Abstract:
Little is known about the South African organ concerto and composers of this genre. This research study aimed to explore the contribution of two South African composers to the organ concerto repertoire. A brief overview of the history of organs and organ building in South Africa provide context for the compositions of organ repertoire and demonstrate a link in the development of organ music from chorale-based works to larger scaled compositions. The study includes transcribed conversations with composers Kloppers and Olivier and performers Giesbrecht and Viljoen. The interviews probed the composers’ background, the factors that shaped their composition processes, and the ideas underpinning their organ concertos. Two organ works were focussed on in detail namely, Concerto for Organ, Strings and Timpani, 1991 by Kloppers and Konsert vir orrel en orkes (1985) by Olivier. The thesis includes a brief analytical overview of each work, highlighting several aspects regarding score indications, registration, articulation and instrumentation. Furthermore, semi-structured interviews probing the perspectives of organ performers who have premiered these works provide a rich context to the compositional process and aid in answering the main and sub research questions. The thesis presents a novel glimpse into the unique creative journey of these South African composers, their ideas, and the conception and delivery of their works through the perspectives of the performer. Socio-cultural, historical, as well as formative and individual influences feature as fundamental underpinnings in the identities of the composers of South African organ concertos. A strong relationship between composer and performer is demonstrated as a necessary entity to enable a successful performance of the work. The study concludes that the compositional process of the composers is unique for each composer.
