Boy in PACT’s 1996 production of Tosca.
In 1991 she won the coveted Roodepoort International
Eisteddfod trophy. She has also been a
finalist and trophy winner in various other
Eisteddfods.
PANEEL VAN BEOORDELAARS
Competition Repertoire:
Handel Cara Sposa
Schubert Der Jüngling und der Tod
Marx Und gestern hat er mir Rosen
gebracht
Gounod Ah! Je veux vivre
Piano: Engelie le Roux
Agter: Agter: Agter: Proff Hubert van der Spuy (Unisa), Werner Nel (PU vir CHO), Mnr Hugo Schreuder (Unisa)
Voor: oor: Prof Ella Fourie (Universiteit van Pretoria), Mnr Japie Saayman (Voorsitter - Unisa), Me Susan Mouton
(Johannesburg)
49

50
2000 KONSERTPROGRAM

Japie en Alta Saayman, Shelayne Torta
en John Roos
Johan Joubert, Eunice Basson, Hulda Joubert
en Adriaan Landman
Marié Gaerdes, Marinus Wiechers en Dorien
van Delen
SOSIAAL TYDENS DIE SUID-AFRIKAANSE
MUSIEKSTUDIEBEURSKOMPETISIE
Veronika en Heidemarie Meyer
saam met Anneke Lamont
Sharon Lotter saam met
vriende en familie
Chippy Yutar en Colleen Liebenberg
Heinrich van der Mescht, Anna Kruger,
Sharon Lotter en Johann Potgieter
Inette Swart saam met haar ouers
Warrick Moses en vriende
51

52
The 2000 UNISA
Overseas Music
Scholarship Competition
In 2000 twelve candidates who performed exceptionally
well in Unisa’s Teacher’s and Performer’s
Licentiate examinations were invited to participate
in the Unisa Overseas Music Scholarship Competi-
THE PARTICIPANTS
tion which took place from 19 to 20 October 2000
in the Old Mutual Hall at the University of South
Africa. The competitors competed for a total of R144
000 in prize money.
Back, from left to right: Handri Loots (Flute Teacher - Pretoria), Rudolph de Vos (Piano Teacher - Pretoria), Rudi Bower (Guitar
Performer - Port Elizabeth), Marianne Cilliers (Violin Teacher - Bloemfontein), Ockert Vermeulen (Church Organist - Pretoria), Birgit
Ziegelmeier (Piano Performer - Pretoria), Stephen Pierce (Piano Teacher - Pretoria)
Front, from left to right: Rea Prinsloo (Violin Performer - Kaapstad), Grant Bräsler (Organ Performer - Cape Town), Anzél Gerber
(Cello Performer - Pretoria), Sonia Hwang (Piano Teacher - Pretoria), Laetitia Feldtmann (Piano Performer - Pretoria)

PRIZES AND WINNERS
• The PJ Lemmer Overseas Music Scholarship
for Performers (R45 000) was awarded to
Anzél Gerber (Violoncello) of Pretoria.
The winner of this bursary will be invited to
give a recital at Unisa. This concert will be
presented by the Unisa Music Foundation.
• The DJ Roode Overseas Music Scholarship
for Teachers (R45 000) (The Tertia Franzsen
Trust contributes R9 000 to this scholarship)
was awarded to Sonia Hwang (Piano) of
Pretoria. Her teacher is Joseph Stanford.
• The Stephanus Zondagh Overseas Music
Scholarship for Organ (R45 000) was
ADJUDICATORS
awarded to Grant Bräsler of Cape Town. His
teacher is Wim Viljoen.
• The Samro Prize (R 5 000) was made available
by the Southern African Music Rights Organization,
Limited and was awarded to Laetitia
Feldtmann (Piano Performer) of Pretoria for
the best performance of a South African composition.
Her teacher is Ella Fourie.
• The Gertrude Buchanan Memorial Prize (R1
000) enables the winner to compete again in
2001 in the Unisa Overseas Music Scholarship
Competition, and was awarded to Laetitia
Feldtmann (Piano Performer). Her teacher is
Ella Fourie.
From left to right: Hubert van der Spuy (Unisa), Zanta Hofmeyr (University of Pretoria), Diane Coutts (Johannesburg), Brenda Rein
(Vienna), Fanie Jooste (Potchefstroom University for CHE)
53

54
WINNERS
Anzél Gerber (24) is in Pretoria gebore. Haar
tjellostudies neem ‘n aanvang op vierjarige
ouderdom by Glenda Piek en later by Marian Lewin.
Sy wen die eerste prys en goue medalje in
Sanlam se eerste Nasionale Musiekkompetisie vir
laerskoolleerlinge in 1989. In 1990 ontvang sy die
prys vir die belowendste junior deelnemer in die
Nasionale Jeugmusiekkompetisie vir hoërskool -
leerlinge en in 1991 ontvang sy die silwer medalje
as prys vir die beste stryker.
Anzél is ook in 1991 aangewys as die algehele
wenner van die ATKV Preludekompetisie. As lid
van ‘n trio wen hulle in 1991 die SAUK se Nasionale
Mozart Jeugensemblekompetisie. In dieselfde jaar
verower sy ‘n Savmo-beurs om in 1992 ‘n
Internasionale Musiekkamp in Michigan, VSA by te
woon waar die Howard Hanson-beurs vir uitstaande
musikale vaardigheid aan haar toegeken is.
As leerling van die Hoërskool Pro Arte, Pretoria,
word sy aangewys as Beste Stryker, Dux-leerling en
Ambassadeur van die skool. Haar opnames is deur
die SAUK televisie en radio uitgesaai.
Op sestienjarige ouderdom vertrek sy na Oviédo,
Spanje waar sy van 1993 tot 1995 onderrig ontvang
by die Russiese leermeester Alexander
Fedortchenko. Na sy afsterwe sit sy haar studies
vanaf 1996 tot 1998 onder Alexander Kniazev aan
die Tsjaikowski Staatskonservatorium, Moskou,
voort. Sy woon verskeie musiekfeeste in Europa by
en tree op as solis met die Orquestra de Camàra,
‘Arche’, van die Konservatorium vir Musiek, Oviédo,
Spanje, asook met die vernaamste orkeste in Suid-
Afrika. Sy gee uitvoerings in Detroit, London,
Cuenca, Llanes, Gijon, Oviédo, Colmar, Wenen en
in die Rachmaninovsaal, Moskou, asook in Kaapstad,
Durban, Johannesburg, Bloemfontein en Pretoria.
In 1999 is sy aangewys as kategoriewenner van
die ATKV se Nasionale Forte-kompetisie en in
Augustus 2000 ontvang sy die tweede prys in Unisa
se Eerste Nasionale Strykerskompetisie.
Kompetisierepertorium:
Shostakovich Sonate vir Tjello en Klavier in d,
op 40
Bach, JS Prelude, Sarabande & Gigue uit
Suite no 2, BWV 1008
Tsjaikowski Variasies op ‘n Rokoko-tema,
op 33
Hofmeyr, H Die Lied van Juanita Perreira
Paganini Variasies op een snaar: Rossini
Klavier: Anneke Lamont

Sonja Hwang (22) matriculated at the National
School of the Arts in 1996 and in the same year was
a finalist in the Hennie Joubert Piano Competition.
During her school career many trophies were
awarded to her at the SASMT Eisteddfoddau. When
she was 11 years old, she won an International Peace
Piano Competition for Primary school pupils in
Korea.
Sonia has also passed the Unisa grade 8 examination
with distinction and has had master classes
with Andrzej Jasinski, Niël Immelman and Joseph
Banowetz.
She has already performed with the Pro Musica
Orchestra, Randburg City Orchestra, Johannesburg
Symphony Orchestra and the National Symphony
Orchestra.
Sonia is currently a BMus student in her final
year at the University of Pretoria and is a pupil of
Prof Joseph Stanford.
Competition Repertoire:
Bach, JS Toccata in e, BWV 914
Schumann Abegg Variations, op 1
Mozart Sonata in a, K310
Van Wyk, A Pastorale e capriccio
Grant Bräsler (25) started taking organ lessons
with Garmon Ashby at the age of fourteen. In 1993
he received the Claude Brown Organ Scholarship
for post-matric studies at Diocesan College. In 1994
he continued his music studies at the University of
Cape Town under the supervision of Barry Smith,
specialising in organ and harpsichord. During that
year he also became Organ Scholar at St. George’s
Cathedral, in which capacity he has since played for
many important services including the 1995 Human
Rights’ Day service that was attended by President
Mandela and Queen Elizabeth. As organ and harpsichord
continuo player he has performed with the
former CTSO and CPO as well as the Cape Town
Baroque Ensemble.
In 1996 Grant accompanied the St George’s
Singers during their tour to the Three Choirs Festival
in Worcester, England. He also won the Adcock
Ingram Music Prize at UCT. In 1997 he was selected
to perform a Handel organ concerto with the
UCT orchestra. He also participated in the CAPAB
and CTPO Youth Music Festival and was a semifinalist
in the ATKV Forte Competition. In 1998 Grant
performed Guilmant’s Symphony no.1 for Organ and
Orchestra with the UCT Orchestra. In 1999 he per-
55

formed a Handel organ concerto at the Barry Smith
tribute concert at the Baxter Concert Hall and took
part in the Unisa Overseas Scholarship Competition
where he was awarded the Gertrude Buchanan
Memorial Prize. His current organ teacher is Prof
Wim Viljoen.
Grant holds a BMus (Hons) in Organ Performance
from UCT, as well as Performer’s Licentiates with
distinction from the ABRSM, TCL and Unisa.
Competition Repertoire:
Bruhns Praeludium in e, no 1
Bach, JS Trio sonata no 5 in C, BWV 529
Liszt Präludium und Fuge über den
Namen BACH
Franck Choral no 2 in b from Trois Chorals
Duruflé Toccata from Suite, op 5
Laetitia Feldtmann (24) is tans besig met haar
Bmus (Hons) in Uitvoerende Kuns aan die
Universiteit van Pretoria onder leiding van prof Ella
Fourie. In die dertien vormingsjare voor sy met
haar studies begin, leer sy onder Elsabe Feldtmann.
Gedurende hierdie tyd verwerf sy talle medaljes en
56
beurse op plaaslike kunswedstryde en ontvang ‘n
Hennie Joubert Merieteprys vir Unisa klavier graad
5 en musiekteorie graad 6. Sy maak ook opnames
vir Jong Suid-Afrika, tree op saam met die
Johannesburgse Simfonieorkes, neem deel aan die
Nasionale Trustbank Jeugkompetisie en verwerf ‘n
meriete toekenning in die ATKV Preludekompetisie.
In Graad 12 slaag sy die Unisa graad 8
klaviereksamen met lof en wen die Du Toit-Van
Tonder Musiekstudiebeurs onder leiding van Josias
van der Merwe. In dieselfde jaar slaag sy ook haar
Unisa graad 8 viooleksamen met eervolle
vermelding.
Gedurende haar universiteitsjare word die
Pretorium Trust beurs twee maal aan haar toegeken.
Sy slaag Unisa se onderwyserslisensiaat met lof en
verwerf ‘n merietesertifikaat vir die ATKV
Fortékompetisie. Laetitia ontvang meesterklasse
van bekende leermeesters waarvan Andrzej Jasinski,
Joseph Banowetz en Pascal Rogé deel uitmaak. Sy
tree ook as solis op tydens verskeie konserte by
Tukkies, die Sandton Kunsgalery, Da Capo Klub en
Kyalami Classics en voltooi haar BMus-graad met
lof in 1998. Bo en behalwe haar solo-uitvoerings is
sy ook ‘n befaamde begeleier. Sy neem deel aan
die Brenda Rein Repetiteurskursus, begelei ‘n
Menotti opera uitgevoer deur die Technikon
Pretoria Operadepartement en tree op as een van
die amptelike begeleiers van die World Opera Workshop
South Africa. Verder tree sy gereeld op saam
met kore en operasangers.
Kompetisierepertorium:
Bach, JS Prelude en Fuga in g ,
Boek 2 no 18
Chopin Ballade no.4 in f, op 52
Debussy L’isle Joyeuse
Van Wyk, A Pastorale e capriccio
Schumann Sinfonische Etüden, op 13

CONCERT PROGRAMME
57

Josua and sister Ona, with mother Ona Loots,
Jo, Mathilda, Albert and Ulrich Mennen and
Josua Loots
Pieter Grobler, Ella Fourie, Laetitia
Feldtmann and Cillie Burger
58
SEEN AT THE OVERSEAS MUSIC SCHOLARSHIP CONCERT
Rudolph de Vos, Zanta Hofmeyr and
Japie Saayman
Derik Smith, Alexander Johnson, Johann
Potgieter, Cillie Burger, Joseph Stanford, Sonia
Hwang, Rudolph de Vos and Pieter Grobler
Louise and Anzél Gerber
Grant Bräsler and his wife with Waclav
Golonka of Poland
Hugo Schreuder, Bonnie and Dieter Osterhoff
Prof Elize Botha and Dr Chris Garbers

HENNIE JOUBERT
Merit Prizes 2000
Merietepryse 2000
Die Hennie Joubert Merietepryse word sedert 1987
toegeken aan kandidate wat jaarliks die hoogste
punte behaal van al die kandidate in die Depart-
ment Musiek se praktiese en skriftelike eksamens.
Die pryse word toegeken aan die twee
toppresteerders vir voorgraad 1 tot graad 7 praktiese
eksamens en graad 3 tot graad 7 teoretiese
eksamens. Die pryse wissel van R285 tot R750. Die
name van die wenners vir die praktiese eksamens
verskyn ook op die Ererol van Uitblinkers.
As in ag geneem word watter groot aantal kandidate
jaarliks vir die eksamens inskryf, is dit ‘n besondere
prestasie om een van hierdie pryse te verwerf. Die
redaksie van Musicus wens graag die wenners en
hulle onderwysers van harte geluk.
Die besonderhede van die kandidate wat op grond
van hulle 2000-eksamenprestasie pryse verwerf het,
verskyn hieronder met die name van hulle
onderwysers.
Since 1987 the Hennie Joubert Merit Prizes
have been awarded to candidates who obtained the
highest marks in the annual practical and theory
examinations conducted by the Department of Mu-
sic. The prizes are awarded to each of the top two
achievers in the practical (Pregrade 1 to Grade 7)
and theory of music (Grades 3 to 7) examinations.
The names of the winners for the practical exami-
nations also appear on the Roll of Honour of Out-
standing Achievers.
The prizes vary from R285 to R750. It is an excep-
tional honour to be awarded one of these prizes,
bearing in mind the large number of entries re-
ceived for these examinations. The editorial com-
mittee of Musicus sincerely congratulates these can-
didates and their teachers.
Particulars of the 2000 prize winners and their teach-
ers appear below.
59

60
Nicholas James Abbott (16)
Theory of Music Grade 5, Cape Town
(Miss FP Leavey)
Margaretha Johanna Coertse (15)
Musiekteorie graad 3, Nelspruit
(Mev AM Riekert)
Somari du Toit (12)
Blokfluit voorgraad 1, Bellville
(Mev JMH Potgieter)
Lusilda Boshoff (15)
Musiekteorie graad 5, Pretoria
(Mev JMA Gaerdes)
Lisemarié de Coning (11)
Klavier graad 3, Kemptonpark
(Mev I Senekal)
Maurice Rene Dunaiski (11)
Tjello graad 3, Stellenbosch
(Mej A van der Westhuizen)
Janneke Marina Brits (15)
Klavier graad 7, Pretoria
(Mev CH van Breda)
Lizanne Dippenaar (12)
Klavier graad 3, Bloemfontein
(Mev AE Heunis)
Rudolf Essel (13)
Blokfluit graad 5, Uniondale
(Mev JD Kemp)

Elzabe Maria Fourie (17)
Blokfluit graad 7, Strand
(Mev ML Carstens)
Winand Bernard Grundling (13)
Klavier graad 4, Port Elizabeth
(Mev M Gerber)
Petronella Elizabeth Lübbe (13)
Musiekteorie graad 4, Pretoria
(Mev CH van Breda)
Rochelle Gloria Gallant (15)
Theory of Music Grade 3, Cape Town
(Mrs A Jansen)
Ha Young Irene Kim (10)
Violin Grade 2, Somerset West
(Miss VJ Campbell)
Elana Malherbe (10)
Klavier graad 2, Port Elizabeth
(Mev M Gerber)
Madri Gerber (9)
Klavier graad 1, Parow
(Mev ES Smit)
Amanda-Jane Lamont (12)
Piano Grade 4, George
(Mrs G Botha)
Petrus Stephanus Meyer (16)
Klavier graad 6, Port Elizabeth
(Mev HE Steenkamp)
61

62
Celeste Monteith (14)
Recorder Grade 5, Pretoria
(Miss AM Low)
Gisela Papp (17)
Klavier graad 6, Pretoria
(Prof E Fourie)
Taslynne Smith (14)
Recorder Grade 3, Cape Town
(Miss M Fourie)
Anli Christine Morris (14)
Blokfluit graad 4, Strand
(Mev ML Carstens)
Johannes Prinsloo (9)
Klavier graad 1, Kroonstad
(Mev M Boshoff)
Nicole Vania Spencer (14)
Pianoforte Grade 1, Benoni
(Mrs J Havemann)
Riana Nöthling (15)
Musiekteorie graad 4, Pretoria
(Mev M Grobler)
Rea Prinsloo (21)
Musiekteorie graad 7, Bellville
(Mnr JJ Weyers)
Christoffel Frederik Jacobus Spies (17)
Musiekteorie graad 6, Kuilsrivier
(Mej CM Steenkamp)

Cèzarre Strydom (10)
Viool Graad 3, Windhoek
(Mev C Lambrechts)
Etienne Viviers (18)
Klavier graad 7, Kemptonpark
(Mev L van Nispen)
Inette Swart (17)
Musiekteorie graad 7, Pretoria
(Mev MA Brits)
Rachel Maria Elizabeth von Landsberg (9)
Klavier voorgraad 1, Bonnievale
(Mev ED Wentzel)
Danelle van Zyl (15)
Musiekteorie graad 6, Bellville
(Mev CL van Zyl)
63

Hieronder volg ‘n naamlys van kandidate wat vir die
Ererol van Uitblinkers kwalifiseer. Om op hierdie
lys te kan verskyn moes ‘n eksamenkandidaat in die
praktiese musiekeksamen wat deur die Departement
Musiek aan die Universiteit van Suid-Afrika afgeneem
is, minstens 90 uit 100 (vir voorgraad 1 - graad 7)
behaal het. Kandidate se name verskyn alfabeties
onder die sentra waar hulle geëksamineer is. Die
name van hulle onderwysers verskyn tussen hakies.
Baie geluk aan hierdie kandidate en hulle
onderwysers met baie mooi prestasies.
NOORD-KAAP
NORTHERN CAPE
CALVINIA
Irma Engelbrecht
Klavier graad 1
(Mev M van der Merwe)
JAN KEMPDORP
Elana Seyffert
Fluit graad 1
(Mnr EH Bekker)
KIMBERLEY
Junita de Kock
Blokfluit voorgraad 1
(Mev AS Etsebeth)
Lizelle du Plessis
Blokfluit voorgraad 1
(Mev MD Smith)
64
Roll of Honour of
Outstanding Achievers 2000
Ererol van Uitblinkers 2000
Femke Paul
Blokfluit graad 1
(Mev MD Smith)
Annemarie van Niekerk
Blokfluit voorgraad 1
(Mev MD Smith)
KURUMAN
Robert Stefan Jacobs
Klavier voorgraad 1
(Mev C Bester)
UPINGTON
Anna Johanna Maria van Zyl
Viool graad 1
(Mev LS Grobler)
HOTAZEL
Coenraad Heinrich Jacobs
Klavierduet voorgraad 1
(Mnr PL Venter)
A list of names of candidates who qualify for the Roll
of Honour of Outstanding Achievers is published below.
To be included in this list, a candidate must
have obtained at least 90 out of 100 (for Pregrade 1
- Grade 7) in the practical music examinations of the
Department of Music. Candidates’ names appear in
alphabetical order under the centres where they were
examined. The name of the teacher appears in brackets.
Congratulations to these candidates and teachers
with their achievements.
Jo-Riëtte Jacobs
Klavierduet voorgraad 1
(Mnr PL Venter)
Elandi Lamprecht
Klavierduet voorgraad 1
(Mnr PL Venter)
Zandri le Grange
Klavierduet voorgraad 1
(Mnr PL Venter)
Boitumelo Rejoice Sibiya
Klavierduet voorgraad 1
(Mnr PL Venter)
Jessica van Dyk
Klavierduet voorgraad 1
(Mnr PL Venter)

OOS-KAAP
EASTERN CAPE
GEORGE
Joel Nathaniel Edwall
Pianoforte Pregrade 1
(Mrs G Botha)
Rudolf Essel
Blokfluit graad 5
(Mev JD Kemp)
Constance Marie Hugo
Blokfluit graad 4
(Mev MM van den Heever)
Tracy-Lynn King
Pianoforte Grade 5
(Mrs JA Frehse)
Amanda-Jane Lamont
Pianoforte Grade 4
(Mrs G Botha)
Chelsea Lotter
Pianoforte Pregrade 1
(Mrs G Botha)
Elzaan Linda Smit
Pianoforte Grade 4
(Mrs G Botha)
GRAAFF-REINET
Engela Helena Conradie
Klavier graad 4
(Mej AE Jansen van Rensburg)
Therese Troskie
Klavier graad 1
(Mev ET Conradie)
PORT ELIZABETH
Chandre Brewis
Fluit graad 3
(Mej H Kotze)
Chandre Brewis
Klavier graad 5
(Mev H Uys)
Carli Cloete
Klavier voorgraad 1
(Mev M Gerber)
Winand Bernard Grundling
Klavier graad 4
(Mev M Gerber)
Danielle Malherbe
Klavier graad 1
(Mev M Gerber)
Elana Malherbe
Klavier graad 2
(Mev M Gerber)
Annelie Jeanne Mare
Klavier graad 5
(Mej R van der Nest)
Petrus Stephanus Meyer
Klavier graad 6
(Mev HE Steenkamp)
Liske Potgieter
Pianoforte Grade 1
(Mrs H Uys)
Gareth Edward Ross
Pianoforte Grade 6
(Mrs S van Blerk)
Esta Heleen Swart
Klavierduet graad 5
(Mnr D du Plooy)
Hanlie Uys
Klavierduet graad 5
(Mnr D du Plooy)
Adele Windell
Klavier voorgraad 1
(Mev M Booyens)
WES-KAAP
WESTERN CAPE
BEAUFORT-WES
Suzanne Albertyn
Blokfluit graad 7
(Mev MM van den Heever)
BELLVILLE
Esmarie Carstens
Klavier graad 1
(Mev PA Bell)
Annerike de Greeff
Klavier voorgraad 1
(Mev ME Payton)
Gertina Grobler
Klavier voorgraad 1
(Mev EF Els)
Olivia Laura Heunis
Pianoforte Grade 2
(Mrs T L Heunis)
Anemike Malan
Klavier graad 3
(Mev T du P Jonck)
Marieke Mars
Klavier graad 1
(Mev A du Plessis)
Willem Jacobus Nothnagel
Klavier graad 3
(Mev HA Esterhuizen)
Marsanne Olivier
Klavier graad 4
(Mej CM Steenkamp)
Johanna Christina Maria Saayman
Orrel graad 4
(Mev M Steyl)
Chandrea Simpson
Pianoforte Pregrade 1
(Mrs T du P Jonck)
Neil Smit
Klavier graad 5
(Mev MH Claassen)
Friedel Henriette Swart
Klavier voorgraad 1
(Mev ME Payton)
Elmien Truter
Klavier graad 3
(Mev MH Muller)
65

Tertius Uebel
Klavier voorgraad 1
(Mej R Potgieter)
Lezelle Uys
Klavier voorgraad 1
(Mev A du Plessis)
Riana van Rensburg
Klavier graad 3
(Mev T du P Jonck)
BRACKENFELL
Johanna Christina Maria Saayman
Orrel graad 5
(Mev M Steyl)
Euan Ethan Samuels
Pianoforte Grade 1
(Mrs CD George)
CERES
Elsie Jacoba Coetzee
Klavier graad 1
(Mev AJ Viljoen)
Carine Deist
Klavier voorgraad 1
(Mev AJ Viljoen)
Deirdre du Toit
Klavier graad 4
(Mev M Marais)
Susan Immelman
Klavier voorgraad 1
(Mev M Marais)
Corneli Smit
Klavier graad 1
(Mnr PS Pauw)
Cornelis Johannes Smit
Klavier graad 1
(Mev M Marais)
DURBANVILLE
Angelique Cloete
Blokfluit voorgraad 1
(Mej A Dippenaar)
66
Zane Pretorius
Blokfluit graad 1
(Mej A Dippenaar)
HERMANUS
Hilmarie Bartman
Klavier graad 1
(Mev S Bezuidenhout)
KAAPSTAD
Marike Louise Botha
Blokfluit voorgraad 1
(Mev K van Wyk)
Somari du Toit
Blokfluit voorgraad 1
(Mev JMH Potgieter)
Maryka Beatrix Etsebeth
Blokfluit voorgraad 1
(Mev JMH Potgieter)
Madri Gerber
Klavier graad 1
(Mev ES Smit)
Reagan Anthony Jones
Recorder Grade 1
(Mrs LE Gelderbloem)
Zandrea Lourens
Blokfluit voorgraad 1
(Mev K van Wyk)
Anika Matthee
Blokfluit voorgraad 1
(Mev K van Wyk)
Anne Roy
Pianoforte Grade 2
(Mrs AL Hofmeyr)
Taslynne Smith
Recorder Grade 3
(Miss M Fourie)
Hesle Vos
Blokfluit voorgraad 1
(Mev K van Wyk)
Kim Lilian Windvogel
Blokfluit voorgraad 1
(Mev AAZ van Reenen)
MONTAGU
Hermanus Wilhelm de Jager
Klavier graad 3
(Mev EF Saayman)
Louis Porter de Jager
Klavier graad 1
(Mev EF Saayman)
PAARL
Aliston Jackson Beviss-Challinor
Violin Grade 4
(Ms IM Wittenberg)
Emme du Toit
Klavier graad 4
(Mev HJ Koekemoer)
Cornelis Uys Lourens Fick
Klavier graad 1
(Mnr LA Wentzel)
Udo Francois Francke
Fagot graad 4
(Mej A Slabbert)
Therese Gerida Theron
Fluit graad 6
(Mev P Smit)
Therese Gerida Theron
Klavier graad 7
(Mev L Stofberg)
Maria Dorothea Thom
Klavier graad 3
(Mev EW Thom)
Maria Dorothea Thom
Viool graad 4
(Mev D Olivier)
Elizma van der Merwe
Blokfluit voorgraad 1
(Mnr LA Wentzel)
PAROW
Andries Petrus Groenewald
Altviool graad 6
(Mev M van Rooyen)

