klank klassik · 2020. 9. 28. · Merry Widow, Sweeny Todd, Les Misérables, Evita and The Producers. The versatility of this programme should delight audiences as Magdalene and Maryke

klank klassik

“Music can name the unnameable and communicate the unknowable.”

These words by Leonard Bernstein, famous American pianist, conductor and music lecturer, aptly illustrate the important role of music in institutions that pursue knowledge and its transmission.

Not only does music enrich the human spirit; it stimulates creative and critical thinking – one of the key graduate attributes we at the UFS want to equip our students with.

The Vrystaat Classical Sounds project embodies a number of aspects that are very important to us as an institution.

The Odeion School of Music is a prized jewel in our crown. Since my arrival at the University of the Free State (UFS), one of my goals has been to enable our staff, students and the Bloemfontein community at large to experience the immense musical talent we, as a university, have to offer.

This resulted in the annual Rector’s Concert, which has grown into one of the main events on our arts and culture calendar over the past three years. I am delighted to see another musical initiative flow from the depth of passion and musical talent in our city.

At the UFS, we want our diverse community to feel a sense of common purpose in a place where the symbols, spaces and daily practices all reflect commitment to openness and engagement.

The UFS is also intimately connected with and responds to the needs of the communities it serves. Being able to take hands with partners from within the community to further a shared vision, is an honour and a privilege.

May the outflow of this partnership, although this year in a virtual space, become a regular, beautiful addition to our province’s artistic landscape.

Prof Francis Petersen Prof Francis Petersen Rector and Vice-Chancellor, University of the Free StateRector and Vice-Chancellor, University of the Free State

Die Vrystaat Kunstefees is baie opgewonde oor die nuwe diamant in die Kunstefeeskroon, naamlik Vrystaat Klank en Klassik (VKK). Hierdie leemte is vir baie jare gevul deur die passie van ‘n individu, die welbekende en geliefde Derek Ochse. Nou het Elretha Britz die inisiatief oorgeneem met die samestelling van Vrystaat Klank en Klassik.

Dié fees van klassieke musiek sou in Mei 2020 die eerste keer aangebied word, maar weens die koronaviruspandemie moes dit soos talle teateraanbiedings die wêreld oor uitgestel word. Aangesien teaterproduksies en -byeenkomste in Suid-Afrika steeds deur die inperkingsregulasies verbied word, is besluit om die VKK vanjaar aanlyn aan te bied.

Die voordeel is dat die kunsmusiek-uitvoerings nie net by ‘n breë spektrum van die kunsgehoor in Bloemfontein byval behoort te vind nie, maar ook by dié in die res van Suid-Afrika en selfs buite die landsgrense.

Die VSKK is beslis ‘n welkome toevoeging tot die land se klassiekemusiekkalender en tot die Vrystaat Kunstefees waaronder die nuwe baba val.

De Villiers Brink De Villiers Brink Voorsitter van die Vrystaat Kunstefees se BestuurskomiteeVoorsitter van die Vrystaat Kunstefees se Bestuurskomitee

Why a festival such as Vrystaat Classical Sounds? A legitimate question with a simple answer. From the first meeting about the possibility of a classical music fest it was clear that we want to give South Africa, the Free State and Bloemfontein something special. While we are at present constantly confronted with bad news and vital questions a weekend of good music is probably a means to help us see the world in a different light. In 2013 Prof Swilling of the University of Stellenbosch answered the important question “How do we improve our life today?” with: “It is viable to invest in our community.”

The Odeion School of Music (OSM) have been part of Bloemfontein’s concert life for many years; to be part of this venture is truely an honour. We have the privilege of showing off the wonderful talent of the cream of OSM students and furthermore the acclaimed Odeion String Quartet and FSSO, who are close partners of the OSM. Musicians from elsewhere in South Africa are also taking part.

The essence of any music production is the audience, without which music performances would not exist. We honour the artists as well as the community for investing in art music. When musicians and the audience come together the result is magic. Unfortunately the performances are pre-recorded and therefore without an audience, but we believe the experience will nevertheless fill listeners’ hearts with joy.

A quote by Gould (2001:87) is the message we as musicians wish to convey: When a community comes together to share cultural life, through celebration, rites and intercultural dialogue, it enhances its relationships, partnerships and networks – in other words, developing social capital.

Please enjoy the festival of classical music.

Dr Jan Beukes Dr Jan Beukes Artistic and operational head: Odeion School of MusicArtistic and operational head: Odeion School of Music

Vrystaat Klank en Klassik maak vanjaar sy buiging as ‘n splinternuwe en opwindende uitbreiding van die Vrystaat Kunstefees. Die rede vir die nuwigheid is om aan klassieke musici en liefhebbers van kunsmusiek ‘n platform te bied waar die fokus uitsluitlik op dié genre val.

