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Volume 53 Number 2, 2013
Tydskrif vir Geesteswetenskappe - Volume 53 Number 2, June 2013
Volume 53 Number 2, June 2013
Source: Tydskrif vir Geesteswetenskappe 53 (2013)
Stefans Grové se besondere posisie in die Suid-Afrikaanse musieklandskap is onomstrede. In Suid-Afrika lei hy die musikale voorhoede reeds vir die afgelope sestig jaar. Die filosofiese diepte van sy visie en sy artistieke integriteit, maak hom een van die sleutelfigure in Suid-Afrikaanse en Afrika-kunsmusiek. Benewens sy talente as komponis, skrywer, joernalis en kritikus was hy ook vir 31 jaar orrelis van die Arcadia-gemeente van die Lutherse Kerk. Ook word hy met agting, waardering en liefde deur 'n skare oudstudente onthou as 'n pionier op die gebied van kunsmusiek in Suid-Afrika.
Stefans Grové 90 : opstelle oor sy lewe en werk
Author Isak Grove
Source: Tydskrif vir Geesteswetenskappe 53, pp 129 –130 (2013)
Hubert du Plessis se wrange herinneringe ná 'n lang loopbaan - soos uitgespreek slegs maande voor sy dood in Maart 2011 - kan beskou word as simptomaties van die soort ontnugtering wat geld vir die breë bevordering van die Suid-Afrikaanse kunsmusiek. Hoewel so 'n bevordering in die eerste plek geleë is in die uitvoering van dié erfenis, kan 'n versameling opstelle soos hierdie hopelik 'n bydrae lewer tot 'n groter bewusmaking.
Stimulus en afstand in die komposisies van Stefans Grové : ter wille van 'n stilistiek van die Suid-Afrikaanse komposisiepraktyk
Authors: Gregory Barz and Gregory Barz
Source: Tydskrif vir Geesteswetenskappe 53, pp 131 –137 (2013)
Stimulus and Distance in the Compositions of Stefans Grové : Towards a Stylistics of South African compositional Practice
This article is an initial result of my research visit in 2011 to the composer Stefans Grové. In the academic study of music literature, whether in ethno-musicology or historical musicology, we frequently find ourselves confronted with issues of identity. We typically couple investigation into compositional identity with a glance to change and adaptation over time; i.e. we observe, document and are curious about how, for example, communities respond to change; how traditions are borrowed and preserved; how urbanization affects culture; and yes, how an individual composer responds, adapts and gives voice to change. Stefans Grové sees himself "between the West and Africa, ...in an in-between state...".
The question of Grové's positioning in the South African music landscape poses several further questions: A composer in Africa? A composer of Africa? An African composer? A South African composer? There's a difference - between adapting Africa, and adopting Africa; between being in Africa and being of Africa; and from a compositional perspective, being out of Africa, or not of Africa.
Grové sees a clear difference between what the British composer William Walton attempted in 1952 in his commissioned work for the city of Johannesburg, and what he himself accomplishes in his compositions. His feeling is that when composers are not from Africa, actively attempt to incorporate an African element, they frequently do it by having Africa floating on top of the music's surface, without being integrated into the overall texture of what he calls the spirit of musical sensibilities.
While not purposely drawing on pre-existing African melodies, Grové nevertheless composes his own melodic devices, in the spirit of African typical melodies. Listening to Grové's musical compositions one becomes aware of a composer who has been exposed to, immersed in and surrounded by African expressive culture since a very early age. To a certain extent Africa, in the form of African music, has, in his own words, "entered his system" so that it has become a co-extensive and integral part of his musical sensibilities.
