COM 2019

Permanent URI for this collectionhttp://hdl.handle.net/2263/72184

Browse

Now showing 1 - 7 of 7

Two pianos
(2016) Rhoodie, H.S.
The submission includes a live recording of a two piano recital by the pianists Dr Tessa Rhoodie and Prof Wessel van Wyk performed at the Brooklyn Theatre on Friday the 30th of September 2016. This recital formed part of the Gaufestival (www.gaufestival.com) founded in 2016. The following works for two pianos were performed: W A Mozart - Sonata in D K448 P I Tchaikovsky (arranged by Nicolas Economou) - Nutcracker Suite Richard Rodney Bennett - Jazz Four Piece Suite The programme included a diverse mixture of different style periods and require advanced technical proficiency. Mozart’s sonata in D K 448 has been recorded and performed by professional pianists worldwide and is a challenging work from the Classical genre for two pianos. Aspects of the Classical genre that is evident in this sonata are the holistic balance of the 2 pianos between melody and accompaniment and a proper structure in the accompaniment figures in general. A holistic, melodic sound colour with sensitive accompaniment figures in the second movement, greatly enhances the contrast in tempo and character in the third movement. The second work is a two-piano arrangement of the orchestral version of Tchaikovsky’s Nutcracker Suite by Nicolas Economou. This is a fairly, recent arrangement and contains a plethora of virtuoso pianistic and technical challenges which require a developed and advanced technical proficiency. It is crucial to capture the different character changes in tempo and sound colour, which is associated with the different descriptive titles. A work that represents the twentieth century genre, is the Jazz four piece suite by the English composer Richard Rodney Bennett (originally written for 2 pianos). This work requires a comprehension of typical jazz rhythms and different characters within the jazz idiom, including the Blues, Ragtime and Rock. The intricate rhythms within the jazz genre and the expressive qualities within each piece, complicate the ensemble playing to a great extent. Preparation for this performance was done over a period of six to eight months. Each pianist prepares the programme individually and do academic research on the background, form structure, compositional techniques and stylistic character of each work. When a certain level of individual, musical and technical proficiency is reached, regular practice sessions of the ensemble are scheduled to match stylistic interpretation, respective articulations, timing, and sound production. The combined sound of two concert grand pianos requires careful planning. Overpowering dynamic levels, balance of sound and homogeneous articulation are the main challenges. The pianists have to match their respective sound colours, plan articulation and dynamic levels to create one holistic unit. There are many aspects involved which amalgamate into a professional performance. The academic research on the compilation of the programme and background research on the different individual works require many hours of study. Analysis of the form structure, stylistic aspects, rhythmic and melodic qualities further enhance the performers understanding of the works. The research component is equal to the amount of research done in preparation for an academic article. The academic environment is a challenging environment for performers to excel. Time is of the essence and regular daily practice of a minimum of four hours to master the amount of control needed to perform on this level, is of utmost importance. The performer is an athlete performing a skill on an instrument on a very high cognitive and physical level. To balance teaching and learning, research and the hours needed for practice are the challenges a performing, academic faces in this environment. These conditions require dedication, discipline and motivation. This diverse programme is an example for scholars of ensemble playing and the art of interpreting different style periods on an advanced technical level.