Die fees begin klein, met net vyf konserte, wat vanjaar weens die Covid-19-inperkingsregulasies op ‘n virtuele verhoog aangebied word. Daar is nietemin iets vir almal: Sang, ‘n instrumentale solo, ensemblespel, orkesmusiek, soliste en ‘n “verskeidenheidskonsert” deur die room van studente aan die Odeion Skool vir Musiek (OSM).

Moeite is gedoen om ‘n keurige inleiding vir elke uitvoering te skep waarvoor Vrystaatse skrywers en akteurs ingespan is. Die kunstenaars kry kans om kortliks oor die werke te gesels, die publiek sal vrae kan stel en belangstellendes behoort die klankkuns-bydrae insiggewend te vind.

VS Klank en Klassik is besonder bevoorreg om die OSM aan die Universiteit van die Vrystaat as vennoot te hê. Die twee partye het nie net ‘n gedeelde passie en visie vir klassieke musiek nie, as groentjies in die aanbied van ‘n musiekfees, kan VS Klank en Klassik ook put uit die OSM se artistieke kundigheid en kennis.

Kaartjiepryse vir dié eerste fees is laag gehou terwyl een konsert en die klankkuns-aanbod gratis is. Al die uitvoerings sal vir twee weke beskikbaar wees om soveel as moontlik musiekliefhebbers die geleentheid te gee om na die produk te luister.

Mag die beskeie begin ontwikkel in ‘n fontein van oorvloedige lewensgenot vir musici en almal met ‘n liefde vir kunsmusiek.

Elretha Britz Elretha Britz Kurator: Vrystaat Klank en KlassikKurator: Vrystaat Klank en Klassik

1-20 Oct 2020

From Broadway to Baroque 1 - 15 Oktober / October

Hidden Colours of the Free State 2 - 16 Oktober / October

Diabelli-variasies, Op.120 3 - 17 Oktober / October

Free State Symphony Orchestra 4 - 18 Oktober / October

Odeion School of Music, UFS 5 - 19 Oktober / October

In the Blink of an Ear 1 - 20 Oktober / October

klank klassik

Regstreekse gesprekke / Live discussions 1-6 October, 19:30.

Khoekhoegowab: Vrystaati di Dī//khasib !Gâi!gâisens ge #an!gâs tsī !gôasiba Khoe-San Khoena ra mâ. Nē khoen ge //în aboxan !na /gaisa #goms tsī !hû//arede! kho/gara hâ,nâu khoen !hūb din /khas khami.

Afrikaans: Die Vrystaat Kunstefees erken en respekteer die Khoe-San van die Vrystaat en die diep geestelike verhoudings wat hulle met hul voorouers, hierdie land en sy mense het.

English: The Vrystaat Arts Festival acknowledges and respects the Khoe-San of the Free State and the deep spiritual attachment to their ancestors and relationships they have to this country and its people.

Sesotho: Mokete wa tsa Bonono Freistata o ananela le ho hlompha morabe wa Khoe-San wa Freistata, le kamano e tebileng ya semoya eo ba nang le yona le badimo ba bona hammoho le dikamano tseo ba nang le tsona le naha ena le baahi ba yona.

Koop jou kaartjiePurchase your ticketGeniet die vertoning!

Enjoy the show!

Kies ‘n vertoningChoose a show

webtickets.co.zavrystaatkunstefees.co.za

webtickets.co.zaof/or PicknPay

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Registreer | Registerwebtickets.co.za

Elke kaartjie verskaf toegang tot die aanlyn-vertoning vertoning vir ‘n onbeperkte aantal kere binne ‘n 48-uur periode.

Each ticket allows access to the online performamnce for an unlimited number of times within a 48-hour period.

NAME

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The format of the shows is as follows:

• A narrative written by a well-known Bloemfontein author and presented by one of the outstanding Free State actors serves as the introduction. Each narrative is inspired by the music to follow and thus sets the ambience of the show.

• Hereafter the musicians briefly talk about the works on their programme.

• The highlight is of course the performances which last about 45 minutes.

• In addition, the public has the opportunity to participate in a live discussion with the musicians.

In the case of the Odeion School of Music Concert on 5 October, the OSM artistic head, Jan Beukes, and the development manager, Marius Coetzee, will be available to answer questions. These discussions will be streamed through Zoom on Facebook at 19:30 on the day of the concert – 1 to 5 October - and will be available for the next 48 hours. Léon Snyman, who is responsible for the sound-art presentation on the Vrystaat Arts Festival website, will be available for a discussion about his very interesting work on 6 October at 19:30.

