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)


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Vlieë (Afrikaans)

Vlieë (Afrikaans)
Venue: Wynand Mouton Theatre
Dates: 27 & 28 October 2009
Time: 19h30


Text: Jean-Paul Sartre
Director: Stephanie Brink


Tickets:
R 30.00 for adults,
R 25.00 for group bookings 10+,
R 20.00 for students
R 25.00 for scholars/pensioners


Tickets available at Computicket (Mimosa Mall & any Checkers) or at the door.

Die Vlieë, is a modern theatre text by Jean-Paul Sartre and is based on the classic mythology of Orestes and his sister Elektra’s quest for revenge on the murderers of their father, King Agamemnon. The Afrikaans translation was done by Ilne Fourie, - winner of the Sanlam theatre competition as dramatist and as actor as well as Passi’s short story competition in 2007. The production is a third year module production under the direction of Dr. Stephanie Brink. The drama is presented in a postmodernist style, with interaction between the various theatre mediums like projections, sound and lighting. This interaction forms a challenging and multilayered visual experience.

The story is a simple but rational and gripping dialogue between the different characters. After his wonderings, Orestes and his mentor arrive in Argos and find the city of his birth in ruins. Like all of us, he is like a clean sheet of paper, on which we define our souls through our actions. The ruin of the city is given as an example of the state of the natural order of things by the citizens and also by Zeus. Through his unspoiled demeanour and open mind as well as his intellectual background, he sees the corruption and deterioration in his city for what it is. Thus he is compelled to choose between his reason and conforming to the status quo of Argos.

This production is a dramatic, yet simple human tale and promises a titillating and gripping theatre experience for the audiences.
 

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