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Thursday, November 22 • 16:00 - 17:00
Sound images from Africa: Exposing New and Unknown Repertoire for the Viola

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Programme:

SOUND IMAGES FROM AFRICA

Tshepo Tsotetsi - Glances and a Glass of Wine, jazz composition for Solo viola and ensemble (premiere)
Jeanne-Louise Moolman, solo viola
Ensemble: Louise Lansdown, Elmarie van der Vyver and Lynn Rudolph, violas;
Krystyna Kulisiewicz, double bass

Hendrik Hofmeyr - Sonata for viola and piano (1st and 2nd movements)
I. Meditabondo – Andante – Irrequieto
II. Fiabesco – Cullante
Jeanne-Louise Moolman viola,  Daniël Kramer IVC pianist

Mokale Koapeng - The Boabab Dance, for viola and piano (premiere)


TRANSCRIPT

Niel van der Watt - Wildflowers of the Drakensberg for viola and piano;
- Varkblom (Arum Lily) – Zantedeschia albomaculata
- Kruidjie-roer-my-nie (Gurty-touch-me-not) - Melianthus villusus
- Krismisklokkies (Butter lily) – Littonia modesta
- Pynappelblom (Pineapple Flower) – Eucombus humilis
- Wilde Braambessie (Wild Blackberry) – Rubus cuneifolius
- Sewejaartjies (Everlastings) – Helichrysum squamosum
- Suikerbos (Sugar bush) – Protea simplex

Franco Prinsloo - Die Gebreekte Snaar (The Broken String) for viola and looping station (world premiere)

Franco Prinsloo - Sonatina (viola and piano)
Introduzione - Scherzo - Song - Transcription - Finale
Elmarie van der Vyver viola, Mathilda Hornsveld piano


Programme Notes:

Die Gebreekte Snaar (The Broken String) - Franco Prinsloo:
The first people of South Africa, Stone-Age hunters and gatherers from the mountains and the arid flats of the interior, did not survive the arrival of settlers from Europe. Within decades an ancient world of sorcerers, hunters and artists were lost forever, along with the stories they told”. (Bennun, 2004: cover)
In this lamentation for solo viola and loop pedal composer, Franco Prinsloo, explores the poetry of the nineteenth century /Xam poet, Diä!kwain, as archived in the acclaimed Bleek & Lloyd collection. “The poet laments the reality that he is disconnected from the place that was once his. The string with which he made the rain, has broken. His home has become unfamiliar to him and he is unable to hear its ‘rippling sound through the air’”. (Krog, 2004: 8)
The archive records eighty-seven legends, myths and other traditional stories of the ǀXam people in their now-extinct language. The stories were collected through interviews with various narrators, chief among them: ǀA!kunta, ǁKabbo, Diäǃkwain, ǃKweiten ta ǁken and ǀHanǂkasso.
These tales were written down and translated by Bleek and his sister-in-law Lloyd. Bleek died in 1875, but Lloyd continued transcribing ǀXam narratives after his death.
It is thanks to her efforts that some of the narratives were eventually published, which also includes sketches of rock art attributed to South African indigenous people, |Xam and some ǃXun narratives.
The composition, one in a series of works, aims to explore the natural inflection of the translated text (in this case the Afrikaans translation by acclaimed poet, Antjie Krog). The composition relies, much like vocal music, on the emotive emphasis of phrasing and natural narrative infelction of the text. The text is indicated bellow the music, not to be sung by the player, but rather to assist the instrumentalist in interpreting the musical language and to contemplate the text while performing. This allows the interpreter and listener to enter into a contemplation and conversation with the text musically.
The composer has set both English and Afrikaans translations of the text to music. This resulted in two very different and unique musical structures based on the unique rhythm and inflection of the respective spoken languages.

Hendrik Hofmeyr: Sonata for viola and piano
The first movement of the Sonata for Viola and Piano is based on a free adaptation of sonata form. The
introductory theme for the solo viola (Meditabondo) evolves from a melodic cell x which turns around a
central note. This cell recurrs in many guises throughout the work, and serves as a cyclic motto. A lyrical
theme (Andante) is announced on the piano, and then taken up by the viola, accompanied by a countermelody derived from the same material. A restless canonic section (Irrequieto), based on a faster theme and a chromatic semiquaver figure, both derived from the introductory material, leads to a climax which marks the end of the exposition. A brief cadenza for the viola leads to a fugal development section, the subject of which is derived from the lyrical theme, while the counter-subject is based on the semiquaver figure. A second subject, based on the faster theme, is introduced and combined with the first subject. This culminates in a climactic varied reprise of the opening idea, which marks the start of the recapitulation.

The ternary slow movement starts with an incantatory melody generated entirely from natural harmonics on the viola. A faster variant of this idea is taken up by the piano as counter-melody to a new theme on the
viola, which grows from the x motif. The middle section is formed by a mysterious lullaby, based on a
setting of William Blake’s A Cradle Song, which explores the chromatic third relationships on which much
of the tonal structure of the outer movements is also based. After the varied return of the first section, the
movement concludes with a brief coda, in which elements of the two sections are juxtaposed.



Artists
avatar for Daniël Kramer

Daniël Kramer

IVC Pianist
Daniël Kramer is known as a many-sided and impassioned pianist.He took up his main studies at the Conservatorium van Amsterdam with Håkon Austbø, also taking regular lessons with Claude Helffer in Paris. In 2000 he was awarded his performance diploma, with distinction.In 2007 he... Read More →
avatar for Elmarie van der Vyver

Elmarie van der Vyver

Elmarie van der Vyver was born in Delareyville in South Africa in 1965. She started studying the violin at a young age with Alan Solomon, and the piano with, amongst others , Pauline Nossel. Her musical career as a young player were formed by playing in the string orchestras of Alan... Read More →
avatar for Jeanne-Louise Moolman

Jeanne-Louise Moolman

University of the Free State, South Africa
I am the violist of the Odeion String Quartet and senior lecturer at the Odeion School of Music at the University of the Free State in South Africa. As soloist, I’ve performed with various orchestras in the South African and given numerous recitals in my country. In 2012, I was... Read More →
avatar for Louise Lansdown

Louise Lansdown

Royal Birmingham Conservatoire
Louise Lansdown was appointed Head of Strings at Royal Birmingham Conservatoire in 2012. Louise is the founder of the Cecil Aronowitz International Viola Competition and Festival, launched at Royal Birmingham Conservatoire in October 2014, as well as being the founder and President... Read More →
avatar for Mathilda Hornsveld

Mathilda Hornsveld

Pianist
Mathilda Hornsveld graduated with a B Mus (Performers) from the University of Pretoria. She joined Pact (Performing Arts Council of the Transvaal) as a pianist in 1980 with the inception of its Permanent Opera Chorus. In this capacity, and subsequently as repetiteur, coach and backstage... Read More →


Thursday November 22, 2018 16:00 - 17:00
Gereformeerde Kerk Vrijgemaakt (GKV) Simonstraat 8-10, 3032 AM Rotterdam, Netherlands

Attendees (16)