Ilne Fourie

Gerben Kamper

Nàomi Morgan

Jefferson J Dirks-Korkee

Jaco Jacobs

Hillétje Möller Bashew

Zee Bashew

Nosana Sondiyazi

Authors

Actors

Sang | Vocal

klank klassik Magdalene Minnaar & Maryke Johnson

From Broadway

to Baroque

From Broadwayto Baroque

In this brand-new solo production, Magdalene Minnaar shares her diverse love of music. Together with pianist Maryke Johnson, they have put together a compelling programme featuring some of the famous, fabulous and fun works from the Baroque and Classical eras, all the way to the shiny lights of the musical theatre stage. In “From Broadway to Baroque” you can expect to hear early music jewels such as “Lascia ch’io Pianga” from Handel’s opera Rinaldo, and “Schafe können sicher weiden” by JS Bach, as well as opera arias from Così fan tutte, I Puritani, Norma and Faust. They end the programme with a selection of numbers from The Merry Widow, Sweeny Todd, Les Misérables, Evita and The Producers. The versatility of this programme should delight audiences as Magdalene and Maryke take a 400 year musical tour!

klank klassik

From Broadway to Baroque Magdalene Minnaar: Soprano Maryke Johnson: Piano

1. Nulla in Mundo pax sincera (Nulla in mundo pax sincera, RV 630 by Vivaldi)

2. Lascia ch’io Pianga (from Rinaldo by Handel)

3. Schafe können sicher weiden (The “Hunting” Cantata BWV 208 by JS Bach)

4. Alleluia (from Exsultate Jubilate by Mozart)

5. Come scoglio (Così fan tutte by Mozart)

6. O rendete.... Qui la Voce (I Puritani by Bellini)

7. Casta Diva (Norma by Bellini)

8. Vilja (Merry Widow by Franz Léhar)

9. Green Finch (Sweeny Todd by Stephen Sondheim)

10. On my Own (Les Misérables by Claude-Michel Schönberg)

11. Don’t cry for me (Evita by Andrew Lloyd Webber)

12. If you’ve got it flaunt it (The Producers by Mel Brooks)


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Magdalene Minnaar

Dié gerespekteerde Suid-Afrikaanse sopraan is bekend vir vindingryke idees en die voortdurende skuif van grense.

As uitvoerende kunstenaar is sy ‘n gerekende klassieke sanger wat in operas, konserte en oratoria optree. Sy is tuis in enige genre en het die vrouehoofrol in Kaapstad-opera se toerproduksie Show Boat en Pieter Toerien se The Phantom of the Opera gesing.

Nadat sy honneurs aan die Universiteit van Kaapstad se Musiekkollege verwerf het, is sy met ‘n beurs na die New York Opera Studio waar haar sang verder geslyp is.

Sy het 30 operarolle in haar klassieke repertorium, onder andere Lucia (Lucia di Lammermoor), Koningin van die Nag (Die Zauberflöte), Sophie (Der Rosenkavalier) en Gilda (Rigoletto). Van die oratoria waarin sy dikwels optree, is Die Skepping (Haydn), Messias (Handel) en Requiem (Mozart).

Minnaar is voortdurend besig om klassieke musiek in Suid-Afrika nuwe lewe te gee en het in 2010 die maatskappy Biblioteek Produksies gestig wat klassieke kunstenaars en teatermakers ‘n platform bied om saam produksies op die planke te bring.

In die onlangse tyd het Minnaar ook as regisseur haar stempel afgedruk in die operas La Bohème, L’Orfeo, Die Zauberflöte en La Voix Humaine, asook die nuwe musiekspel Calling us Home.


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Maryke Johnson

‘n Veelsydige pianis wat daarna streef om kleur en energie in elke vertolking te blaas. Sy het grootgeword in Pretoria waar sy haar musiekreis onder leiding van Elsabé Feldtmann begin het. Dié musiekonderwyser het haar onderrig totdat sy haar Unisa graad 8 met lof behaal het. Daarna het Johnson haar studies by die Universiteit van Kaapstad voortgesit waar sy in 2014 ‘n BMus-graad in jazzklavier-voordrag onder prof. Andrew Lilley ontvang het. Maryke se liefde vir die klassieke klavierrepertorium, -aanslag en -styl het haar gemotiveer om steeds voort te gaan met klassieke onderrig onder Albie van Schalkwyk.

In 2015 was sy onder die topvyf van die Unisa Nasionale Klavierkompetisie se jazz-afdeling. In 2018 het sy die Voordraerslisensiaat in klavier by ABRSM cum laude geslaag.

Maryke woon tans in Pretoria waar sy by TUT se Musiekteater-departement as repetiteur en begeleier optree. Sy is ook aangestel as die voltydse sangbegeleier by Afrikaans Hoër Meisies Pretoria.

