A style discussion of Afrika Hymnus II and Afrika Hymnus III by Stefans Grové

Abstract

Afrika Hymnus II and Afrika Hymnus III are two large-scale works for solo organ by the eminent South African composer Stefans Grové. They complete a cycle of three works that are unmatched in scope in the South African organ literature. Afrika Hymnus II has received acclaim and been the subject of academic enquiry, but has not been taken up by many performers. Afrika Hymnus III is shorter than the other two works and has seen relatively little attention; the present study is the first to provide an in-depth examination. Neither composition has yet seen widespread performances and multiple recordings like Afrika Hymnus I. The latter was the subject of a study that forms the precursor to the present one; this investigation completes an examination of all three works in the Afrika Hymnus cycle. To that end, Afrika Hymnus II and Afrika Hymnus III are studied according to the parameters of musical style, with the objective of contributing towards a better understanding of Grové’s distinctive style. Each movement is discussed separately, with a focus on the following topics: structure, melodic content, vertical aspects, rhythm, texture, registration (the latter being unique to organ music), and an aspect not routinely included in such a discussion: instrumental idiomaticism. The study makes the case for including this in an investigation of the composer’s style. The discussion yields prominent stylistic traits, such as the use of short motifs and their derivatives; specific intervals being accorded great significance; the use of non-diatonic scale formations; recurring chord structures; a frequent reliance on an underlying additive rhythmic framework; a rich diversity of textures ranging from simple to multi-layered and inventive; a distinctive and evocative application of registration; and an approach to idiomaticism that demonstrates a deep understanding of the instrument and exploits the many possibilities it affords, while deliberately trying to push the boundaries of what the performer will be able to achieve. In doing this, the last two movements in the cycle approach the limits of what is practical, raising questions about how idiomatic they truly are. The discussion includes rich descriptions of the prominent musical features, complemented by numerous music examples.