Stefans Grové
Stefans Grové (23 July 1922 – 29 May 2014)[1] was a South African composer. Before his death the following assessment was made of him: "He is regarded by many as Africa's greatest living composer, possesses one of the most distinctive compositional voices of our time".[2]
Stefans Grové | |
|---|---|
| Born | 23 July 1922 Bethlehem, Orange Free State, Union of South Africa |
| Died | 29 May 2014 (aged 91) Pretoria, Gauteng, Republic of South Africa |
| Years active | 1940–2014 |
Early life Edit
In Bethlehem, Orange Free State, where Grové was born, his mother worked as a music teacher and his father as a school principal.[3]: 141 Grové's musical education began at school and his first compositional efforts date from that time. He eventually trained as a pianist and organist, with the guidance from his mother's brother, D.J. Roode.[3]: 141 As a student he remained an avid reader of musical scores (often without the assistance of accompanying soundtracks) which not only informed his own development as a composer but may also have developed his talent for sight-reading at the piano.
Life and works Edit
In 1942 Grové moved to Klerksdorp where he worked as a teacher church organist for two years.[3]: 141 Thereafter he relocated to study composition at the University of Cape Town first with William Henry Bell and then with Erik Chisholm. Compositions from this time include a ballet suite for orchestra (1944), the String quartet in D major (1945), and a czardas for violin and piano (1946?).
As the first South African recipient of a Fulbright Scholarship, Grové had the opportunity of going to Harvard University where he completed his master's degree. His teachers there included Thurston Dart and Walter Piston. Works that Grové composed under their guidance won him the G. Arthur Knight Prize and the New York Bohemian Prize.[3]: 142 These were awarded for the Pianoforte trio and the Sonata for pianoforte and cello respectively. Grové attended Aaron Copland's composition class at the Tanglewood Summer School and studied the flute at the Longy School of Music.[3]: 142 After these studies, beginning in 1956, Grové taught at the Bard College for two years, and then at the Peabody Institute in Baltimore for a further eight.[4] While working at the Bard College, Grové also took up a post as choirmaster for the Franklin Street Presbyterian Church, where he pursued an interest in the performance of early music—most notably the cantatas of J.S. Bach. A similar venture was undertaken with a group that Grové founded in 1962, the Pro Musica Rara.[3]: 142
While abroad, Grové evidently had a viable platform for the performance of his music. Thus, his Elegy for strings was performed in the Washington Gallery in 1952; the Three inventions for the piano was featured at the Salzburg ISCM Festival of 1953; the Sonata for flute and piano was played at Cambridge, Massachusetts in 1954; the Harp quintet at Guildhall, London, in 1954; the Partita for orchestra in Brussels, in 1964; the First Symphony was led by Max Rudolph with the Cincinnati Orchestra in 1966; the Violin Concerto was performed that same year in Baltimore, Gabriel Banat being the soloist; and the Sinfonia concertante was recorded in 1973 by the Radio Orchestra of South-West Australia.[3]: 142
Afrocentrism Edit
Grové returned to South Africa for a sabbatical in 1960 when he lectured at both the Potchefstroom University for Christian Higher Education as well as the South African College of Music. He returned to South Africa permanently in 1972 and, the following year, was appointed as a lecturer at the University of Pretoria.
Grové was one of the first white South African composers to incorporate elements of black African music into his own style, "venturing far beyond mere couleur locale to forge a unique creative synthesis of the indigenous and the "Western"."[2]
Grové's 'African' stylistic phase was result of a Damascus moment when he overheard a song sung by an African streetworker. The melody haunted him and inspired the Sonata on African Motives for violin and pianoforte (1984). Some other works composed in Grové's afrocentric style are: the Dance Rhapsody (1986), Liedere en danse van Afrika (1990), 7 Boesman-liedere for soprano and string quartet (1990), Gesang van die Afrika-geeste (1993), Nonyana, the Ceremonial Dancer for piano (1994), Afrika Hymnus I for organ (1995), and Afrika Hymnus II for organ (1996).[4]
Remembering the African element in Grové's mature style, one can trace his development "from Debussy and Ravel through to Bartok and the neo-classicism of Hindemith, with passing passions for Messiaen and a more lasting fascination for Bach and early counterpoint".[5]: 3 He undoubtedly had a better exposure to European and American avant-garde than his contemporaries and that difference can be noticed in the quality of his music. His work, Glimpses. Five Miniatures for Piano (2004) was performed at the ISCM World Music Days in Hong Kong in November 2007.[6]
He died in Pretoria, aged 91.