Indodana
(2017) Barrett-Berg, Michael
Indodana is the third CD album of the University of Pretoria Camerata under the director of Michael Barrett. It is a compilation of Traditional South African works, all newly arranged and composed for the choir by the conductor. The album was recorded over two years and was released at the annual Gala Concert on 14 July 2017. It was nominated for a South African Music Award (SAMA) in 2018 for Best Traditional Music Album. The choirs previous two albums, namely Phoenix (2014) and Love and War (2016) mainly contained repertoire from the Western idiom and in order to remain relevant, it was decided to produce a CD of purely traditional South African Music. The aim of the CD is to contribute to South African Choral Literature and provide a source of reference for choirs hoping to perform these songs, be they local or international. The majority of the songs on this album have been transcribed and as a result published internationally, providing both the musical reference (CD) and the written score for choirs to perform. Indodana is a collection of traditional South African songs that is reflective of our multi-cultural society and contains selections from seven of the nine official traditional language groups. The album was recorded over a period of two years, allowing for extensive research into the study of the various languages as well as the subtle nuance in the approach to performing the music as authentically as possible. The album contains two different approaches to the compositional writing and performance of the songs and can be described as traditional and fusion works. The majority of the songs on the album are representations of traditional South African music such as Tuba, Bayasibiza and Siyalobola. These are performed with simple harmonic progressions, are highly rhythmical and utilise traditional compositional techniques, such as call-and-response, layering of voices and parts (including djembe drums, vocal percussion and shakers), and the use of repetition. The harmonic language has been adapted to largely remove parallel movement (which traditional occurs between the Soprano and Bass parts) and a more Western approach is used. Each work is also constructed and arranged so that it can be performed as an individual work thus resulting in standardising the performance of each song. In a traditional setting, music is not intended for concert performance and thus this applied structure can be seen as a Western compositional technique. In contrast to the more traditional songs, Indodana, Mangisondele Nkosi Yam, Ndikhokhele Bawo and to an extent Thixo Onothando are best described as compositions that are a fusion between traditional and western compositional and performance techniques. These songs have traditional melodies (and are performed in their original languages), and are arranged using a Western harmonic palette which includes cluster chords, dense texture of voices (written up to 16 different parts), dissonance and many inversions. Aleatoric, the use of canon, written in dynamic markings, and precise performance techniques contribute to these songs being a fusion between Western and Traditional approaches. The diversity of our society, combined with a country’s love for choral singing was the aim for creating these compositions. This has resulted in the creation of a new approach to arranging traditional songs, with a unique colour palette and fresh approach to the actual performance. These new adaptions are an important addition to South African Choral Literature – something that is greatly needed. In an ever-changing political, social and economic landscape, it is imperative that organisations and communities (like the University of Pretoria – and by extension the Tuks Camerata), portrays the diverse image that our country has to offer.
Psithurism
(2017) Warrington, Miles Simon
Noise from nature: A descriptive analysis of effective transformations in the generation of acousmatic material in the work Psithurism for 2 channel fixed media.The project described below, situates itself with a broader ecological awareness common to South Africa and other coast-rich areas of the world affected by dune destruction. The sounds of nature, particularly noise from nature, have always fascinated me. Where mechanisms of natural forces are the random drivers in the creation of natural noise, I find my interest even more peaked. For years, the sounds of gentle winds blowing through trees for example, has drawn much attention to my ears. It stood to reason, that eventually I would take advantage of this and put this to a music project. The ability for such sounds to engender memories, a sense of place or feelings of experience have always been rather potent - noise as such, can be, and is filled with abundant information. What structures of sounds, pitches or rhythms can we find there? How can these underscore personal or more objective narratives and views? In electroacoustic music, effective material is generated through transformation and noise can be particularly useful here. “Coloured noise” as Jonathan Harvey puts it “…would be the filtering of noise into quasi pitch-like structures…”. Thinking of noise in this way can conjure up almost unending possibilities for sound creation. Casuarina equisetifolia - the Horsetail Tree, Whistling Pine, Iron Wood or Australian Pine, is an invader species in South Africa. One of the many plants introduced that are native to Australia and the Pacific Rim region, this species disturbs the natural vegetation of sensitive coastal areas in our country. They have the longest needle-like leaves out of any of the casuarina or pine species known. For this reason, they make incredible sounds, similar to the wind through other trees with needle-like leaves, although the characteristic of the sound through this particular species is unique, simply because of the length of the leaves. This sound is called a psithurism or a soughing of the wind through the trees. This specific wind noise was recorded on several farms around the Western Cape, where the trees are used as wind-breaks. This was achieved by positioning a pair of condenser microphones in an ORTF configuration (110° angle between them) on a very long microphone pole beneath the trees during a windy day for an hour on each farm. Through various mechanisms of sound-transformation techniques and the application of electroacoustic composition techniques in the structuring of the work Psithurism, it was possible to create long sustained tones, bell-like tones, staccato attacks, highly varied timbres and many other sound-related gestures. The bells, act as a sort of ‘warning’ reminding us of the dangers of using exotic vegetation. The work seeks to underscore narratives of biology and ecology in an electroacoustic art-music aesthetic.
Jazz Concert: Nishlyn Ramanna (piano) and Mageshen Naidoo (guitar)
(2016) Naidoo, Mageshen; Ramanna, N.
