US Music

In the Konservatorium on 3 March a new CD of exceptional significance was introduced to the public. It is a recording of Die Kruisiging, the first St. John Passion in Afrikaans, which was composed by Winfried Lüdemann for the 500^th anniversary of the Reformation in 2017.  Martin Berger, Senior Lecturer in Choral Conducting in the Department of Music, was responsible for the recording.  The significance of the project lies therein that a professional vocal ensemble in Germany, directed by Berger, joined forces with five experienced South African soloists to record the work.  The ensemble AmaCantus rehearsed the numerous choral sections of the work in Afrikaans and then recorded them in Düsseldorf, while the solo sections were recorded simultaneously by the South African singers in Stellenbosch.  Dr Gerhard Roux, lecturer in Music Technology in the Music Department, was responsible for the local component of the recording.  The final product was put together in Germany and is now being marketed world-wide by the German recording company Guma Records.  Charcoal drawings by the Stellenbosch artist and former Matie Ydi Coetsee, which were created specifically for Die Kruisiging, adorn the CD cover and booklet.

At the launch Berger described the CD as an exceptional example of international cooperation in both the artistic and technological fields between Stellenbosch University and leading players in the music industry abroad.  He added that the University can be proud to be involved in a project of this magnitude and significance.  It illustrates that our expertise is both locally relevant and internationally competitive.

The recording does not only give world-wide exposure and recognition to one of the most extensive sacred works to be composed in Afrikaans to date, but also to Afrikaans as a language of music.

The CD can be acquired for R180 from Fiona Grayer at concerts@sun.ac.za, or tel. 021 808 2358.

The recent passing away of the Stellenbosch flautist Éva Tamássy on 30 November 2018 was lamented by all music lovers. A memorial service took place at the Dove’s Chapel, Somerset West, during which Gabriele von Dürckheim and Liesl Stoltz, with guitarist Michael Hoole, performed music by CPE Bach and Jules Massenet.

Tamássy was a well-known personality in especially music circles of the Western Cape. As gifted instrumentalist she played a significant role in the promotion of music for the flute, and appeared as member of a variety of ensembles. She was born in Budapest, Hungary in 1936, and received her music education at the Ferenc Erkel Conservatorium and Franz Liszt Music Academy, Budapest, and studied later with French flautist Jean-Pierre Rampal. Escaping from Hungary with her parents after the 1956 uprising, she settled in Johannesburg and soon established herself as broadcaster, recitalist, chamber musician and concerto soloist. She obtained the Unisa Performers’ Licentiate in Flute with distinction in 1965, and made many recordings for the SABC radio.

Since her appointment as flute lecturer at the University of Stellenbosch (1960) she was lauded for her chamber music concerts of Baroque music together with artists such as Shirley Gie (organ), Dalena Roux (cello) and Boudewijn Scholten (harpsichord). She played and broadcast regularly in concerts with ensembles such as Musica Antiqua, Serenade Ensemble, Pro Arte Wind Ensemble, Tamássy-Fortescue Duo, Concerts 4 x 2, and the Tamássy Flute Quartet. In the early 1990s she compiled and presented a 13-part series for radio called From Shepherd to Symphony. Illustrated radio programmes also focused on the French flute virtuoso and pedagogue Marcel Moyse, and on Theobald Boehm, composer and inventor of the modern flute. Besides teaching she also presented masterclasses – in Stellenbosch, Cape Town and Pecs (Hungary).

During her professional career she never backed away from the challenges of contemporary music, as is testified by her performance of Berio’s Sequenza. Several local composers dedicated works to her, including Arnold van Wyk’s only composition for flute, Poerpasledam (a corruption of the French Pour passer le temps) for flute and piano. At the first performance of the work in 1981 Tamássy was accompanied by the composer. Other composers include Paul Loeb van Zuilenburg, Hubert du Plessis and Roelof Temmingh.

Flute compositions Temmingh wrote for her include his Façade for flute and piano (1971, revised 1973), Nude for flute and piano (1973), a Sonatine for flute and guitar (1977), Moedverloor op A-mol for 12 flautists (premièred by 24 players in 1974), a Flute Quartet (1975), Psalm 42 for five flutes and bassoon (1976), a Quartet for flute, oboe, clarinet and bassoon, Last Pieces no 2 for unaccompanied flute solo (subtitled by Tamássy as Nostalgia) (1987) and a Flute Concerto (premièred by Tamássy and the USSO in 1989).