Writing Edit
Apart from his work as a composer, Grové was also a fine writer whose essays and short fiction has received praise from no less a figure than André P. Brink. He was also active as a music critic, most notably for the newspapers Rapport and Beeld.[3]: 142
Legacy Edit
He forms part of a triumvirate of white Afrikaans composers who are considered as "founding fathers of South African art music".[5]: 3 The other two composers in this category are Arnold van Wyk and Hubert du Plessis. Beyond that, and arguably more significantly, Grové has managed to shape a "hybrid style"[5]: 2 for himself, beginning a new creative phase in a time when it must have amounted to a radical move on his part: he was a white composer—working in a country that was still functioning at the height of P.W. Botha's apartheid administration—whose new style was rejecting any notions of apartheid (separateness) by fusing white South African (Western) and black South African (African) musical languages. Unlike van Wyk and du Plessis, he was "prepared to consider and eventually to develop consistently a rapprochement between his Western art and his physical, African space".[5]: 3
Works Edit
Opera:
Die bose wind (Stefans Grové), opera in three acts, 1983
Ballet:
Ballet suite, 1944
Alice in Wonderland, based on Lewis Carroll, Baltimore 1960
Waratha, 1977
Pinocchio, ballet for children, 3 acts, 1988
Incidental Music:
Uit die dagboek van ’n soldaat (N.P. van Wyk Louw), 1963
Orchestral works:
Elegy, for string orchestra, 1948
Overture, 1953
Konsertante simfonie, for chamber orchestra, 1955
Symphony 1962
Partita, 1962
Kettingrye (Chain Rows), 1978
Vladimir’s Round Table. Study in the Russian Style, 1982
Statement for future elaboration, 1983
Dance Rhapsody: Cosmopolitan City, 1985
Concertato Overture: Five Salutations on Two Zulu Themes, 1986
Overture Itubi – a Festive Dance, 1992
Invocation from the Hills and Dances in the Plains, 1994
Figures in the Mist (2012)
Concertos:
Simfonia concertante, 1955
Concerto for violin and orchestra, 1959
Daarstelling, for flute, harpsichord and strings, 1972
Concerto Grosso, for violin, cello, piano and string orchestra, 1974
Maya, concerto grosso for violin, piano and string orchestra, 1978
Suite Concertato. Homage to Bach, Handel and Scarlatti, for harpsichord and string orchestra, 1985
Raka: Symphonic Poem in the Form of a Concerto for Piano and Orchestra, after N. P. van Wyk Louw’s Raka, 1995-6
Concertino for piano, trumpet, marimba, flute and strings, 2003
Brass or Wind Ensemble:
Tower Music for brass ensemble, 1954
Suite Juventuti, for winds and percussion, 1986
Chamber Music:
String Quartet in D Major, 1946
Czardas, for violin and piano, 1945
String Trio, 1947
Sonata for clarinet and piano, 1949
Duo for violin and cello, 1950
Duo for viola and cello, 1950 (arr. of the Duo for violin and cello)
Trio, for oboe, clarinet and bassoon, 1951
Trio for violin, cello and piano, 1951
Serenade, for flute, oboe, viola, clarinet and harp, 1952
Trio for oboe, clarinet and bassoon, 1952
Sonata for cello and piano, 1953
Quintet for harp and string quartet, 1954
Divertimento, for recorder trio, 1953
Sonatina for two recorders, 1955
Metamorfose. Humoristiese variasies op ‘Baba Black Sheep’, for recorder trio, 1955
Sonata for flute and piano, 1955
String quartet, 1955
Divertimento, for flute, oboe, clarinet and bassoon, 1955
Two Movements for string quartet, 1958
Sonatine, for recorders, 1960
Three pieces for harp, 1974
The night of 3 April, for flute and harpsichord, 1975
Portret van ’n meisie, for clarinet and guitar, 1975
For a winter’s day, phantasy for bassoon and piano, 1977
Scaramouche, for bassoon solo, 1978
Tribal Dance, for bassoon and piano, 1981
Conversation for three, for oboe/cor anglais, clarinet/bass clarinet, percussion, 1978
Cyclops, for double bass and piano, 1980
Symphonia quattuor cordis, for violin solo, 1981
Herderslied, for oboe and piano, 1981
Aubade, for trumpet and piano, 1981
Koraal, for flute and piano, 1981
Chloe, for oboe and piano, 1981
Fanfare, for trumpet and piano, 1981
Bose kabouter, for clarinet and piano, 1981
Mirror on the Wall, for clarinet and piano, 1981
Swaaiende takke, for flute and piano, 1981
Hartseerlied, for clarinet and piano, 1981
Kronkelsleepsels in die sand, for clarinet and piano, 1981
Akwarel tweekeer besigtig, for double bass and piano, 1983
Concerto senza orchestra, for six cellos, 1984
Gesprek vir drie, for oboe/cor anglais, clarinet/bass clarinet and percussion (Orff instruments, glock, 3 bongos, cassa roulante), undated
Quintet for harp, flute, clarinet, violin and viola, 1986
Sextet for Cellos, 1986
Sonata on African Motives, for violin and piano, 1984
Pan and the Nightingale, for flute solo, 198?