Maryke se kaleidoskoop-belangstellings en veelsydigheid in musiek, sorg dat sy nasionaal by verskeie projekte betrokke is, soms selfs by ‘n rockgroep of twee.

Sy het ook ondervinding in die afrig en begeleiding van groot produksies insluitend JS Bach se Magnificat, Beethoven se Koraalsimfonie asook Bare the Musical: A Pop Opera.


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Sang / Vocal

Magdalene Minnaar: Soprano, Maryke Johnson: Piano

60 min R40

1 -15 Oktober / October

Regstreekse gesprek / Live discussion 1 Okt / Oct, 19:30

Koop jou kaartjie hier | Buy your ticket here

https://www.vrystaatkunstefees.co.za/events/from-broadway-to-baroque/

klank klassik Odeion String Quartet

Hidden Colours of the

Free StateStrykkwartet | String Quartet


Free State

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“Komeng” for string quartet (2003) Mokale Koapeng (1963- ) Komeng (2003) by the Soweto born composer Mokale Koapeng, is a re-imagination of Xhosa musician Nofinishi Dywili, whose traditional uhadi bow songs inspired The Bow Project, which was launched at the New Music Indaba in 2002. The piece colourfully explores the uhadi techniques and the use of overtones.


Free State

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Suite for string quartet (2004) Nadia Burgess (1958- ) 1 Colours of the Cape 2 The Fountain, Family, Friends and Freedom 3 Petronella 4 Wild Sabie

Suite for String Quartet was composed in 2004 upon Nadia Burgess’s return to Sydney, Australia after a long-awaited visit to South Africa, the country of her birth.

Colours of the Cape describes the musical colours of Cape Town, a historical city which lies at the foot of Table Mountain. References to African choral music, Dutch folk music and Contemporary western art music are included.

The Fountain, Family, Friends and Freedom features elements of rock music and refers to the composer’s home town, Bloemfontein, her family and friends there, and the ‘political freedom’ in South Africa since 1994. The influence of the Rock group TOTO is evident.

Petronella is dedicated to a gentle, kind, artistic and loving relative. It contains improvisation, 3/4 and 5/4 time.

Wild Sabie refers to the composer’s stay on the banks of the Sabie River, which runs through the Kruger National Park, a huge game reserve in the far northeast of South Africa. The music reflects the sound of traditional African instruments such as a handmade flute, thumb piano and xylophone.


Free State

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String Quartet no. 1 (1994) Allan Stephenson (1949- ) a) Lento e espressivo

String Quartet no. 1 by Allan Stephenson was his first string quartet written in 1994 as a change from orchestral and concerto composition. The Schwietering String Quartet first performed it in 1994 in the Dutch Reformed Church in Franschhoek. It has the traditional four movements and the regular layout of a slow movement and scherzo in the middle. This performance of the Odeion String Quartet will only include the second movement of the string quartet. The slow movement is warmly lyrical with canonic entries pushing the music forward. The middle section features a duet between first violin and cello until the opening returns to bring in the coda.


Free State

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Langsamer Satz (1905) Anton von Webern (1883- 1945) Webern composed this work for string quartet in June 1905, but it wasn’t publicly performed until May 27, 1962, in Seattle. The “Langsamer Satz” means “Slow Movement”, originated during a hiking trip in Lower Austria that Webern took with his cousin, Wilhelmine Mörtl, who later became his wife. It is love music, as Webern diarized ecstatically -- an outpouring by the 21-year-old composer, whose studies with Arnold Schoenberg had begun the previous autumn.

“To walk forever like this among the flowers, with my dearest one beside me, to feel oneself so entirely at one with the Universe, without care, free as the lark in the sky above -- Oh what splendor...when night fell (after the rain) the sky shed bitter tears but I wandered with her along a road,” wrote Webern in language reminiscent of the poet Richard Dehmel, who had inspired Schoenberg’s Verklärte Nacht -- a work not without influence on the present composition. “A coat protected the two of us. Our love rose to infinite heights and filled the Universe. Two souls were enraptured.” The Langsamer Satz is tonal music, albeit chromatic, firmly ensconced in a tradition stretching from Liszt through Wagner to Hugo Wolf, Richard Strauss and Mahler. The last named had not as yet entranced Webern, but during the 1930s he led Vienna’s Workingmen Symphony Orchestra in readings of Mahler’s music allegedly as insightful as Bruno Walter’s, and certainly more comprehensive. (Programme notes by Roger Dettmer).