Nadine Roussopoulos
Violin Grade 4
(Mrs M van Rooyen)
Marike Schoonwinkel
Klarinet (B-mol) graad 3
(Mnr LA Hartshorne)
Jacobus Swart
Tenoorsaxofoon graad 5
(Mej SM Voges)
Hendrik Gerhardus van Staden
Eufonium graad 6
(Mnr MWP Verster)
RIVERSDAL
Jurgen Johann Loff
Klavier voorgraad 1
(Mev PJ Botha)
SOMERSET-WES
Marizanne Bestbier
Blokfluit graad 4
(Mev ML Carstens)
Heila-Mari Brink
Blokfluit graad 1
(Mev ML Carstens)
Elizabeth Johanna du Plessis
Blokfluit graad 1
(Mev ML Carstens)
Elzabe Maria Fourie
Blokfluit graad 7
(Mev ML Carstens)
Ninette Lorenzen
Pianoforte Grade 2
(Mrs SJ Louw)
Anli Christine Morris
Blokfluit graad 4
(Mev ML Carstens)
Jan Andreas Grimm Nel
Klavier graad 1
(Mev ML Carstens)
Soleille van der Merwe
Klavier graad 2
(Mev SJ Louw)
STELLENBOSCH
Marguerite de Villiers
Tjello graad 6
(Mej A van der Westhuizen)
Maurice Rene Dunaiski
Violoncello Grade 3
(Miss A van der Westhuizen)
Ha Young Irene Kim
Pianoforte Grade 1
(Mrs DL Morgenthal)
Ha Young Irene Kim
Violin Grade 2
(Miss VJ Campbell)
Nina Swiegers
Klavier graad 1
(Mnr SF Voges)
Emmerentia Thiart
Klarinet (B-mol) graad 4
(Mej S Human)
VREDENBURG
Anton Moolman Herholdt
Klavier graad 2
(Mev C Human)
Andrea de Guisti
Klavier graad 1
(Mev AC Cilliers)
WELLINGTON
Christel Ellen Bernardo
Klavier graad 1
(Mev C Coetzee)
Craig Hilton Ledimo
Klavier voorgraad 1
(Mej EJ-A Paulse)
Ansie Vlok
Blokfluit graad 1
(Mev C Coetzee)
Ansie Vlok
Klavier graad 2
(Mev C Coetzee)
Alicia Deidre Williams
Klavier voorgraad 1
(Mej EJ-A Paulse)
Anna Petronella Zaaiman
Klavier graad 1
(Mev C Coetzee)
WORCESTER
Wilna Beukman
Blokfluit graad 1
(Mev M van Eeden)
Daphne Lynette du Toit
Alto Saxophone Grade 3
(Mrs SA Krige)
Stephanie Geldenhuys
Blokfluit voorgraad 1
(Mev MI Human)
Nina Gerber
Klavier graad 1
(Mev S Bruwer)
Daniel Godfrey Hugo
Eufonium graad 4
(Mev SA Krige)
Bertus Human
Trompet (B-mol) graad 1
(Mev SA Krige)
Ernst Viljoen Lambrechts
Trompet (B-mol) graad 4
(Mev SA Krige)
Willem Adriaan Lambrechts
Klavier graad 3
(Mev MI Human)
Janine O’Kennedy
Klavier graad 3
(Mev MA Murray)
Lauren Helen Smith
Pianoforte Grade 1
(Mrs A Du T Nel)
Andries Rikus Steyn
Blokfluit graad 4
(Mev M van Eeden)
67

Stephan Wessel Swart
Blokfluit voorgraad 1
(Mev MI Human)
Nandi Victor
Klavier voorgraad 1
(Mev BC Kriel)
Rachel Maria Elizabeth von
Landsberg
Klavier voorgraad 1
(Mev ED Wentzel)
NOORDELIKE PROVINSIE
NORTHERN PROVINCE
PIETERSBURG
Izak Jacobus Venter de Kock
Klarinet (B-mol) graad 1
(Mev MD Botha)
Hendrik Joachim Johannes Espag
Klavier graad 5
(Mnr E Jacobs)
Maricka Herrer
Klavier voorgraad 1
(Mev JM de Kock)
Karen Horak
Klavier graad 1
(Mev CJ Smit)
Marie Kuhl
Klavier graad 1
(Mev B Nagel)
TZANEEN
Lizahn van Zyl
Klavier voorgraad 1
(Mev S van Zyl)
NOORD-WES
NORTH WEST
BRITS
Elizabeth du Preez
Klavier voorgraad 1
(Mev JM Gouws)
68
Daniel Tjaart Grove
Klavier voorgraad 1
(Mev E Buys)
Maxine Margaret Roberts
Pianoforte Grade 3
(Mrs M Theron)
Maryke Smith
Klavier voorgraad 1
(Mev ES Spies)
Valerie van der Walt
Klavier graad 3
(Mev JM Gouws)
Marile Victor
Klavier graad 1
(Mev J M Gouws)
KLERKSDORP
Linde Kritzinger
Fluit graad 7
(Mev SM Kritzinger)
Alma Johanna Naude
Klavier graad 1
(Mev L van den Berg)
Isabelle Louise van Rensburg
Orrel graad 4
(Mev WHS Bogenhofer)
LICHTENBURG
Delene Alida Roode
Klavier voorgraad 1
(Mev JM Venter)
Madelene Rootman
Klavier graad 3
(Mev JM Zandbergh)
POTCHEFSTROOM
Matthys Gerhardus Human
Coetzee
Tjello graad 1
(Mnr MGH Coetzee)
Ye Rim Kim
Pianoforte Pregrade 1
(Mrs JH van Rooy)
Jacobus Meyer
Tjello graad 4
(Mnr MGH Coetzee)
Eun Hye Pae
Pianoforte Grade 1
(Mrs JH van Rooy)
Guk By Sim
Pianoforte Grade 1
(Mrs JH van Rooy)
Daline Wilson
Viool graad 7
(Me A Schulenburg)
RUSTENBURG
Marina Herbst
Klavier voorgraad 1
(Mev MM Ryan)
Anja Boitumelo Reeber
Fluit graad 1
(Mev MM Ryan)
Nicolaas Johannes Steenekamp
Klavier voorgraad 1
(Mev HEP Prins)
Marie-Louise Vermaak
Klavier voorgraad 1
(Mev C Richter)
THABAZIMBI
Byvoeging tot 1999
Ererol van Uitblinkers
Li-Anri Thuynsma
Klavier voorgraad 1
(Mev R Thuynsma)
MPUMALANGA
ERMELO
Francois Wilhelm Davel
Klavier graad 1
(Mev WC Davel)

NELSPRUIT
Loricia Bruwer
Klavier voorgraad 1
(Mev AM Riekert)
Catharina Christina du Preez
Klavier graad 1
(Mev AM Riekert)
Jana Hattingh
Klavier voorgraad 1
(Mev AM Riekert)
Anna Petro Kriel
Klavier voorgraad 1
(Mev AM Riekert)
Tobias Johannes Kruger
Klavier graad 4
(Mev AM Riekert)
Jacobus Johannes Verster
Klavier voorgraad 1
(Mev SMD de Jongh)
SECUNDA
Daniel Erich Botha
Klavier voorgraad 1
(Mev HE Neethling)
Carlia Coetzee
Blokfluit voorgraad 1
(Mev BE van de Venter)
Elri Scholtz
Blokfluit voorgraad 1
(Mev BE van de Venter)
GAUTENG
ALBERTON
Frances Bruwer
Klavier graad 1
(Mev L Barnard)
Conrad Hendrik de Kock
Klavier graad 2
(Mev L Barnard)
BOKSBURG
Tahnita Pereira Monteiro
Pianoforte Pregrade 1
(Mrs G Azbel)
Lesang Vusi Phake
Guitar Grade 4
(Mr JE Brand)
Nicole Vania Spencer
Pianoforte Grade 1
(Mrs J Havemann)
CENTURION
Suzaan de Wit
Klavier graad 2
(Mev SL van Zyl)
Gisela Papp
Klavier graad 6
(Prof E Fourie)
GERMISTON
Arista van Staden
Klavier graad 1
(Mev CJ van Staden)
JOHANNESBURG
Gerhard Aspeling
Klavier graad 2
(Mev M Nel)
Aletta Geldenhuys
Klavier graad 7
(Mej DB Coutts)
Tino Erich Joubert
Klavier voorgraad 1
(Mev MM Scheepers)
Stephanie Sophia Latsky
Blokfluit graad 1
(Mev TL Lategan)
Chloe Redelinghuys
Klavier voorgraad 1
(Mej DB Coutts)
Nicholas Conrad Schmidt
Pianoforte Pregrade 1
(Mrs HW Stuart)
Helene Sonnekus
Klavier graad 3
(Mev SJ de Villiers)
Yvette Viljoen
Klavier graad 2
(Mev CF Scott)
Ashwyn Graven Watkins
Pianoforte Pregrade 1
(Mrs TA Smith)
Iek Hou (Angel) Zhang
Pianoforte Grade 5
(Miss ML Friedman)
Natasha Zlobinsky
Blokfluit graad 4
(Mev J Hamman)
KEMPTONPARK
Henry-John Burchell
Viool graad 4
(Me A Kossmann)
Lisemarié de Coning
Klavier graad 3
(Mev I Senekal)
Andrew Nicolas Olsen
Klavier graad 2
(Mev R Kriel)
Etienne Viviers
Klavier graad 7
(Mev L van Nispen)
KRUGERSDORP
Nadine Crawford
Klavier voorgraad 1
(Mej M Cronje)
Annalie Schoeman
Klavier voorgraad 1
(Mej M Cronje)
Rene Slabbert
Klavier graad 1
(Mev E Wentzel)
69

Ines Carina Zand
Klavier graad 1
(Mej M Cronje)
PRETORIA
Michelle Denise Badenhorst
Piano Duet Pregrade 1
(Mrs A Lewkowicz)
Christiaan Basson
Tjello graad 5
(Mev MC Grobbelaar)
Helgardt Wilhelm Basson
Klavier graad 2
(Mev A du Plessis)
Benita Boegman
Klavierduet voorgraad 1
(Mev MD Cronje)
Erik Botha
Klavierduet voorgraad 1
(Mev MD Cronje)
Jaco Botha
Klavier voorgraad 1
(Mev R la Grange)
Nina Botha
Blokfluit voorgraad 1
(Me MM McLachlan)
Janneke Marina Brits
Klavier graad 7
(Mev CH van Breda)
Hilary Anna Burns
Piano Duet Pregrade 1
(Mrs MD Cronje)
Yu-Chia Peter Chang
Pianoforte Grade 1
(Mr JI Spies)
Jeandri Suzanne Cloete
Klavier voorgraad 1
(Mev JMA Gaerdes)
Nadia de Wet
Blokfluit voorgraad 1
(Mev AE van der Merwe)
70
Carike den Boer
Klavierduet voorgraad 1
(Mev MD Cronje)
Ane du Toit
Viool graad 3
(Mev MA Wikner)
Selmari du Toit
Klavierduet voorgraad 1
(Mev CH van Breda)
Elizma Engelbrecht
Klavier graad 1
(Mev R la Grange)
Juliana Engelbrecht
Blokfluit voorgraad 1
(Me MM McLachlan)
Alice Maria Grabe
Klavier voorgraad 1
(Mev EA Feldtmann)
Belinda Jewell
Piano Duet Pregrade 1
(Mrs A Lewkowicz)
Mande Jooste
Blokfluit voorgraad 1
(Mej AM Low)
Hanri Joubert
Klavierduet voorgraad 1
(Mev CH van Breda)
Elmarie Herma Kruger
Klavier voorgraad 1
(Mev GW Scriba)
Karien Alet Labuschagne
Klavier graad 7
(Mev CH van Breda)
Siobhan Denise Lloyd-Jones
Recorder Grade 5
(Miss AM Low)
Misha Meyer
Klavier graad 2
(Mev CH van Breda)
Celeste Monteith
Recorder Grade 5
(Miss AM Low)
Catharina Neethling
Blokfluit voorgraad 1
(Ds C McLachlan)
Stephanie Katharina Nowack
Pianoforte Pregrade 1
(Mrs GW Scriba)
Anandi Reitmann
Klavier graad 2
(Mev GW Scriba)
Daphne Richter
Blokfluit graad 4
(Ds C McLachlan)
Susanna Christina Rossouw
Klavier graad 1
(Mev EJ Smit)
Mandi Smit
Klavier voorgraad 1
(Mev CH van Breda)
Lelanie Snyman
Blokfluit graad 2
(Mev AE van der Merwe)
Inge van der Merwe
Klavier voorgraad 1
(Mev GW Scriba)
Liana van Tonder
Klavier graad 1
(Mev FH Theron)
Bernice Charne Venter
Pianoforte Pregrade 1
(Mrs BE Klopper)
Margo Weyers
Flute Grade 1
(Mrs G Smook)
Marilize Suzaan Wood
Klavier voorgraad 1
(Mev GW Scriba)

VANDERBIJLPARK
Anja du Preez
Klavier voorgraad 1
(Mev K Louw)
VRYSTAAT / FREE STATE
BETHLEHEM
Johanna Catharina Barnard
Klavier graad 7
(Mev AJ Furstenburg)
Carien Basson
Klavier graad 1
(Mev JA Reed)
Angelica Charilaou
Klavier graad 2
(Mev AM Klopper)
Horak van Lingen Corver
Klavier graad 3
(Mev B van Aswegen)
Simone Rochelle Gagiano
Pianoforte Grade 1
(Mrs JA Reed)
Nicolaas Jacobus Groenewald
Klavier voorgraad 1
(Mev AM Klopper)
Martinette Koster
Klavier voorgraad 1
(Mev B van Aswegen)
Maru Nel
Klavier graad 2
(Mev B van Aswegen)
Maru Nel
Klavier graad 3
(Mev B van Aswegen)
Robyn Raddon Reed
Pianoforte Grade 1
(Mrs B van Aswegen)
Lidy Ries
Klavier voorgraad 1
(Mev B van Aswegen)
Jacoba Elizabeth van der Watt
Klavier voorgraad 1
(Mev B van Aswegen)
BLOEMFONTEIN
Leana Alkema
Klavier graad 4
(Mev BJ Immelman)
Arielle Toinette Arndt
Klavier voorgraad 1
(Mev MS Kruger)
Suzette Brynard
Klavier graad 2
(Mev MP Jansen van Rensburg)
Heidi de Jager
Klavier voorgraad 1
(Mev P Fourie)
Lizanne Dippenaar
Klavier graad 3
(Mev AE Heunis)
Jan Pieter Hendrik Furstenburg
Klavier voorgraad 1
(Mev JM Coffee)
Mariaan Janse van Rensburg
Klavier graad 3
(Mev E Lemmer)
Chrisna Jooste
Klarinet (B-mol) graad 6
(Mev A Bam)
Margaretha Lubbe
Klavier graad 1
(Mev O Nel)
Minnette Luus
Klavier graad 5
(Mev BJ Immelman)
Ingrid Metz
Klavier voorgraad 1
(Mev JM Smit)
Isabella Stapelberg
Altsaxofoon graad 5
(Mev A van Wyk)
Elizabeth Johanna van der
Merwe
Klavier graad 7
(Mev E Lemmer)
Marna van der Westhuizen
Fagot graad 6
(Mej MC van Staden)
Marna van der Westhuizen
Klavier graad 7
(Mev L du Plessis)
Petrus Cornelius Frederick van
Rooyen
Tjello graad 7
(Mnr A Brink)
CLOCOLAN
Belinda le Roux
Klavier voorgraad 1
(Mev DM van Aswegen)
FICKSBURG
Elaine Botha
Klavier voorgraad 1
(Mev RMB van der Merwe)
KROONSTAD
Hendrik Cornelis Branken
Klavier voorgraad 1
(Mev AE Oosthuizen)
Barbara Cipriana Dykman
Klavier voorgraad 1
(Mev M Boshoff)
Christina Geldenhuys
Klarinet (B-mol) graad 2
(Mev JG Badenhorst)
Esther Geldenhuys
Klavier graad 4
(Mev O Rademan)
71

Aryna Otto
Klavier graad 3
(Mev I Geldenhuys)
Ryno Potgieter
Klavier graad 2
(Mev I Geldenhuys)
Johannes Prinsloo
Blokfluit graad 1
(Mev M Boshoff)
Johannes Prinsloo
Klavier graad 1
(Mev M Boshoff)
Sophia Maria Saaiman
Klavier graad 7
(Mev O Rademan)
Andria van Graan
Klavier graad 5
(Mev I Geldenhuys)
Lara Wessels
Klavier voorgraad 1
(Mev M Boshoff)
SASOLBURG
Izelle Cloete
Klavier graad 1
(Mev AF Papenfus)
WELKOM
Elinde Emslie
Klavierduet voorgraad 1
(Mev HM Bothma)
72
Marcelle Serfontein
Klavierduet voorgraad 1
(Mev HM Bothma)
KWAZULU/NATAL
DURBAN
Robyn Amy Abbott
Pianoforte Grade 6
(Mrs P Scott)
Hayley Farrah Conway
Pianoforte Grade 6
(Ms HF Conway)
EMPANGENI
Siphesihle Nonkanyiso Biyela
Pianoforte Pregrade 1
(Mrs AM Welthagen)
Terri Ocean Ireland
Alto Saxophone Grade 2
(Mrs MS Lotz)
Juan Frederick Maree
Klavier voorgraad 1
(Mev H Mans)
NEWCASTLE
Anne Petronella Basson
Klavier voorgraad 1
(Mev A Scheepers)
Helena Johanna Engelbrecht
Altsaxofoon graad 5
(Mev H Ponter)
Sonia Yvonne Liebenberg
Klavier graad 1
(Mev A Scheepers)
PIETERMARITZBURG
Natasha Haralambous
Pianoforte Pregrade 1
(Mrs TB Moir)
Shaun Gregory Smithies
Singing (Baritone) Grade 6
(Mr GA du Toit)
VRYHEID
Marius du Plessis
Pianoforte Grade 1
(Mrs R Wilmot)
NAMIBIË / NAMIBIA
WINDHOEK
Cèzarre Strydom
Klavier graad 2
(Mev V van Biljon)
Cèzarre Strydom
Viool graad 3
(Mev C Lambrechts)
Sarie Marissa van Eeden
Klarinet (B-Mol) graad 5
(Mev J Brand)

Candidates who have obtained
the Unisa Licentiate in Music in 2000
Kandidate wat die Unisa Lisensiaat
in Musiek in 2000 verwerf het
Teachers Licentiate
Onderwyserslisensiaat
ALTO SAXOPHONE/ALT-
SAXOFOON
Belcher, Renée*
FLUTE/FLUIT
Loots, Johanna Hendrika*
GUITAR/KITAAR
Swanepoel, Amalia Maria
ORGAN/ORREL
De Vos, Rudolph Bodes
PIANOFORTE/KLAVIER
Badenhorst, J-Lesca
Boyd, Liezl Lynn
Camara, Angela Bernardete
De Wet, Jana
Ebersohn, Johannes Wilhelmus
Swart*
Elmes, Rachelle
Gutter, Johanna Susanna
Hwang, Sonia*
Klassen, Rochelle Estelle
Kruger, Michelle
Luximon, Jennifer Beatrice
Naude, Marté
* with distinction / met lof
Pierce, Stephen Ross*
Rossouw, Johanna Christina
Van der Merwe, Petri
Willemse, Maria Johanna
RECORDER/BLOKFLUIT
Meyer, Carika
VIOLA/ALTVIOOL
Lansdown, Louise*
VIOLIN/VIOOL
Bain, Cherith Evelyn
Cilliers, Marianne Louise*
VIOLONCELLO/TJELLO
Burdukova, Polina
Performers Licentiate
Voordraerslisensiaat
CHAMBER MUSIC/
KAMERMUSIEK
Visser, Hilda *
CHOIRMASTERSHIP/
KOORMEESTERSKAP
Cronje, Mario
CHURCH ORGANIST/
KERKORRELISTE
Vermeulen, Ockert Casper*
FLUTE/FLUIT
Stoltz, Liesl*
GUITAR/KITAAR
Bower, Rudi*
ORGAN/ORREL
De Lange, Ciska
Grasmuck, Suzanne Theresia*
Pelser, Maria Magdalena
PIANOFORTE/KLAVIER
Downie, Tertia*
Feldtmann, Laetitia Annette*
Maritz, Gerhardus Petrus
Matthews,Wendy
Tagg, Kathleen Celia
Vorster, Petronelle Naomi*
Ziegelmeier, Birgit*
SINGING/SANG
Bekker, Tindelina Wilhelmina*
De Wit, Teresa*
Elderkin, Roza Cornelia
VIOLIN/VIOOL
Prinsloo, Rea*
VIOLONCELLO/TJELLO
Gerber, Anzél*
73

Die Komitee vir Musiekeksamens het tydens sy
vergadering in 1998 besluit om erkenning aan
musiekonderwysers te verleen wie se kandidate
buitengewoon presteer het in óf die praktiese óf
die teoretiese musiekeksamens. Elke onderwyser
wat minstens 10 praktiese of 10 teorie kandidate
in ‘n betrokke jaar vir die Unisa musiekeksamens
inskryf en waarvan die beste 10 in ‘n kategorie
(prakties of teorie - nie ‘n kombinasie van die twee
nie!) ‘n gemiddelde onderskeidingspunt behaal,
ontvang ‘n merietesertifikaat.
VAN HARTE GELUK aan al die onderstaande
onderwysers vir hul besondere prestasie!
74
Merit Certificates to
Music Teachers 2000
Merietesertifikate aan
Musiekonderwysers 2000
Mev ML Carstens, Strand
Mev C Coetzee, Wellington
College for the Arts, Windhoek
Mej A Dippenaar, Durbanville
Mev I Geldenhuys, Kroonstad
Mev M Gerber, Port Elizabeth
Mev T du P Jonck, Bellville
Mev A Kotze, Hermanus
Mev SA Krige, Worcester
Mev MS Kruger, Bloemfontein
Mrs E Lemmer, Bloemfontein
Ds C McLachlan, Pretoria
Mev C Richter, Proteapark
Mev AM Riekert, Karino
Mev MM Ryan, Proteapark
Mev GW Scriba, Pretoria
The Committee for Music Examinations decided at
its 1998 meeting to give recognition to music teachers
whose candidates did exceptionally well in either
the practical or theoretical music examinations.
Each teacher who enters at least 10 practical or 10
theory of music candidates for Unisa music examinations
in a particular year and where at least 10 candidates
in each category (practical or theory - not a
combination of both!) obtain an average merit mark,
receives a certificate of merit.
CONGRATULATIONS to all the teachers listed below
for their excellent achievement!
Merietetoekennings vir Praktiese Onderwys
Merit Awards for Practical Teaching
Mev B van Aswegen, Bethlehem
Mev CH van Breda, Pretoria
Mev M van Eeden, Bonnievale
Mev M van Rooyen, Karl Bremer
Mev K van Wyk, Goodwood
Mev AJ Viljoen, Koue Bokkeveld
74

Mrs SW Aronje, Giyani
Mev L Barnard, Germiston
Mev Y Blom, Brackenfell
Mej N Botha, Bellville
Mnr JE Brand, Boksburg-Noord
Mev A Cloete, Lydenburg
Mev LE Coetzee, Port Elizabeth
College for the Arts, Windhoek
Miss SK Colman, Cape Town
Mev SMD de Jongh, Witrivier
Mej A Dippenaar, Durbanville
Mev A du Plessis, Bellville
Mev J Esser, Parklands
Mr AC Francis, Lenasia
Mev SW Franck, Eversdal
Mev JMA Gaerdes, Lynnwoodrif
Mrs CD George, Brackenfell
Miss B Grobler, Ferndale
Mev AS Hattingh, George
Mev SC Hein, Pretoria
Mev H Hough, Florida-Noord
Mev BE Klopper, Montana
Mev A Kotze, Hermanus
Mev I Kotze, Fontainebleau
Merietetoekennings vir Teoretiese Onderwys
Merit Awards for Theoretical Teaching
Mev JL Kriek, Warmbad
Mev M Krugel, Bloemfontein
Mev CES Kruger, Melville
Mev HP Kruger, Centurion
Mev MS Kruger, Bloemfontein
Mev N Lamprecht, Hartenbos
Mev A le Roux, Durbanville
Mev L Liebenberg, Bloemfontein
Mev JSE Loots, Port Elizabeth
Mev P Lotter, Erasmusrand
Mev AM Louw, Bethal
Mej MM Louw, Bellville
Mev H Mans, Richardsbaai
Mev I Meyer, Despatch
Mrs TB Moir, Pietermaritzburg
Mev MH Muller, Eversdal
Mev K Netley, George
Mev EL Penzhorn, Pretoria
Mev C Richter, Proteapark
Mev AM Riekert, Karino
Mev M Rossouw, Ceres
Mev MJ Roux, Benoni
Mev MM Ryan, Proteapark
Mev GW Scriba, Pretoria
Mev ES Smit, Parow
Mev JM Smit, Fichardtpark
Mev RA Smit, Kimberley
Ms IY Solomon, Rondebosch East
Mev ES Spies, Hartbeespoort
Mev HA Stander, Lichtenburg
Ms C Strauss, Pretoria
Mr ET Tlholonyane, Pretoria
Mev B van Aswegen, Bethlehem
Mev CH van Breda, Pretoria
Mev CF van den Bergh, Outjo
Mev R van den Heever, Glenstantia
Mej A van der Westhuizen,
Randburg
Mej AE van Rooyen, Vishoek
Mev K van Wyk, Goodwood
Mev MCE van Zyl, Bloemfontein
Mej AC Vercueil, Pretoria
Mev AJ Viljoen, Koue Bokkeveld
Mev MM Viljoen, Pretoria-Noord
Mrs GM Visagie, Pretoria
Mev MM Visser, Extonweg
Mrs E Wentzel, Rant-en-Dal
75

Vraag 1
76
TEACHING ASPECTS ONDERWYSASPEKTE
Piano Questions (9)
Klaviervrae (9)
Joseph Stanford
Ek het enkele vrae met betrekking tot Scriabin se Poème, op 32 no 2 (voorgeskryf vir graad 8).
(a) Maat 16: Kan u ‘n vingersetting voorstel vir die eerste twee maatslae?
Antwoord
Die enigste oplossing vir hierdie probleem is om die G � (RH) ook met die LH te speel. Die resultaat sal dan
as volg wees:
(b) Maat 4 (en soortgelyke plekke): Moet die pedaal verwissel op die acciaccatura–en dan weer op die
eerste maatslag?
Antwoord
Gebruik die pedaal soos ek dit in die onderstaande notevoorbeeld aangedui het. Al die note van die
acciaccatura-akkoord behoort aan die harmonie. Indien u leerling dit moeilik vind om die pedaal op die
acciaccatura te wissel, wil ek voorstel dat sy die pedaal reeds wissel op die laaste agste (dis ook dieselfde
harmonie) van maat 3. Volg presies dieselfde prosedure by soortgelyke voorbeelde in hierdie stuk.