In die akademiese studie van musiekliteratuur word mens gereeld gekonfronteer met sake rakende identiteit. 'n Tipiese ondersoek sou die kompositoriese identiteit benader deur kennis te neem van verandering en aanpassing oor 'n periode heen, dit wil sê waarneming van die invloed van verandering op gemeenskappe, hoe tradisies geleen en bewaar word, en ook hoe die individuele komponis reageer op, aanpassings maak en uitdrukking gee aan verandering. Stefans Grové se siening van homself as "tussenstaatlik", tussen Westers en Afrikaan, laat vrae ontstaan soos: 'n Komponis in of van Afrika? Grové sien 'n verskil in byvoorbeeld William Walton se benadering tot "Afrika-musiek" in sy destydse opdragwerk (1952) vir die stad Johannesburg, en sy eie benadering. Waar eersgenoemde bloot Afrika-elemente op die oppervlak laat dryf, poog hyself om integrasie te bewerkstellig binne die geheeltekstuur van die komposisie. In dié proses het die oorspronklike afstand van die stimulus daarop neergekom dat hy sy posisie as tussenganger tussen kulture deeglik moes deurdink. Grové maak duidelike kompositoriese keuses, en het dit so gedoen deur sy hele loopbaan heen. Hierdie keuses het ons almal in 'n musikale rigting gestuur wat ons kan identifiseer as 'n kritieke oomblik in die geskiedenis van die integrasie van Suid-Afrikaanse kulture.
Tussen Bethlehem en Bloubergstrand : vanaf die oue na die eie in Stefans Grové se oeuvre
Source: Tydskrif vir Geesteswetenskappe 53, pp 138 –155 (2013)
Between Bethlehem and Bloubergstrand : from the old towards the own in Stefans Grové's oeuvre.
The traditional concept of style in an artist's output usually amounts to no more than descriptions of detail facets about the artist's work. In a musical context these could include more or less vague descriptions of characteristic qualities such as rhythmic and melodic features, preferred formal approach and colourist qualities that can be regarded as typical for the composer's work in general, or works from a certain period of his/her creative life. In the case of the latter, it could mean that the composer adopted certain changes in approach to style, thereby rendering previous work stylistically "different" than later work. As a result stylistic qualities often lead to the well known triple division of early, middle and late style. When applied to Grové's work the earliest style orientation (around the late 1940s) might suggest elements of Debussy's fashionable Impressionism of the time, and slightly later Hindemith's neo-Baroque and Bartók's rhythmic drive. Works such as the Violin Concerto (1959) and Symphony (1962) form the apex of his second (expressionist) phase, with strong hints towards dodecaphony.
According to the composer himself, his adult (third) style came into being with a Piano Toccata from 1966, in which both textural and thematic orientation heralded a "new" stylistic phase. Since his return from the United States to South Africa in 1972, this phase gradually gave way to a fourth (!) phase, his "African" style approach in which his discovery of his "original African self" led towards the exploitation of largely simulated African musical elements. The composer's own strong emphasis on this style change as his "Damascus moment", "final home coming" and similar descriptions has even led to his remarking that he should destroy all previous music on a moonlit night on Blaauwberg beach, thereby rendering the "African" phase as the only musical legacy worth representing him as leading South African resident composer. However, upon closer scrutiny and in accordance with the composer's definition of his style as "African impulses within Eurocentric form" underlying older stylistic features such as contrapuntal orientation and specific colourist approach to orchestral music can still be detected beneath an "African" motive collage.
Die tradisionele idee van styl in die kunstenaar se produksie volstaan meestal by weinig meer as oppervlak-beskrywings van fasette van die kunswerk. In die musikale konteks kan sulke fasette neerkom op min of meer vae beskrywings van karakteristieke eienskappe wat betrekking het op ritmiese en melodiese aspekte, vormbenadering en koloristiek, dit wil sê eienskappe wat gesamentlik as tipies vir die komponis se werk in die algemeen beskou kan word, of werke uit 'n bepaalde periode. Hiervolgens kan die komponis se benadering voortdurend verander, sodat die bekende driedeling van vroeë, middel- en laatstyl tot stand kom. Indien hierdie verdeling op Grové se musiek toegepas sou word, sou sy vroegste styloriëntering (vroeë veertigerjare) die modieuse Impressionisme van Debussy kon suggereer, met 'n wending na Hindemith en Bartók ietwat later. Die ekspressionistiese fase dek belangrike werke soos die Vioolkonsert (1959) en die Simfonie (1962)
Stefans Grové se Afrika Hymni as evokatiewe klankskildering
Author Gerrit Jordaan
Source: Tydskrif vir Geesteswetenskappe 53, pp 156 –169 (2013)
"Afrika-Voorstellings" : Stefans Grové se Liedere en danse van Afrika as fiksies
Author Thomas Pooley
Source: Tydskrif vir Geesteswetenskappe 53, pp 170 –182 (2013)
"African Inventions": Stefans Grové's Liedere en danse van Afrika as fictions
Stefans Grové's Music from Africa series is the product of many "African inventions". This analysis of the piano études, the Liedere en danse van Afrika (1988-1990), reflects on the nature of these inventions - both as studies and as discoveries - and the techniques used to engineer them. What is the relationship of these inventions to African music? How are they similar to earlier traditions of exoticism, primitivism, and cross-culturalism in Western art music? How are "African" musical techniques and practices engineered or alluded to and how do they figure in the context of Grové's mature style?