Free State

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Capriccio op. 81 F. Mendelssohn (1809- 1847) The Capriccio in e minor is the third of “Four pieces for String Quartet” op. 81 by Felix Mendelssohn written in 1843. It starts with an “Andante con moto” with a long lyrical melody in the first violin and a barcarolle-like accompaniment in the other voices. A fugue follows starting with a simple theme in the second violin. The theme only consists of two beats of semiquavers followed by a slower rising scale figure. Mendelssohn started already at the age of 11 to write fugues in the style of Bach. This work is a product of Mendelssohn’s maturity and features a pair of boldly contrasting sections.


Free State

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Odeion String Quartet The University of the Free State’s (UFS) string quartet tradition goes back to the Free State String Quartet (leader: Jack de Wet), which pioneered string and orchestral instrument playing in the Free State between 1960 and 1972. The Odeion String Quartet (OSQ) was established at the UFS in 1991 as a permanent, full-time resident string quartet and is the only resident string quartet at a South African university. The OSQ symbolises the university’s commitment to the performing arts and plays an important strategic role in the development of symphony orchestra music and in classical music training in all communities in the Free State.

The quartet currently consists of Samson Diamond (first violinist), Sharon de Kock (second violinist), Jeanne-Louise Moolman (violist) and Anmari van der Westhuizen (cellist).

In 2019, the Odeion String Quartet won the prestigious Huberte Rupert Memorial Prize for their contribution to classical music. It is the first time in the history this prize was presented to more than one person.

The quartet performs regularly in all major cities in South Africa and at major national arts festivals where they have been presented with several awards, including the Kanna Prize for the Best Classical Production at KKNK (2014), the Vryfees Award for the Best Debut Artist (2014), the Vrystaat Arts Festival Award for the Best Debut Production (2016) & the Best Free State Production (2018) and the UFS Alumni Ambassador’s Prize (2014).

klank klassik

Strykkwartet / String Quartet

Odeion String Quartet

60 min R40





Free State

https://www.vrystaatkunstefees.co.za/events/hidden-colours-of-the-free-state/

klank klassik

Diabelli- variasies, Op. 120

Anneke Lamont

Klaviersolo | Piano Solo

Diabelli- variasies,

Op. 120

klank klassik

Beethoven het tussen 1819 en 1823 33 variasies op ‘n lewendige en uitbundige tema in die vorm van ‘n wals van Diabelli geskryf. Die struktuur en vorm van hierdie variasies is gekompliseerd en word as ‘n toonbeeld van Beethoven se geheel-kreatiewe oeuvre bestempel. Alfred Brendel beskou dit as “the greatest of all piano works.”

Die vergelyking met Bach se Goldberg-variasies het al heelwat navorsing ontlok. Albei komposisies verteenwoordig nie net die bemeestering van die vorm nie, maar belig ook die epiese vergestalting van die klavier as instrument. Schumann, Chopin, Moessorgski, om maar ‘n paar te noem, volg die ontginning van die kleurvariasies wat by uitstek deur die moderne klavier moontlik gemaak word.

Beethoven het 23 van die 33 variasies in 1819 gekomponeer en eers in 1823 nommers 1, 2, 15, 23-26 en 28, 29 en 31 bygevoeg. Die byvoegings dui op die psigologiese kompleksiteit van die werk en die verbreding van die aanvanklike konsep. Beethoven wyk af van die formaliteit van die gegewe tema en gebruik eintlik elke variasie as ‘n soort kommentaar op die wals.

Hy verbreek die klassieke voorgeskrewe balans en maak die deur na die Romantiek oop. Die kontras

tussen legato- en non-legato-/staccato-spel, die ontginning van die dinamiese vlakke, groot en ongewone spronge, trillers en nabootsing skep ‘n kaleidoskoop van karakters in elke variasie.

Die maskerade is een van die uitdagings vir die pianis en die gehoor. Die spoed waarmee die variasies op mekaar volg vereis vernuf van die pianis om die verrassingselement van die nuwe gedaante bekend te stel.

Beethoven betrek luisteraars deur die volgehoue variasie van kleur, ritme en tekstuur. Uit hierdie oogpunt is die aanhaling van Mozart se Leporello-karakter uit Don Giovanni in variasie 22 ‘n tekenende toevoeging. Die bekende aria word in ‘n totale nuwe konteks voorgedra en kry ‘n nuwe gedaante. Variasie 31 word as “die oneindige resitatief” deel van die laat-styl komposisietegniek en kan ook met die Goldberg se Adagio vergelyk word. Die Fuga van variasie 32 herinner aan ‘n tipiese Allegro van Handel en die laaste variasie weer met ‘n Minuet van Haydn of Mozart.

In die monumentale werk reik Beethoven terug na die ou style en wêrelde van Bach, Haydn en Mozart én wys hy die weg aan vir die komponiste wat ná hom sou kom.