Vraag 2
Mendelssohn: Prelude op 35 no 6 (voorgeskryf vir graad 8)
Kan u asseblief ‘n paar wenke aan die hand doen om hierdie stuk meer interessant te kan laat klink?
Antwoord
Dis ‘n baie moeilike vraag om sonder praktiese demonstrasie te beantwoord! Ek doen graag enkele wenke
aan die hand:
(a) Die begeleiding word dikwels verdeel tussen die hande. Die luisteraar moet nie kan hoor wanneer
speel die RH, en wanneer die LH nie. Dis goeie oefening vir die leerling om die begeleiding sonder die
melodie te oefen.
(b) Dis aan te bevele dat ‘n leerling die begeleiding tweevlakkig moet dink. Die oktaafnote wat op die
eerste en vierde kwarte van die maat val, moet veel sterker gespeel word as die agstes daartussen. Die
agstes moet ‘binne’ die resonans van die oktawe gespeel word.
Vir die versterking van die begrip hiervan wil ek graag aanbeveel dat u leerling die melodie saam met die
basoktawe oefen, dit wil sê al die oorblywende agstes word weggelaat. Hierdie oefenmetode sal die leerling
bewus maak van die essensies van hierdie musiek.
(c) In hierdie gedrae melodie is dit belangrik dat die leerling die melodiese konstruksie moet verstaan.
Aanvanklik sal dit handig wees om in twee-maateenhede te dink–met die nodige dinamiek om dit aan die
luisteraar tuis te bring. Die volgende is ‘n illustrasie van die openingsmate:
(d) Die slot: die sterker note word met in die voorbeeld aangedui. Die oorblywende agstes word
veel ligter gespeel. Let daarop dat die note aangedui met
, die B-mol majeur-arpeggio omlyn.
Vraag 3
Kan u asseblief ‘n aanduiding gee van hoe die pedaal gebruik moet word in Koornhof se Stadige Walsie?
(graad 5)
Antwoord
Sien die notevoorbeeld hieronder. Hierdie is ‘n voorstel en moet beslis nie as die enigste moontlike
pedaalgebruik gesien word nie.
77

Professor Joseph Stanford is verbonde aan die Universiteit van Pretoria waar hy
hom op klavier- en gevorderde musiekteorie-onderrig toelê
79

80
Singing without
frustration
Preamble
A professional singing career is not all pomp
and glory, with performances, ovations, fan clubs,
receptions etc. It is an extremely demanding and
exacting profession with constant vocal training,
studying new repertoire, rehearsals, travelling etc.
It requires enormous sacrifices, dedication, discipline
and total concentration. Before deciding on a
career as a professional singer you should consider
all aspects. It is very helpful to talk to an objective
professional. It could be a singer, a teacher or a
conductor. If this person thinks that you have the
necessary vocal material, personality, appearance,
acting ability and musicality, then you should ask
yourself : ‘Is singing my one aim in life?’; ‘Will I die
if I cannot stand on a stage and sing for an audience?’
If you discover that you can imagine doing
something else in life, then my advice to you is to
forget the idea of becoming a professional singer
and study singing for your own enjoyment. Sing for
your friends and have fun! This may sound very hard
and cynical, but my long experience in this business
has shown me that singers who are not totally
dedicated, never make it to the top. So, the next
step would be to find yourself a good singing teacher.
This person should preferably be someone who has
sung on professional stages for many years and who
knows the ‘singing business’ inside out. He should
have an accurate knowledge of the singing mechanism
and a trained ear to enable him to hear the
correct sound. He should, of course also be a master
of his own technique so as to be able to demonstrate
the correct sound. He must have a knowledge
of the different voice types (known as ‘fach’)
and be able to diagnose and train the voice in the
right fach. He should also be able to recognize
Xander Haagen
whether the singer is more suited for a career as an
opera singer or should rather sing oratorio or lieder
(the liedsinger needs to be highly musical and possess
the ability to make magic without the benefit
of costumes, props or an orchestra).
In this article, I have written down my technique,
which I have developed and honed for the
last thirty years. It should also be valuable for singing
teachers. May they take note and produce fine
singers! For practical purposes, I have decided to
call the student he’. May all the wonderful female
singers out there, forgive me!
Freiburg, Germany
Professor Xander Haagen
March 1999
Introduction
There is no difference in function between the adult
male or female voice except that the male voice
sounds an octave lower than the female voice. The
muscle function of the breathing and voice mechanisms,
are exactly the same. The singing voice is
divided into three registers: chest, middle and high.
It is not always possible to say exactly on which note
the voice ... ‘changes gear’ as each voice is different,
and the pupil should find it out for himself
with the help of his teacher.
If the voice is correctly placed in the vocal column
and supported on the breath, one should feel
the same connection from the bottom to the top.
The voice will sound steady and well-balanced,
meaning that the listener will not hear any differ-

ence when the voice goes from one register to the
next. A well-placed voice will stay slender but
grounded, should have no problem going from one
register to the next and should have an easy range
of two octaves.
If, however, the sound is too open or thick,
the singer will, firstly have great difficulty changing
gear from one register to the next, and secondly
never be able to produce easy tones in the
very highest or lowest part of the voice. It will be
as if you are trying to put a thick thread through
the small hole of a needle. If, however, you roll the
thread together with moistened fingers thereby
creating a slender point, the thread will go through
the needle without any problem.
Some baritones or basses tend to sing too much
in the mouth, with a low pressed tongue and an
artificially pressed down larynx, believing that this
sounds more manly. They only succeed in making
the voice sound throaty and bottled up, cutting off
resonance and overtones.
A lot of singers think they will lose the quality
of their voice if they try to sing ‘slenderly’. Therefore
they try to make the sound thicker and heavier,
thinking it will become more beautiful. The opposite
is the case. The heavy sound may sound wonderful
in your own ears, but it will probably only
reach the front half of the audience, lack overtones
and sound forced in the higher range. If the voice is
placed correctly, and you are supporting it correctly
you will always keep your own natural quality and
will have the necessary overtones and power to reach
across the orchestra I once did a masterclass with
Kirsten Flagstad, one of the greatest Wagnerian sopranos
of this century. She had an enormous and
very beautiful voice, which never lost its quality or
purity in the high range. Her advice to young singers
was: ‘Leave Wagner alone, unless you know what
you’re doing!’ The first thing a singer should know
is that it is very dangerous to listen to your own
voice, because you cannot hear it the way a listener
will. You need somebody you can trust to listen to
the tone objectively. It can be a coach or a singing
teacher. You should never try to work on your own
without supervision. If you have to, then you should
make a recording and listen to it very objectively.
My method is based on three principles:
1. Breathing
You cannot be a good singer if you do not understand
the importance of supporting and controlling
the breath on the column of air.
2. Placing
The voice must be placed forward in the mask
resonance and the articulation should be pure
and clear.
3. Space
The voice needs space in the mouth to give it
a beautiful, natural tone.
How to start
At the first lesson the new pupil should sing something
(it can be a song, a ballad or an aria).The
teacher should then ask him to do a few simple
exercises so that he can determine the scope and
technical standard of the voice. Does the pupil have
a good ear; does he have a sense of rhythm; is he
musical? Quite often the pupil is too nervous to
show the true potential of his voice and ability and
will suddenly come to life after the first few lessons.
In my experience the new pupil should have a
lesson every day for the first few weeks. It is better
during this time not to practice at home, because
one could undo the work of the previous lesson.
As soon as the teacher feels that he has a correct
idea of his method, the pupil can start practising
on his own. He should then take a lesson 2 or 3
times a week. It is very important to have regular
lessons. In the holidays one should try and practice
at least three times a week so that the singing
muscles do not get out of practice.
It is important to control the stance of the pupil.
One should stand with the feet slightly apart,
the shoulders down, arms hanging freely, head resting
loosely on the body (not thrown back or pushed
forward).The body should be relaxed, freely balanced
but firmly grounded. The singer should imagine
that he is a marionette hanging on a string.
This gives the feeling as though his head rests on
81

his neck and his neck rests on his shoulders. There
should be no tension in the jaw, neck or shoulders.
It is very important not to develop bad physical
habits. There is absolutely no reason for distorting
the facial or other muscles whilst singing.
During the first few lessons the teacher should
explain clearly how the singing instrument functions,
and which muscle groups are used for which result.
Basic principles
The breathing mechanism consists of the following
muscle groups: the diaphragm, the upper and
lower rib muscles, the back rib muscles and the
lower abdominal muscles.
The diaphragm is a dome-shaped muscle which
separates the thorax (chest cavity) from the abdominal
cavity. The in-taking breath presses the diaphragm
downwards, thus enlarging the thorax. This
is a reflex action and any extra muscle activity will
only result in unnecessary tension. During this action,
the ribs should expand to the sides, front and
back. When one emits a sound (eg sings) this position
should be held in a balanced equilibrium. Singing
depends on the successful equilibrium of the
breathing muscles. The diaphragm itself possesses
no voluntary muscles capable of raising it again,
and this is done by contracting the lower abdominal
muscles, which forces the relaxed diaphragm up
from below, thus pressing the air out through the
mouth. It is extremely important to understand
that the singing action should be mainly
supported by the side and back rib muscles and
not by the diaphragm or abdominal muscles. Very
often the pupil misunderstands the word ‘breath
support’. The teacher would say ‘support, support!’
and the pupil would try and hold the diaphragm
out. This is wrong!! The diaphragm should always
stay flexible so as to control the sound emission
during singing. What is meant by the word ‘support’
is that the side and back rib muscles as well as
the upper rib muscles around the sternum (breast
bone) should be kept in an expanded position, whilst
the diaphragm is kept free and relaxed. If this principal
is not understood from the beginning, the
pupil will never be able to produce flexible, beau-
82
tiful tones. He will always have difficulty with piano
singing (which is the basis of a good voice) and
will probably only produce hooting sounds when he
tries to sing the exposed top notes of his range.
Breathing exercises which will help you
strengthen the breathing muscles are provided in
the exercise section. These should be practised every
day of your professional life. I have pupils who
have been singing professionally for more than thirty
years and you can be sure that they still do breathing
exercises every morning!
The larynx is a cartilaginous structure situated
at the top of the trachea (windpipe). It houses the
vocal chords, two bands of muscle, which, when
flexed, closes the trachea opening and stops the air
from entering or leaving the lungs.
Correctly speaking one should talk about ‘vocal
folds’, but the term ‘vocal chords’ is easier for singers
to understand, so I shall continue using this term.
When the glottis (the space between the vocal
chords) is closed, and pressure is applied through
the breath, the vocal chords start vibrating, thus
creating sound. The vocal chords are stretched by a
series of intricate muscles in the larynx (it will be
too complicated to name them all here) thereby
producing vibrations which are translated into sound.
The pitch of this sound depends upon the length
and breadth of the vocal chords. When a low note is
produced, the vocal chords are short and thick, and
the throat muscles are relatively relaxed. As the
pitch rises, the vocal chords gradually lengthen and
grow thinner and the opening between the chords
(the glottis) becomes smaller.
The larynx is suspended from the hyoid bone,
which is attached to the root of the tongue. Hence
any movement of the tongue, influences the position
of the larynx.
The tongue, which lies in the floor of the mouth,
consists of many intricate muscles. For our purposes
it suffices to say that the tongue consists of firstly
the front part, which can be seen in the open mouth,
and is responsible for the formation of all the vowels
as well as some consonants, and secondly the
pharyngeal part, which stretches into the cavity of
the pharynx (throat) and is attached to the laryngeal
muscles.
The primary vowels are A, E, I, O, U. These

must be pronounced phonetically, and not in the
English way! In both German and Italian the vowels
are very pure (from a phonetic point of view). The
position of the tongue determines the vowel:
A The tongue is flat and the larynx in its normal
position.
E The tongue is high in the middle, with the edges
touching the middle upper teeth.
I The tongue is at its highest position, leaning
even more against the upper teeth.
O The middle of the tongue is lowered, thereby
lowering the position of the larynx.
U The middle tongue is lowered even more and
the larynx is still lower.
It must be pointed out that these pure vowels
have many variations. For example the German ‘O’
in ‘Mozart’ is different from the Italian ‘O’ in
‘amore’. The German ‘E’in ‘Leben’ is much purer
than the ‘E’ in ‘Herz’ which is pronounced like the
‘A’ in the English word ‘hat’. The closest vowels are
the ‘Ö’ as in the German ‘Möwe’ or ‘schön’; the ‘Ü’
as in ‘müde’; the ‘O’ as in ‘Brot’ or ‘Not’ and the
‘U’ as in the Italian ‘luna’ or the German ‘klug’.
The beginner should practice on the open Italian
vowels, because they are the easiest.
It is very important to understand, that vowels
are formed inside the mouth and that one does
not need to make unnecessary movements with
the lips.
The ideal singing position is with a relatively small
mouth setting and a big space in the back of the
throat, which is called the dome.
The dome is the high position of the soft palate
which can be described as ‘the beginning of a yawn’.
The dome gives the necessary overtones to the voice
and prevents ‘spreading’.
When the voice is spread, the vowels become
flat and ugly and the voice sounds sharp and inflexible.
When the dome is used correctly the soft palate
will have the high position which is needed for
the low, relaxed position of the larynx, because the
action of the soft palate is related to to the larynx,
thus when the soft palate rises, the larynx descends.
Once the pupil understands how the dome functions,
there will be no need for the him to try and
control the larynx through muscular action, because
the larynx will automatically be in the right position.
When the larynx is too high, one gets a pinched,
forced sound or even a ‘Kickser’ as the Germans
call it. You often hear it with tenors who don’t understand
the importance of the high soft palate.
The voice suddenly jumps up on a high note–it gets
a ‘Kickser’.
Another result of a small space in the back of
the throat is the so called ‘Knödel’, the throaty
sound that is so popular with altoes who are in love
with their own voice. Unfortunately this sound does
not get across the first two rows of the auditorium!
The dome is difficult for a beginner to understand,
but the teacher should remind him constantly
until it becomes part of his singing. He should never
confuse it with the darkened covered vowels which
the Germans call ‘abdunkeln’. The pupil should always
remember that the place is in the ‘mask’ (see
later section on resonance) and the space is in the
mouth.
To demonstrate the dome, the pupil should try
it in front of the mirror. He should start a yawning
movement and then watch how the larynx descends
into the relaxed position. He can feel his larynx
with his hand. He should also be aware that his soft
palate is in a nice high position. Now add the small
lip setting, and you have the correct singing position.
It is as if you have a hot potato in your mouth!
The mouth should never be opened too widely,
except on the very high notes. If you watch a video
of Maria Callas, you will notice that she has a relatively
small lip setting when she sings (especially
during the piano notes).
The beginner will find it difficult at first to understand
the small mouth setting without tensing
the jaw. It is important to drop the jaw into a relaxed
position without opening the mouth too much
or pushing the jaw forward. Remember, as soon as
the jaw tightens, the throat loses its openness, because
the jaw muscles are connected to the throat
and laryngeal muscles.
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The palate consists of a hard (bony) and a soft
(fleshy) part. The hard palate arches backwards from
the upper teeth and forms 2/3 of the whole palate.
The remaining third is the soft palate which is freely
movable and used to form the dome. It ends in the
uvula which extends into the pharyngeal cavity.
It is a great help to think in terms of a ‘mouth
funnel’. This means that the lips are slightly
rounded on all vowels. If you sing an ‘I’ vowel as in
the German ‘Liebe’, you should always imagine you
are singing ‘Lübe’. Or try a slight ‘O’ in ‘Madre’, or
an ‘O’ in ‘Leben’. This adds more beauty and resonance
to the sound, without distorting the vowel.
So it is with every vowel. They should all be rounded
off slightly by using the ‘mouth funnel’, but with
relaxed lips. This may sound incredible to you and
it is difficult to understand that the vowels can still
be understood even whilst using this technique, but
it is worth trying it out once. You should record
yourself singing a vowel in the so called normal
position, and then record it again whilst using the
mouth funnel. But don’t forget the space in the
back of the throat!
The dome plus the mouth funnel plus the essential
breath support, is what makes the tone beautiful,
powerful and flexible. If the mouth funnel is
not understood as the extension of the dome, you
will get distorted vowels eg ‘moin’ instead of
‘mein’.
Another great advantage of the mouth funnel is
that you should have no problem going up to a difficult
high note. An example would be the difficult
phrase ‘Constanze’ in the tenor aria in Entfuhrung
aus dem Serail. If the last two syllables are not sung
exactly in the same rounded place as the preceding
‘O’ syllable, the voice will sound strained on the
high notes. What also helps here is of course the
appoggio, which will be discussed in the next section.
The consonants, K and G are formed with the
back of the tongue against the hard palate and the
J and CH (as in ‘Mädchen’) are formed with the
middle of the tongue pushing against the hard palate.
With all these consonants the tongue is in the
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‘I’ position. The other consonants T, D, L, N, R, S
and Z are formed with the tip of the tongue. In his
attempt to bring the intensity to the point of the
tongue, the pupil tends to tighten the middle
tongue. Another problem is bringing the point of
the tongue down again as quickly as possible so that
the following vowel is not restricted by the point of
the tongue leaning against the upper teeth. (See
tongue exercises in the next section) The consonants
P, B, F, V and W are formed by the lips. They
are very important for activating the breathing
muscles (see exercises).
Whilst singing, it is a good idea to breath through
the nose and mouth. Never through the nose alone.
Firstly, the mouth breathing helps relax the jaw,
and assists in forming the dome. Secondly, one seldom
has enough time during singing an aria or a
song, to breath in through the nose alone.
Resonance The resonators are: the mouth, the
throat, the nose and (very important) the sinus cavities
in the forehead. The chest can also be a resonator
in certain low registers.
Basically, a well-placed, well-supported and
domed tone finds the necessary resonators by itself,
but it is important to understand that the singing
voice should be placed well forward. One should
imagine this so called ‘mask resonance’ as a triangle.
The highest point being the top of of the
forehead, the sides move across the cheeks, and
the base of the triangle is the lower jaw. It is not
difficult to understand, and will not be necessary
for the pupil to try and push the tone into the resonance.
Often, it is enough to think the tone into
the mask. Care should just be taken not to make
the tone too nasal.
Articulation The singer should always be aware
of the importance of diction. The reason why one
sings, is to communicate thoughts, and there is
nothing worse than a singer who does not pronounce
the words clearly. This does not mean that one should
move the lips excessively. It is possible to pronounce
clear vowels and pure consonants inside the mouth
without losing the relaxed, slightly rounded, mouth
setting.

The Appogio (Italian ‘appogiare’ - to lean) One
sings on the breath and not with breath. There
should always be a resistance, or a stopping of the
breath. This can be done with the first consonant or
vowel of a phrase and gives the necessary body connection
to the tone. Some singers think they are
supporting a tone, because they are working hard
with the breathing muscles, but if the voice is not
connected to the breath through the flexible diaphragm
action and the use of the appoggio, the
result will be an ugly flat sound with no ‘body’ to it.
We call it a ‘spread’ tone. When a phrase starts with
a consonant, and the appoggio is not used with
care, there is the danger of a ‘coup de la glotte’ or
glottal attack, which can be harmful to the voice.
The appoggio can be described as an inverted
hiccup. When we hiccup, there is a quick intake of
breath and the vocal chords close. If you place a
finger on the highest point of the abdomen, between
the two floating ribs, you should feel the
involuntary muscle contraction, and the breath leaning
against the breast bone.
The appoggio is the same action reversed. The
abdominal muscles jerk the diaphragm up. At the
same time, the breathing muscles (which, as you
will remember, are the side, back and front intercostal
muscles) go out. Try to sing the word ‘Wein’,
stopping the breath with the ‘W’, and then singing
the ‘ei’ whilst leaning into the rib muscles. You
should have the feeling of ‘sucking’ in the tone.
Whilst you sing a phrase, you should expand these
muscles even further, giving you the feeling of supporting
the voice, whilst the diaphragm is free to
do its work of controlling the flow of breath.
If one does not understand this principle, one
will never be able to sing piano. The importance of
piano singing cannot be stressed enough. It is the
basis of good singing. I would even go as far as to
say that one will never have good forte notes if they
are not sung in the same place as the piano notes. A
Wagner soprano once told me that when she has
problems attacking a difficult high note, she imagines
that she is about to sing a soft note, thereby
achieving the slender place and the flexibility which
is needed for the floating tones that can then be
crescendo’d and decrescendo’d at will. Another reason
for good breath support, is to keep the voice
young and supple. The older one gets the more one
starts ..wobbling’. This need not happen! I have
known many singers who had great careers till the
age of 65 without a wobble in sight.
General Rules
1. Keep fit! Singing is physical work. You should
train as if you were an athlete, about to take
part in the Olympic Games. And breathe in
lots of fresh air.
2. Exercise your mind! As an artist it is your duty
to see that you have a good general knowledge
of other forms of art (eg literature or
fine arts). How will you be able to understand
how to play an opera role in a 19'hh century
opera without a basic knowledge of how the
people lived or dressed in those times? You
should also be well versed in music and opera
literature. Listen to as many operas as you can.
Read about the composers and their lives. Soak
yourself in music!
3. Interpretation is more important than technique!
The reason why we work on a foolproof
technique is because we need it as a tool for
the real reason why we sing. Try and remember
from the beginning to communicate
thoughts and feelings.
4. Take language lessons. Every singer should be
able to pronounce the words perfectly, unless
he wants to stay an amateur. Especially as an
opera singer it is important, not only to pronounce
the words but to speak the language.
How will you be able to make Mozart recitatives
sound authentic if you don’t know the language
inside out? You must learn Italian and German
as well as some French.
5. An opera singer should take acting and movement
lessons. Opera is not only singing. To be
believable as a character, you must know how
to get the character across to your audience
with your body and your acting ability.
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Exercise 1
Exercise 2
Exercise 3
I have written ‘hm’ instead of ‘mm’ to prevent the pupil from making a glottal attack.
This does not mean that you should aspirate the sound. Just hum softly.
Exercise 4
Now we add a vowel to the humming sound.
The ‘MMM’ gives the necessary breath connection and brings the vowel into the right resonator. Don’t
forget to ‘dome’ or you will get a ‘white’ ugly sound.
The Italian ‘O’ vowel is best vowel to achieve the perfect sound.
Now start using other vowels, but always keeping in mind that the vowel has to be rounded off and never
spread. Even the German ‘E’ and ‘I’ must be made with the mouth funnel.
Exercise 5
Connect the one ‘N’ to the following ‘N’ by singing through the vowel so that there are no holes in the
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phrase. The consonant should be pronounced with the point of the tongue but without using the jaw which
is (as always) relaxed. Like in ‘parlato’ singing. Here we are not looking for beauty of tone, only for body
connection.
On the last note there is a fermata. This provides a good opportunity for the so called ‘sucking in’ of the
sound–holding the rib cage out whilst singing the vowel.
On the last ‘N’ the tone is automatically taken off and the diaphragm automatically drops down for the next
intake of breath.
Now you can try to sing the same scale but with different consonants and vowels.
Try it with ‘mö’ or ‘vi’ or ‘sü’, as long as it helps you to connect with the breath.
Exercise 6
Remember the parlato! Only the tongue and not the jaw! Keep the mouth funnel (high soft palate and
rounded vowels) and do not open the mouth too wide. Remember to ‘suck in’ the tone on the last vowel.
Also try other vowels eg Nu, Na, Ni, Nü, Ne.
Exercise 7
Don’t forget the breath support (feel the connection on the ‘N’) and the mouth space. In this exercise you
need even more breath support to do the last three notes evenly without wobbling. Don’t scoop up to the
notes and let the ‘N’ ring on the pitch for a second before singing the vowel.
Repeat the exercise with Nan, Nen, Nin.
Exercise 8
Remember to sing ‘through’ the consonants and connect them with the vowels.
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Exercise 9
Another one to train the breath support. You should be very aware of connection to your breathing muscles.
Exercise 10
Repeat with Nan, Nen, Nin.
Exercise 11
Now we prepare for the staccato. Cut the ‘hm’ off with a slight jerk of the diaphragm. Do not breath
between the notes, thereby keeping the rib and chest muscles out.
Exercise 12
Now we try the staccato. Do not make a glottal attack–start immediately on the note, and do not aspirate
(an ‘h’ before the note).
Keep the breath out while doing the appoggio (diaphragm jerk).
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Exercise 13
Here you could start with the ‘m’ if you find it easier.
Exercise 14
Here we increase the range. Remember to lift the diaphragm on the last seven notes.
Exercise 15
This is a good one for practising legato. Sing through the consonants and make the vowels as long as
possible, without any holes in between.
Exercise 16
Breathe between the two halves of the exercise. Also try different vowels and voiced consonants eg wang,
weng, wong, söng, süng, song, etc.
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Exercise 17
To feel the place where the ‘dome’ is. Mix the consonants and vowels in one ringing stream of tone.
Exercise 18
This one is particularly good for singing pure vowels without moving the lips too much. try to keep the lips
as closed and relaxed as possible, and form the vowels only with the tongue. Look in the mirror to see that
the lips do not move too much.
Exercise 19
Keep the mouth in one position, and try to form the vowels only with the tongue.
Using lips to form vowels only wastes valuable muscle energy.
Exercise 20
Another one for practising flexibility of the diaphragm.
Exercise 21
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Exercise 22
Now you learn the trill. Begin slowly, gradually going faster and faster until you feel you can go into the
trill. No breaths in between and remember to use the diaphragm.
Exercise 23
The same but with a bigger jump.
Exercise 24
Do not slur the notes. Think it on the same level.
Try different consonants eg ni, nu, nü, na, ne. But keep the vowels very pure.
Exercise 25
How to sing intervals without putting an ‘h’ between the notes or slurring. Think of it as one steady line.
Don’t drop the tongue too suddenly after attacking with the ‘j’. The ‘a’ should be part of the ‘j’.
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Exercise 26
Exercise 27
Remember to try and keep one line. You can also start on other voiced consonants.
Exercise 28
You should experience a strong vibration on the ‘v’. Remember the diaphragm action when you go up to the
second half of the exercise. You could also try other vowels eg vo, vi, vö, vü, vu.
Exercise 29
Again, remember to keep one line, and don’t forget to keep the lower rib and chest muscles out.
Exercise 30
Now we do it staccato. Don’t take a breath in between. Also try other vowels.
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Exercise 31
Good for learning to use as little breath as possible.
Don’t breathe in between and don’s attack with extra breath.
Exercise 32
For mixing the vowels equally and getting the voice forward in the mask resonance.
It helps if you put a ‘j’ in between eg vi-je. Also try it on vi-jo and vi-ju.
Exercise 33
For good diction and flexibility without losing the legato line.
Exercise 34
Now we enlarge the compass. Beginners should not go above their middle range.
Take a snatch breath before the staccato.
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Exercise 35
For good diction whilst keeping the legato line. You should exercise different vowels and consonants eg
mano, vanno, gioja, cielo, vieni, luna, sposa, come, credo, citta, wonne, freude, stille, keine, müde, süße,
schöne. The vowels should be very pure.
Exercise 36
To keep an open throat on all vowels.
Exercise 37
For rolling the ‘r’ and stopping the breath on the ‘s’ of ‘sol’. The crescendo and decrescendo helps you
control the breath.
Exercise 38
To sing through the consonants in a continuous flow.
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Exercise 39
Crescendo and decrescendo on a closed vowel. Give the necessary room by dropping the jaw on the vowel
but keep the lips as closed as possible.
Exercise 40
The closed German vowel helps us to practise singing piano. You could also use the Italian ‘luna’. Direct the
sound into the mask resonance.
Exercise 41
If you have too much tremolo or vibrato, this will help you smooth out the tone.
Exercise 42
This is to help you give full value to shorter, subdivided notes. Most singers have a tendency to swallow the
short notes. Here you should take care to give every note it’s full value and sing through the semiquavers
with a legato line.
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Exercise 43
Exercise 44
Exercise 45
Exercise 46
Exercise 47
Try to keep the voice very steady, and place one note carefully next to the other.
96

