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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
Pillars of Society

Production: Pillars of Society
Text: Henrik Ibsen
Director: Thys Heydenrych

Venue: Scaena theatre

Dates and times:
17 March 2010 19h30
18 March 2010 19h30
19 March 2010 19h30

Bookings: Computicket (Mimosa Mall and Checkers)

Bookings for block bookings of 10 or more people can be done with Thys Heydenrych (072 235 3191)


Pillars of Society is seen as one of Henrik Ibsen’s inferior plays, but it does show his concern for social and moral problems. It is Ibsen’s first social drama and the plot of the play follows earlier conventions of play writing of the time. In Pillars of Society Ibsen devotes more attention to making the piece logically consistent than to rendering it psychologically true.

Karsten Bernick is at the height of his career with interests in shipping and shipbuilding in a long-established family firm. The richest, most powerful and respected citizen of the community, he is held up as the model of an ideal husband and devoted father. In short, a worthy pillar of society. He is now backing a railway line which is his most ambitious project yet. The railway line will connect the town to the main line and open a fertile valley which he has been secretly buying up. But he began his career with a terrible lie.

As his new project is in the planning stage his past explodes on him. Johan Tønnesen, his wife"s younger brother comes back from America with his half-sister Lona, who once loved and was loved by Bernick. Johan left town 15 years ago to take the blame for Bernick, who was having an affair and was nearly caught with an actress. It was also rumoured that Johan stole money from the Bernicks, but there was no money to take since at the time the Bernick firm had been almost bankrupt.

It was for just this reason that Bernick rejected Lona, and married her sister Betty for money, so that he could rebuild the family business. In the years since Johan left, the town built ever greater rumours of his wickedness, helped by Bernick"s diligent refusal to give any indication of the truth.

This mixture only needs a spark to explode and it gets one when Johan Tønnesen falls in love with Dina Dorf, the young girl who is the daughter of the actress involved in the scandal of 15 years ago and who now lives as a charity case in the Bernick household.

The final line of the play embodies Ibsen’s main theme: The “Pillars of Society” are Truth and Freedom, not any one individual.

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