Two contrasting impulses are described in the études. The four "dances" (1, 3, 5, and 7) are taken to embody elements of Grové's energy-driven music where rhythmic and percussive features are dominant and melody intermittent. The three "songs" (2, 4, and 6), on the other hand, are more reflective in character. Two are titled night-songs and the third invokes twilight. These are not conventional nocturnes (Chopin-Debussy) or nachtmusik (Schumann-Bartók), but are by turns melodic, repetitive, and colouristic. It is here that we find the most overt "African" references but also the more exoticist ones.
The "dances", on the other hand, construct a more obtuse relationship to Africa. Each of the four is characterised by strong motoric rhythms and harsh, percussive harmonies, with clusters of broken chords, ostinato elements, and bravura octave passages. If the "songs" tend toward the exotic then the dances are more akin to earlier modernist practices. Clear precedents are found in the piano music of Bartók, Stravinsky, Debussy, Ravel, Prokofiev, and others, and we may describe this particular brand of Africanist art music as subsumptive. It is through the "African" context that Grové provides for the interpretation of these études (through titles, texts, and commentaries) that they take on an "African" gloss. "Primitive" qualities emerge more transparently in these contexts even if none or few of these structures are "essentially" or "authentically" of Africa. Nevertheless, Grové's skill in engineering a novel syntax for the dances is remarkable in itself. It draws on a very wide range of references, some of which are generic features of (southern) African traditions, but most of which are often neither explicitly exoticist nor ethnographic in presentation. Altogether, Grové has constructed an imagined, syncretic image of "Africa" that reifies "tradition" in a timeless, ethnographic present. This creates a caricature that ignores the complex culture-historical relations of the musics and peoples in question.
In the Liedere en danse van Afrika there are features that may be interpreted as generic representations of indigenous African techniques as well as constructions that draw on a long legacy of exoticism and primitivism in Western art music. Commentary on this music has tended to focus on the nature of the "African elements" or their origins rather than the novelty of the syntax. Instead of reducing "Africa" and "African music" to a series of generic properties or procedures this article offers an alternative reading that positions these works as "African inventions": as fictions that create their own unique "African" presence which is unabashedly syncretic and which need no longer be tethered to stereotypes of "indigenous" or "authentic" "African elements". Such claims to authenticity tend to undermine the very politics to which they aspire.
Voorstellings is ontdekkings. Hulle mag gesoek word, daar mag op hulle afgekom word, hulle kan bewimpel word, maar almal konstrueer iets nuuts. In Stefans Grové se Musiek van Afrika-reeks vind ons sulke ontdekkings. In hierdie analise van die klavier-etudes, die Liedere en danse van Afrika (1988-1990), word besin oor die aard van hierdie "Afrika-voorstellings" asook oor die tegnieke waardeur hulle gesmee is. Wat is die verhouding van hierdie voorstellings tot Afrika? Hoe rym hulle met vroeëre tradisies van eksotiek, primitivisme, en kruiskulturalisme in Westerse kunsmusiek? Grové situeer sy werk in verhouding tot plaaslike en internasionale tendense in kruiskulturele kunsmusiek, asook met die funksie van sy eie stilistiese ontwikkeling. Deur Grové se invensies of voorstellings te lees as fiksies, eerder as etnografiese vergestaltings van outentieke "inheemse elemente", kom ons tot waardering van hulle unieke sinkretiese kwaliteite in sintaksis en styl.