Exercise 48
For legato and staccato.
Exercise 49
Exercise 50
Exercise 51
Here again you can substitute the words as in Exercise 35.
Exercise 52
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Exercise 53
This is a difficult exercise, but it is very good for vocal flexibility.
Conclusion
These exercises should be done very carefully
and preferably under the supervision of a good
coach or teacher. It that is not possible, you
should record your practising and listen very
objectively to the result.
If you feel any tension in the throat, you are
probably not supporting the voice on the breath
and you have forgotten to give the yawning
space. Remember, if the throat is closed, your
voice is in a cage and can’t fly out into the high
resonating place in the forehead.
Practice every day, but don’s feel you have
to do all the exercises. Sometimes it’s enough
just to do breathing exercises and light humming.
It is not necessary to sing loudly or for
hours on end. You will only harm your voice. The
98
singing muscles are the breathing muscles and
the muscles in the back of the throat that keep
the ‘yawn’ in place. Warming up the ‘voice’ means
warming up these muscle groups and nothing
else. Doing the humming exercises is already
enough.
I wish you all the luck and success in the
world!
This article is reproduced with the kind permission of Marita Knobel,
currently soloist at the Bavarian State Opera in Munich, Germany
Professor Xander Haagen

PERSONALIA
Profiel:
Musiekeksaminatore (20)
Rina Cascione
Rina Cascione is in Calvinia gebore en begin op
sestienjarige leeftyd haar musiekopleiding in
Postmasburg by mevrou Daisy Grobbelaar,
klavieronderwyseres en moeder van Eduan
Grobbelaar, bekende musikus en later Suid-
Afrikaanse kulturele attaché in Duitsland.
Haar onderwyseres, wat lisensiate in klavier,
orrel en sang had, wek destyds groot ontsag by die
onervare Cascione en sy glimlag nou nog oor
Grobbelaar se ergernis met haar gewillige maar
soms onmoontlike plattelandse leerlinge. Onder
Grobbelaar se streng en wakende oog–wat blykbaar
aan jou sit-voor-die-klavier kon sién of jy geoefen
het– voltooi sy musiek as ‘n matriekvak en besluit
om haar verder in ‘n musiekrigting te bekwaam.
Drie jaar later verwerf sy ‘n onderwysdiploma
in musiek aan die Universiteit Stellenbosch, waar
haar besondere belangstelling en insig in
klavierpedagogiek vroeg reeds duidelik blyk. Hier
leer ken sy ook die bekende pianis, begeleier en
later direkteur van Unisa Musiekeksamens, Hennie
Joubert–een van haar destydse dosente–wat ‘n
noemenswaardige invloed op haar ontwikkeling as
toekomstige pedagoog het.
Cascione begin haar onderwysloopbaan aan die
Hoërskool Tygerberg in Kaapstad, waar sy etlike jare
aanbly. Gedurende hierdie tydperk verwerf sy ‘n
Unisa Onderwyserslisensiaat onder leiding van Sonia
Whiteman. Sy word ook deur haar vriende, die Suid-
Afrikaansgebore pianiste Johan van der Merwe en
Yonty Solomon gestimuleer om haar belangstelling
Danie Fourie
in die kuns en tegniek (tog sinonieme begrippe)
van klavierspel te verbreed en word ‘n klavierleerling
van eers Cameron Taylor en later Laura Searle aan
die South African College of Music, Universiteit
Kaapstad.
Benewens musiekonderrig, skoolkoorleiding,
optredes met die Morland-sangtrio (gestig deur
Hennie Joubert) en klavierstudie word sy
sekretaresse van die Wes-Kaapse Musiekvereniging,
‘n voorloper (onder prof HDL Bosman) van die
Kaapse Raad vir Uitvoerende Kunste. Hierdie
bedrywige en interessante skedule vul egter nie
sekere leemtes ten opsigte van haar nuuskierigheid
oor pedagogiese vraagstukke nie: Daarom vertrek
sy in 1968 na Europa, waar sy aanvanklik aan die
Conservatoire de Musique in Strasbourg klavier
(onder Hèléne Boschi), fluit (onder Jolivet) en
harmonie en kontrapunt studeer. Sy bekwaam haar
terselfdertyd in Frans aan die Institut d’Ètudes
Francais Modernes.
In 1969 woon Cascione ‘n klavieruitvoering by
van die jong pianis, Dominique Merlet, wie se
opnames met die Franse grand prix du disque
bekroon is. Sy klankkwaliteit bekoor haar in so ‘n
mate dat sy besluit om in Genéve onder Merlet se
onderwyser, die internasionaal-vermaarde Switserse
klavierpedagoog, Louis Hiltbrand (1916-1983) te
gaan studeer. Tot vandag toe beskou sy haar toelating
tot Hiltbrand se ateljee as ‘n betekenisvolle
keerpunt selfs tuiskoms in haar lewe. Sy vul
terselfdertyd haar studies aan met dwarsfluitlesse
99

(nou by André Meschini aan die Conservatoire
Populaire) asook verdere studie in harmonie en
kontrapunt.
In Hiltbrand vind sy uiteindelik ‘n benadering
tot kunstenaarskap wat haar begeester en tot vandag
bybly. Ten tye van sy dood skryf sy aldus in ‘n
huldeblyk in Musicus:
Lessons often continued late into the night, extended
by free discussions. Rather than lead a pupil
by the hand, Hiltbrand pointed to an infinite
universe. His teaching led to continuous discovery
and, despite feelings of failure, the pupil would
gradually find a new truth, one that came from his
inner self.
Hierdie benadering en filosofie word dan ook
deel van Cascione se eie onderrig-metodologie.
Haar vernuf en integriteit vind spoedig byval in
Genéve en in 1972 word sy ‘n pos aan die
Conservatoire Populaire aldaar aangebied.
100
Heimweë laat haar egter hierdie uitnodiging van
die hand wys en sy keer terug na Suid-Afrika, waar
sy in 1972 ‘n pos in die musiekdepartement van die
Technikon Pretoria (destyds die Pretoriase Kollege
vir Gevorderde Tegniese Onderwys) aanvaar. Daar
bly sy werksaam tot in 1989 alom bekend as ‘n
gesogte en beminde dosent, miskien ook vanweë
haar persoonlike innemendheid en onselfsugtige
toewyding aan haar studente se welstand en werk.
Gedurende hierdie jare behaal sy die ewige student–boonop’n
BA-graad (Unisa) in musiek- en
kunsgeskiedenis.
Sedert die sluiting van die Technikon se
musiekdepartement is Rina Cascione ‘n bedrywige
privaatonderwyseres, Unisa-eksaminatrise,
kunswedstryd-beoordelaar en aanbieder van
meestersklasse. Sy behou kontak met haar
Europese vriendekring van wie baie suksesvolle
uitvoerende musici en gerespekteerde onderwysers
aan konservatoriums in Nederland, Duitsland,
Switserland, Frankryk en Italië is. Sy reis gereeld
oorsee saam met haar Italiaanse eggenoot, Paolo,
en bly so op hoogte van nuwe perspektiewe en
ontwikkelinge op die gebied van klavierspel en
onderrig. Só woon sy byvoorbeeld dikwels die
jaarlikse Rencontres in Thonon by wat jare gelede
deur Hiltbrand ingestel is.
Indien ‘n mens Rina Cascione se vele pluspunte
liefde vir haar vakgebied, professionele
ondervinding, menslikheid, sensitiewe intelligensie
en integriteit bymekaar voeg, formuleer jy ‘n resep
wat die aard van die ideale opvoedkundige omvat:
Unisa se musiekeksamenkandidate moet sekerlik
baie baat vind by só ‘n ingesteldheid!
Danie Fourie, ‘n oudleerling van Rina Cascione, is tans pianis aan
die Balletskool van die Universiteit van Kaapstad

Claude Brown
(23.04.1901 - 05.12.1973)
A personal tribute
Claude Englefield Brown–the centenary of whose
birth we celebrate this year–was born on 23 April
1901 in the Leicestershire market town of Melton
Mowbray. Despite the fact that he played such an
important part in my life while I was a pupil of his
at the Diocesan College, Cape Town, I know very
little about his early background. For all his later
public persona he remained an essentially private
man, and what is known about his life before he
came to Bishops (as the Diocesan College is locally
known) can be briefly told.
From 1915 tot 1924 he was a chorister at Worcester
Cathedral. Whether or not he received his early
education at the Cathedral Choir School, and why
he began his choral career at the comparatively
mature age of 14, must both remain matters for
conjecture. In any event we do know that in 1924
he became ‘pupil-assistant’ to Dr (later Sir) Ivor
Atkins, organist of Worcester Cathedral at the time.
There could hardly have been a better apprenticeship
for the profession he was eventually to enter.
Not only did it bring him into direct, working
contact with one of the most eminent Cathedral
musicians of the day, but it introduced him to the
great tradition of Anglican liturgical music, a tradition
which stretches in an unbroken line from Tudor
times to the present. Last but not least it
brought him into regular proximity with one of the
greatest composers of the time, Edward Elgar, who
was not only a personal friend of Atkins, but whose
works were regularly performed at the Worcester
meetings of the Three Choirs Festival, often under
Elgar himself.
In 1928 Brown was appointed assistant music
master at Wellington College, Berkshire. Two
alumni of the College whom I subsequently got to
know both spoke to me warmly of him. One was
the eminent English composer, John Gardner. The
John Joubert
other was Anthony Lewis, who was Professor of
Music at the University of Birmingham when I was
appointed to a lectureship there in 1962.
Brown was made a Fellow of the Royal College
of organists in 1932, and two years later was appointed
Director of Music at Bishops, a post he was
to hold for thirty-one years. It was in his second
year at the school when, a rather frightened and
not particularly musical eight-year-old, I first encountered
Brown. I was a member of his weekly
music class, a compulsory part of the Bishops Preparatory
school curriculum The classes were held
in a sparsely furnished converted stable whose only
available musical resources consisted of an upright
piano, a wind-up gramophone and a music blackboard.
As was the practice in those day the basis of
school music was singing, the repertoire consisting
largely of traditional English folk songs, ballads and
sounds. But in addition to singing we learnt to identify
cadences, time-signatures, modulations and
simple musical forms; how to recognize intervals
and instrumental timbres, how to beat time. And
above all we learnt how to listen to, and eventually
enjoy, pieces played on the gramophone, or on the
piano by Brown himself. It was a musical education
in miniature.
With my move to the senior school in 1940 my
participation in music classes came to an end, but
the interest in music these had awakened in me
continued to develop, so much so that in 1942 I
decided to take music as a school subject in furtherance
of my determination to become a composer.
Here I came into contact with Brown again,
not as a member of a class but in a one-to-one master-pupil
relationship. My private teacher in composition
was WH Bell, the retired head of the South
African College of Music, but Brown (now Doctor
101

Brown as in 1940 an Honorary Doctorate had been
conferred on him by the Archbishop of Canterbury)
taught me everything else required for matriculation
in music, including piano, harmony, counterpoint
and history of music. He also gave me organ
lessons, and, in order to get me as fully involved as
possible in the musical activities of the school, enlisted
me in the chapel choir and the School Choral
Society. He threw every chance in my way of participating
in music-making on a practical level, and
I was soon to find myself not only rehearsing and
conducting the chapel choir but composing for it as
well. But for me perhaps the most revelatory choral
experience of those years was the opportunity
of taking part in the first performance in South Africa
of Bach’s Mass in B minor. This took place in
the City Hall, Cape Town, in 1944, and involved
the combined choirs of Bishops’ Chapel, the School
Choral Society, and Brown’s own melodic madrigal
choir, whose conductor he had been since soon after
his arrival in South Africa. This was to be the
first of a number of such collaborative ventures by
means of which Brown extended his activities into
the wider sphere of Cape Town musical life, and
involving, as it did, the professional services of the
Cape Town Municipal Orchestra (as it was then
called).
Brown’s capacity for work at this time was indeed
prodigious. Almost single-handedly, with very
little ancillary or part-time help, and with few of
the mechanical or electronic aids available today,
he ran the chapel music both as organist and choirmaster;
he was responsible for organising and con-
102
ducting the school orchestra and Choral Society;
he gave individual piano and organ lessons, and
taught music as a subject to matric level: all this in
addition to his classes at the Preparatory School.
As if this weren’t enough he was continuously engaged
in running battles with those elements within
the school–and their influence was both powerful
and pervasive–who considered sport to have first
claim on how boys spent their leisure time. There
was nothing Brown enjoyed so much as a good fight,
and not the least of his victories was the eventual
recognition of music as a legitimate and valuable
school activity–on a par with rugby or cricket in its
educational and re-creative potential.
The benefits to a young composer of such a flourishing
musical environment can hardly be exaggerated,
and I was determined to make the most of it.
I was empowered and encouraged to take part in
performances of great music; to compose for the
resources available; to rehearse and direct my colleagues
in my own early creative efforts. Brown’s
personal and musical links with Elgar, the Anglican
tradition and the Three Choirs Festival were specially
significant, and it has been a great source of
satisfaction to me to have been able to maintain
those links, and perhaps even add to them through
my work as teacher and composer. Though still resident
in Birmingham, the city where the great Elgar
choral works were first performed, I have never forgotten
that my first experience of hearing them
was acquired in Brown’s cramped little study at Bishops,
played and sung by him in his own inimitable
manner all those years ago.
Brown retired from Bishops in 1965, and went
to live in Port Elizabeth. It was there we met for
the last time while I was on a visit to South Africa
with my family in 1968. It was an evening which
brought back many memories and occasioned much
laughter, a capacity for which Brown was richly endowed.
I have before me as I write the Order of
Service for his funeral in 1973. Not surprisingly all
the musical items consist of anthems and hymns he
had learnt to love–and had taught all those who
remember him at Bishops to love–from his earliest
days under Ivor Atkins in the choir stalls of Worcester
Cathedral.
The distinguished South African born British composer,
Dr John Joubert, lives in Birmingham, United Kingdom at present

Tribute to Lionel Bowman
Part Three: teaching career
In the previous two articles, we focused on Lionel
Bowman as a youngster, his early development
as a pianist, his studies in London and his blossoming
international career. In this, the last part
of the series, we look at some of Lionel’s experiences
as a teacher, touch on his years of retirement
and record some of his personal reflections.
The article is based, like its predecessors, on taped
interviews with the master over the last two
years.
Return to South Africa
Many people have wondered why a prominent pianist
like Lionel Bowman, who achieved so much
success and recognition, particularly in England
where he studied and performed for many years,
eventually pursued a teaching career in South Africa
and not at the Royal Academy of Music in London
or some other distinguished British institution.
Lionel says that, although he had done some informal
teaching in England, he did not at the time
consider a teaching career seriously as his piano
career was developing internationally. Nevertheless,
some job offers were made to him which, by his
own admission he handled rather poorly through
lack of experience. He did not submit ‘proper applications
or even a decent CV’.
Yet, it was difficult to earn a regular income
through recitals and other performances and by January
1958 when Lionel visited South Africa and other
Ella Fourie
African countries on a concert tour, he was more
susceptible to a permanent employment offer than
he had been before. Leo Quayle was due to leave
the Conservatoire at the University of Stellenbosch
to take up the position of Head of the Music Department
at the University of the Orange Free State,
and Lionel was approached to replace Leo at
Stellenbosch. He expressed an interest and while
he was in Salisbury in the then Southern Rhodesia,
he received a telegram from Stellenbosch offering
him a position as Senior Lecturer in Piano at the
Conservatoire. He discussed the offer with a South
African diplomat in Salisbury who advised him to
negotiate a higher salary, which he successfully did
before accepting.
Lionel’s formal career as a piano teacher began
in July 1958 when, after briefly returning to England
to settle his affairs, he arrived in Cape Town
by ship on the Friday before the start of the second
semester at Stellenbosch. He vividly remembers his
brother meeting him and telling him that he would
need a car since he had to be in Stellenbosch at 2
p.m. that same afternoon for a meeting with George
van der Spuy. Lionel knew little about cars, and had
not driven one for a long time. He noticed an orange
Volkswagen passing and, on the spur of the
moment, told his brother that he would like to buy
‘one like that’. They went to a car dealer, and insisted
to a flustered salesman that, since they were
paying cash, he had to complete the deal and li-
103

Lionel Bowman rehearsing Beethoven’s 4th Paino Concerto at the
Royal Festival Hall, London, with the London Symphony
Orchestra conducted by Railton Kisch
cence the car within two hours. Amazingly, they
succeeded and Lionel drove to Stellenbosch straight
away. After the meeting, George van der Spuy took
him to a hotel, where he stayed until he found a
spacious single-bedroom flat.
The first few weeks in Stellenbosch were very
difficult for Lionel. He had to find his way around
town and at the Conservatoire without assistance.
He had not been formally introduced to his students,
and had to get to know them as they turned up for
lessons. Most of them were Afrikaans-speaking and,
despite his roots in Koffiefontein Lionel understood
very little of the language. He immediately enrolled
for Afrikaans lessons, which he found difficult to
cope with.
Initial culture shock
It took Lionel quite some time to adapt to his new
environment and to what was, in essence, an entirely
new way of life.
He had spent many years in England and particularly
in London, one of the great cities of the
world with a vibrant cultural life and cosmopolitan
atmosphere. There his life had revolved around his
own career as a pianist and a large variety of musicrelated
and other social events. The move to a small
South African town, albeit one where many of South
Africa’s cultural roots lie, was a severe shock to him.
Stellenbosch and its university were dominated by
104
Afrikaner culture and traditions and since Lionel
had never really lived and worked amongst
Afrikaners, he tended to associate all Afrikaansspeakers
with the apartheid system which he had
come to abhor during his years abroad. He had got
to know Stellenbosch colleagues such as Arnold van
Wyk and Hubert du Plessis in London, but then,
they were ‘different’ from the Afrikaans students
and most of the other university staff he met in
Stellenbosch. He recalls several uncomfortable incidents
because he could not accept the attitude of
many students and also some of his colleagues to
Lionel Bowman’s name appearing with the leading international
pianists of the day in the announcements of the 1956 Wigmore Hall
Pianoforte series

Lionel Bowman at a rehearsal with the Radio Orchestra in Athens
social issues. Lionel feels that many Stellenbosch
acquaintances had difficulty relating to him since
he ‘never behaved as Afrikaans people do’. He used
to ‘say any old thing’ and spoke up openly about
political matters, and was consequently considered
by many to be ‘way out’. Today Lionel admits to
initially having been very unhappy in the small village
surroundings of Stellenbosch.
The fact that he was Jewish did not make things
any easier. He believes that he may have been the
first Jew to be appointed to a lectureship at the
University of Stellenbosch. He could not understand
why he had to apply for vacation leave on Jewish
holidays. This, he says, made him feel like an outsider.
Yet, again his sense of humour comes to the
fore. During a lesson one of his students asked: ‘Is
Meneer dan ‘n Jood?’ to which he retorted in his
best Afrikaans: ‘Ja, het jy dan nog nooit ‘n Jood
gesien nie?’ Lionel laughs with relish when he relates
her bewildered reply of ‘Nee, gonna Meneer!’
The ups and downs of teaching
At the age of 38, says Lionel, he now had to do
some ‘real teaching’ for the first time in his life.
This required an enormous adjustment. He had
learnt no ‘real method’ from any teacher that he
could apply in his own teaching and thus had to
invent his own ideas. In the beginning, he did not
know how to set about his teaching task and admits
that it was mainly based on trial and error. Yet, he
took a keen interest in his students and really
wanted them to develop and to play better. Over
the years, he certainly succeeded in this. Many
prominent South African musicians and teachers of
today were taught by Lionel and he often refers
with pride to the achievements of some of his
Stellenbosch students.
What Lionel found most taxing at first was to
teach for long hours and at the same time keep his
own piano playing up to standard. He had for some
years already been struggling with general ill health
and a painful hand condition and now he also started
developing bouts of emotional depression. He came
to feel that life had ‘dumped’ him on the wrong
side of the world.
Something which added to his distress was the
poor standard of piano playing that he initially encountered
at the Conservatoire. He had become accustomed
to the extremely high standard at the
Royal Academy in London where most students were
scholarship winners and, as such, very good pianists.
The standard concert repertoire was performed
regularly and with excellence by Academy students.
His first shock came when one of his students told
him that she had not yet learned the scale of A flat
major. For Lionel, knowing all the scales and being
able to play them well was a prerequisite for any
student to enter university studies. He had a similar
experience at the first final year examination,
which he had specifically been asked to examine on
his own. Expectations were that both candidates
would pass with a high distinction yet Lionel was
amazed that this expectation did not accord with
his own judgement. It created quite a stir when,
with much reluctance, he awarded only one distinction.
Of course Lionel soon realised that the poor
standard of playing was not necessarily related to
innate lack of ability but often had its roots in a
musically deprived background. He recalls an occasion
when he instructed one of his students to try
and ‘make the melody sing like a ‘cello’. Her em-
105

arrassed response was that she did not know what
a cello sounded like. Lionel’s amazement was tempered
by the realisation that some of the students
came from out of the way places where they had
probably never had occasion to see or hear instruments
other than the piano and the church organ.
Given this shortcoming in the musical background
of many students Lionel found the lack of
interest shown by students in music activities other
than their own playing, even more amazing. To this
day, the fact that only a few of his students attended
his own or other concerts is still a source of disappointment.
In London, his experience had been that
music students barely missed any concert.
Of course, strict university rules did not make
things easy for the students either. As a newcomer
to Stellenbosch Lionel was disturbed to learn, when
he encouraged his students to attend a concert by
the famous diva Victoria de los Angeles, that first-
106
year students were not permitted to leave the hostels
at night. This frustrated him no end as he felt
that students were being deprived of an important
part of their education. He was adamant that this
rule should be changed and instructed the first-year
students to ‘tell the “huismoeder” that you are going
because I said so and that I will explain to the
Rector tomorrow’ – which he did.
Lionel’s disillusionment at Stellenbosch reached
further than the disappointments he experienced
Lionel Bowman acknowleding applause after playing Beethoven’s 1st Piano Concerto with the University of Stellenbosch Orchestra in the
Endler Hall, Stellenbosch
as a teacher. He recalls that on a particular occasion
when he was hurriedly on his way to have a piano
lesson with a prominent pianist and mentioned this
to one of his colleagues, he was warned not to say
anything to his own students as they would be very
disturbed to hear that he still ‘took lessons’. To
Lionel this was ridiculous since in London, teachers
and pianists all played to each other and he him-

self had often worked with pianists like Moura
Limpany and Maria Donska, a famous pupil of Arthur
Schnabel’s.
One incident though, did lift Lionel’s spirits
during his first few months of difficult adaptation in
Stellenbosch. Six weeks after his arrival he had to
Since 1946 Lionel Bowman made many concerto and recital
appearances for the BBC
fly back to England for some playing engagements.
On his arrival in London, a BOAC stewardess asked
him whether he was Lionel Bowman, and then told
him that ‘the newspapers are waiting outside’. The
next day a photograph of Lionel standing at the top
of the aeroplane’s staircase appeared on the front
page of both the Evening Star and the Evening Standard.
One of the captions read: ‘Pianist flies 6000
miles to play at the Proms’.
A few years after Lionel started teaching at the
Conservatoire, he began a series of master classes.
These classes were open to any student and were
often attended by colleagues from other disciplines
and also members of the public.
He conducted the classes in Afrikaans since, by
then he had come to grips with the language to
some degree. This gave rise to an incident which
Lionel enjoys relating. On one occasion, while he
was discussing aspects of the forearm touch, a student
asked him: ‘Meneer hoe speel ‘n mens die
slang se kop?’ He used to call the forearm touch
the ‘cobra touch’, because the action is similar to
that of a snake when it strikes. Lionel demonstrated
the movement and then asked the student to try it.
She could not get it right and in desperation Lionel
called out, ‘Gooi op, gooi op!’ meaning that she
had to lift her forearms high. The audience was hysterical.
Someone explained to him that the phrase
he had used was the Afrikaans for vomit. At this
point, the well-known professor Kempen of the
University’s Department of Afrikaans-Nederlands,
who happened to be in the audience, intervened by
saying that since South Africa was a bilingual country
Lionel was perfectly entitled to speak English.
This Lionel promptly did.
Sadly, the master classes were discontinued after
some of Lionel’s colleagues complained that the
students were ‘becoming mixed up’ by his suggestions.
This was a great disappointment to him because
he and many others considered the classes to
be very valuable. On reflection he understands that
it might have been confusing for some students to
be exposed to his ideas while they were still struggling
to understand the ideas of their own teachers.
He realises now that the kind of work that he
did in these classes was probably better suited to
more advanced students.
In time, Lionel settled down to a routine of
teaching interspersed with regular concert appearances
in South Africa, England and Europe. He continued
his concert career until his fiftieth year. All
the time his teaching skills developed until he was
one of the names amongst South African piano teachers,
attracting some of the best students to
Stellenbosch.
107

In all the years of teaching, Lionel never became
an examiner for Unisa, a fact that many South
African music teachers have remarked on and wondered
about. Lionel relates that he was once persuaded
to do the examiners course, but that he could
not quite come to terms with the system. During a
trial examination he was asked to comment on the
way a Grade 1 candidate had interpreted the prescribed
pieces. His reaction was that one should not
expect a small child to have any sense of interpretation.
At that stage of their training youngsters
should only able to play ‘the right notes with the
right fingers, and get full marks for that’. Of course,
Lionel was used to working with more advanced
students and this could explain his reaction. Nevertheless,
he decided that examining was not really
for him.
In later years, he was invited to serve on the
jury for the SABC Prize and the Unisa International
Piano Competition, and naturally found this to be a
totally different experience which he, as a noted
concert pianist and teacher, found thoroughly stimulating.
After ten years at Stellenbosch Lionel was promoted
to Associate Professor. Although he did not
have any formal academic qualifications and the
stated minimum requirement for this position was
a doctorate, he earned the honour through his reputation
as a pianist and his dedication and success as
a teacher. As could be expected, however, the promotion
was not without controversy. Lionel recalls
that after the first round of interviews the Head of
the Music Department had been compelled to ask
him to physically produce the medals and certificates
he had been awarded by the Royal Academy
in order to satisfy the Selection Committee that
they indeed existed.
Retirement
At the age of 64 Lionel, who had always been highly
strung and had battled for many years with ill health,
had a nervous breakdown. This convinced him that
108
the time to retire had arrived. He settled in his flat
in Sea Point, to which he had been commuting on
weekends for many years in order to be close to the
sea and to see his family and friends who lived in
the city. In his retirement he has been living an
active social life, maintaining regular contact with
the wide circle of friends and acquaintances that he
developed over the years. He also became increasingly
involved with fundraising projects for the now
defunct Cape Town Symphony Orchestra and later
the Cape Town Philharmonic, as well as for the Red
Cross. His life now revolves around caring for others
as much as possible. He maintains that for him
it has become important to help where he can.
Lionel reached the milestone age of 80 in 1999,
still in relatively good health despite the ailments
that had plagued him for so many years. Deservedly,
he was honoured on this occasion by many
friends and ex-students.
In Cape Town a gala concert was initiated by
Gustavo Romero, celebrated pianist from the USA
and close friend of Lionel’s. Romero played Lionel’s
favourite Beethoven Concerto, the fourth, with the
Cape Town Philharmonic Orchestra which was conducted
by David de Villiers, an ex- student of Lionel’s
who is currently Head of Conducting at the Folkwang
University in Essen, Germany and who came to South
Africa especially for the occasion. This concert was
at the same time a fundraising event for the Orchestra.
A second gala concert was organised by the Department
of Music of the University of Pretoria,
which at the time had the distinction of having seven
of Lionels’ ex students on its staff. Here Romero
gave an all-Chopin recital in honour of the master.
True to his character Lionel, the supporter of
various deserving causes, used the occasion of his
80th birthday to start a fundraising project for an
all-Beethoven piano competition. Through an appeal
to corporations, ex-students, friends and relatives
Lionel raised R90 000 which he donated in
equal parts to the music departments of the Universities
of Cape Town, Stellenbosch and Pretoria.