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Anneke Lamont (neé Van Heerden) Anneke played 12 Preludes and Fugues from the “48” by JS Bach when she was twelve years old as a student of Josias van der Merwe. She holds a BMus from UCT under Lamar Crowson and the degrees BMus(Hons) and MMus (cum laude) from the University of Pretoria where Joseph Stanford was her teacher. In 2006 she received a PhD from the University of the Free State with Albie van Schalkwyk and Stephanus Muller as promotors.

As winner of the UNISA Overseas Scholarship as well as a SAMRO bursary in 1986 she furthered her studies in Germany with Arie Vardi in Hannover.

Anneke is an accredited teacher for Unisa, an examiner for the Unisa Music Examinations and on the screening panel for the 2008 UNISA International Piano Competitions.

She was Director of Music at St Alban’s College, Treverton College and Oakhill School before she accepted the position as Head of Piano at the OSM in 2018.

Anneke is affiliated with Palissander, the premier South African chamber choir and had the privilege of meeting composer Arvo Pärt on a tour to Estonia and Russia in 2018. She has been doing research on his work at the Titus Brandsma Institute of the Radboud University in Nijmegen, focusing mainly on creative interaction between Christian Spirituality and the Performing Arts.


Op. 120

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Klaviersolo / Piano Solo

Anneke Lamont (klavier)

60 min R40





Op. 120

https://www.vrystaatkunstefees.co.za/events/diabelli-variasies/

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FSSOConductor:

Alexander Fokkens

Kamerorkes en solisteChamber orchestra and soloists

FSSO

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FSSO Conductor: Alexander Fokkens

WA Mozart Divertimento for Strings K. 136

JS Bach Concerto for 2 Violins Largo Allegro Soloists: Samson Diamond, Sharon de Kock

Antoni Vivaldi Four Seasons: Winter Soloist: Samson Diamond

WA Mozart Concerto for Clarinet in A K. 622 Soloist: Danré Strydom

Giacoma Puccini Crisantemi

The Free State Symphony Orchestra is a professional ad hoc orchestra. Traditionally the professional core of the orchestra consists of the music teachers and free-lance musicians. The core is supplemented by some of the best young instrumentalists in the province.

This provides a unique opportunity to young musicians from all backgrounds to gain invaluable professional experience by playing in the orchestra. It could be argued that no other orchestral music education programme in South Africa has contributed more to orchestral music than the one in the Free State.

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Alexander Fokkens Alexander’s extensive experience, both local and international, his professionalism, and his intense passion for music have led to him becoming one of the most sought-after conductors in South Africa.

He has spent the last 20 years exploring ways to make music with people from all walks of life and a variety of backgrounds.

Since returning from the USA in 2005, Alexander has been involved in many different areas of classical music in South Africa , and he currently holds a number of posts including Artistic Director and CEO of the Free State Symphony Orchestra, conductor of the Free State Youth Symphony Orchestra, Music Director of the Symphony Choir of Cape Town, Music Director and Conductor of the University of Cape Town String Ensemble and Symphonic Band and Resident Conductor of the University of Cape Town Symphony Orchestra.

Graduating from the University of Cape Town in 1998 with a BMus in Orchestral Studies (Double Bass), Alexander then went to America and furthered his studies at Texas Christian University, where he obtained his Masters in Double Bass performance and completed 3 years of Studies in Theory and Conducting.

Alexander lives in Cape Town with his wife, pianist Margaret Foxcroft, and their four children. Visit Alex’s website www.alexanderfokkens.com

FSSO

http://www.alexanderfokkens.com/http://www.alexanderfokkens.com/

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Danré Strydom Danré has established herself as one of South Africa’s premier solo, chamber and orchestral musicians through her global concert experience. Born in South Africa, she began her musical training in neighbouring country Namibia. After attending the Interlochen Arts Camp, USA, she began her formal studies with Heinrich Armer at the University of the Free State in South Africa. She furthered her studies abroad at Indiana University’s Jacobs School of Music, where she worked with renowned clarinetists Eli Eban and Eric Hoeprich. She holds separate Master’s Degrees in Clarinet, Early Clarinet – and Bass Clarinet Performance from the Royal Conservatory at Ghent University, completed under the guidance of Eddy Vanoosthuyse. Danré completed her PhD in Clarinet Performance at the Odeion School of Music, UFS. Danré has performed as soloist with various orchestras in South Africa and is an avid chamber musician. Since 2016, she forms part of the Nöthling-Strydom Duo who has played various concerts in South Africa and abroad.