Tamássy made regular visits to Europe to keep abreast of the latest flute teaching methods, and to pave the way for her students to study in Europe in the music schools in Germany, France, England and Hungary. In collaboration with pianist Virginia Fortescue the duo gave public recitals in Vienna, Budapest, Scotland and France between 1990 and 1996 and a recital on Radio Budapest. She was also an editor of scores, and arranged Hungarian music such as folk songs for flute and piano.

After retirement in 1998 until shortly before her death Tamássy still played regularly, and maintained the tutoring of a handful of pupils at her house. She is remembered fondly by her family and friends, and she is honoured, in particular, by the numerous flute players whom she trained and mentored during almost sixty years of teaching.

Her former students will honour her legacy in several ways. As a tribute to her, a concert dedicated to the flute, directed by Gabriele von Dürckheim, is planned for 2019 at the Music Department, Stellenbosch University. Tamássy’s valuable collection of sheet music will find a permanent home in the library of the Johnman Music Centre in Herte Street. Some of her ex-students, Marietjie Pauw, Mariëtte Schumann and Linda de Villiers, have established ‘The Tamássy Hour’, open to all flautists, for regular sight reading sessions, and playing music from the Tamássy Collection.

Written by Prof Izak Grové & Marietjie Pauw

Retirement –  As the Afrikaans poet Uys Krige says in his poem Plaashek , I experience retirement  as a gate that has to be opened  for a different phase in my life. He says: Waar het my paaie nie geloop, om my by hierdie hek te bring? Ek lig die knip en maak ‘n hek oop in my hart.

How do I feel about it??  I feel like the Schubert Lied that is normally sung by first years, sometimes out of tune- Lachen und weinen  zu jegliche Stunde-— Laughter …and tears…  at any hour.

Allow me a few words…

There are so many things I am grateful for:

A: I consider myself very fortunate and privileged to have been in a tertiary position   for 40 years, where my occupation revolved around my prime passion- music, -of which 10 years was at the Wellington Training College, and the past 30 years at the Conserve.

As a first year student at the old Conserve in 1972, I did not consider it a possibility at all to serve at any stage on the staff of the Conserve. I was very much in awe of names like Richard Behrens, Reino Ottermann, Betsie Cluver, John Antoniadis, Lionel Bowman, Arnold van Wyk , Hubert du Plessis, Roelof Temmingh etc.

However, I was appointed here in 1988 at the new Conserve… What a privilege to work in such an aesthetic  environment, to teach  in this stylish, class leading and timeless  architectural masterpiece, with its wonderful facilities, foyers, aulas, studios, soundproofing, beautiful views, shadow lines at most windows and doors, and the beautiful fire staircases, which remind me somewhat of the saucer-sculptured Guggenheim museum in N.Y.

B: Most importantly, were the people in the building.

Students: The highlight of my job was working with our music students, which, to my mind, are of a special level and class. Working and interacting with them individually, or in ensemble, in repertoire classes and especially at the Voorspeelklasse, was immensely rewarding… And l will miss the constant renewal of faces, personalities and talent with the yearly intake. I am so fortunate to be able to state that I have lived my dreams.

C: But of course the tip of this musical pyramid is the staff-you. What a super-talented group you are, actually able to function with great success in the corporate world, but dedicating and investing your energy to an educational institute.

I experienced so much goodwill from all of you all.

1. The friendly an accomplished face of the managerial and communication division- Fiona and team.
2. Facility Official and team –Nicky.
3. Administrative team
4. The welcoming people at the cafeteria
5. Beulah and her well equipped library and staff
6. The academic staff
7. And lastly the Practical Staff: permanent as well as ad hoc members:

You were the group where my heart belongs. I consider creativity as the heartbeat of life. Performing with colleagues have been so inspiring and professionally enriching. And I want to specially mention Corvin today, with whom I shared many a stage with his orchestra, in a trio (Romantic) and in Bach concerto with Suzanne. A special word of thanks to  Fiona as well as Peter for the great honour bestowed on me to perform Mozart’s K271 and K 365 piano concerti with the SU Camerata at the Woordfees in March this year as a farewell concert.

D. And that brings me to the TOP floor, third floor- my piano colleagues:

Nina, your appointment about 20 years ago, elevated  the  Conserve to another level regarding international exposure, connections and musical events. I am so grateful for the opportunity working with you and I have so much appreciation in the special way you acted as head of the  piano division. And… I have known you since you were 15 competing in the Hennie Joubert Piano Competition in Wellington.