The first annual ‘Lionel Bowman - Beethoven Competition’
was held by each of the institutions in 2000.
Lionel was again honoured by being invited to be
the sole adjudicator on each occasion.
Teaching method and Australian links
Lionel’s teaching career at Stellenbosch spanned a
period of 26 years during which he worked with
many students and shared thoughts with many colleagues
and other musicians.
During these years he learned a lot about technique,
especially through working with, as he fondly
calls them, the ‘domkops’ (weak students) at
Stellenbosch. A unique teaching method which concentrates
on basic principles and techniques associated
with hand and arm movements, slowly evolved.
Lionel sums up his method by saying that it ‘ensures
control and through control, security’. This
makes students play better because ‘they feel good
and they know what they are doing’. The success of
his method has been proven over and over with the
results he achieved, even with weaker students.
Thus, the foundation was being laid for a final significant
step in the story of Lionel Bowman, the
piano teacher.
However, as is so often the case with successful
innovation, Lionel’s piano method is another example
of a prophet not being honoured in his own
country. It took a distinguished Australian musician
to give Lionel’s achievement the prominence it deserves.
It so happened that Professor Michael Brimer
of the College of Music at UCT one day called Lionel
in desperation. He had to give a concert and was
having a problem with one of his pieces. Lionel suggested
that he come and play for him. Brimer was
overawed when Lionel detected and helped him to
overcome the problem within minutes.
Some time later Brimer emigrated to Australia.
On occasion, when Lionel was travelling to Japan
via Perth and Adelaide, Brimer invited Lionel
to visit him in Perth. At a dinner party Brimer mentioned
to Professor David Tunley who was then at-
tached to the School of Music at the University of
Western Australia, that Lionel had developed a
‘unique teaching method that works’. Lionel agreed
to demonstrate the method for Tunley the next day.
Tunley was so fascinated that he called the Head of
the School of Music, Sir Frank Callaway and other
colleagues to the demonstration and, as Lionel puts
it, ‘they all had a go at it’.
On arrival in Adelaide Lionel heard that Tunley
had phoned ahead to spread the news of his successful
teaching method. Lionel was asked by the
prominent pianist Clemens Leske to demonstrate
his method. As was the case in Perth Lionel’s demonstration
had a great impact on all present and
this led to an invitation to present master classes
and concerts in Perth and Adelaide the following
year. The success of these engagements resulted in
further visits to Australia in ensuing years. On one
of these visits, he met the well-known pianist, lec-
109

turer and teacher Wallace Tate. Tate asked to have
private lessons with Lionel and was so impressed
that he undertook to write a book on Lionel’s teaching
method. This book titled The Magic Touch was
published by Wallace Tate at the end of 2000.
Personal reflection
Looking back on his life as an artist and as a teacher,
Lionel paints a picture of a complex and, by his own
admission, a volatile personality whose actions were
often emotional and impulsive instead of rational
and intellectual. To those who have known him over
the years, loved him and even crossed swords with
him, these insights may provide a better and more
meaningful understanding of a man who has made a
deep impression on the South African music scene
and was one of the first South African musicians to
make an impact on foreign shores.
He admits that he did not really work hard, and
did not know how to work before he was about forty
years old. Until then, he had had difficulty understanding
himself, and in a certain sense lived rather
aimlessly. His whole education had been ‘haphazard’
and he considers it ‘something of a miracle’
that, despite this, he had a good career. His career
was coloured by some ‘awful disasters’ as well as
wonderful successes. He always suffered from ill
health, and was on painkillers for a large part of his
life, which at times hampered his playing. But, says
Lionel, he always tried to maintain a certain standard
in his playing and in his teaching, without trying
to over-excel. This, to his mind, may be the
reason why he survived as a pianist, as a teacher and
as a person.
He does not consider himself to be ‘a really deep
musician’ but rather a fortunate pianist who lived
in the right place at the right time. Ambition al-
110
Ella Fourie, a former student of Lionel Bowman, is Associate Professor in
the Department of Music of the University of Pretoria
ways drove him. He loves music, not for music itself,
but for his own sake. He never felt the need to
collect records and to spend long hours listening to
the great pianists although he was advised by others
to do so. He found that his playing became artificial
as he tried to imitate their playing. He realises
though that his playing was not consistent and that
he only played his best when his instincts took over.
He admits that it could be expected that he, as a
trained musician, should have followed the conventional
lines, but he never did, he never fitted into a
conventional setup.
Teaching came through experience. For Lionel
the most important aspect of teaching is to teach
students how to teach themselves. He maintains that
talented musicians usually play instinctively. They
do not really need excellent teaching because playing
comes to them naturally. Though he did study
with some excellent teachers, they never taught
him how to cope with difficult passages or how to
correct movements or other mistakes. The reason
for this, he thinks, might be that playing came very
easily for him.
Lionel feels that there is a certain part of him
that never experienced satisfaction – was never fulfilled.
Yet, today he is at peace with himself. For
him, he says, wisdom came with age. He reflects
that ‘the nice thing about teaching is that you become
friends and keep in touch. Some of your students
become lifelong friends; some become your
best friends’.

IN MEMORIAM
Anna Maria
(Duxie) Joubert
(30.11.1919 - 11.08.2000)
Duxie is gebore te Sakrivier in Boesmanland. Sy
het in die Paarl, op La Rochelle, skoolgegaan. Haar
studies in klavier, viool en orrel het sy aan die
Universiteit van Stellenbosch voltooi. Sy het
klavierlesse ontvang van professor Fismer en was ‘n
tydgenoot van Arnold van Wyk. Vanaf 1940 tot 1946
het sy die pos van lektrise in klavier en orrel aan
die Konserwatorium vir Musiek in Stellenbosch
beklee. Sy verwerf die UOLM (klavier) in 1938, die
UOLM (orrel) in 1939 en UVLM in 1942. (Dit sal
miskien interessant wees om te noem dat professor
Hennie Joubert sy eerste orrellesse aan US van
Duxie ontvang het.)
In 1945 is sy getroud met Tobie Joubert wat
lektor in Genetika aan dieselfde Universiteit was.
Die volgende jaar het hulle na Pretoria verhuis waar
sy privaat musieklesse gegee het en ook aan die
Normaalkollege verbonde was.
Uit die huwelik is twee dogters gebore. Die
oudste, Sjarlene, het begin met ‘n BA (Musiek) aan
die Universiteit van Stellenbosch, maar het na die
graad oorgeslaan na tale. Dit is opgevolg met
honneursgrade in Engels, Duits en Latyn. Later ‘n
doktorsgraad in Latyn. Sy is vandag verbonde aan
die Departement van Klassieke Tale by die
Universiteit van Stellenbosch waar sy senior lektrise
in Latyn is. Haar man, professor Johann Thom is
hoof van die Departement van Klassieke Tale.
Die ander dogter, Minette, het musieklesse van
professor D Roode ontvang. In haar matriekjaar wen
sy die FAK beurs vir musiekstudie, asook die Buy-
Aid beurs in ‘n landswye kompetisie. Daarna behaal
sy ‘n BMus en BMus(Hons) aan die Universiteit van
Stellenbosch. Sy aanvaar ‘n pos van lektrise in
musiek aan die Universiteit van Potchefstroom. Sy
is getroud met Philip Nortjé, ‘n landskapargitek en
hulle woon nou in Kanada.
In 1954 word Duxie orreliste van die gemeente
Groenkloof in Pretoria. Met afstigting het sy
orreliste van Waterkloof geword. Die pos het sy met
groot onderskeiding beklee. Sy was ook een van
die eerste orreliste wat in Pretoria begin het met
kerssangdienste. Dit was gewoonlik die laaste
Sondag in November, aangesien ‘n groot aantal
gemeentelede met vakansie in Desember was.
In 1961 is sy aangestel as eksaminatrise by Unisa.
In hierdie pos het sy die land kruis en dwars deurreis.
Ook drie keer deur Namibië. Sy het in 1992 afgetree
111

na ‘n periode van sowat 30 jaar. Die tyd by Unisa
het sy baie geniet en baie musiek vriende gemaak.
Daar was ook komiese voorvalle. Soos toe sy en pro-
fessor Hennie Joubert na Port Elizabeth was om daar
te eksamineer. Die hotelle het hulle gewoonlik saam
bespreek as professor en mevrou Joubert.
112
Sedert 1993 het sy en haar man permanent in
Stilbaai gaan woon. Sy het egter nog daarna ‘n hele
paar van Unisa se Internasionale Klavierkompetisies
saam met haar goeie vriendin, Nettie Immelman,
bygewoon.
Duxie is na ‘n huwelik van byna 55 jaar in Stilbaai
oorlede.
John Roos direkteur van die Unisa
Musiekstigting:
Graag huldig ek die nagedagtenis van Mev Duxie
Joubert as ‘n veelsydige musikus wat op haar stil
manier diep spore in Suid-Afrika se musieklewe
nagelaat het in ‘n loopbaan wat oor ‘n halwe dekade
gestrek het. Sy was ‘n praktiese musikus in murg
en been - ewe tuis as violiste in ‘n boeremusiekorkes
(in haar studentejare), as kerkorreliste, as
koorleidster of as musiekeksaminatrise.
Duxie Joubert was altyd bereid om persoonlike
opofferings ter wille van die musiekopvoeding van
ons jeug te doen. Ek onthou goed hoe sy selfs oor
naweke pakke en pakke musiekteorievraestelle
nagesien het sodat die uitslae betyds deur Unisa
aan kandidate beskikbaar gestel kon word.
Haar beginselvastheid en onkreukbare karakter
was vir my persoonlik ‘n groot bron van inspirasie
tydens die talle eksamenreise wat ons landswyd saam
onderneem het. Alhoewel sy my senior was wat
ouderdom aanbetref, het sy my altyd soos ‘n kollega
en vriend behandel.
Die jong geslag musiekkandidate pluk tans die
vrugte van haar bydrae tot die uitbou van ‘n gesonde
musiekeksamenstelsel soos dit deur Unisa bedryf
word.

Frederick Alexander Haagen
(25.05.1924 - 27.12.2000)
Singing Teacher, Composer,
Producer, Baritone
Frederick Alexander Haagen was born on the 25th
of May 1924 in Keetmanshoop, Namibia. After matriculating
at the Jan van Riebeeck High School in
Cape Town, he went on to study BCom at the University
of Cape Town. During this time he started
taking singing lessons with Rosita Silvestri, and
Alessandro Rota. In 1964 he went to London where
he studied with Professor Gustave Sacher and later
with Frederick Field-Hyde at Cambridge University.
He also attended some memorable master classes
with the best Wagner singer of her time, Kirsten
Flagstad. During this time he sang in six musicals
(where he even went on tour with a very young
Dirk Bogarde).
On the 19th of February 1950 he gave a lieder
recital (Mahler’s Lieder eines fahrenden Gesellen)
with the Concertgebouw Orchestra in Amsterdam,
which was followed up by a tour through Holland
and Germany. He then went on to study with Professor
Maria Hittorf in Vienna.
In 1956 he came back to South Africa and went
on a country-wide lieder recital tour.
It was during this time that he realized what his
real purpose in life would be. He had discovered
that, although considered a promising singer, he
was suffering very much under the extreme pressures
of performing in public, and stage fright became
a big part of his performing. He made a conscious
decision not to pursue a career as a solo singer
and to dedicate his life to teaching other promising
young singers.
He took on a position as singing teacher at the
South African College of Music at the University of
Cape Town, where he also took singing lessons from
Madame Adelheid Armhold, who proved to be the
most important influence in his teaching career.
During this time and also later on in his career, he
took part in opera and operetta productions, but it
became continually more difficult for him to perform
in public.
In 1961 Xander Haagen was offered the position
as singing lecturer at the new music department at
the University of Pretoria. He then not only discovered
his talents as a producer (performing many
operas with his students) but also became a prolific
composer. His operettas Aandster Ver, Opsitkers en
Vonkelwyn and Haaipolfaai en Tierlantyn were performed
many times with great success. He also composed
the radio opera Frederick en Bastiana for the
SABC, which was broadcast as part of the Jan van
Riebeeck festivities.
After leaving the University of Pretoria in 1970
he taught at the Pretoria Educational College for
four years, and in 1975 he emigrated to Cologne,
Germany to open a private singing studio. He
worked with some of the top soloists at the Cologne
City Opera and also lectured at the Music
Conservatoire in Siegburg and the Music School in
Bonn. His pupils, Marie Collier sang at Covent Garden
and Elisabeth Payer-Tucci sang Sieglinde at the
Metropolitan Opera, to mention just a few.
In 1983 he was appointed Professor of Singing
at the Staatliche Musikhochschule, Freiburg. When
he retired in 1989 he continued teaching privately,
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traveling regularly to Munich, where he taught many
of the soloists and chorus members at the Bavarian
State Opera.
He died on the 27th of December 2000 in
Freiburg.
Tributes by his pupils:
Marita Knobel, Munich, Germany
When I met Xander Haagen in March 1961 at
the University of Pretoria, and started taking singing
lessons with him, a new world opened for me.
He not only gave me the technical basis for a successful
singing career in Europe, but (far more important)
taught me what it meant to be an artist
and not just a singing instrument. He taught us
(George Kok, Ina Di Michele, Antoinette Gouws,
Gerda Hartman, Barbara Veenemans, Joan Wilken,
Bronwen Basson, De Wet van Rooyen and many others)
what it meant to be a singer in the deepest and
most meaningful sense of the word. He was a fine
actor and although far too nervous to perform him-
114
self, he could show us how to communicate a musical
thought. We learnt to move on stage, how to
use props, how to make a gesture count. We learned
how to sing Mozart recitatives and I will always be
thankful that I already knew how to sing recitatives
when I started my career in Germany. I have met
many singers who have never learnt how to execute
this very difficult part of opera singing.
We were so ignorant and so eager to learn! He
taught us what music to appreciate, and how to listen.
He taught us how to walk onto the stage during
lieder recitals, how to take a bow and what to
wear. We had to bring our dresses to the rehearsals
and he discussed in detail the importance of appearances
on stage. He knew so much! He brought
European flair into our dull little Pretoria lives–
none of us had ever been overseas and he had so
much to tell us about his experiences there.
He was always a gentleman, always charming and
the most generous person I knew. Many were the
days when he invited us all to lunch at his house
looking over Magnolia Dell, where we discussed
everything under the sun.
And most important of all–he taught us to laugh
at ourselves and know what to take seriously and
what not. He was very witty and humorous and we
laughed a lot!
He could also be sarcastic at times and did not
suffer fools gladly–one had to be tough to survive
him!
In Germany, he was considered by many to be one
of the finest teachers in Europe. His singing method
was founded upon a very deep knowledge of the
singing instrument. He had an excellent diagnostic
ear and saved many voices from ruin. He knew how
to invent exercises for every individual problem.
He would sometimes call me the day after a lesson
and spend an hour on the phone giving me the new
exercises that he had devised during the night, specifically
for a problem that may have developed.
But I think his most important characteristic was
his unbounded enthusiasm and enjoyment of life.
Even when he started becoming very frail, he could
still call up the energy to enjoy and love a beautiful

voice, and could sweep the pupil up into an orgy of
singing and performing.
He is sorely missed!
Lianda Martin, National Library of South
Africa, Cape Town
Xander was for me the epitome of all that was
elegant, witty and beautiful. Although my memories
of him are limited to my years as a drama student
and young actress, 30 years ago, I still remember
to this day the classes he gave us in Music Appreciation–the
incredible richness of the world that
he opened up for me–I who was from a lower middle
class background and who might well have passed
by the entire classical genre. Spending time with
him also showed me how complicated and simple
life would be.... Goodbye my friend and teacher...
may you be in a place where there is never a musical
mistake to disturb your peace and tranquility.
Peter Lurié, Munich, Germany
I worked with Xander during a very stressful
time, shortly after I started performing in Germany,
in my first fulltime engagement, in Pforzheim. As a
member of a small ensemble, one was constantly
either performing or rehearsing, and the wear-andtear
on the vocal apparatus was enormous. I had
arrived fresh from my studies in the USA, with a
reasonable technique, but little idea of how to survive
under such constant pressure and vocalizing. I
was fortunate enough to work with Xander in nearby
Freiburg, to keep my instrument in shape. I remember
saying ‘every time I have a session with Xander,
I feel like I’ve had a vocal massage!’ My voice grew
from all the use, and Xander was able to help me
keep up with the development.
He was a gentle man, a talented painter in oils
as well as watercolours, and a good friend who will
be missed.
Evelyn Dalberg, Düsseldorf, Germany
What I loved about Xander was his incredible
enthusiasm. I worked with him during a time when
there was a great need amongst the South Africans
to see good productions of opera and operetta.
Xander was the driving force behind many tours and
many concerts. We would help build the sets, make
the props and costumes and then go on stage and
sing the parts. But without his complete involvement
and creative energy, we would probably have
given up on many a project. He kept us going with
his drive, enthusiasm and most important–his
humour.
Ina Di Michele, College for the Arts,
Windhoek, Namibië
Xander Haagen het uiters spaarsamig met
pluimpies en lofliedere omgegaan! Dit was egter
die helder lig in sy oë, en die onmiskenbare vreugde
in sy stem wanneer die klank waarna hy op soek was
uiteindelik vergestalt is, wat die student laat volhou
het met onderrig – met altoos die verwagting dat
alles tog nie tevergeefs is nie!
Behep was hy met ‘n mooi definitiewe stem!
Natuurlik, soos dit ‘n opreggeteelde sangpedagoog
betaam, met definitiewe voorbehoude. So is onder
andere onsuiwer intonasie (met allerlei afwykings
na links, regs, opwaarts, afwaarts of sydelings)
onmiddellik na gelang van sy bui van die dag óf
sarkasties óf vreeslik gemoedelik met vlymskerp
spitsvondighede gekorrigeer! Slymerige diksie en
foutiewe uitspraak is eweneens met die hand agter
die oor (asof momenteel hardhorend) begroet!
Ek het dikwels die uittog van studente wat voor
my les had, met gemengde gevoelens gade geslaan.
Dit het gewissel van bleek ‘kuwe’, neergeslane oë
en ‘n bykans onhoorbare ‘Totsiens meneer, dankie
meneer’ tot ‘n stralende ‘Totsiens meneer Haagen’
en ‘meneer Haagen–verskriklik dankie Meneer!’
Hy het die gewoonte gehad om, wanneer ‘n student
hom óf uitermate geïrriteer óf afgryslik verveel
het, ‘n lekker jazzerige ‘song’ op die klavier te
tokkel terwyl die student aan’t singe was. Ek sou
dink dié gewoonte was ‘n goeie weerligaflyer, en
moontlik iets wat ander sangonderwysers, onder
dergelike omstandighede, in gedagte kan hou.
Gesoute sangonderwysers, weet immers dat ‘n
gewone sangateljee soms in ‘n martelkamer kan
115

verander met geluide wat die sensitiewe luisteraar
graf-in kan volg!
Hy was dikwels ongeduldig, dikwels sarkasties,
alte dikwels nie behep met uitermatige hoflikheid
nie. In die lig egter van die uitsonderlike intuïtiewe
aanvoeling waaroor hy as sangpedagoog beskik het,
gekoppel aan sy onweerlegbare goeie smaak en
sensitiwiteit vir dit wat goed en suiwer is in die
Musiek, is die voorafgaande werklik in totaliteit
onbenullig.
Verder het hy hartstogtelik geglo dat sangers
hul moet hou by die natuurlik fach waarmee hulle
gebore is. Derhalwe het hy nooit probeer om
stemme onder sy sorg met allerlei truuks of foefies
te probeer manipuleer nie. Ek salueer hom graag
met die volgende:
Singing is essentialy a very simple and NORMAL
activity
- Sergius Kagen
Bronwyn Basson, Pretoria
Ek dink aan Xander Haagen met toegeneëntheid
en groot dankbaarheid vir wat hy vir my gedoen en
beteken het aan die begin van my sangloopbaan.
Toe ek in die sestigerjare by hom begin studeer
het, was hy sangdosent aan die Universiteit van
Pretoria. Ek was vir ses jaar by hom.
Wat hom as sangdosent buitengewoon gemaak
het, was sy vermoë om elke stem te analiseer, dit
te ‘lees soos hy ‘n boek lees’, soos iemand gesê
het, probleme te ontleed en te besluit waaraan
gewerk moet word. Vir elke student het hy
individuele tegniese oefeninge gegee om daardie
besondere stem te ontwikkel. Vir my het hy
stemoefeninge op band vasgelê voordat hy oorsee
vertrek het waarna ek oor die jare dikwels
teruggekeer het. My sangtegniek het ek tot ‘n groot
mate aan hom te danke. Toe ek later jare vir ‘n
tydjie by Elisabeth Schwarzkopf in Zürich les
geneem het, wou sy weet waar ek dan my tegniek
geleer het en kon nie glo dat dit in Suid-Afrika was
nie. Sy het ook gesê dat sy nie aan my tegniek sou
raak nie en net aan die vertolking van Duitse Lieder
soos Richard Strauss se Vier letzte Lieder aandag sou
gee.
116
Xander Haagen was baie reguit. Hy het gesê wat
hy wil sê en jy het geweet waar jy met hom staan.
Hy was streng en het gevolglik goeie resultate
behaal. Maar hy het gevoel vir sy student. Daarby
het hy ‘n kostelike sin vir humor gehad. Wanneer
hy met iets wat ‘n sangstudent doen, nie tevrede
was nie, het hy die manier gehad om ‘gister’ of
‘yesterday’ te sê, en dan het die student geweet
dat daaraan gewerk moet word! Hy het ook ‘n klein
hart gehad. Eenkeer, toe ons met ‘n Trukoperaproduksie
in Wes-Transvaal op reis was, het hy
op die stoepie van ons hotel ‘n mooi ou tannietjie
sien sit en hekel. Hy het so ‘n warmte teenoor haar
gevoel dat hy vir haar ‘n groot doos sjokolade gaan
koop het en, nadat hy dit aan haar gegee het, het
ek die trane in sy oë gesien. Die volgende dag het
hy ons vertrek vertraag omdat die vroutjie toe besig
was om vir hom ‘n doekie klaar te hekel!
Op ‘n ander geleentheid het hy vir my ‘n poets
gebak. Ek was die gravin in ‘n produksie van Die
Huwelik van Figaro en was net gereed om te sing
nadat ‘n brief in ‘n dramatiese oomblik aan my
oorhandig is. Toe ek die brief oopmaak, moes ek
sien dat Xander daar ‘n verspotte karikatuur op
geteken het, en dat hy agter die skerms vir my staan
en lag. Wat kon ek doen? Ek moes net sing!
Op ‘n keer, toe ek in Freiburg in Duitsland ‘n
rukkie by hom les geneem het, het hy vir ‘n
Japannese sangstudentjie ‘n bossie blomme gaan
koop omdat hy vir haar jammer was wat alleen in ‘n
vreemde land was en so hard gewerk het! En dit
was nie asof hy dit finansieel breed gehad het nie.
Hy was maar altyd kort aan geld!
Afgesien van sy werk as sangdosent, sanger en
regisseur, het hy ook self operettes geskryf,
gekomponeer en baie suksesvol opgevoer. Toe die
SAUK in 1978 met my en ‘n orkes onder leiding van
Ronie Munro die eerste transkripsieplaat van liedere
uit Afrikaanse operettes opgeneem het, was ses van
die twaalf liedere wat ons gekies het deur Xander
Haagen gekomponeer.
Alhoewel Xander net ‘n gedeelte van sy loopbaan
in Suid-Afrika deurgebring het, het hy ‘n merk hier
gemaak wat deur baie onthou sal word.