Visuele herinneringe - enkele foto's
Author Stefans Grove
Source: Tydskrif vir Geesteswetenskappe 53, pp 183 –186 (2013)
Saam met moeder Anna en suster Makkie 1929
As 17-jarige, 1939
As 22-jarige, 1946
'n Historiese moment - saam met Hubert du Plessis, Arnold van Wyk en Blanche Gerstman, 1948
By Tanglewood-somerskool, VSA Julie 1955, komposisieklas met Aaron Copland
Komposisie van die Vioolkonsert, 1959, Baltimore
Dosent in Baltimore, 1960
Laat sewentigerjare , Pretoria
Saam met gesinslede, Pretoria 1992
DPhil (honoris causa), UP 1995
Die toekenning van die Akademie se Erelidmaatskap aan die komponis, Pretoria 2008, saam met sy gesin en neef Izak Grové
Toekenning deur die FAK, Bloemfontein 2012
Saam met sy seun en prof Wannie Carstens, Voorsitter van die SA Akademie, tydens ontvangs van 'n oorkonde vir sy aandeel aan die bevordering van kunsmusiek (Pretoria, Desember 2012).
Yemoja in momente : 'n Uitvoerderperspektief
Author Mareli Stolp
Source: Tydskrif vir Geesteswetenskappe 53, pp 187 –203 (2013)
Mistieke klankwêrelde in Stefans Grové se musiek met spesifieke verwysing na sy Towermusiek vir klavier
Author Inette Swart
Source: Tydskrif vir Geesteswetenskappe 53, pp 204 –230 (2013)
Mystical soundscapes in Stefans Grové's music with specific reference to his Haunting Music for piano
Stefans Grové's compositional ideas often come to him in dreams. This article explores the processes inherent in the creation, re-creation by the performer, and appreciation of Grové's unique soundscapes, where the silences between the notes and the overtones are often as important as the dissonances - which he describes as "colourful harmonies" - themselves.
Grové's music is often regarded as relatively inaccessible and elusive. This article explores how it can be better understood if the listener can develop the ability to appreciate its programmatic nature, to draw on strong visual imagination when "translating" sound into images, and to approach his music with openness to non-traditional structures and harmonies. Only by these means can access be gained to the richness of the mystical soundscapes and musical imagery
If properly understood, the complexities and dynamics inherent in the creation of Grové's music can be translated effectively by the performer into the soundscapes that originated in the composer's imagination. This entails a process of "re-creation" by the performer.
The author first encountered Grové as a lecturer in her class at the University of Pretoria, and she later, as a performer and exponent of his works, received generous guidance from the composer himself. The article is interspersed with four Vignettes depicting the circumstances at the time. As in Grové's own use of chain form, the Vignettes look first forward and then back in chronological time. Essential elements in the performance of his music, as illustrated throughout in the comparison of these works, include the exquisite control of sound and overtones, the ability to create a rich variety of timbres, the dramatic use of silence, a secure sense of rhythm and fluency in articulation.
The processes of "creation", "re-creation" and "appreciation" all entail application of the mind, not least on the part of the listener. The mystical in Grové's music can be appreciated through a thorough understanding of the programme which inspired any given creation, keeping track of the permutations of the original germ cells throughout a work, and imagining what can happen but has not necessarily happened. In Strange valley of the mists, according to Grové himself, the imagination must lead to what the listener thinks is there, and not to what he or she sees.
Grové draws inspiration from indigenous African music and cultures, and especially from Venda legends. Many scholars and performers regard Stefans Grové as one of the most important composers in Africa. He has an unlimited musical imagination with regard to sources from which he chooses to draw upon for inspiration, his musical language and the creation of unconventional sounds and structures. By transcending our traditional way of listening to music, we can gain access to his special soundscapes and unique musical idiom.
Nuwe idees vir komposisies kom dikwels in drome na die komponis Stefans Grové. Hierdie artikel ontgin die prosesse wat inherent is aan die skep, herskep en waardering van Grové se unieke klankwêrelde, waar die stiltes tussen die note, asook die botone, dikwels net so belangrik soos die dissonante self is – wat hy "kleurvolle harmonieë" noem. Dié musiek van Grové verg van die luisteraar 'n begrip van die programmatiese aard daarvan, sowel as ’n sterk visuele verbeelding, die vermoë om klank in beelde te kan “vertaal” en 'n ontvanklikheid vir nietradisionele strukture en harmonieë. Die musikale styl van hierdie 90-jarige komponis het 'n geleidelike transformasie gedurende sy loopbaan ondergaan, van musiek wat in neoklassieke, pressionistiese en ekspressionistiese style van die Westerse tradisie ingebed is, tot die post-1984 musiek wat Afrika verklank. Sy Towermusiek vir klavier vertoon sterk ooreenkomste met Gaspard de la nuit van Maurice Ravel - albei is impressionistiese, programmatiese werke, en albei bevat sterk mistieke elemente. Hy put inspirasie uit Afrika-kulture, -melodieë, en -ritmiek, en veral uit Venda-legendes, maar soos wat duidelik word in hierdie artikel, strek sy musikale verbeelding dan ook vanaf dit wat hy by die huis hoor tot ver anderkant ons landsgrense. Deur ons tradisionele usiekbeluistering te oorskry kan ons ook toegang kry tot Grové se besonderse klankwêrelde.