After playing clarinet/bass clarinet ad hoc for the award-winning Brussels Philharmonic from 2009 to 2013, she accepted a position as woodwind lecturer at the University of the Free State’s Odeion School of Music (OSM). Danré is the South African National Chair (since 2016) of the International Clarinet Association and the Continental (Africa) chair since 2018. She was selected as a Buffet Crampon Artist (2015), first from South Africa and is currently principal clarinetist of the Free State Symphony Orchestra.

FSSO

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Samson Diamond Samson is appointed leader of the Odeion String Quartet, resident at the University of the Free State. He is lecturer at the Odeion School of Music and concertmaster of the Free State Symphony Orchestra (FSSO). Diamond has enjoyed an association with the London based, Chineke! Orchestra (Europe’s first black and ethnic minority orchestra). Tours with the Chineke! Orchestra include England, Netherlands, Belgium and Germany. In 2019 he appeared as concertmaster for the RMB Starlight Classics with the Cape Town Philharmonic Orchestra and the Johannesburg Festival Orchestra. A graduate of the Royal Northern College of Music in Manchester, UK, where he obtained both BMus(Hons) first class (2006) and his MMus in Performance (2007) with distinction. Diamond got his first taste of music in Soweto where he studied with founder director of internationally acclaimed Buskaid Project, Rosemary Nalden, and further with Richard Ireland, Dr Pauline Nobes and Philippe Griffin. As a freelance orchestral player in the UK, he played in the Hallé Orchestra, the Academy of St Martins in the Fields, BBC Philharmonic, Manchester Camerata and the Academy of Ancient Music. Diamond was leader of the internationally acclaimed Buskaid Soweto String Ensemble from its inception in 1997 until 2007.Diamond coached the violin section of the National Youth Orchestra of Great Britain for their 2018 Spring season. He was an Artistic Committee member and in 2017 and 2018 music curator for the Grahamstown National Arts Festival.

FSSO

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Sharon de Kock Sharon has been a violinist in the Odeion String Quartet and violin lecturer at the University of the Free State since 2008. She started playing the violin in 1985 as a student of Louis van der Watt and later continued her studies with Jürgen Schwietering and Gina Beukes.

Sharon left South Africa to study in the USA at the age of 17 and is a BMus (magna cum laude) and MMus graduate of the College-Conservatory of Music at the University of Cincinnati (CCM). She studied under the well-known concert violinist Chee-Yun Kim, Kurt Sassmannshaus, Piotr Milewski and Dorothy DeLay and worked with members of the Amernet Quartet, La Salle Quartet and the Tokyo Quartet.

From 1999 to 2001 she was a first violinist in the National Symphony Orchestra in Costa Rica. She has performed as a soloist and orchestral player with orchestras in Peru, Guatemala, Mexico and Spain, as well as the Kentucky Symphony, Richmond Symphony and Dayton Symphony Orchestras in the USA. From 2004 to 2006 she was a violin lecturer at the Benemérita Universidad Autónoma de Puebla and Paceli Universities and the Conservatoire in Puebla, Mexico.

Recently, she toured to Poland and the Czech Republic to perform with the Cisticola Cantans Choir as a violin accompanist and soloist.

Sharon is currently completing her DMus studies at the North West University in Potchefstroom.

FSSO

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Kamerorkes en soliste / Chamber orchestra and soloists

Free State Symphony Orchestra,

Conducted by Alexander Fokkens

60 min R40




FSSO

https://www.vrystaatkunstefees.co.za/events/fsso/

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Odeion School of Music (OSM)

University of the Free State

Kamerorkes en solisteChamber orchestra and soloists

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OSM

Odeion School of Music The Odeion School of Music (OSM) at the University of the Free State offers a comprehensive programme of quality academic teaching, instrumental tuition and research in both artistic and academic spheres with a view to deliver well-rounded professional musicians, educators, researchers & entrepreneurs.

The OSM staff is a group of highly competent and experienced specialists in the fields of performance, teaching and research, as well as an administrative component of well-qualified support personnel in academic, general and concert administration.

A wide spectrum of instrumental and vocal tuition is offered, coupled with the availability of several performance and training ensembles. These include the OSM Camerata, Free State Youth Orchestra, Odeion Sinfonia, Odeion Choir and the Free State Youth Wind Ensemble.

A parallel entity to the OSM is the Odeion String Quartet, the only residential university string quartet in South Africa. The members of the Odeion String Quartet serve also as the string lecturers of the OSM.

OSM CONCERT AGENGY

The Odeion School of Music Concert Agency sets out to present an annual concert series accommodating a variety of artists from different nationalities who cover a wide variety of genres. As the only university and major serious music centre in the Free State, it is not only our obligation but also our privilege to be the hub in central South Africa where serious music is both nurtured and fostered.