Luis, with your special talents and insight, thank you for being a wonderful colleague. We all admire your persuasive skills to convince even Yamaha to get rid of their pianos, apparently even of two of the superb CFX models!!

Pieter, I still remember your stunning performance and exceptional masterclass at your audition. Thank you for being a very special colleague. You also had the task of guiding this complex and diverse Department during the last 2 difficult years, sometimes, as the Dean said, having to make unpopular decisions. I admire your work ethic, sense of responsibility, integrity, academic and intellectual talents- and your continuing concertising.

Lastly, Mario I wish you and the Conserve a prosperous time ahead. I believe that with your skills, managerial experience and talent, backed by the dedicated and supporting staff, 2019 and the future will be a very successful era for the Conserve, remaining a bastion of competence and a star of civilization.

I thank you all.

I will miss you all.

I love you and I salute you.

Melisizwe Plaatjie was 16 years old when his fingers touched the piano keys for the very first time while trying hard to master a C-major scale. Now, three years later, this young musician from George was named as the winner of the Albert Engel Prize sponsored by the ATKV. This prize gives students from mostly previously disadvantaged backgrounds the opportunity to receive instrumental and theoretical teaching in music and possibly to enrol themselves later for a BMus degree.

“That was my first and last piano lesson, because there was not a music teacher at my high school,” said Melisizwe. Since only one of his parents worked, there was no money for private piano lessons. “I was broken. To improve, you have to practice piano on a regular basis and take lessons. ”

But where there is a will, there’s a way, and Melisizwe taught himself piano by watching pop and jazz piano lessons on YouTube. Until 2017 the video channel was his only teacher. “It greatly improved my technique and musical vocabulary.”

He dreamed of studying music after matric but struggled to get university admission. “I was very disappointed and felt lost. Music was something I wanted to do for the rest of my life. I started thinking I’m not good enough.”

But everything changed when he was accepted for the Certificate Programme in Music at Stellenbosch University this year.

“It was a challenge to play classical music, because for the past three years I’ve only played jazz and pop. But under the guidance of my music teacher, Throy Petersen, I feel that anything is possible.”

Melisizwe says it is a great honour for him to receive the Albert Engel Prize. “I’ve heard you’re only nominated if you work hard and your lecturer sees potential in you.”

The Certificate Programme was started by the late Albert Engel, a lecturer in brass instruments and conductor of the Stellenbosch Symphonic Wind Band. After Albert passed away in September 2003, his dream continued when it was decided to dedicate an annual prize in his name. The prize money of R20 000 is awarded to the student who shows the most enthusiasm, who rises above difficult circumstances and makes the best of the opportunity to study music at Stellenbosch University.

Melisizwe says his mantra is “if you don’t sow, you won’t reap”.

“This award proves it: you get out what you put in.”

Classical music deserves more recognition and that is exactly what the ATKV pursues with its Muziq and Muziqanto competitions. The final ended on a high note on Saturday evening (8 September) at the Hugo

Lambrechts Music Centre in Parow, Cape Town. Muziq (for young adult instrumentalists) and Muziqanto (for young adult vocalists) were judged simultaneously. Out of the seven competitors in each competition, three were chosen in the second round on Friday to perform Saturday evening alongside the Cape Town Festival Orchestra, under the baton of maestro Richard Cock.

“We are very fortunate at the ATKV to have a board of directors who are passionate about classical music,” says Gerrie Lemmer, chief executive: culture at the ATKV.

“We searched high and low for the best artists in the country and tonight they showed what they are made of.”

The winners in each competition walked away with a cash prize of R70 000, while the second-placed performers received R35 000 and R20 000 was given to third place.

The 21-year-old Cameron Williams claimed first place in the Muziq competition. The saxophonist’s agile fingers and long breath ensured that the crowd and the judges were in awe of this youngster’s talent.

“I’m absolutely elated. I grew up admiring the participants and winners of this competition and to be a winner myself is absolutely amazing,” Cameron said.

Brian Bae (piano) was second and Paul Loeb van Zuilenburg (violin) third.

The baritone Bongani Kubheka (27) won first prize in Muziqanto.

“It’s an amazing feeling. It was a very tough competition. Really happy to have taken the first place,” he said.

Luvoyo Mbundu came in second and Segomotso Shupinyaneng third.

The national Afrikaans radio station RSG was the media partner of ATKV Muziq and ATKV Muziqanto.