Die bydrae van Stefans Grové se Raka tot die Rakadiskoers
Source: Tydskrif vir Geesteswetenskappe 53, pp 231 –247 (2013)
N. P. Van Wyk Louw's epic poem Raka (1941) is one of the most significant works in the Afrikaans literary canon. In the seven decades since its first publication, it has given rise to a varied interpretive discourse, comprising, of course, literary criticism, but also translations, and - importantly for the present context - creative responses (literary or otherwise) to the poem, inwhich the original functions as an intertext or a subtext.
Stefans Grové (b. 1922) composed such a creative response to Raka, subtitled A symphonic poem in the form of a concerto for piano and orchestra (1996), and this article argues that this work makes two unique contributions to the Raka discourse: It complicates the rigid dualisms in the poem that many previous readings have identified in the poem, and it contributes to a post colonial understanding of the Afrikaner in Africa.Most early interpretations of Van Wyk Louw's Raka centre on the identification of specific dualisms in the piece that are understood to represent its conceptual core. An obvious example of such a dualism is Koki/Raka, also understood as good/evil, where Koki represents the prophetic outsider that tries to defend cultural heritage, and Raka represents the primitive and violent forces that threaten the continued existence of culture. A related dualism (emerging from the Koki/Raka dualism) is culture/nature, which is also understood as good/evil, since "nature" in this reading stands for the absence of or disregard for culture. More recent interpretations, partaking of a postmodern spirit, have sought to understand such dualisms in terms of a relationship with an Other that is different rather than evil, and have criticised a perceived colonialist import in the "message" of the poem, especially in its traditional interpretations. This article illustrates Stefans Grové's contribution to such more recent responses to Van Wyk Louw's poem.
Stefans Grové's Music from Africa series has attracted some musicological criticism concerning issues that are especially pressing in his Raka concerto: his "Africanist" series of compositions have been criticised as neo-colonialist and inauthentic, since they present selfcomposed materials in an African-inspired style as "African" music, thereby displacing "authentic" Africa. In a composition based on a text as central to Afrikaner culture as Raka, the question of authenticity is especially pressing, since the subtext highlights questions about the Afrikaner's place in Africa. Stephanus Muller (2006:26) has argued that Grové's Raka "restores to [Afrikaner culture] (and art music with it) its local space”, and this article interrogates Muller's observation musically.
Grové uses similar musical materials (pentatonic diatonicism) to represent the African landscape (including bird call transcriptions) and Koki's tribe that lives within it, and the representation of the tribal music bears some affinity to the tonal structures implied by the uhadi. In this way, the music portrays an idealised pre-industrial life that critiques the negative impact that Western colonialism has had on the intimate relationship between Africa and her people. Moreover, the identification of Africa with the tribe through musical materials complicates the dualism nature/culture. Raka's (chromatic) musical materials contrast with those of Koki/the tribe/the African landscape, and yet this dualism (Raka/Koki) is also problematised in the music by means of the instrumentation: although the piano most often represents Raka, it is also involved in the characterisation of the other set of concepts, nature/tribe/Koki.
A structuralist interpretation of Van Wyk Louw's Raka as sign might understand the Afrikaans poetry as the signifier and the events of the story as the signified. Because the story is set in an idealised fantasy of pre-industrial Africa and told in the voice of cultivated Afrikanerdom, authentic Africa can be understood to function as a "silent signified" in such a reading. By contrast, Stefans Grové's piano concerto replaces the Afrikaans poetry that has acted as the signifier with a musical narration that silences, so to speak, the voice of the Afrikaner and bestows a voice on the African landscape and its original inhabitants (through the transcribed bird calls and the possible connection with the uhadi), thereby contributing to a postcolonial interpretation of Van Wyk Louw's Raka. In this way, Grové's Raka strives to relocate the Afrikaner in Africa through an aesthetic gesture, offered in conjunction with the expression of the desire for a profound bond with the land and the wealth of its indigenous cultures.