Framing document: Concert: Prof Mageshen Naidoo (UP), guitar and Dr Nishlyn Ramanna (Rhodes), piano Venue: University of South Africa (Unisa), Miriam Makeba Concert Hall Date and Time: Friday, 20 May 2016 @ 19h30 Concert recorded by SAFM for broadcast. This duo performed two suites of darkly reflective compositions by Nishlyn Ramanna. The works were composed in response to recent bereavements and the spirits that endure with Ramanna’s compositions, evoking the grooves of African Jazz the lyricism of European Jazz and snapshots of Indian classical music. Conceptually and musically, the pieces draw from a vast palette of musical influences and technical proficiency from the musicians. The ability to negotiate through the compositions requires a thorough grasp of improvisation covering a gamut of stylistics approaches in jazz (modern, funk and traditional), as well as other genres such as Indian classical music and South African jazz. The performance exhibits sensitive and sympathetic duo-ensemble performance while celebrating individual input and character. The performers seek to convey the intent of each composition, in part and in the context of the suites. See attached scores.
JazzNL, Gateway to Global Jazz DUTCH-SOUTH AFRICAN JAZZ NIGHT
(2016) Naidoo, Mageshen; Devroo, K.; Moses, R.; Nkabinde, C.; Gibson, K.; Mlangeni, M.; Mrubata, M.
The aim of this project is to showcase South African jazz to the global jazz community, in the context of forging international relations, to encourage diplomacy and to use jazz as a means for advancing social cohesion among the people of South Africa and the Netherlands. Social Context Global and local leaders, social scientists and technologists need increasingly large commitments of human capital to help localities, nations and regions respond to emerging social and environmental challenges. Societies may therefore place higher premiums on activities that help small groups and local communities develop skills for effective and nimble collaboration and leadership. The arts can generate many of these activities. When community leaders assess the value of the arts and arts education, they often do so in a narrow context. They realize, for example, that the arts provide comfort and release to practitioners and listeners, and can raise the level of discourse and dignity in a society. However, artists and educators know that they can also be logistically expedient as didactic tools, teaching many practical lessons that translate to other contexts. Why Jazz? Often, applied music students and professionals envision the use of their skills only within a narrow range of applications. This project will be of value to musicians and educators in the practice of their art, but another objective is to underscore how those skills can have practical value outside of musical performance and composition. A jazz performer must be able to hold a recurring musical structure in the mind, while interpreting its melody, elaborating on its harmonic structure, varying its rhythm and finding connections to other music—all with creative interaction with other players. These actions involve an enormous set of skills, both technical and otherwise. In addition to raw creativity, this skill set depends on memory, reasoning, calculation, cultural literacy, empathy, sensitivity, planning and reaction time—all qualities of tremendous value in other forms of work. Throughout its history, jazz music has been a locus of disparate artistic and social groups. Although jazz musicians and audiences have never been completely immune to and devoid of racial prejudice and social stratification present where the music has thrived, the music has generally outpaced society at large in bringing multiracial and multi-cultural voices together for free expression and enjoyment. Jazz performances were racially integrated before most other social milieus in the U.S., and African American jazz musicians were sent abroad as cultural ambassadors in the 1950s, well before they enjoyed equal rights at home. In the present day, musicians and audiences on every inhabited continent can lay claim to a particular regional flavor of jazz, often with significant reference to the local cultural experience and folk music, and with varying relation to the particular cultural experiences of struggle, oppression and empowerment central to the birth and blossoming of 20th century American jazz. In short, jazz is an adaptable language that accommodates idiomatic infusions from everywhere. Fluid organizational structures of cooperation and leadership are strong agents in many forms of music, but they are essential to jazz. Most often, as with any type of musical ensemble, a jazz group is not a pure democracy, since one member may be the director; but de facto leadership of a jazz group can change rather fluidly during a performance. Within a particular piece of music, even, the ensemble can be likened to a mini republic, usually with players agreeing to alternate leadership roles within the piece. That is, players pass on leadership at several given points in time, and agree to support the leader of the moment by complementing him/her harmonically, melodically, rhythmically and dynamically. An individual must be assertive enough to sometimes seize the helm, but must know how and when to yield it to another at an appropriate time. When the group functions well, players’ sometimes unpredictable roles of the moment take them in and out of the spotlight, regardless of how comfortable they are there. This project begins with the notion that nurturing the individual and group skills described above--mental agility, empathy, interaction, cultural and structural adaptability, assertiveness, fluid leadership and selflessness—will be of increasing value to communities as they develop strategies for peaceful and effective decision making in challenging times.