Muriel Laura Searle
(03.03.1928-28.01.2001)
We are all here today eight years too late. My mother
died, for me, the day she was taken into Kenilworth
Clinic in October 1992. She was admitted confused
and agitated, but able to walk, talk and feed herself.
She came out three weeks later unable to do any of
these and with a rigidity in her body associated with
the toxic side effects of the awful sedative drugs that
had bombarded her system.
Time stopped on that day for my father and myself
and possibly for a few of you here. Laura, who
had gradually been leaving us, was gone. Her vibrancy,
dynamism, enthusiasm ... and her piano playing ...
were finally gone. All that was left was that ‘Laura
look’ in her eye.
Her death has returned the Laura we knew to us.
I have felt her presence so strongly in the last few
days and the illness seems to have lifted from her.
We are able to share memories, both professional
and personal of this extraordinary woman and at last
mourn her tragic illness, her death, the loss of a friend,
colleague, teacher, wife and mother.
Muriel Laura Searle (as she was christened–she
soon ditched the Muriel) was born in East London to
a wealthy and well-known Eastern Province family.
Her father, Oswald Searle, a gifted organist and musician
was 50 when she was born. He was a man with
a generous spirit (a gift in addition to musicality
which he was to pass on to Laura), but with little
business acumen and Mum always spoke of how he
lost his money soon after she was born. Her mother
Muriel Louise Stein was of German/Jewish decent
and considerably younger than Ossie. Laura was an
only child, and I think had a somewhat austere and
lonely upbringing due to the loss of the family fortunes.
She was introduced to the piano at the age of
four by Alison Matthew, who was to be her mentor
for many years. Indeed, I think she had a closer personal
relationship with her piano teacher than her
own mother. My memories of Alison are vivid. She
lived and taught out of one room in a boarding house
in Port Elizabeth but the whole world existed in that
room. Every corner held interest as did her rather
flamboyant mind. The stimulation, guidance and
warmth she offered the young Laura must have carried
my mother through the trauma of the loss of
her own home, her parents move into Shandon Lodge
(a residential hotel) and her own move to boarding
school at the Collegiate in Port Elizabeth. Port Eliza-
beth never seemed to hold happy memories for Laura.
We used to holiday there as a family every year before
my grandmother came to live with us, and the
place seemed littered with distant Searle relatives
who were slightly disapproving. She always felt she
had to prove herself in her own home town and con-
certs there were always an ordeal.
Victoria Reeve
Francois du Toit
My images of my mother in her student days at
117

the College and later in London are largely from
photographs. A young, beautiful women with (to me)
a look of the film stars of the forties–wild untamed
curls, and the ‘Laura look’ in the sharp blue eyes.
Photos of student tours, productions at the Little
Theatre (Mum on the violin), shaking tins on the
college rag float, picnics with Spike, Désirée, Meg,
Carol, June, Jack de Wet, etc and those wonderful
ones of Mum and Spike in Trafalgar Square sur-
rounded by pigeons.
There are two over-riding early childhood memo-
ries of my mother. She was an excellent swimmer,
and in the summer holidays we used to pack a picnic
basket and go to the varsity pool for a good while.
We would plunge into the icy water and I would perch
on her back, arms in a stranglehold around her neck,
and we would together sail up and down the length
of the pool, mother and tiny child forging a path
through the aquamarine depths. The second is even
clearer to this day. It was customary for Victoria to
take an afternoon nap. This particular day it was taken
in the upstairs stoep room in Grotto Road. With sun
pouring in I woke up to hear the Rachmaninoff
118
Paganini Variations being practised. That moment ...
the music... the emotional soul-searingness of Varia-
tion 18 has never left me.
I was always awakening to one or other concerto
being gone over and over ... Rachmaninof II or
Beethoven III, Mendelssohn, Mozart 488,
Khachaturian ... endless repetition of passages, which
so ingrained these works in my mind. Indeed Dad
and myself knew every note of whatever was going
to be performed, and it made the actual performance
an agony to listen to. Neither of us ever sat in at any
of Mum’s concerts. At the City Hall we would pace
up and down the foyer behind the balcony, peeping
through the doors to see Mum sweep onto the stage
in glorious Rosenwerth confections. Tony Kuhnert
would be standing guard and would fling the hall
doors open at the end, to allow us to join in the
applause with the tension flowing out of us and a
sense of relief and admiration taking its place. And
then there were the after-parties at Grotto Road.
The savouries hastily being prepared in the kitchen
by a band of loyal students, the post-mortem of the
performance going on in the lounge, and Mum at
last enjoying a whisky or a glass of wine with every-
one.
Laura was a highly superstitious person and pre-
performance rituals never changed. The long, hot
bath drawn by Dad, the warm milk and toast, never a
trace of a pill or a drop of alcohol on the day lest
they should dull the adrenaline so vital to a charged
performance. The liberal dousing in ‘Tweed’ and the
equally liberal use of the French word beginning with
M. These rituals were all passed onto myself and her
students, and we would succumb to her witchcraft
outside C7 or wherever, with the sure knowledge
that we would be safely carried through the forth-
coming ordeal of performance.

Those childhood years when one yearns for the
undivided attention of a parent were largely shared
with the piano and the College of Music, and it was
really only once adulthood had descended that I began
to experience a close relationship with my
mother. She was undoubtedly a superb teacher. I can
vouch for that, even though I often got shunted off
the timetable lest she should be showing favouritism.
What a marvellous thing to be able to discover
Beethoven op 109 and Schubert B op Post, to name
a couple, with a great teacher ... who happened also
te be your Mum.
And she was never averse to a spot of retail
therapy. Indeed we had the best fun shopping to-
gether. At Christmas time, we would hit Cavendish,
with scant regard for the credit card bill, and purchase
Christmas cards, paper, ribbon galore and then
start on a list of presents, an arms length, carefully
matching gift and recipient. Then would come the
shoe purchases–a penchant which, sadly, is in the
genes. Magli, Carvella (two favourite Italian brands)
and preferably in black. The Christmas food shopping
always had coloured sugar crystals at the top of
the list, and in the smoking days, Sobrani Russian
cigarettes too. For days the dining room table would
be strewn with Christmas cards being sent around
the world to almost everyone Mum had ever encoun-
tered. And in turn the postman would deliver a stack
of cards that grew every year.
Life was rich, happy, fulfilled
I suspect that her illness was brewing even in 1986
when Max and I were married. And two years later,
after our stint in America, there was a noticeable
change in Mum. A devastating period followed when
I was sure that she might have Alzheimer’s, but I
seemed unable to convince anyone that her behaviour
was other than normal ageing.
Nothing will describe the tragedy of the eventual
diagnosis. The knowledge that she would be gone
from me in a few years, and worst of all that she
would miss out completely on her two granddaughters.
Jessica, who now exhibits every ounce of musi-
cality and musicianship that her grandmother had,
and Bronwyn who clearly has inherited Laura’s tenacity
and iron will, would have surely afforded her
much joy.
Peter was her eternal support in every way. Her
companion, her encouragement, her career. When
he died, she was unable to continue living without
him. She had in recent years jousted with death a
few times, but my father’s dedicated commitment
ensured that she always won. Finally, thirty-four days
after him she ended the long courageous struggle.
How astute and apt to leave on the centenary of
Verdi’s death, which also happens to be Mozart’s 245 th
birthday. She was blessed with a zest for life, a generous
spirit, and although highly regarded as a musi-
cian and pianist, always held onto a sense of humility
and modesty towards her own talents. Her determination
to succeed and do her very best in every as-
pect of her life, was overwhelming.
Recently I came across a letter she wrote to Alison
Matthew the day after she won the Unisa scholarship
in 1949, and I share with you now some of the thoughts
of the twenty-one-year-old Laura:
My dear Miss Matthew, Well a miracle happened,
because really I cannot believe I was lucky enough to
get it ... I have been so much up in the clouds, not
with joy, but very vague these past few days ... I was
very thrilled with the piano–which was a good thing–
as it made me want to do my best. I think I had all the
119

angels on my side on Tuesday, because it was OK. I
really enjoyed playing and was not a scrap nervous
... I am quite decided. I must go in January. There is
a boat on the fourteenth. Nothing can stop me now, I
am afraid. This was the incentive I have needed, and
although there will be many obstacles, I am going to
give it a bang now with piano playing.
Laura Searle was the most significant person in my
musical life. I know that most of her students feel
that she represented the same to them. We were,
and are, all part of her extended family. She was
mentor, friend and a musical mother to us all. She
inspired awe and overwhelming respect, conveying
her own tremendous willpower and ambition to her
students, willing them to often surpass themselves.
It is safe to say that for thirty years she was a major
force in music in this country and I am sure there
wasn’t a single being she had dealt with who wasn’t
affected by her person.
Apart from being a fine pianist and superb teacher,
she was also a great musician. She began lecturing
not in piano, but in harmony, keyboard harmony, and
improvisation, and we were all treated at one time
or another to her natural improvisatory skills which
illustrated her superb harmonic sense. Many students
became academic colleagues either as composers or
theorists or both.
The greater part of her life, however, was dedicated
to teaching the piano and performing. Many
people I have spoken to have used various adjectives
to describe Miss Searle, but what sticks in my mind
is the phrase ‘passionately ambitious’, both for herself
and her students. She had a competitive spirit,
but was always humane. She strove for the best, but
with humility.
120
Victoria Reeve is the daughter of Laura Searle
As performer, she was a leading exponent of the
Romantic repertoire. She brought a wonderful intensity
and excitement to her own performances of
various concerti such as the Rachmaninof 2nd,
Tchaikovsky 1st, Khachaturian and many more, with
her innate musicality and ravishing sound. Her concerts
were always special to her students as she generously
shared with them her own experiences of preparation.
Her fantastic ear and sense of fun were borne
out by her ability to transform well-known classical
melodies into jazz tunes. She was always professional;
going as far as to perform the Mendelssohn D minor
concerto with orchestra when she was eight months
pregnant with Vicky. It was also her ability to demonstrate
at the piano with phenomenal aplomb that
spurred her students on to greater heights. This talent
always kept us slightly in awe of her, for, although
she was a giving, loving and caring person, she was
also an exacting teacher and formidable lady. With
her unfailing intuition, integrity and standards, not
to mention energy, she often had quite a few of us
trembling in our shoes at our lessons and in the famous
‘play throughs’. Her knack of passing a risqué
remark that would make us giggle just before an
exam or concert, always helped to soothe the nerves.
Her ability though, to adopt to each student and bring
out his or her strengths, was uncanny and many students
swore that they learnt more about teaching
from Miss Searle than from any book or method class.
Her dedication and generosity with her time was absolute
and every individual lesson was not just a wonderful
challenge but also an enduring privilege.
In many ways Peter and Vicky might have felt
justified, from time to time, in thinking that Laura
Searle’s students came first–because that is how she
played her professional tune–but on behalf of all her
students present here and all over the world I would
like to thank Vicky and the late Peter, for allowing
us to share with them the incomparable Laura Searle.
Francois du Toit is Associate Professor at the South African
College of Music, University of Cape Town, Cape Town

REVIEWS RESENSIES
New music publications
Nuwe musiekpublikasies
Bach - An extraordinary life
Davitt Moroney
Associated Board of the Royal Schools of Music, 2000
In sy Voorwoord meld die skrywer dat hy sy feitelike
gegewens oorgeneem het uit die lysie publikasies
wat hy as ‘n Bibliografie aangee en hy spreek die
hoop uit dat sy opsomming die leser sal stimuleer
om die oorspronklike bronne te lees.
Die materiaal is sinvol verdeel in vyf hoofstukke:
Johann Potgieter
Wessel van Wyk
1. Son, Orphan, Brother, Organ Student
(1685-1703)
2. Organist and Court Composer (1703-1717)
3. Court Composer and Teacher (1717-1723)
4. Cantor and Municipal Director of Music
(1723-1750)
5. 26 July 1750
Aangesien musiekbelangstellendes oor die
algemeen die musiek van JS Bach so besonder
spesiaal vind dat hulle instinktief slegs in die
oortreffende trap daarna verwys, is dit gepas dat
ook ‘n geskrif wat hoofsaaklik oor sy lewe wil handel,
uit die staanspoor sal aandui watter geëerde posisie
hy beklee in die musiekwêreld. In bladsye 1 tot 4
van die eerste hoofstuk noem Moroney dit dan onder
andere dat Bach se tydgenoot Mattheson geskryf
het, ‘I wonder why it is that there is only one master
like him in the world and that no one comes
near him’. Hierop antwoord Moroney self, nadat hy
verwys het na wat hy tipeer as die teenstrydige
elemente ‘rational thought’ en ‘emotional heart’
in die menslike psige, ‘His works have an equilibrium
between the two warring factions that is
unique in the history of music’. So ‘n geesdriftige
hoogskatting van ‘n baie groot komponis is altyd
weer verfrissend, hoewel die leser onwillekeurig
moet dink, ‘die genoemde volmaakte ewewig is
sekerlik ‘n kenmerk van Bach se musiek, maar is
dit wel uniek? Wat van Mozart en Beethoven?’
Wat die beskrywing van Bach se lewe betref,
word dit duidelik uit die boek dat dit as
buitengewoon (‘extraordinary’) moet beskou word
uit die oogpunt dat die betrokke persoon as
121

skeppende en uitvoerende musikus so heeltemal
buitengewoon was. In hierdie sin was die lewens
van die meeste groot komponiste natuurlik
buitengewoon, want hulle was immers heeltemal
ongewoon begaafde persone wat om den brode
moes inpas in die gewone lewe wat op die behoeftes
van gewone persone ingestel is. Die blote feite oor
Bach se lewe as sodanig is in werklikheid nie
besonder merkwaardig nie. Vir die musiekmens wat
ná hom gekom het en wat na aanleiding van
herhaalde beluisterings van sy musiek,
gepaardgaande met studie en oordenking, die
verbluffende grootsheid daarvan in ‘n mate kan begin
meemaak (want ons gewone mense kan sulke
genialiteit nooit ten volle deurgrond nie) - vir so ‘n
musiekmens spreek sy lewensverloop wel in baie
opsigte aan as bitter hartroerend, onthutsend en
selfs pateties. (Soos wat dit ook die geval is in
verband met die lewens van ‘n hele paar ander groot
komponiste. Dink maar aan Mozart en Schubert,
om slegs twee te noem.) In elk geval blyk dit dat
Bach voor sy tiende verjaarsdag albei sy ouers
verloor het, deur ‘n ouer broer grootgemaak is en
later nogal dikwels van betrekking verander het op
soek na groter werksbevrediging en ook na beter
betaling. Hy het in sy laaste betrekking in Leipzig
vir so lank as 27 jaar aangebly ten spyte van heel
ernstige interne struwelings omdat hy in daardie
stadium nie ‘n beter betrekking kon kry nie. Hoe
moeilik sy lewe in Leipzig geword het, blyk uit die
feit dat hy in 1730 aangekla is van pligsversuiming,
waarna sy reeds ontoereikende vergoeding
verminder is deur ‘n eenparige besluit van die
betrokke Raad.
Die bewoordings van sy skriftelike aansoeke om
betrekkings is vir Moroney meermale ‘obseqious’
(kruiperig? slaafs?), sonder dat hy die moeite doen
om daarop te wys dat so ‘n skryftrant in daardie tyd
in daardie omgewing alledaags was en sekerlik nie
beperk was tot Bach se aansoeke nie. Dit was bloot
die aanvaarde wyse waarop sulke sake gehanteer is.
Die meeste van die bekende klein anekdotetjies
oor Bach se lewe word in die boek aangehaal,
byvoorbeeld hoe hy as jong knapie snags by kerslig
uit ‘n verbode partituur van sy broer gekopieer het:
122
iets wat vir ‘n gewone seuntjie gewone stoutigheid
sou wees maar wat in die geval van JS Bach op
vasberade leergierigheid gedui het (en hoe kon sy
broer geweet het van die verskil tussen hierdie
seuntjie en ander seuntjies?). Ook hoe hy as
jongkêrel terstond sy swaard uitgetrek het om ‘n
fagotspeler wat hom beledig het aan te val, maar
gelukkig het ander studente toe tussenbeide getree.
En hoe hy geldstukke gevind het in twee viskoppe
wat by ‘n huisvenster uit voor hom neergegooi is
juis op ‘n tydstip toe hy moeg en honger maar platsak
was en dus kon hy lekker gaan eet.
Die leser sou wil wens dat sommige feite in
verband met sy verblyf en werksaamhede in Arnstadt
en Weimar (en later Leipzig) ook bloot anekdoties
was, maar dit was wel werklik die geval dat hy in
1706 amptelik berispe is omdat hy sy tydperk van
verlof oorskry het om elders konserte van Buxtehude
by te woon en dat ‘n gemeente gekla het dat sy
harmoniserings van korale hulle gemeentesang
versteur het terwyl sy inleidings soms te lank en
soms te kort was. En dan, amper ondenkbaar maar
ongelukkig ‘n gedokumenteerde feit, is hy in 1717
in Weimar gearresteer: ‘On November 6, the onetime
Conzertmeister and organist Bach was confined
to the County Judge’s place of detention, for
too stubbornly forcing the issue of his dismissal and
finally on December 2 was freed from arrest with
notice of his unfavourable discharge’. (Bladsy 36)
Elke leser sal self kan besluit watter doel dit
kan dien om kennis te neem van hierdie soort
inligting, wat as ‘n geheel nog weer ‘n keer dui op
die onvermydelike onbegrip waaraan so ‘n groot
getal van die belangrikste figure in verskillende
menslike aktiwiteitsvelde maar te dikwels
blootgestel word. Moroney vind dit van belang en
doen selfs ook die moeite om, sonder afkeuring op
bladsy 24 te verwys na ene Philip Brett wat in 1994,
dus naby aan die einde van die twintigste eeu, Bach
se koraalharmoniserings sou getipeer het as ‘questionable
operations by the master upon a set of
simple, defencelss tunes, rendered all but unrecognizable
by the often excessive harmonic detail forced
upon them’. Dit is duidelik dat persone wat uit die
oogpunt van musiek-vreemde gemeentelede

kommentaar lewer, of dan persone wat in wese nie
vatbaar is vir artistieke grootheid nie, in die
afgelope 250 jaar nie juis verander het nie. Hulle
sal in die toekoms vermoedelik ook nie oor die
vermoë beskik om te verander nie.
Soos vereis deur die tipies twintigste-eeuse
versugting na gelykmaking deur middel van
beeldstorming, bly negatiewe verwysings na Bach
se persoonlikheid nie uit nie. Moroney vind dit
gerade om op bladsy 12 te konstateer dat ‘Like all
great men, he had “strong weaknesses”. It is precisely
because they were so striking that they help
us to see him in a very human light’. Presies waarom
dit sou nodig wees om iemand wat so ‘n oorstelpende
oeuvre nagelaat het ‘in a very human light’ te sien,
word nie deur Moroney verduidelik nie en hy
tabuleer ook nie die ‘strong weaknesses’ nie. Die
afleiding moet gemaak word dat hy na eienskappe
soos kortgebakerdheid, ‘koppigheid’ en
vermoedelik ‘arrogansie’ teenoor kerkrade en
beheerrade verwys, wat selfs in die geval van gewone
mense moeilik as sulke besonder sterk swakhede
beskou kan word. Is dit dalk iemand soos Moroney
se verwagting dat ‘n groot artistiek-skeppende genie
ook nog die soort persoonlikheid moet hê wat
uit ‘n religieuse oogpunt as ‘groot’ sou beskou word?
Interessant mag dit wel wees om te verneem
dat Bach graag lekker geëet en gedrink het en dat
sy vergoeding in verskillende gevalle nie net uit
geld bestaan het nie, maar aangevul is deur
toeseggings van graan, gort, bier, wyn en dies meer.
Ook sou hy glo pyp gerook het, alhoewel daar
blykbaar nie sekerheid bestaan hieroor nie. Sy
waardering vir goeie kos is in Kantates weerspieël,
asook in die dertigste Goldbergvariasie, waarin ‘n
liedjie aangehaal word wat gaan oor die woorde
‘Kool en beet het my verdryf; as my moeder vleis
gekook het sou ek langer gebly het’. Dit is
onskuldige pret om aan te neem dat Bach hierdie
melodie gekies het ter wille van die betekenis van
die woorde, hoewel dit natuurlik ook maar toevallig
om suiwer musikale redes kon gedoen gewees het.
Die prentjie wat gevorm is, naamlik van ‘n
ongekende begaafde musikus wat gedetermineerd
spartel om kop bo water te hou in die alledaagse
lewe, is in 1737 geraam deur ‘n gepubliseerde artikel
van ene Johann Adolph Scheibe. Moroney haal op
bladsye 87 en 88 onder andere die volgende items
aan uit Scheibe se artikel: ‘... Bach’s works lack
naturalness and are complicated ... their beauty is
hidden by too much artifice ... they are unnecessarily
difficult ... Bach’s art is artificial rather than natural,
obscure rather than sublime; in sum, it is in
conflict with Nature’.
Hierdie soort kommentaar oor Bach se
skeppingswerk oor die algemeen (nie bloot op sy
korale deur ‘n ongesofistikeerde gemeentelid nie)
klink vandag so onbegryplik dat dit verleidelik is
om te aanvaar dat Scheibe moontlik deur ‘n
wraakmotief aangespoor was: Bach het voorheen,
in1729, ‘n aansoek van Scheibe om ‘n kerkorrelisbetrekking
teengestaan. Moroney meen
egter, waarskynlik tereg, dat daar geen wraakneming
ter sprake was nie en dat Scheibe sy eie aanmerkings
heel moontlik nie eens as ‘especially strong criticism’
beskou het nie (bladsy 87). Hy het
heelwaarskynlik bloot ‘n vlak natuur gehad wat
genoegsame bevrediging kon put uit die soort
bekoring wat sy stadsgenoot Telemann se meesal
min-seggende komposisies kenmerk. Hierin kan
Moroney gelyk gegee word; dit moet in gedagte
gehou word dat ‘n gerekende musikus soos Hubert
Parry in sy boek The evolution of the art of music,
wat aan die einde van die negentiende eeu
gepubliseer is (1893) kans gesien het om op bladsy
169 te skryf dat Bach geneig het tot ‘the overdoing
of contrapuntal complexity in places where it is not
essential’. Elkeen van die groot komponiste is
meermale onderwerp aan soortgelyke sothede deur
persone wat slegs op onmiddellike maklike
toeganklikheid ingestel was.
Behalwe vir sy reeds genoemde verwysing na
gewaande ‘strong weaknesses’ veroorloof Moroney
hom ook nog enkele ander verbasende stellings.
Hy verwys byvoorbeeld op bladsye 51-52 na Bach se
versameling en ordening van voorheen geskrewe
preludes en fugas in ‘n groep van 24 (Das
Wohltemperirte Clavier) as ‘... an order that transcended
the value of the individual pieces ... Here
for the first time in the harpsichord music we can
123

see the evidence of the organizational power and
absolute intellectual grasp which are so apparent in
his later works’. Hoe gebeur dit dat beplande
groepering as sodanig groter artistieke waarde kan
verleen aan bestanddele? Benodig iemand soos
Moroney ‘n spesiale rangskikking na aanleiding van
‘n eksterne organisatoriese konsepsie om sy aandag
te vestig op inherente artistieke waarde? En in elk
geval, was Bach se verbluffende organisatoriese en
intellektuele eienskappe nie maar altyd teenwoordig
(en inderdaad opvallend) in die klavesimbelmusiek
wat hy voorheen gekomponeer het nie?
Moontlik na aanleiding van twintigste-eeuse
polemieke oor watter musiek geskik is om tydens
eredienste gebruik te word, skryf Moroney op bladsy
82 in verband met materiaal wat Bach uit sekulêre
kantates oorgeneem het in gewyde kantates, ‘Ever
practical, Bach recycled ... Bach the cantor was quite
happy to praise God using secular music written in
honour of a prince and performed in a coffee house,
or to celebrate the birth of Christ using works written
for the birthday of the prince’s wife’. Méér
misleidend kan die saak seker nie gestel word nie:
die materiaal wat Bach hier omgewerk het was
musiek wat hy self oorspronklik gekonsipieer het,
op daardie nimmerwankelende hoogste artistieke
vlak wat hy sonder uitsondering gehandhaaf het. Om
nou sy benadering as sodanig, naamlik die
heraanwending van materiaal uit ‘n sekulêre werk
in ‘n gewyde opset, te gebruik as regverdiging vir
die vryelike oorname van sekulêre materiaal in
kerkdienste, is ‘n baie ongelukkige soort
intellektuele bedrog.
Ook moontlik in verband met huidige
opvattings, skryf Moroney op bladsy 83 oor die lys
wat Bach op ouderdom 50 van sy seuns gemaak het,
‘One can also see that, even though the mother of
the first three was also a Bach, these boys appear to
have only a father...’. Wel, moontlike manlike
chauvinisme mag dalk hierin gelees word deur
Moroney, wat dit dalk ook nog reken onder die
‘strong weaknesses’ wat hy ongespesifiseerd noem,
124
maar die werklike interessantheid van die lys is dat
JS Bach self nommer 24 was op ‘n lys Bachs wat ten
slotte 80 name bevat het van professionele musici.
As nommers 45 tot 50 gee hy die name van sy ses
seuns, van wie Carl Philipp Emanuel die tweede
oudste was en in sommige kringe as ‘n
geskiedkundig belangrike komponis gereken word.
Die jongste seun, Johan Christian, word onthou vir
die invloed wat hy waarskynlik op Mozart se
ontwikkeling uitgeoefen het.
Die feite in verband met Bach se laaste rusplek
hou tred met die verloop van sy lewe. Dit blyk dat
hy ‘according to oral tradition’ (met ander woorde
dit is nie ‘n gedokumenteerde feit nie) ‘in a flat
grave’ begrawe is, ‘six paces from the south wall of
the Johanniskirche (bladsy 105). Die presiese ligging
van die graf kon in 1800 nie meer deur ‘n besoeker
vasgestel word nie en die begraafplaas het in onbruik
geraak sodat dit in 1833 heeltemal gesluit is. In
1894 is drie doodskiste gevind ‘in about the right
spot’, en ‘n ondersoek deur ‘n anatomis het aan die
lig gebring dat die een geraamte se kopbeen kon
beskou word as ‘compatible with the famous portrait
of Bach painted by Hausmann in 1746’ weens
die ‘prominent jaw bone, high forehead, deepset
eye sockets and marked nasal angle’ daarvan (bladsy
106). In elk geval was een van die ander geraamtes
dié van ‘n jong vrou en was die derde een se kopbeen
ingeslaan. Die geraamte van vermoedelik JS Bach
is toe in 1900 in ‘n nuwe kis binne in die
Johanniskirche herbegrawe. Gedurende die tweede
wêreld-oorlog is die kerk verwoes, maar die
betrokke nuwe kis is weer later gevind en in 1949
nog weer herbegrawe, hierdie keer in die
Thomaskirche. Steeds nie genoeg nie, is dieselfde
kis in 1964 verskuif binne in die Thomaskirche en
hierdie laaste rusplek het dan toe nou ‘the
unconstested centre of all Bach pilgrims’ geword
(bladsy 106). Dit is sekerlik ‘n vertroosting dat ‘n
behoefte bestaan aan so ‘n sentrum vir ‘pelgrims’.

