Suid-Afrikaanse musiek vir tjello en orkes

[摘要] ENGLISH ABSTRACT: This study represents a contribution to the literature on South African cello concertos. The term encompasses works created locally by composers who were visibly involved in the promotion of music in South Africa over a significant period. It appears that between the years 1893 and 2004 about 56 South African composers delivered a (provisional) total of 95 works in various genres for the medium. This study refers specifically to five concerto-type works, viz. those of Richard Cherry (1942), Bernard Langley (1965), Peter Klatzow (1972), Roelof Temmingh (1992) and Allan Stephenson (2004).The research method comprised facets such as background data, historical perspectives and complete technical descriptions of each work, and entails comments on the artistic and specifically 'cellistic attributes of each. This process led to the conclusion that the era of emergence (1942-2004) amply informs the style of each selected work, and that each allows a particular perspective regarding the personal stylistic conviction of the composer.Although Richard Cherry's Concertino is hardly significant in terms of its stature within cello literature, it nevertheless bears testimony to natural and proficient musicianship. Cherry's own instrument, the bassoon, and his preferred genre, viz. ballet and incidental music, seem to have had a role in the creation of this piece.Allan Stephenson's Concerto – the only multi-movement work – appears even more archaic in some respects than that of Cherry: His preferred 'classicist style allows a cello approach reminiscent of classical masters like Boccherini and Haydn, featuring also a harmonic style aligned to English 'pseudo-modality and pentatonicism, with elements of 20th century entertainment music.The melancholy, lyrical Concerto of autodidact Bernard Langley represents a special and unusual addition to the genre. Stylistically the work pays homage to the English lyricism of composers such as Delius. The lack of inventiveness and skill apparent in the thematic treatment and orchestration renders the work somewhat cumbersome and static.Both Peter Klatzow's pointillist The Temptation of St. Anthony, after Hieronymus Bosch, and Roelof Temmingh's Concerto can be classified amongst the most worthy South African music to date. While Klatzow's work bears the stylistic stamp of the European avant-garde of the post-war era, thus placing it in his early middle period, that of Temmingh's discloses the mature, experienced artist in his later, more audience- friendly approach. These works are distinguished also by the nature of their artistic cast. Klatzow addresses primarily the artistic challenge of melody vs. sound effect, rather than attempting a 'programmatic evocation of the painting. The cello idiom is startlingly varied and expressive; the cello's difficult higher register is applied with riveting effect. By contrast, cellistic effects are clearly of secondary importance to Temmingh, who emphasises strong lyrical, but also sombre and humoristic moments. On occasion the octotonic basis suggests tonality, and the work is structured ingenuously with the inventive use of motivic ideas which evolve as themes (including two passacaglias).

[发布机构] Stellenbosch University