Die besondere plek wat N. P. van Wyk Louw se epiese gedig Raka in die Afrikaanse letterkunde beklee, het in die sewe dekades sedert sy eerste publikasie aanleiding gegee tot 'n "Raka-diskoers", bestaande uit letterkundig-wetenskaplike interpretasies van die gedig asook vertalings en kreatiewe werk (literêr of andersins) waarby Raka as interteks of subteks funksioneer. Hierdie artikel voer aan dat Stefans Grové se Raka - a symphonic poem in the form of a concerto for piano and orchestra (1996) 'n besondere bydrae tot hierdie diskoers maak, te wete die komplisering van dualismes wat dikwels in tradisionele lesings van die epos aangewys is, en die uitdrukking van 'n nuwe, postkoloniale begrip van die Afrikaner in Afrika deur die lens van die Raka-verhaal.
Die dualisme tussen Raka en die stam waarvan Koki deel is, word gekompliseer deur die gebruik van die klavier om Raka én die stamlewe voor te stel, en die teenstelling natuur/kultuur word gekompliseer deur die gebruik van verwante musikale materiaal vir die voorstelling van Koki, die stamlewe en die natuur.
Die problematisering van die kultuur/natuur dualisme bied die moontlikheid van 'n bydrae tot 'n postkoloniale lesing van die epos, waarby die spontane verbondenheid van die mens aan die natuur as ideaal voorgehou word, sodat die versteuring van so 'n balans (soos byvoorbeeld deur die koloniale vestiging van Westerse kultuur) afgewys word. Omdat Grové se musikale uitbeelding van gebeure wat in Van Wyk Louw se epos gesuggereer word, die Afrikaanse versvertelling verplaas, kan aangevoer word dat die Afrikalandskap dus ouditief op die voorgrond tree (byvoorbeeld deur die uitbeelding van outentieke voëlgesang) terwyl die Afrikaner eerder in die agtergrond teenwoordig is.
Die eksotiese element in Stefans Grové se musiek : 'n manifestasie van "kulturele vertaling"
Author Waldo Weyer
Source: Tydskrif vir Geesteswetenskappe 53, pp 248 –265 (2013)
The exotic element in the music of Stefans Grové: a manifestation of "cultural translation"
This article pays homage to Stefans Grové, "composer of Africa", who turned ninety last year. Grové is one of a trio of South African composers who are regarded as the "founding fathers of South African art music", Arnold van Wyk and Hubert du Plessis being the other two. Grové would, however, eventually distinguish himself from his two colleagues with his Music of Africa series in which he is able to fuse musical features from both Western and African traditions. This hybrid style started to develop in 1984 at the height of apartheid and it was a conscious decision on his part to follow this new direction as composer: a bold move at the age of 62. Grové still composes to this day. His work is considered a rapprochement between Western music and his physical African space and this unique contribution in style has gained him international recognition (Muller 2006a:2-3). Today Stefans Grové is featured in seminal music dictionaries such as the New Grove Dictionary of Music and Musicians as well as in music encyclopaedias in Germany, the Netherlands, Italy, France, Sweden, Britain and Slovenia (Grové 1990:28).
This article will explore the exotic element as a differentiating agent in music and how it is manifested as a cultural translation. The interdisciplinary study between cultural theory and music has increasingly developed into a topic of current interest, especially where the use of exotic elements invites discourse within the global and postcolonial contexts (Mason 1991:167).
Betzwieser (1995:228) traces the utilisation of exotic elements as far back as 900 AD between Arabic cultures and the south of Spain, whereas this practice in musical terms began much later at the end of the 18th century. The transaction between cultures for aesthetic purposes, however, had already occurred during the Italian Renaissance and can be viewed as a procedure of cultural exchange where the main aim was to enhance and/or develop new representational qualities in sculpture and the art of painting (Campbell & Milner 2004:12-3).