Suid-Afrikaanse Musiekwoordeboek
South African Music Dictionary
Tweede, hersiene en vermeerderde uitgawe, 2000
- Pharos Woordeboeke
In 1973 is die Musiekwoordeboek/Dictionary of
Music deur die Vaktaalburo van die Suid-Afrikaanse
Akademie vir Wetenskap en Kuns uitgegee met JP
Malan as eindredakteur. Vir die tweede, hersiene
en uitgebreide uitgawe in 2000, onder die titel soos
hierbo aangegee en wat verderaan in hierdie oorsig
sal verkort word tot SAM, was Reino Ottermann en
Maria Smit die hoofredakteurs. Hulle is bygestaan
deur Izak Grové, Winfried Lüdemann, Heinrich van
der Mescht en Caroline van Niekerk, asook deur
twee proeflesers.
Op bladsy 5 van die Inleiding staan daar ‘Die
hoofdoel is om die standaardisering van Afrikaanse
en Engelse terminologie in Suid-Afrika se
musiekopvoedkundige sisteem te bevorder’. Die
Engelssprekende Suid-Afrikaner het egter
vanselfsprekend toegang tot talle ander publikasies
waarin ‘n gevestigde Engelse musiekterminologie,
weliswaar in sommige opsigte met Amerikaanse
alternatiewe, te vind is. Die SAM is dus in
werklikheid hoofsaaklik op die Afrikaanssprekende
persoon gerig, wat selfs tot op hede nog sterk
onderworpe is aan die invloed van uiteenlopende
anderstalige terminologieë. Talle Afrikaanssprekendes
is tot nog toe, en word steeds, in musiek
onderrig deur persone wat nie self Afrikaanssprekend
is nie, en wat dikwels in die haastigheid van die
oomblik verafrikaansings van hulle eie
terminologieë versin. Sulke kitsvertalings word
sekerlik goed bedoel; hulle verteenwoordig pogings
om aansluiting te vind by die taal van die persone
wat onderrig word, maar hulle is meesal nie aan te
beveel nie. In eie ervaring was daar byvoorbeeld
die Engelssprekende dame wat haar nie die tyd kon
gun, te midde van haar werksaamhede met nooit
minder as dertig leerlinge, om Afrikaans vlot te leer
praat nie, maar wat dit wel ten beste bedoel het
met haar eie geradbraakte pogings om ‘Afrikaanse’
terme te gebruik. Sy het dus met die beste wil in
die wêreld die Engelse woorde ‘major’ en ‘minor’
aan haar leerlinge bekend gestel as ‘majoor’ en
‘minoor’ (om net twee voorbeelde te noem). Wel,
‘n jong kind kan nie weet watter terme algemeen
aanvaar word nie, en drie/vier jaar van ‘majoor’ en
‘minoor’ kan ‘n sekere spraakgewoonte nogal vestig.
Ironies genoeg moes daar juis in dieselfde
tydsperiode resensies verskyn in die plaaslike
Afrikaanse koerant wat geskryf is deur ‘n persoon
wat tekens getoon het van Nederlandse invloed. Hy
het, sekerlik ewe welmenend, verwys na ‘grootterts’
en ‘kleinterts’ waar dit toonsoorte betref het. Wat
toe nou gedoen? Daar was in daardie tyd, soos nou
ook nog, nie juis ander publikasies oor musiek in
Afrikaans wat vir belangstellende kinders geredelik
beskikbaar was nie; die kind, en inderwaarheid ook
die volwassene, se leesstof oor musiek was amper
volledig beperk tot berigte in koerante. En in elk
geval sou navraag en bespreking maar net kon stuit
op die omstandigheid wat so akkuraat op bladsy 6
van die SAM genoem word: ‘Sommige verkies die
een, en ander weer die ander, en albei groepe voel
ewe sterk hulle is ‘reg’‘. - Hier is dit nie onvanpas
nie om die aandag daarop te vestig dat dit gaan oor
‘sterk gevoel’ en ‘reg’ (wat ook ‘verkeerd’
impliseer), en dat daar van beredeneerde
argumente, taalfamilies, en vasstaande algemene
125

eginsels nie sprake is nie. In hierdie opsig sluit
pogings om ‘n musiekterminologie te vind aan by
talle ander taalverskynsels.
By die bogenoemde aspekte, naamlik die mag
van die gewoonte en die onvermydelike
subjektiwiteit wat ‘n rol speel, moet dit seker ook
wel genoem word dat, soos wat dit die geval is in
verband met alle en enige aktiwiteite van die mens,
die meer gesofistikeerde soort persoon in staat is
tot nogal imposante gerasionaliseerde sofismes
wanneer redes gevind wil word waarom eie
voorkeure moet voorrang geniet. Dit word ten slotte
vir enige mens niks minder nie as ‘n gevoelsbelaaide
intellektuele inspanning om oor te skakel na nuwe
terme vir begrippe wat lank onder ander name
bekend gestaan het. Alternatiewe terme word
hoogstens soms interessant gevind, maar hulle bly
lank vreemd aan die denke, en dit is nodig om ‘n
gedetermineerd positiewe soort oopheid van
benadering doelbewus te kultiveer voordat daar
enige sprake van ‘n minder of meer saakgerigte
instelling kan wees. Laasgenoemde mentaliteit sou
miskien slegs geïnspireer kon word deur die besef
dat dit hoogs wenslik en eintlik wel noodsaaklik is
om ‘n werkbare mate van eenvormigheid in
terminologie te bereik onder lede van dieselfde
taalgroep. As hierdie soort instelling nie posvat nie
sal die huidige omstandighede in Afrikaanssprekende
omgewings maar bloot voortduur,
naamlik dat daar selfs binne die bestek van een
onderriginstansie dikwels uiteenlopende terme vir
dieselfde begrippe gebruik word. Dit is verwarrend
vir studente wat besig is om met aansienlike moeite
en dikwels teen groot koste nuwe kennis oor ‘n
vakrigting in te samel. Dit is vir hulle ook werklik
nie tot veel troos om te besin dat die bestaan van
sinonieme vir taalgeleerdes besonder interessant
is en as ‘n verryking van die taal beskou word nie.
Die SAM se besluit oor noot- en solfabenamings,
soos vervat in bylae A, moet dus verwelkom word.
Of elke individuele leser gelukkig voel oor die aard
van die besluit is van minder belang; dit kan slegs
gehoop word dat die gegewe terme vir so ‘n basiese
verskynsel allerweë aanvaar en gebruik sal word.
Interessant genoeg word die besluit oor ‘n ander
ewe basiese begrip, naamlik die geskikte terme vir
126
intervalle, steeds aan individuele diskresie
oorgelaat. Die rede hiervoor word nie aangegee nie,
soos wat die rede vir die besluit oor noot- en
solfaname ook nie aangegee is nie. Ons weet wel
uit die Inleiding dat sommige algemene riglyne
gevolg is, byvoorbeeld die bestaan van ‘sekere
terme’ wat ‘deur die jare’ (dit wil sê sedert die
eerste uitgawe van die musiekwoordeboek in 1973)
‘ingeburger’ geraak het. Ook die feit dat daar ‘sover
moontlik ruimte’ gelaat is ‘vir terme wat reeds
gebruiklik is’. Les bes is in verband met ‘sekere
semantiese velde’ wat ‘problematies is’ probeer om
‘net die mees gebruiklike benamings’ te verskaf
(bladsye 4, 6 en 7).
Die pasgegewe aanhalings dui daarop dat daar
‘n betroubare maatstaf bestaan waarvolgens
gebruiksfrekwensie vasgestel kan word, en ons neem
verder sonder meer aan, in verband met
intervalbenamings, dat ‘n noemenswaardige groot
aantal Afrikaanssprekendes in die omgang verwys
na ‘sekundes’ en ‘sekste’ en ‘septieme’ en dies
meer. Hulle voorkeure moet natuurlik dan in ‘n
woordeboek soos die SAM weerspieël word. Daar
moet ook nog op die feit gelet word dat die begrip
‘standaardisering’ nie noodwendig inhou dat slegs
één term per begrip bevoorkeur moet word nie.
Dit kan sekerlik gebeur dat twee of meer terme vir
dieselfde begrip kan aanspraak maak op
standaardisering, en aanhangers van die een term
kan dan mos nou juis in die SAM of enige ander
woordeboek gaan naslaan wat aanhangers van die
ander term(e) presies bedoel.
Dit bly in elk geval hoogs interessant om te besin
daaroor hoe terme soos tertse, kwinte, desieme,
undesieme, duodesieme, tredesieme (ens) by heel
jong Afrikaanssprekende kinders ingeburger word
sodat hulle ‘n vanselfsprekende deel word van die
daaglikse denke. Hopelik sal ‘n verbeeldingsvluggie
wat nie verband hou met die bespreking van die
SAM as sodanig nie, my hier nie misgun word nie.
Dit word in ag geneem dat beheersing van die begrip
‘interval’ en van die name van intervalle uiteraard
vanaf die heel eerste begin van musiekonderrig in
enige vorm en met betrekking tot enige medium
(klavier, sang, blokfluit, noem maar op) ‘n
voorvereiste is. Verder weet ons dat die meedeel

van gegewens vandag nie meer gedoen word op die
wyse dat feite gedikteer word en dat die leerling
se ore dan by die volgende les afgekou word as die
feite nog nie ingang gevind het nie. Nuwe gegewens
word volgens moderne opvattings dikwels herhaal
en so aanskoulik as moontlik gemaak, met
aansluiting by reeds bekende begrippe as dit enigsins
moontlik is. Dink nou aan ‘n ou haasbekkie wat leer
blokfluit en/of klavier speel, ‘kyk, hierdie twee note
is langs mekaar en ons noem dit ‘n SEKUNDE. Kom
ons sê dit mooi duidelik saam LANGS-mekaar
seKUNde, LANGS-mekaar seKUNde, en ook EEN
twee seKUNde, EEN twee seKUNde. Die volgende
interval is twee note wat nie langs mekaar is nie
maar daar is ‘n noot tussenin. Nou is dit ‘n TERTS,
en om dit getel te kry sê ons saam EEN-twee-DRIE,
EEN-twee-DRIE. Onthou hierdie nommer DRIE is
‘n TERTS.’ En so aan; nommer VIER wat ‘n KWART
is, nommer VYF wat ‘n KWINT is tot by nommer
TIEN wat ‘n DESIEM is. ‘Onthou jy van DESIMAAL
wat ‘tiendelig’ beteken? - Ja, dis soos verdeel in
TIENE - ag, man, soos jou TIEN vingers en jou TIEN
tone en so aan, verstaan jy nou? Dus ‘n DESIEM is
‘n interval wat TIEN note omvat. Kom ons sê dit
mooi saam TIEN-tien-deSIEM, TIEN-tien-deSIEM.’
En dan ‘UNDESIEM is TIEN plus een dus ELF ...
DUODESIEM is TIEN plus twee dus TWAALF ...:’
Of is daar ander, beter maniere as om via die name
van die getalle te werk wanneer ‘n jong kind sulke
terme moet bygebring word by ‘n les wat een uur
per week in beslag neem, en dit gaan oor terme
wat in die res van die week meeswaarskynlik in geen
ander verband sal teengekom word nie? Sou dit nie
heelwat minder omslagtig wees, en vir die leerling
veel verstaanbaarder en dus makliker en voordeliger,
om maar van ‘tiendes’ en ‘derdes’ en so aan te praat
nie?
Later sal begrippe soos ‘sekstakkoorde’ die hoof
gebied moet word. Nogal sommer drie van hulle,
te wete Duitse, Italiaanse en Franse sekstakkoorde.
In hierdie geval sal dit gerade wees om alle
medeklinkers besonder duidelik uit te spreek (iets
wat ons Afrikaanssprekendes nie altyd doen nie) en
miskien selfs om die terme vooraf in duidelike skrif
bekend te stel. Indien die gevorderde leerlinge dan
steeds verkies om klein grappietjies onder mekaar
te sirkuleer oor die terme dan is dit natuurlik maar
hulle eie saak.
Om terug te kom by die SAM, daar sal sekerlik
goeie redes wees waarom ‘n begrip soos die Engelse
term ‘recapitulation’, wat meesal in verband met
sonatevorm gebruik word en vir baie studiejare dus
sterk op die voorgrond sal verkeer, drie verskillende
Afrikaanse ekwivalente moet kry: rekapitulasie,
reprise en terugkeer. Sulke dubbele en selfs
drievoudige moontlikhede is ook by talle ander
terme teenwoordig, dikwels sonder aanduiding van
redaksionele voorkeur, en die leser wat positief
ingestel is onthou altyd weer van al die invloedsfere
en persoonlike voorkeure wat ter sprake is. Ons
mag eenvoudig nie verwag dat daar sommer so halsoor-kop
binne vyf dekades (sedert die publikasie
van MC Roode se Engels-Afrikaanse Terminologie
van Musiek in 1950) ‘n eenvormige
musiekterminologie sou ontstaan het onder ‘n
taalgroep wat op enige gegewe moment seker naby
aan die ses miljoen siele insluit nie. Selfs ‘n redaksie
kan nie sommer arbitrêre besluite oor sulke sake
neem nie, en dit was sekerlik net glad nie moontlik
om sommige skynbaar oortollige sinonieme uit te
skakel nie.
Die leser besluit dus, hierdie publikasie moet
toegejuig word. Mag dit besonder fluks verkoop en
gebruik word, en mag die volgende herdruk spoedig
verskyn nadat dringende aandag geskenk is aan enige
kommentare wat lesers ingestuur het, soos wat hulle
vriendelik genooi word om te doen op bladsy 5,
waar ‘n versendingsadres ook aangegee word.
Die huidige leser kan nie daarop aanspraak maak
dat hy elke enkele woord in die SAM gelees het
nie, maar hy wil nogtans reageer op die redaksie se
aanvraag om kommentaar, voorstelle en kritiek. Dit
word gedoen in dieselfde welmenende gees waarin
die aanvraag gestel is. Items word van nommers
voorsien om samehange aan te dui:
1. Die woord ‘musiek’ verskyn nie in die lys nie.
Dit is verbluffend, veral as die volgende
verbandhoudende gegewens in ag geneem word: Die
woord ‘music’ word wel gegee. Dit lees dan ‘music, art
of music, art of sound: (E) toonkuns (A), Tonkunst (D)’
127

Die 1973-uitgawe word nageslaan. Dit gee
128
‘musiek A, music 1 E’ en ook
‘music 1 E, musiek A’
‘music 2 E, toonkuns A’ en ook
‘toonkuns A, music 2 E’
Dit blyk dus dat ‘musiek’ en ‘toonkuns’ afsonderlik
moet gegee word en nie sinonieme is nie. Sou ‘n
volgende uitgawe miskien hiervan ‘n verduideliking
wil aanbied? Die huidige leser is Duits magtig, en
het in ‘n Duitssprekende land gestudeer, maar weet
nie van ‘n verskil tussen die Duitse gebruik van die
woord ‘tonkunst’ en die Afrikaanse gebruik van die
woord ‘musiek’ nie.
2. Die woord ‘musician’ verskyn drie keer, met
nommers
‘musician [E] (person who makes music, but who
does not necessarily have exceptional talent or training):
musikant [A]’
‘musician 2 [E] (person with exceptional talent for
and knowledge of music, also performer: musikus [A]’
‘musician 2 [E]: toonkunstenaar [A]’
Die nommergewing hierbo wat nommer 2 herhaal
is korrek aangehaal. Dit blyk hier dat ‘n ‘musikus’
en ‘n ‘toonkunstenaar’ nie sinonieme is nie. Hoe
so? Daar is talle ander verduidelikings in die SAM;
ons kan hoop dat dit moontlik gevind sal word om
by die eerste herdruk antwoorde te gee deur middel
van verduidelikings op hierdie soort vrae.
3. ‘n Aangawe lees ‘klavierspeler [A]: piano player
[E] en omgekeerd. ‘n Ander aangawe lees ‘pianis
[A]: pianist [E] en omgekeerd. So ook ‘vioolspeler
[A]: violin player [E] en omgekeerd. En ‘vioolspeler
2 [A]: fiddler (informal [E]’ en omgekeerd. En
‘violis [A]: violinist [E] en omgekeerd.
Moet ons in sulke gevalle aflei dat ‘n ‘klavierspeler’
en ‘n ‘pianis’ nie dieselfde is nie, soos ook ‘n ‘violis’
en ‘n ‘vioolspeler’? Of moet ons aanneem dat sulke
woorde tel onder die ‘wisselvorme van terme’ wat
‘nie altyd aangedui’ word nie waarna op bladsy 9
(aanwysings vir die gebruiker) verwys word?
Hierdie leser wil werklikwaar nie sommer lastig
wees nie, maar die feit dat ‘musiek’ en ‘toonkuns’
aan die een kant en ‘musician’ en ‘toonkunstenaar’
aan die ander kant nié as sinonieme aangegee word
nie, laat hom in die onserkerheid oor die bedoelings
van die redaksie. Buitendien is daar allerlei
heeltemal klaarblyklike sinonieme wel ingesluit in
die lys, soos ‘bindboog, verbindingsboog’ en
‘dinamiekomvang, dinamiese omvang’ en
‘dinamiese omvang, dinamiekomvang’ (wat werklik
almal in enige algemene woordeboek sou kan
opgesoek word). Sou die redaksie dit wil oorweeg
om in die genoemde gevalle (en ander wat moontlik
mag bestaan) helderheid te bring?
4. ‘n Aangawe lees ‘concerto 1 [I E]: concerto [I
A], konsert [A]’ en dan aansluitend ‘concerto 2 [I
A], konsert [A]: concerto [I S]’. Is dit nie ietwat
omslagtig en selfs verwarrend nie? Die 1973-uitgawe
gee dit as volg: ‘concerto I A E, konsert 2[A]’, wat
dieselfde inligting heelwat oorsigteliker stel.
5. Die woorde wat met ‘tripel’ begin wil voorkom
soos ‘n probleem omdat dit verwag word dat hierdie
‘tripel’ uitgespreek moet word as ‘triepel’ (seker
om die uitspraak ‘trippel’, wat ander assosiasies
wek, te vermy?). In sommige gevalle word baie
aantreklike sinonieme aangebied, soos ‘drievoudige
kontrapunt’, ‘drielingklarinet’, ‘drieslagmaat’ en
‘drievoudige houtblasers’. Die huidige leser vind
dit ná positiewe pogings om gewoond te raak aan
‘triepel’ steeds ‘n baie vreemde soort woord,
alhoewel hy terdeë besef dat die spelwyse ‘tri-‘ in
talle ander woorde wel uitgespreek word as ‘trie’,
soos by ‘trio’, ‘trimester’, ens. ens. Miskien is die
hindernis dat ‘tripel’ so naby is aan die Engels ‘triple’
dat ‘n Afrikaanssprekende, wat aldag met Engels
doenig is, dan sommer liewer ‘n Engelse ‘triple’ sal
gebruik en ten slotte maar wel sal sê ‘Trippel’ in
Afrikaans ook.
Alternatiewe sou dus hier welkom wees. Wat
van ‘trio-concerto’ (want dit is wat ‘n ‘triple concerto’
in wese is: ‘n drietal soliste met ‘n orkes),
en ‘drietemafuga’ (en dan ook ‘dubbeltemafuga’ en
‘viertemafuga’)? Daar bestaan tog wel terme soos
‘een-en-dertig-toon-stemmig’ en ‘honderd-agt-en-

twintigste-rus’ en ‘honderd-agt-en-twintigste-noot’
en dies meer; benamings wat hoofsaaklik uit syfers
bestaan is nie as sodanig vreemd nie.
6. Die volgende aangawes sou miskien kon
herbeskou word:
‘tonikadrieklank’, ‘dominantdrieklank’ maar
‘submediant-drieklank’
‘dominantfunksie’ maar ‘subdominant-funksie’
‘tonika-majeur’ maar ‘tonikatoonsoort’
7. Daar is ‘n tikfout in die Engelse aangawe van
‘Maelzel metronome’, naamlik ‘n verwysing na ‘...
a piece of work ...’ Dit is in die Afrikaanse aangawe
korrek gegee as ‘... a piece of music ...’
8. Die eerste nota onderaan bylae A lees ietwat
hinderlik: ‘In Afrikaans is dit moontlik om die
majeur toonsoorte met ‘n hoofletter, maar die
mineur toonsoorte met ‘n kleinletter te skryf...’
Die Engelse vertaling lees ook ‘In Afrikaans it is
possible ...’ Is dit ‘in Engels’ nie moontlik nie? Hier
sou die woord ‘moontlik’ seker dan deur die woorde
‘soms gebruiklik’ of so iets kan vervang word.
9. Die verduideliking by die aangawe ‘vrye fuga’
lees as volg: ‘fuga waarin die streng fuga-reëls nie
in ag geneem word nie’. So ‘n formulering is
verrassend vir iemand wat oplettend met die fuga’s
van Bach omgaan; ‘streng reëls’ is eintlik nie uit
hulle af te lei nie. Miskien hou hy hom by een
gewoonte wat naastenby in die rigting van ‘n ‘streng
reël’ beweeg, naamlik, dat ‘n fuga met ‘n
uiteensetting sal begin waarin al die stemme
(partye) meesal een vir een aan die woord gestel
word volgens ‘n sekere harmoniese tradisie. Maar
selfs hierdie gewoonte word deur Bach op talle
verskillende maniere hanteer: soms is daar
bykomende intredes, soms oorvleuelende intredes,
soms kontratemas en soms nié, ens. ens. Hierdie
omstandigheid bring mee dat ‘n eksaminator in
teoretiese vakke wat van kandidate verwag om ‘n
fuga-uiteensetting te skryf, duidelik stipuleer of die
insluiting van ‘n kontratema (moontlik omkeerbaar)
en van een of meer bykomende intredes, ens., ens.
verwag word.
Dit sal sekerlik nie die verwagting wees dat alle
gebruikers van ‘n woordeboek soos die SAM van
die bogenoemde soort feite sal bewus wees nie,
maar nogtans is dit aan die ander kant tog wel die
verpligting van ‘n woordeboek om suiwer en
korrekte denke te bevorder. Die woorde ‘streng
reëls’ sou hier dus met wins kan vervang word deur
‘gewoonste tradisies’ of iets dergeliks, en die
formulering as ‘n geheel vervang word.
10. Die verduideliking by die aangawe ‘due corde’
het aandag nodig. Dit lees tans as volg: ‘letterlik
‘twee snare’ - in klavierspel moet die linkerpedaal
net halfpad ingetrap word’.
Eerstens is die inligting foutief: ‘due corde’,
normaalweg in klaviermusiek aangedui deur middel
van die afkorting DC, beteken dieselfde as ‘tre
corde’ (TC), naamlik dat die linkerpedaal van daar
af nie meer afgetrap moet wees nie. Dit is dus ‘n
kansellasie van die voorafgaande aanduiding UC
(‘una corda’). Indien die linkerpedaal van ‘n
vleuelklavier wel net halfpad ingetrap word, kan
daar baie moontlik heeltemal onverwagte
klankeffekte ontstaan om die volgende rede:
gebruik van die linkerpedaal op ‘n vleuel verskuif
die hamerkoppe sodat hulle die snare tref met die
sagter deeltjies van hulle filt en nie meer met die
harder deeltjies wat binne in die gleufies saamgepers
is deur herhaalde gebruik nie. As die hamerkoppies
nou nie ver genoeg verskuif deurdat die linkerpedaal
ten volle afgetrap word nie, dan kan dit gebeur dat
die snare getref word met die randjies net langs
die gleufies, waarna die hamerkop vanself verder in
dieselfde rigting beweeg sodat die snare in die
gleufies ingly, waarna die hamerkop weer by die
snare uitskuur. Albei hierdie gebeure, die ingly sowel
as die uitskuur, veroorsaak bygeluide wat nie
welkom is in klavierspel nie.
Tweedens is ‘due corde’ in die letterlike
betekenis van ‘twee snare’ baie goed bekend aan
die bespelers van strykinstrumente. Vir hulle
129

eteken dit dat passasies wat normaalweg op een
snaar sou gespeel word, op aanwysing van die
komponis nou in eenklank op twee snare gelyktydig
moet gespeel word ter verkryging van ‘n sekere
bedoelde effek.
11. Die aangawes ‘Franse sekstakkoorde’, ‘Franse
sesde-akkoord’ en ‘French sixth chord’ bevat elkeen
die foutiewe wisselvorm ‘vergrote sesvierakkoord’.
Dit moet wees ‘sesvierdrie-akkoord’. ‘n
Sesvierakkoord is ‘n tweede omkering van ‘n
drieklank terwyl die Franse sesde-akkoord die
tweede omkering van ‘n vierklank (gealtereerd) is.
12. Die verduidelikings by ‘chromatic modulation’
en ‘chromatiese modulasie’ is onduidelik. Dit lees:
‘wanneer modulasie-akkoorde nie tot die diatoniese
toonleer behoort nie’. Watter diatoniese toonleer;
die een van die eerste of die een van die tweede
toonsoort? In elk geval word dit normaalweg aanvaar
dat ‘n chromatiese modulasie plaasvind wanneer die
spilakkoord in óf die eerste óf die tweede óf albei
betrokke toonsoorte chromaties is. Die term
‘diatoniese toonleer’ sou in ‘n verbeterde
verduideliking deur ‘toonsoort’ kan verplaas word,
ook omdat dit die geval is dat talle chromatiese
akkoorde ten minste een diatoniese noot bevat, soos
die Franse sesde-akkoord wat sowel die tonika as
die supertonika ongealtereerd bevat.
13. Die verduideliking by ‘skynakkoord’ is
verwarrend en misleidend. Dit lees as volg: ‘‘n
chromatiese samestelling van akkoord- en nieakkoordtone
wat soos ‘n toonsoortvreemde
diatoniese akkoord klink’. (Hierdie formulering
word natuurlik ook by die Engelse ekwivalent ‘apparent
chord’ gegee.)
Eerstens, die term ‘nie-akkoordtone’ sou moet
wees ‘akkoordvreemde note’ of ‘nie essensiële
note’, volgens die SAM.
Tweedens, skynakkoorde kan wel uit
chromatiese note gevorm word, maar ewe moontlik
uit diatoniese note (of dan wel uit enige verbindings
van diatoniese en chromatiese note).
Derdens, dit neem ‘n moment of twee om te
130
verstaan wat bedoel word met die aanduiding
‘toonsoortvreemde diatoniese akkoord’. Die
bedoeling is sekerlik dat so ‘n akkoord diatonies is
in ‘n ander toonsoort as die heersende een.
Laastens, die begrip ‘skynakkoord’ is akkoord
gebonde en nie toonsoort gebonde nie.
Die werkbare definisie van ‘n skynakkoord is as
volg: enige akkoord wat ontstaan uit die
teenwoordigheid van enige enkele, of meer as een
gelyktydige, diatoniese en/of chromatiese
akkoordvreemde noot of note.
Die eenvoudigste soort voorbeelde van
skynakkoorde kom reeds in die elementêre stadiums
van harmonie-onderrig voor: As die vyfde van
‘n tonikadrieklank opwaarts beweeg na die sesde
toontrap en weer terug beweeg na die vyfde
toontrap, terwyl die ander drie stemme staties bly
(dus was daar ‘n bo-hulpnoot in die een stem), dan
is daar deur die hulpnoot ‘n eerste omkering van
die submediant-drieklank gevorm, wat in daardie
geval ‘n skynakkoord is. Sou daar egter betreklik
lank vertoef word op die hulpnoot terwyl die ander
stemme staties bly, verander die harmoniese
aanvoeling, en is daar dan nie meer ‘n bo-hulptoon
nie maar wel ‘n verandering van tonika na
submediantharmonie en terug. Met ander woorde,
die tydsduur veroorsaak dat ‘n akkoordverandering
gehoor word. Soortgelyk, as die derde en vyfde van
‘n tonikadrieklank gelyktydig na sulke bo-hulptone
en terug beweeg terwyl die tonika’s staties bly, word
daar deur hierdie hulpnote ‘n tweede omkering van
die subdominant-drieklank gevorm wat ‘n
skynakkoord is, weer met dieselfde voorwaarde wat
tydsduur betref.
14. Bylae A gaan oor noot- en solfaname en is
voorheen in hierdie oorsig met waardering genoem.
Bylae B verskaf die internasionaal aanvaarde
aanduidings vir spesifieke toonhoogteposisies,
byvoorbeeld ‘kontra C’, ‘klein c’, ‘viergestreepte
c’ (en natuurlik al die ander C’s en c’s en ander
letters). Verspreiding van hierdie begrippe is ‘n
groot aanwins in die Afrikaanse musiekterminologie.
Iets wat spesiaal moet beklemtoon word is dat
‘eengestreepte c’ dieselfde is as ‘middel-C’. Dit sal