The OSM also presents an annual International Masterclass Series as the opportunity and availability of the artists permit, to nurture and profit OSM students and other interested external clients.

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The OSM values the principle of peer instruction and has already presented masterclasses by a number of outstanding young artists such as Alexander Ramm (cello) and Avigail Bushakevitz (violin) to name but a few.

COMMUNITY SERVICE

The OSM is in an exceptional partnership with Brandwag Primary School, Lettie Fouché-School for mentally impaired learners, Sentraal Primary school and The Rock Foundation outreach program in Heidedal.

Students from the OSM offer music education as part of the Service-Learning module and Music Education modules within the BMus and BA (Music) and Diploma qualifications. The underlying philosophy of Service Learning is that both partners

equally benefit from the learning experience within a mentored environment. The main objective is for the students of the OSM to provide a service to the community and for the learners of the above-mentioned institutions to learn basic skills which include aural training, music, and movement. An important part of Service Learning is that students reflect on what they have learned and experienced after every session. At the OSM we believe that music-making for intrinsic musical experiences is a key aim of music education, but it is not enough. We should also prepare students to “put their music to work” for the betterment of other people’s lives and social well-being. In other words, we should help students conceive and practice “music-making as ethical action” for social justice.

“OSM chasing excellence”

OSM

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Kamerorkes en soliste / Chamber orchestra and soloists

Odeion School of Music, University of the Free State

60 min Gratis / Free



Kyk die vertoning hier | View the show here

OSM

https://www.vrystaatkunstefees.co.za/events/odeion-school-of-music-in-concert/

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In the Blink of an Ear

changing perspectivesLéon Snyman

Klankkuns | Sound Art

Concert under the stars, Planetarium of the Copernicus Science Centre,

Warsaw, Poland

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While Virtual Reality (VR) is an individualistic immersion into the digital realm, the shared immersive experience offers the added perspective of an audience dynamic. This shared immersive experience is possible in places such as domed theatres and planetaria. Domed theatres / planetaria aim to immerse and transport audiences collectively to visualise especially scientific concepts and knowledge.

A trip to Tokyo in 2017 resulted in a new perspective on these systems.

Ironically, though, it is sound (music) that is the vehicle that drives the emotional interpretation and meaning within this (and most) filmic media. And, while it might appear that the emphasis is on the visual in these environments, in Bloemfontein we have been exploring the visual in combination with (live) music and other sounds in these environments resulting in various music- and drama-based productions in the planetarium (Fly Me to the Planets for Brass Quintet and Two Percussionists; drama pieces: Under Milk Wood, Die klein prinsie (The Little Prince), The Wounded Healer, War of the Worlds II).

As these digital environments are of necessity interdisciplinary in essence, this allows for collaboration between scientists, artists, and musicians.

These productions have also allowed us to think of other ways of creating shared immersive (especially acoustic) experiences.

Originally produced in lieu of a paper for the International Conference on Music and Sounds hosted by the London Centre for Interdisciplinary Research at St Anne’s College, University of Oxford on13 June 2020 (presented online) and as a virtual poster presentation at the IPS2020 Virtual Conference of the International Planetarium Society on 3, 5 and 7 August 2020.



Warsaw, Poland

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Léon Snyman Léon is Theatre Manager at the Odeion Theatre and Lecturer in Music Technology at the Odeion School of Music, University of the Free State, Bloemfontein.

He is Content Developer and Presenter at Naval Hill Planetarium and runs Well Noted Productions, specializing in live recordings and filming, music notation, arranging and publishing,

He is completing an M.A. (fine arts) under Willem Boshoff.

He has developed several interdisciplinary works such as Fly Me to the Planets for Brass Quintet, Two Percussionists and the Full Dome; LV/xi - a Sound Installation using 55 speakers, 12 Raspberry Pis, and 11 languages.


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Klankkuns / Sound Art

Léon Snyman, Odeion School of Music, UFS

20 min Gratis / Free



Kyk die aanbieding hier | View the presentation here


Warsaw, Poland


https://www.vrystaatkunstefees.co.za/events/in-the-blink-of-an-ear-changing-perspectives/

Baie dankie aan almal wat hierdie wonderlike reistog saam met ons afgelê het!

Many thanks to everyone who took this wonderful journey with us!

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Een fees. Baie stories.One festival. Many stories.

Stigtersborg | Founding Sponsor

Hoofborg | Principal Sponsor

Vennote | Partners

Projekvennote | Project Partners

Die Rupert-Musiekstigting

Documents

klank klassik · 2020. 9. 28. · Merry Widow, Sweeny Todd, Les Misérables, Evita and The Producers. The versatility of this programme should delight audiences as Magdalene and Maryke