Grové is involved in a similar transaction with African cultures - with the added nuance of engaging with the exotic element of an Other, however. He develops his new and differentiating style in which the exotic merges seamlessly with the Western elements of his music. A study of one of the piano études from Grové's Songs and dances from Africa will illustrate how this assimilation between Self and Other does not promote, but rather resist a Western hegemony. It is argued that the composer in quintessence has reversed a statement he made almost sixty years ago; that a fusion between African influences and a Western style can produce nothing of real substance. A narrative by the composer illustrates how the exotic is perceived and then interpreted to act as an inspiration for the creation of a new work of art. A subsequent narrative will describe the understanding of this assimilation as the beginning of a cultural translation.
To understand the concept of cultural translation entails that a certain perception is presupposed: the existence of specific differences between cultures and the way in which these differences are interpreted. In this sense Campbell and Milner (2004:1) maintain that interpretation in itself is a form of translation and that meaning changes (my emphasis) in such a transaction of cultural translation. They explain that during the Renaissance in Italy styles and fashions were imitated and distributed to other centres, but this always coincided with a strong sense that differences remained important. One could argue that these specific differences carry the strong impact of the exotic that asserts itself in a subsequent interpretation and therefore translation.
The exotic element both initiates and mediates a translation between cultures. The composer, as a perceiver, relies on the ambiguity of an interpretation of the exotic. This interpretation is the enriching and inspiring dynamic that lies within a cultural translation and from which a new and original work of art develops.
Hierdie artikel word gewy aan 'n "komponis van Afrika", 'n reus van die Suid-Afrikaanse musiektoneel, wat in 2012 sy negentigste verjaardag gevier het. Stefans Grové is nog steeds aktief besig om te komponeer en om met ongekende kreatiwiteit en verbeeldingrykheid sy insig in en belewenis van Afrika as kunstenaar uit te beeld. Grové het gedurende die laaste drie dekades internasionaal bekend geword vir veral sy sogenoemde Afrika-reeks waarin hy sy unieke styl gevestig het. Hy het verskeie toekennings vir komposisie verower, onder andere twee eredoktorsgrade, en sy naam verskyn in die vernaamste Engelse, Duitse, Nederlandse, Franse, Italiaanse, Sweedse en Sloweense ensiklopedieë (Grové 1990:28). Grové is op 23 Julie 1922 in Bethlehem in die Vrystaat gebore en het sy voorgraadse opleiding aan verskeie Suid-Afrikaanse inrigtings ontvang. In 1953 het hy met 'n Fulbright-beurs sy nagraadse studie in die VSA voortgesit. Twee jaar later verwerf hy 'n MA in musiekwetenskap aan die Harvard Universiteit, en hy ontvang ook 'n gesogte beurs om onder die bekroonde Aaron Copland by die Tanglewood-somerskool te studeer. Hy word in 1956 as lektor in teorie en komposisie aangestel by die Peabody Musiekkonservatorium in Baltimore, Maryland. In 1972 keer Grové terug na Suid-Afrika en is sedert 1973 dosent en later professor in komposisie aan die Universiteit van Pretoria (Grové 1990:28).
In die daaropvolgende dekade begin Grové geleidelik om 'n vroeëre opinie, naamlik dat tradisionele Afrika-elemente nie as produktiewe bron van inspirasie vir ware Suid-Afrikaanse kunsmusiek kan dien nie, te hersien. Die gevolg was dat hy op die ouderdom van 62 jaar 'n koersverandering as komponis ingeslaan het.
Grové begin in 1984, 10 jaar vóór die eerste demokratiese verkiesing in Suid-Afrika, om Afrika- en Westerse musiek te verenig in die Sonate op Afrika motiewe. Hierin vermeng hy Euro-en Afrosentriese style op onderskeidende wyse, en vandag is hy internasionaal bekend vir sy uitgebreide en wyd-uiteenlopende Afrika-oeuvre. In hierdie artikel val die klem op Grové se gebruik van die eksotiese element en sal aangedui word hoe 'n interpretasie daarvan 'n kulturele vertaling bewerkstellig. Meer nog, in vergelyking met ander Westerse en Afrika-komponiste is Grové se Afrika-geïnspireerde idioom, waarvan die assimilasie en herfatsoenering van Afrika-beelde en tradisionele elemente kenmerkend is, by uitstek die simbool van 'n rapprochement. tussen die diverse kulture van Suid-Afrika (Muller 2006a:1-7).