City Serenade, for flute, clarinet, viola, cello and harp, 1985
Trio, for violin, horn and piano, 1988
Jeux de timbres, for harp, celeste and percussion (timpani, claves, gong, crotales, tamt, marimba), 1992
String Quartet: Song of the African Spirits, 1993
Sonata for Viola and Piano, 1994
Soul Bird, for flute, cello and piano, 1998
Portrait of a Clarinet Dancer, for clarinet solo, 1999
Organ Works:
Ritual, a fantasy for organ with four manuals, 1969
Chorale Prelude on Psalm 42, 1974
Rhapsodic Toccata, 1974
Afrika Hymnus I, 1991-3
Afrika Hymnus II, 1997
'Piano Music:'
Four Piano Pieces, 1945
Six mood pictures, pre-1947
Three Inventions, 1951
Three piano pieces, 1965
Toccata and Rhapsody, 1965
An experience in musical styles, for piano / harpsichord, ca 1970
Four piano pieces, 1975
Seven graded piano pieces for the youth, 1975
Sad Song
Cock Fighting
Night Music from a Far-Eastern Country, 1981
Bondige tokkate, 1981
Die klokke, for piano duet, 1981
Windklokkies in die nag, for piano duet, 1984
Wals van die Olifantjie, for piano duet, 1981
Songs and Dances of Africa, 1991-2
Blue Dream Valley, 1992
Jewish Folksongs, 1993
Nonyana, the Ceremonial Dancer, 1994
Images from Africa, 1998-9
Masks for two pianos, 1999
'Cadenzas:'
Cadenzas for Mozart’s Piano Concerto in E Flat, K 482
'Choral Works:'
2 Carols from Musica Britannica, 1974
Kaapse draaie (D. J. Opperman), for choir (SATB), guitar, piano, marimba, flute, clarinet and xylophone, 1974
Garden (Louis Eksteen), for female chorus (SSA), flute and viola, 1974
Landloper (Louis Eksteen), for female chorus (SSA), 1975
Lied van die Transvaal (F. J. Pretorius), for double choir (SATB), pianoforte duet, two trumpets and three timpani, 1975
Symphony, for three-part choir and orchestra, 1975 (unfinished)
Music for Easter, for Choir, organ, flute, strings and Orff instruments, 1977
Advent Music for choir, recorder and Orff instruments, 1977
Gesange 133 & 135, by H.L. Hassler, arr. Stefans Grové, 1983
Himmelskönig sei willkommen, for chorus (SATB), 2 trumpets and organ, 1982
Omnis caterva fidelium, for children’s chorus (SSA) and piano, 1985
Concerto burlesco: Gaudeamus igitur: Grepe uit die lewe van ’n eerstejaar (Stefans Grové), for narrator, chorus (SATB) and orchestra, 1992
Psalm 150 in Southern Sotho, for double choir (SATB / SATB), strings and percussion, 1996
Psalm 138, for children’s chorus (SA), chorus (SATB), African drums (two players), marimba and string orchestra, 2002
Solo Vocal Music:
Drie liedere, before 1945: 1. Dis al, (J. F. E. Celliers); 2. Berusting (Toon van den Heever); 3. Weeklag (Anon.)
Cantata profana (Stefans Grové), for two voices, flute, oboe, harpsichord and cello, 1959
Psalm 74, for mezzo-soprano, flute and harp, 1974
Three Japanese Songs, for mezzo-soprano and guitar, 1974
Five songs (Anon.: Old Chinese poems), for mezzo-soprano and guitar, 1975
Psalm 54, for mezzo-soprano, flute and harp, 1974
Light over Judea (Louis Eksteen), for mezzo-soprano and a melody instrument, 1975
Fulgebunt justi, for mezzo-soprano, alto flute and guitar, 1975
Vyf liedere op tekste van Ingrid Jonker, for soprano and piano, 1981
Bid (Petra Muller), for soprano and piano, 1988
Halfpad (Petra Muller), for soprano and piano, 1988
Daar waar jy woon (Petra Muller), for soprano and piano, 1988
7 Boesman-liedere, for soprano, string quartet and piano, 1990
Zulu Horizons (Benedict Vilakazi), four songs for voice and orchestra, 1992[7]
References Edit
- ^ Myburg, Johan (30 May 2014). "Stefans Grové sterf op 91". beeld. Retrieved 23 July 2014.
- ^ a b Review of A composer in Africa Essays on the life and work of Stefans Grové
- ^ a b c d e f g h Malan, J.P. (1984). South African Music Encyclopedia. Vol. II. Oxford University Press. ISBN 978-0-19-570311-5 – via Human Sciences Research Council.
- ^ a b Grové, I.J. (20 January 2001), "Grové, Stefans", Grove Music Online, doi:10.1093/gmo/9781561592630.article.11848(subscription or UK public library membership required)
- ^ a b c d Muller, Stefanus; Walton, Chris (2006). A Composer in Africa: Essays on the life and work of Stefans Grové. SUN PReSS. ISBN 9781920109042.
- ^ STEFANS GROVÉ'S GLIMPSES TO BE PERFORMED
- ^ "Grove, Stefans". sacomposers.co.za. Retrieved 3 January 2018.
External links Edit
- Documentation Centre for Music (DOMUS)
- Stellenbosch University Digital Collections (SUNDigital)
Further reading Edit
- Pooley, Thomas M. (2010). "'Never the twain shall meet': Africanist art music and the end of Apartheid". South African Music Studies. 30–31 (1): 45–69. OCLC 7244924664.