Recital
(2016) Stapela, Hanli; Wallick, Bryan
This recital took place on 31 July 2016 and formed a part of the Unisa Music Foundation concert series for classical music. Unisa invites mainly overseas artists to present concerts in this series and ours was one of the few exceptions to this rule. The same core programme, slightly shortened and altered to adapt to the required format of the various concert series, was also performed in Knysna on 14 March 2016 and at a lunch hour concert in the Musaion (UP) on 7 April 2016. As part of my project to promote interest in the Art Song genre in South Africa, I present recitals in various centres across the country, during which I often add other music genres to the programme mix. Good programming is almost an art form in itself and there are as many themes or points of departure for inspiration as there are programmes. In this case it was Love and devotion. When deciding on a programme it is essential to consider the context within which the concert will take place, as well as the audience for whom one will perform. During the planning stage I attempt to find a balance by including well-known and accessible works as well as introducing the audience to lesser-known works. It is also of importance to ensure that there is sufficient variety within a programme to keep the interest and attention of the listener. I knew that groups of singing students from UP and TUT attend the Unisa concert series and most of my own students attended the lunch hour concert. It was important to me that my choice of music would be of some pedagogical value to these young singers. This was a long and exceptionally varied concert programme, including music from the second half of the 17th century (Baroque period) to the mid-20th century, featuring not only art songs, but also opera and operetta, while including six languages: Italian, French, German, Swedish, English and Afrikaans. This was my first attempt at singing in Swedish, which required many coaching sessions to achieve a level of diction which would reflect the cadences, modulations and phrasings of the language and would enable me to deliver a believable interpretation of the text. A great deal of scholarly research was needed to be true to the performance practices of the various time periods, such as the distinction between the clear tonal colour and melismatic singing of the Baroque and the warmth, sensuality and often extended phrases required in the compositions of Hahn, Strauss, Sibelius and Barber. For the Baroque pieces I had to write ornamentation appropriate both to the period and my own vocal abilities, which would enhance and not impede the meaning and intention of the text. In addition to art songs, arie antiche, or early (mostly) Italian arias, form part of any classical singer’s training. Due to the difficulties and struggles that they invariably experience during the process of developing a healthy technique, they often do not realise how beautiful, exhilarating and touching these works are. My aim is to stimulate interest in and excitement for this music. Further technical challenges inherent in the programme included the wide vocal range of the music, from the low tessitura and dynamic range of the Hahn songs to the coloratura and soaring extreme high notes of the Dell’Acqua. Performing a programme which consists of such diverse works that were not written to be performed together, without an obvious or logical storyline such as inherent in an opera or song cycle, demands a high level of flexibility and concentration as well as a great deal of stamina, as the singer has to negotiate constant change of style, language and emotion. As great as these and other technical challenges may be, this should not be obvious to the listener, who must be allowed to sit back, relax and enjoy the music while the performer, who is a musical storyteller, communicate directly with the audience and thus transport them to different worlds. The listener who leaves the recital should be a different person from the one who walked in before the recital.
Baroqueswing Vol. II
(2016) Du Plessis, Charl; Spies, W.; Radyn, H.
This CD saw the light in 2016, after the Festival Musikdorf Ernen in Ernen, Switzerland, where the previous year I had the privilege of performing with my trio during the international Baroque week for the fifth consecutive year. Earlier that year I recorded Baroqueswing Vol. I under my own recording label as the sixth album of my career. This first Baroqueswing disc generated interest from various recording companies and resulted in the recording of Baroqueswing Vol. II. This concert recording is my first international CD release on the Swiss CLAVES record label. For the concert I compiled a new jazz programme of works from the Baroque but all re-arranged for jazz piano trio. All the arrangements on the disc are my original work and the performance in the Church of St. Georg was recorded LIVE in front of a sold out audience, without any editing. CLAVES records is Switzerland’s leading recording label and was founded in 1968. As a reputable recording company, it has many well known artists on its catalogue including Claudio Abbado, Dietrich Fischer-Dieskau, Heinz Holliger, and Theresa Berganza to name but a few. The aim with the Baroqueswing Vol. II project was to release the first cross-over project on the CLAVES label in the international music market that could compete with already established products in the crossover field of jazz and classical music. The Tonmeister for the recording was the well-known Jean-Claude Gaberel, who was also responsible for the mastering. The presentation of the CD is a high-gloss digi-pack with printing quality of the highest standard done in Austria with program notes by the arranger and Patrick Peikert (Producer). The musical content is aimed to enlighten the listening experience of the connoisseur but not to deter the inexperienced listener, whilst still exuding musical joy, good taste and at time a display of virtuosity. A varied programme with multiple styles, genres and a wide pianistic scope is presented. The CD was released in 2016 and has received positive reviews from both international and local media and was awarded a South African Music Award (SAMA) in 2017 as best Classical/Instrumental album. This product is available for international sale/download on iTunes and Amazon.

Browse

Recent Submissions