‘n rukkie neem om gewoond te raak aan die feit
dat ‘n klein en ‘n groot C na dieselfde
toonhoogteposisie verwys, en dat bv. ‘kontra C’ los
van mekaar geskryf word maar ‘middel-C’ met ‘n
koppelteken.
15. Bylae C verwys na Russiese name en hoe hulle
in Afrikaans gespel kan word. ‘n Naam soos
‘Sjtjedrin’ doen eers as vreemd aan maar dat is dit
wel ook so dat die Engelse spelwyse nie juis minder
vreemd lyk nie (Schedrin). Aan die spelwyse
‘Tsjaikofski’ sal daar gewoond geraak kan word, en
sy voorname ‘Pjotr Iljitsj’ word in elk geval selde
gebruik.
Dit is verrassend om die name van David Oistrach
en Mstislaf Rostropowitsj op te merk in ‘n lys wat
die opskrif ‘Russiese komponiste’ dra (die opskrif
is op bladsy 283). Hoe word ‘MS’ van ‘Mstislaf’ in
Afrikaans uitgespreek: ‘Mis’? Sou ‘Mistislaf’ nie ‘n
duideliker weergawe wees nie?
16. Klavierbouterme word in bylae D aangegee. Die
huidige leser het nie ‘n naam vir die besonder
belangrike gleufies in klaviere se hamerkoppe
raakgesien nie, ook nie in die algemene woordelys
nie. As daar wel een is, word hiermee verskoning
aangebied.
Dit is ietwat steurend dat die meer beskrywende
‘oorkruisbesnaring’ van die 1973-uitgawe in die SAM
vervang word deur die neutrale ‘dubbelgespan’ (vir
Engels ‘cross-stringing’ en ‘cross-strung’). ‘Oorkruis’
beteken in hierdie verband uiteraard ‘dubbel’ terwyl
‘dubbel’ in geen verband uiteraard ‘oorkruis’
beteken nie. (Hierdie term staan in die algemene
woordelys, nie in die lys van klavierbouterme nie.)
17. Die anatomieterme vir sangers in bylae E sal
hopelik vir vakkundiges op daardie gebied van
waarde wees. Dit is natuurlik nodig om tegniese
vakkennis te hê van ‘n studieveld voordat dit besluit
kan word watter terme tuishoort in ‘n algemene
musiekwoordeboek en watter liewer aan publikasies
oor anatomie oorgelaat kan word.
18. Onder die afkortings vir die name van
orkesinstrumente waaruit bylae F bestaan, is daar
‘n paar wat oopgelaat word alhoewel afkortings wel
in Italiaans vir almal gegee word. Daar sal seker
goeie redes wees waarom basklarinet nie kan bkl.
wees nie (‘kl’ dek die A- sowel as die B-molinstrumente),
en ook waarom ‘bastrom’, ‘snaartrom:
en ‘paradetrom’ nie btm, stm en ptm kan wees nie
(‘trompet’ is ‘tp’). Studente sal ‘driehoek’ seker
sonder meer afkort tot 3h of drh of so iets, en
‘militêre tamboer’ tot mil.tb of iets dergeliks
(‘tamb.’ is die afkorting vir ‘tamboeryn’).
19. Die benaming ‘parodiemis’ word verduidelik as
‘polifoniese mistoonsetting waarin die volledige
tekstuur van ‘n voorafbestaande polifoniese
komposisie gebruik word’. So ‘n verduideliking maak
nie sin nie en is in elk geval onjuis. Dit moet wees
‘parodiemis: ‘n mis wat melodiese materiaal
oorneem uit voorafbestaande ander komposisies, en
die oorname kan wees van fragmente of ook van
volledige seksies’.
20. Die benaming ‘parafrasemis’ word verduidelik
as ‘polifoniese mistoonsetting waarin ‘n bestaande
melodie aangehaal word in een of meer stemme’.
Soos wat in nommer 19 hierbo genoem is, vind
hierdie werkwyse in ‘n parodiemis plaas. ‘n
Parafrasemis is daarteenoor ‘n mistoonsetting
waarin gevarieerde behandeling plaasvind van reeds
bestaande cantus planus-melodie.
Professor Johann Potgieter, voormalige hoof van die
Musiekdepartement, Universiteit van die Oranje-Vrystaat, is ‘n
bekende pianis en kamermusikus en woon tans in Johannesburg
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The Magic Touch: For pianists and
teachers. A workable practical guide to
piano playing Wallace Tate in
association with Lionel Bowman
Western Australia: Wallace Tate 2000
Cape Town based pianist Lionel Bowman has for years
been one of the most prominent figures of music in
South Africa. During his extensive career as both a
performing artist and a piano tutor he has touched
the hearts and imagination of many a listener and
student. Attending master classes by him at the Department
of Music of the University of Pretoria recently,
I was astounded by his wealth of knowledge
and contagious enthusiasm for his instrument.
On the insistence of numerous pianists, both in
South Africa and Australia, the foundations of
Bowman’s piano technique have finally been annotated
in this publication, written by the Australian
pedagogue Wallace Tate. It certainly represents an
important addition to the rather limited body of documents
dealing with the intricacies of pianism. After
years of studying the finer connections between the
mechanical principles of sound production and musical
expression, Bowman gradually devised a method
to avoid and eliminate defective muscular habits
during practicing and performing. The Bowman/Tate
collaboration outlines a systematic working procedure
advocating the constant release of muscular
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tension as well as the utmost economy of movement.
This very practical and evidently proven system is
bound to provide the pianist with a therapeutic remedy
against unnatural muscular exertion and fatigue.
Contrary to most manuals on piano technique,
the book commences with the workings of the larger
levers (with the fingers mere extensions of the arms)
as primary focus. The novelty of the approach pertains
to the flexing or stretching of hands and fingers
between the playing of notes to conjure a sure sense
of muscular freedom. Rotation exercises toward the
fifth finger ‘open up’ the crossing of the radius and
ulna temporarily in order to relax the arm.
A series of exercises move from the basic elements
of playing single notes (with very relevant
information on weight transference) and simple fivenote
patterns to the playing of octaves, chords and
more dexterous passages. Clear black and white drawings
illustrate the various procedures. The accompanying
video, currently in preparation, will certainly
clarify many of the over-detailed descriptions.
In the chapter dealing with scale and arpeggio
playing, the ‘position technique’, where the hand
moulds itself into jumps and finger groupings before
actual sound production, is extremely helpful, providing
a sure remedy against the ‘passing under’ of
the thumb under the hand and vice versa. Invaluable
hints and suggestions provide a sound basis for agility
in fast passage work.
The final chapters provide the application of
Bowman’s technical principles to examples from the
standard piano repertoire. Advice as regards sectional
practicing habits with intentional hesitations allows
the pianist to control and check the co-ordination of
muscles. Standardised devices such as cantabile,
tremolo and two-note slur execution, and especially
fingering, are discussed in highly original ways.
Although pianists and piano teachers might frown
upon the reputability of a single, and in this case, a
very personal and unique approach, the contents of
the document could certainly prove most stimulating
and thought provoking. I have already applied
some of the ideas to my own teaching methods with
seemingly positive results.
No matter how different the anatomy, personality
or musical prowess, this publication should encourage
the pianist to believe that success is within
reach for everyone.
Dr Wessel van Wyk is a senior lecturer in music at the Department
of Music of the University of Pretoria

CD Reviews
CD-resensies
Komponiste
In hierdie rubriek is slegs een opname vrygestel.
CHRISTOPHER JAMES - SONGS OF
LAMENTATION AND REMONSTRATION
ÉTIENNE VAN RENSBURG - NAG–
SIKLIESE BALLADE W18/91
STEFANS GROVÉ - SEWE LIEDERE OP
BOESMANVERSE
Obelisk obr3004 Beperkte Uitgawe 4 (1993/4),
Posbus 11717, Dorpspruit 3206
Hierdie opname van Suid-Afrikaanse kunsmusiek is
die vierde in ‘n reeks wat vrygestel is deur Obelisk,
die plaaslike genootskap vir die bevordering
van werke deur ons eie komponiste.
Hierdie geesdriftige genootskap wat sedert
1992 bedrywig is, het vanaf daardie jaar tot 2000
altesame 113 werke deur 39 Suid-Afrikaanse
komponiste ten gehoor gebring. Daarvoor het 86
plaaslike uitvoerende kunstenaars meegewerk.
Stefans Grové
Hierdie laserskyf is gegrond op die opnames wat
gedurende 1993 en 1994 in die Staatsteater gemaak
is. Die lokaal was die Studio-ateljee en die
analoogmeester van daardie eerste openbare
uitvoerings was gemaak deur Fred Schulze.
Die suksesvolle voortbestaan van Obelisk is
hoofsaaklik te danke aan die geesdrif en
deursettingsvermoë van Étienne van Rensburg uit
wie se vrugbare skeppingspen ‘n werk bespreek sal
word. ‘n Mens kan met reg hierdie reeks laserskywe
beskou as wegwysers tot die Suid-Afrikaanse
skeppende toonkuns.
Christopher James (1952): Songs of Lamentation
and Remonstration (1985)
Hierdie werk is op 16 Maart 1994 uitgevoer deur
Pierre du Toit (bariton), Allan Thompson (klarinet)
en Ansi Verwey (klavier).
Du Toit besit ‘n hoë baritonstem wat baie
duidelik projekteer, maar in die hoogtepunte word
die intensiteit van vibrato egter hinderlik. James
behelp hom in hierdie vyf liedere met ‘n vloeiende
neo-romantiese styl. Opvallend is sy gevoelige
toonsetting van die teks in ’n baie singbare vokale
behandeling. Beide klarinet en klavier is sterk
stemmingskeppend. Die tekste is deur L Hughes, R
Hayden, C Cullen en C McKay.
Étienne van Rensburg (1963): Nag–sikliese
ballade (1991)
Hierdie werk is op 21 April 1993 vir die eerste keer
deur Alma Oosthuizen (sopraan) en Louis Fouché
(klavier) uitgevoer.
Die werk is baseer op die buitengewoon musikale
verse van Petra Müller. Van Rensburg lê al die
uiteenlopende stemminge goed vas in die stemparty,
sowel as die klavierondersteuning. Die stemomvang
bly deurgaans wyd en herinner baie aan dié van die
middel-van-die-eeuse serialiste. Die werk bestaan
uit drie afdelings: Nag, Maansverduistering en
Luiperd, en is met besondere begrip vir woord en
musiek uitgevoer.
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Stefans Grové 919220: Sewe Liedere op
Boesmanverse (1991)
Uitgevoer op 25 Mei 1994 deur Alma Oosthuizen
(sopraan), Andrew Cruickshank (klavier) met ‘n
strykkwartet gedirigeer deur Étienne van Rensburg.
Die werk is baseer op verse deur Eugène Marais en
Abraham Fouché.
Deur die aanwending van verskillende middele
trag die komponis om ‘n deursigtige Boesman-sfeer
te skep. Sommige openbaar ook ‘n ligte
dansmatigheid, soos byvoorbeeld Weeskinders van
die Hemelgod.
Elk van die sewe liedere word voorafgegaan deur
‘n selfstandige klavierinleiding wat die essensiële
kenmerke daarvan uiteensit. Die uitvoering is van
hoogsprofessionele standaard.
Suid-Afrikaanse uitvoerende
kunstenaars
ADOLPH HALLIS - A TRIBUTE TO A
GREAT SOUTH AFRICAN PIANIST
Robert Schumann: Klavierkonsert met die SAUK
Simfonie-orkes onder leiding van Edgar Cree.
Claude Debussy: 12 Etudes
Claremont Records Historical Recording CD GSE
78-50-81
Dit is besonder gepas dat ‘n laserskyfuitgawe van
hierdie gevierde Suid-Afrikaanse pianis aan die
publiek beskikbaar gestel word.
Hallis wat in Oostenryk gebore is en feitlik sy
hele lewe lank in Suid-Afrika werksaam was, was
nie alleen ‘n besonder begaafde en intelligente
pianis nie, maar ook as pedagoog het hy diep spore
in ons musieklewe getrap. Hy was byvoorbeeld die
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leermeester van bekende pianiste soos Marian Friedman,
Peggy Haddon, Anton Nel, Albie van Schalkwyk
en Pauline Nossel.
Die Schumann-opname is ‘n opdrag van ‘n
plaatopname wat waarskynlik uit die argief van die
SAUK afkomstig is. Te oordeel aan die
opnamekwaliteit stam dit hoogswaarskynlik uit die
laat jare 60. Hallis se onbetwisbare musikaliteit
spreek uit hierdie vertolking.
In die Debussy Etudes wat in 1938 opgeneem
is, word ‘n mens heelwat gesteur deur die
plaatgeruis. Maar nogtans blyk Hallis se pianistisiese
en insiggawes tog baie duidelik.
TESSA UYS -
GOLDBERG VARIATIONS BWV 988
Johann Sebastian Bach
Claremont Records CD GSE 1568/69 (2000)
Johann Sebastian Bach se Goldberg Variasies was
tot hierdie opname geen nuut-ingestudeerde werk
vir Tessa Uys nie, want reeds in 1993 het sy ‘n
opname daarvan vir die BBC Radio 3 gemaak, en
ook konsertuitvoerings daarvan in Europa en Suid-
Afrika aangebied.
Aangesien hierdie monumentale 30 variasies op
‘n aria vir ‘n tweemanuaalklavesimbel gekomponeer
is, is ‘n uitvoering daarvan op ‘n moderne
konsertvleuel in twee opsigte lastig–eerstens
tegnies, vanweë die oorspronklike manuaalkruisings
en tweedens klankgewys, omdat die droë
klavesimbelklank op die moderne klavier oorgedra
moet word.
In die wêreld van opnames was dit die Kanadese
pianis Glen Gould wat die eerste, werklik
noemenswaardige opname van die Goldberg

Variasies gemaak het. Daarin het hy skerp
geartikuleerde spel op die klavier gedemonstreer
wat tot voorbeeld vir pianiste sou dien. In hierdie
vertolking het hy ‘n klavesimbelmatige klanksoort
nagestrewe wat pas by die aard van die werk.
Uit haar opname van hierdie variasies, blyk dit
in sommige opsigte duidelik dat Tessa Uys deur
Gould se opvatting gestimuleer is.
Hoewel haar artikulasie soms helder is, soos
byvoorbeeld in variasie 23, maak sy haar van tyd tot
tyd skuldig aan pianistiese inkleuring, soos
byvoorbeeld in variasie 6 en ook aan ooraksentuering
soos in variasie 5. Eienaardig genoeg klink variasie
26, wat gekenmerk word deur kletterende
vingerwerk, onder die hande van Uys ietwat
gesmeerd. Haar versierings is indrukwekkend skerp,
maar dit is die oorgangsdinamiek wat te pianisties
aandoen.
BRAHMS - LIEDER VOL 4
DEON VAN DER WALT (Tenoor),
CHARLES SPENCER (Klavier)
ARS MUSICI AM 1193-2
In hierdie program word die volgende vier groepe
uitgevoer: Fünf Lieder werk 49, Neun Lieder und
Gesänge werk 63, Fünf Lieder werk 106 en Fünf
Gesänge werk 71.
Die tekste is deur Heyse, Hölty, Wenzig, Von Schack,
Von Schenkendorf, Feliz Schumann, Reinhold, Groth,
Kugler, Frey, Heine, Simrock, Candidus en Lemcke.
Om die een of ander rede beklee die kunsliedere
van Johannes Brahms ‘n ondergeskikte rol in die
liedrepertorium teenoor dié van Franz Schubert,
Robert Schumann en Hugo Wolf. Stilisties sluit sy
liedkuns meer by dié van Schumann aan as by die
deklamatoriese kuns van Wolf. Net soos in die geval
van die Schumann-liedere, besit elk van Brahms se
liedere ‘n sterk liries georiënteerde melodiese
drakrag wat die teksbetekenis op natuurlike wyse
daarin opsluit.
Deon van der Walt is een van die begaafdste
stemtalente wat Suid-Afrika nog opgelewer het, en
baie fasette van sy sangkuns word ryklik in hierdie
opname geïllustreer.
Aan die vleuel is die reeds beroemdgeworde
Charles Spencer, in Engeland gebore, maar soos Van
der Walt ook in Duitsland en Oostenryk opgelei.
Geen wonder dat hulle twee interpretasiegewys so
goed aansluiting by mekaar vind nie.
Die klankkwaliteit van hierdie opname is
natuurlike-naby, en die luisteraar kry die gevoel dat
hy baie na aan die twee uitvoerendes sit.
Vreemde uitvoerendes met Suid-
Afrikaanse verband
BENJAMIN SCHMID -
BACH VIOLIN CONCERTOS
ARTE NOVA 74321 43301 2
Die program bestaan uit vier werke–die Konsert in
a (BWV 1041), Konsert in E (BWV 1042), Konsert in
A vir oboe d’amore en strykers (BWV 1055) en die
Konsert in d vir twee viole (BWV 1043).
Die orkes bestaan uit 14 strykers en is bekend as
die Cis Collegium Mozarteum Salzburg, wat
dirigentloos optree.
Menige leser sal nou vanselfsprekend die vraag
stel waarom die Oostenrykse violis Benjamin
Schmid, gebore in 1968, by hierdie bespreking van
Suid-Afrikaanse musiek ingesluit word. Die
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aanknopingspunt lê by sy verowering van die tweede
prys tydens Unisa se Internasionale Kompetisie in
1992.
In hierdie program toon Schmid hom as ‘n
dinamiese violis wat hom soms tot ‘n mate aan
oordadigheid skuldig maak. Hy bespeel ‘n Stradivari
Brüstlein viool uit die jaar 1707 en dit dra by tot sy
besondere toonkwaliteit, maar hierdie feit lei nog
nie die aandag af van oorgeaksentueerdheid en die
uitermate vinnige tempi van die hoekdele nie, wat
‘n sterk gevoel van uiterste gejaagdheid laat
ontstaan.
In die Konsert vir oboe d’amore tree Clara Dent
as soliste op, en sy verkry ‘n besonder warm
toonkwaliteit op hierdie buitengewone, hoboverwante
instrument.
Die program word afgesluit met die Konsert vir
twee viole in d, met Helge Rosenkranz wat Schmid
hier bystaan. Hulle musiseer op gelyke vlak van
toonkwaliteit en opvatting.
NINTH UNISA INTERNATIONAL
PIANO COMPETITION - UNISA (2000)
Hierdie kompetisie is in samewerking met Vodacom
aangebied met ‘n eerste prys van US$20 000 wat
136
proporsioneel afgeskaal is tot die sesde prys van
US$3 000.
Die deelnemers wat al die pryswenners chronologies-georden
insluit, is die volgende:
Dmitri Vorobiev (26) Rusland, Carlo Guaitoli (29)
Italië, Ju Jin (23) Chinese Volksrepubliek, Ragna
Schirmer 927) Duitsland, Christopher Hinterhuber
(26) Oostenryk, Evelina Borbei (24) Rusland,
Jeanne-Minette Cilliers (26) Suid-Afrika en Lauma
Skride (17) Latwië.
Die opname bestaan hoofsaaklik uit die
Romantiese klavierrepertorium, met die byvoeging
van ‘n werk deur Claude Debussy, asook ‘n bydrae
elk deur die Suid-Afrikaanse komponiste Hendrik
Hofmeyr en Robert Fokkens. Die opnames wat deur
Gustav van Heerden gemaak is, klink lewenseg, dus
naby, asof die luisteraar op kort afstand sit.
Besonder indrukwekkend in hierdie opname is
Vorobiev se vertolking van Robert Schumann se
Symphonische Etüden. Vanweë ruimteprobleme kon
Ragna Schirmer se weergawe van Johann Sebastian
Bach se Goldberg Variasies nie ingesluit word nie.
Haar uitvoering van daardie werk was ‘n ware
belewenis!
Die twee Suid-Afrikaanse werke is albei
tokkatematig en verg tegniese meesterskap. Baie
van die kandidate het helaas die partituurvoorskrifte
nie getrou gevolg nie, veral in Kalunga van Hofmeyr,
waar Ju Jin as wenner aangewys is.
Robert Fokkens se Running Out is op gepasde manier
sprankelend en borrelend vertolk deur die besonder
begaafde 17-jarige Lauma Skride, wat ‘n mens deur
al die rondes imponeer het.
Professor Stefans Grové is bekende komponis en resensent en
verbonde aan die Universiteit van Pretoria

ORIGINAL COMPOSITION OORSPRONKLIKE KOMPOSISIE
Peter Efstratiou matriculated at Benoni High School.
He studied piano under Adolph Hallis and received
the LTCL in 1981. In 1992 he received the LTCL
(singing) under Ann Hamblin. After completing the
BMus and BMus(Hons) at Unisa in 1981 and 1983
repectively, he completed the MMus degree (cum
laude) in 1994 under the supervision of Professor
Bernard van der Linde. In 2000 he enrolled for the
DMus in composition at the University of Pretoria
under the supervision of Professor Henk Temmingh.
He is currently studying singing with Emma Renzi,
while freelancing as pianist, singer, composer, accompanist
and teacher in the fields of art music and
cabaret.
Credo: The twentieth century was largely experimental
and succeeded in liberating music for
ever. I feel strongly that only a tiny proportion of
this music is usable or is ever performed outside
university music departments. Much is experimental
purely for its own sake and it is not a path I wish
to follow. I therefore arrived at a dead end some
years ago, because there seemed no way to write
art music without being derivative. When I thought
of a beautiful melody with luscious harmony I simply
made it a popular instrumental, song or part of
a musical.
The subject of my master’s thesis was Stylistic renewal
in the late piano music of Sergei Rachmaninov.
It took years of work for me to see that Rachmaninov
had in fact been in the same position, trying to
maintain integrity in a world what was fast making
Peter Efstratiou
his music old-fashioned. Initially he withdrew and
composed little for a decade. He began to revise
several of his earlier works and found stylistic renewal
which spurred him on to write the late masterpieces.
This inspired me to do the same thing.
As long as I write tonal music, there will be reminiscences
of three hundred years of predecessors,
but I think that I am on the way to finding an individual
voice.
Prelude: I thought that the beginning was an
excellent place to start, so I wrote a piano suite
called Changes, of which the prelude is titled In the
beginning because it was the first surviving melody
I ever wrote. With the improved technique of experience,
and specifically the vistas that expanded
tonality has opened up for me, I believe that I have
created a viable work, which apart from being an
introduction to the suite, furnishes the motivic
material of the remaining pieces.
Now: Large-scale works are being written towards
the DMus degree. There is a piano concerto
in a romantic and very accessible style and an Easter
oratorio called On that day, based on the gospel
of St Mark. I am also planning a song cycle, a format
which I find very stimulating. The twentieth
century is over. I believe that romance is back. I
also believe that it never went away.
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