Years
2019 2018
THE RHAPSODIC ORGAN
2018-06-07

with Gerrit Jordaan

7 June 2018

Odeion

19:30

Gerrit Jordaan studied organ under the guidance of Stephan Zondagh (pupil of Marcel Dupré and Nadia Boulanger), Wim Viljoen (pupil of Marie Claire Alain) and Daleen Kruger (pupil of Jean Claude Zender). In 2007 he completed a DMus with a dissertation on Stefans Grové's Afrika Hymnus II. This Hymnus was dedicated to Gerrit – as it was conceived in a dream wherein the composer heard him playing this work.

Since his student days, Gerrit has been involved with South African organ music, commissioning and performing new works – of which some had been dedicated to him - writing articles on this repertoire, working towards performances with the insight of the composers, recording this repertoire, typesetting and adapting instrumental works to the organ. As an enthusiast of South African music, he presented recitals in Europe as well as Finland and Canada. In 2016 he was invited to play the final recital at the Klangzeit Festival for contemporary music in Münster (Germany). Some of his articles were published internationally in Het Orgel, Organ – Journal für die Orgel, Orgue Nouvelles as well as in local academic publications. He wrote reports on the Stylus Phantasticus in the Praeludia of Buxtehude and on the Choral Preludes of Brahms. He studied historical performance practice of standard repertoire in numerous masterclasses at UNISA Organ Simposia, Haarlem Summer Academia and in Pistoia from organists including Luigi Tagliavini, Harald Vogel, Ludger Lohmann, Bernard Lagacé, Wolfgang Zerer, Olivier Latry, Marie Claire Alain and Szigmund Zsathmary. Until recently, Gerrit was chair of the Church Organist Committee of Southern Africa (SAKOV). He compiled three volumes of original Southern African choral preludes and choir pieces for SAKOV. He is a member of VONKK – a committee that develops new Afrikaans church music – creating new songs, providing organ, choir and instrumental arrangements to this growing repertoire.

PROGRAMME:

  • Johann Sebastian Bach: Prelude and Fugue in G major (BWV 541)
  • Jacobus Kloppers: Celtic Impressions (2003/4) - Two Strathspeys, Two Airs, Two Jigs, Toccata on two marching songs
  • Surendran Reddy: Toccata for Madiba (ca. 8:00)
  • Antalffy-Zsiross Dezso: Sketches on Negro Spiritual Songs (ca. 7’00)
  • George Gershwin: Rhapsody in Blue (organ transription: Tobias Zuleger)

ADMISSION

  • R120 (adults)
  • *R80 (pensioners)
  • *R70 (UFS staff)
  • *R50 (students, learners and block bookings of 10+)

Tickets available at Computicket or online at http://online.computicket.com/web/

*Please note that tickets for pensioners, students, learners and UFS staff can only be purchased at a Computicket outlet (Shoprite Checkers) or at the doors since a valid card or ID has to be presented to qualify for the above mentioned discount.

ENQUIRIES
Ninette Pretorius (tel. 051 401 2504)


Back
Ek, Anna van Wyk (AFR)

Title of Production:  Ek, Anna van Wyk

Language:  Afrikaans

Genre:  Drama

Directed by:  Nico Luwes

Written byPieter Fourie

Featuring:  Final year drama students

Venue:  Wynand Mouton Theatre

Dates & times:

28 May at 19:30

29 May at 19:30

30 May at 19:30

Prices:  R 40.00 for adults / R 30.00 for students or scholars / R 25.00 for pensioners or for groups of 10 or more

Bookings:   Computicket (0861 915 8000)

Press Release

The play, "Ek, Anna van Wyk", by Hertzog prize-winner in 2003, Pieter Fourie, is performed by a multicultural third year cast of the UFS Drama Department students under the direction of Prof Nico Luwes in the Wynand Mouton Theatre from 28 to 30 May 2014.

“Anna” is an Afrikaans play about the disintegration of a marriage and a woman caught up in the patriarchal and Apartheid systems. In this haunting exploration of the Afrikaner psyche, the older members of the Terre’Blanche family are stuck in poisonous political dogma and traditions. In contrast, Anna and her husband, represent the young Afrikaner who shed the Apartheid dogma and desperately try to better the lives of their farm workers. The play deals with the rebellious Anna who challenges their misuse of power and the corruption of Christianity for own gain. Senior, the family patriarch, opposes his daughter- in-law, Anna, after it becomes obvious that she is an epileptic. Not fit as ‘breeding stock’ for the Terre’Blanche family she is replaced by a younger woman. In this heart-rending play she must sacrifice that and those who are dearest to her – her husband, her child, her status and herself. Fresh from a mental institution and rehabilitation from alcohol addiction, Anna struggles through the pains of rediscovering her lost identity and believes in what is right and what is wrong. In the final scene Anna apparently murders Senior, but the Voice in the auditorium assures the audience that he died of a heart attack earlier. But is this true? Depicting Anna as Senior’s victim and as a victim of the values embedded in the society he represents, raises the audience’s sympathy for her and diminishes the patriarch’s stature.

The plight of the farm workers plays an important part in the play. Taking into account the recent uprising of farm workers in the De Doorns district, it becomes clear that very little has changed since 1986 when the play was first performed and the country was on the brink of a civil war. Fourie has written a play that can be seen as a dramatic historical document of the 1980’s, but it’s relevance for the present political climate in the country cannot be denied.

Definitely a play that must be seen.

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