Showing posts with label South Africa. Show all posts
Showing posts with label South Africa. Show all posts

Wednesday, September 28, 2011

Nephew of Michael Mosoeu Moerane (1909-1981) Adds Details for Composer's Page at AfriClassical.com


[TOP: Memorial Plaque: "Fifth Pan African Conference was held here 15-21 October 1945 Decisions Taken At This Conference Led To Liberation of African Territories" BOTTOM: South African Music; Fatse la heso (My Country) (11:18); National Symphony Orchestra of the South African Broadcasting Corporation; Peter Marchbank, Conductor; Marco Polo 8.223709 (1994)]

Izak Khomo is Programmes Producer at Channel Africa in Auckland Park, South Africa. He provides a correction and additional information for the AfriClassical.com page on his late Uncle Michael Mosoeu Moerane (1909-1981), a South African composer, pianist and choral director. Moerane was a member of the Southern African Music Rights Organisation (SAMRO). SAMRO's Biographical Notes on him explain that Michael Mosoeu Moerane was born in 1909 and is the late uncle of South Africa's former President, Mr. Thabo Mbeki. Izak Khomo is the nephew of Michael Mosoeu Moerane. He tells AfriClassical.com:

“Michael Mosoeu Moerane was the second child and second son of Jakane Moerane and wife Sofi Moerane and he was born in the village of Mangoloaneng, in Mount Fletcher, District Eastern Cape. His elder brother Daniel Moerane was also born there, however, their father came from Lesotho, and he came to Mangoloaneng to put up a school at the request of the Sotho chief of the area, the school cum church is still standing in front of the home stead.”

Izak Khomo explains that his late mother, born Renee Moerane, was the youngest of the seven children of the family:

“My Late Mother, Renee Sake Khomo, nee’ Moerane was the last born of a family of seven children who included ex President Thabo Mbeki’s mother. Renee being the youngest, born in July 1920, was almost brought up by Michael that was when he was teaching at Lovedale and was at the same time undertaking his musical studies.”

SAMRO lists the schools Moerane attended and those at which he later taught:

“He had his schooling at the Lovedale Institute and at Fort Hare, near the town of Alice in Ciskei, and then became a school-teacher, beginning at his alma mater, Lovedale in 1927, continuing at the High School in Maseru in Lesotho, and later at the Umfundisweni Institute in Pondoland, and finally at the Peka High School in Gumtree, Lesotho.”

While teaching in several different communities, Moerane attended the University of South Africa by taking correspondence courses in Music, SAMRO relates:

“Moerane holds the distinction of being the first black person to obtain a degree in music at a South African university. For the Bachelor of Music degree at the University of South Africa (UNISA), one of the largest distance-education institutions in the world, he studied History of Music, Harmony and Counterpopint, Acoustics, Score-Reading, Orchestration and Instrumentation, as well as Composition proper.”

Moerane was also tutored in Composition by Friedrich Hartmann, a Professor of Music at Rhodes University in Grahamstown, South Africa, according to the Biographical Notes. SAMRO explains how Moerane came to compose Fatse la heso (My Country):

“Moerane was required to present a composition exercise in order to complete his degree, and so composed the symphonic poem, Fatse la heso (My Country), which he completed in 1941, graduating that same year. Three years later, in November 1944, the work was premiered by the BBC Symphony Orchestra in two separate studio performances under the baton of Clifford Curzon, one broadcast by the BBC's Home Service, and the other by its African Service. Fatse la heso was subsequently championed in New York and Paris by the pioneering black American conductor, Dean Dixon.”

Izak Khomo calls attention to the use of Fatse la heso at the Fifth Pan African Conference, in Manchester, England from 15-21 October, 1945:

“There is a lot about the Song Fatse La Heso, the song was played at the opening of the Manchester Pan African Conference organized by the Great Pan Africanist leader W E B Du Bois, and for that Du Bois requested permission which was granted by Mosoeu.”

We learn from Izak Khomo that Michael Mosoeu Moerane supported the Pan Africanist movement:

“Mosoeu himself was a strong Pan Africanist and so the statement ‘Fatse La Heso’ (Our Land) which was also the Clarion call of Pan Africanists in South Africa, this came from witnessing the gradual destruction of their father’s property and wealth by settler colonial laws which saw loss of farm land, the culling of the large heads of cattle and also flock of sheep under the pretext of land conservation.”

The Bantu Education Act of 1953 gave the South African Government control of education of Black children throughout the nation. Most mission schools closed rather than operate under the new and highly unequal conditions set for the Bantu schools, such as limiting instruction to three hours per day, and preparing students to hold only menial employment. Izak Khomo says Michael Mosoeu Moerane's opposition to Bantu Education resulted in his being banned from teaching, thus causing him to end his career in Lesotho:

“Mosoeu finished his teaching career in Lesotho not of his liking but rather, like many teachers of the time, as a result of being banned to teach as a result of their opposition to the introduction of Bantu Education.”

Moerane's composition Fatse la heso (My Country) (11:18) has been recorded on the CD South African Music, Marco Polo 8.223709 (1994). The National Symphony Orchestra of the South African Broadcasting Corporation is led by Peter Marchbank, Conductor. Moerane prefaced his score with an explanation of the source materials he incorporated into the work, as we learn from the liner notes by Alison Gaylard:

“According to the composer, in a note prefaced to the score, My Country is based on thematic material derived from freely-adapted African songs: a warrior's song, a reaper's song, a free transformation of a cradle-song and a hymn which supplies the harmonic structure.”

SAMRO tells us that some of Moerane's songs were selected for use in national choral competitions among schools. The Notes tell us he did not limit his professional career to composing:

“Moerane was also active as a pianist and choir conductor. He died in 1981.

Among Moerane's other compositions are three works for school orchestra, some descriptive piano pieces and a quantity of choral music on biblical texts.”

When the Johannesburg Philharmonic celebrated its 5th Birthday with twin concerts on May 18 & 19, 2005, the announcement was entitled: "Jo’burg Philharmonic performs music by the man who taught Mbeki to play the flute". It explained that South Africa's future President Thabo Mbeki lived with his uncle's family for two years when he was a young child in the early 1950s, and his uncle taught him to play the flute. The music of Moerane on the program was Fatse la heso (My Country).

Alexander Johnson and Chris Walton of the University of Pretoria in South Africa have compiled a list of the works of Michael Mosoeu Moerane:
Fatsa la heso, symphonic poem, 1941

Chorale, for school orchestra (flute, clarinet, piano and strings)

Sunrise, for school orchestra (flute, clarinet, piano and strings)

Why worry?, for school orchestra (flute, clarinet and strings)


Piano solo works listed are:

Fantasia

In Hout Bay

Joy ride

Lonesome


Choral works (all SATB) include these and many more titles:

Atamelang

Banozolo: ke tla bina

Barali ba Jerusalema

Ba tsabang molimo: yizani nive

Bokang Jesu

Thursday, May 26, 2011

ArtsLink.co.za: Catalyst Quartet Includes Music of Ugandan Composer Justinian Tamusuza on South African Program




[Catalyst Quartet; Justinian Tamusuza]

WSOA - Wits School of Arts
05/25/2011
“The Catalyst Quartet is comprised of top laureates and alumni of the acclaimed Sphinx Competition for young black and Latino string players. Presented by Wits School of Arts / WitsMusic, The Catalyst Quartet will performing at Wits early in June. The mission of the ensemble is to advance diversity in classical music and inspire new and young audiences with dynamic performances of cutting-edge repertoire by a wide range of composers. Founded by the Sphinx Organization, members of the Catalyst Quartet combine a serious commitment to diversity, excellence and education with a passion for accessible modern works.

“Graduates of top music schools in the United States, including the Manhattan School of Music, New England Conservatory of Music and Cleveland Institute of Music, the Catalyst Quartet serves as principal faculty at the Sphinx Performance Academy at Oberlin College and Roosevelt College in Chicago, Illinois, and as visiting teaching artists at the Sphinx Preparatory Music Institute hosted by the Detroit Symphony." "Members of the ensemble have performed as part of the annual national Sphinx Chamber Orchestra Tour, which has met with critical acclaim since its inception in 2008."

“The performance will present works of contemporary masters, including string quartets by Philip Glass and Michael Nyman, as well as works by Terry Riley, Astor Piazzolla, Anton von Webern and Justinian Tamusuza. Glass, now the elder statesman amongst American composers, has achieved international recognition as a 20th century master, through a wide range of compositions, and is especially famous for his operas Akhnaten, and Einstein on the Beach, while Nyman is known not only for his orchestral and instrumental works but also for his contributions to the art of film music with scores for such features as The piano and Prospero’s Books.”

Sunday, May 1, 2011

Bongani Ndodana-Breen: 'A video from ETV News (South Africa) on the opening of Winnie, The Opera'


Composer
Bongani Ndodana-Breen
sends AfriClassical a link to a video
about the opening of Winnie the Opera:

Hi William:
A video from ETV News (South Africa)
on the opening of Winnie, The Opera
(http://www.winnietheopera.com)

Best wishes,
Bongani Ndodana-Breen

Tuesday, February 8, 2011

Guest Book Entry from South Africa: 'Thank you for such a resource, capturing a very important history.'


[Le Chevalier de Saint-Georges (1745-1799)]

Concord Nkabinde of South Africa has written in the Guest Book at AfriClassical.com on Tuesday, 2/8/11:

“Thank you for such a resource, capturing a very important history. More people need to know about this website. We will spread the word.” [Le Chevalier de Saint-Georges (1745-1799) is profiled at AfriClassical.com]

Sunday, November 15, 2009

Artlink.co.za: 'Violinist from Soweto adds award to his bow'


[Samson Diamond, photo by Suzy Bernstein]
After AfriClassical posted an article about Samson Diamond playing for Nelson Mandela, Sophia Welz of the South Africa National Youth Orchestra alerted us to a subsequent award. In this article Samson Diamond speaks eloquently of having been "wholly liberated by music":

ArtLink.co.za
National Arts Festival
11/05/2009
“Samson Diamond is an internationally acclaimed violinist with a string of awards to his name.His latest accolade, ushering in his return to South African stages, is the Standard Bank Young Artist Award for Music 2010. 'This award is a wonderful validation and comes at a time when I am returning to South Africa to develop an audience from differing ends of the spectrum, both the classical and the light listener alike,' said Diamond. 'I must admit that it is truly unexpected, and wholly humbling that, having walked such a short path, I have been recognized.'

“Diamond matriculated from the National School of Arts in Johannesburg in 2001, with a distinction in Music. He then went on to study in Manchester, obtaining a Masters of Music Performance degree (with distinction) in 2007 from the Royal Northern College of Music (RNCM), where he also obtained a Bachelor of Music honours degree (first class, with distinction). He has studied violin under world-renowned teachers such as Philippe Graffin, Pauline Nobes, Richard Ireland and Rosemary Nalden.

"'I think of a musical journey as a stream of water. It flows from one point to the other, with no definite point of where it begins or ends,' said Diamond. 'Personally, I think that the awareness of my musical journey began when I felt wholly liberated by music and that elevated me to another sphere, where beauty transcended earthly struggles.'"