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Folk Baroque
2018-10-18

Camerata Tinta Barocca presents:

FOLK BAROQUE

18 October 2018

Odeion

19:30

with

  • Bridget Rennie-Salonen (traverso)
  • Darryn Prinsloo (recorder)
  • Annien Shaw (Baroque violin)
  • Uwe Grosser (theorbo, Baroque guitar)
  • Cheryl de Havilland (Baroque cello)
  • Erik Dippenaar (harpsichord, director)

Camerata Tinta Barocca (CTB), founded in Cape Town by violinist Quentin Crida (July 2004), is the leading South African Baroque ensemble playing on period instruments. Its name is derived from the musicians' passion for Baroque music and red wine. The members include some of Cape Town's finest musicians who embrace a historically informed performance practice approach. CTB's concerts have been broadcast on Fine Music Radio and have received critical acclaim in the Cape Times and Die Burger. Mostly playing music from the 18th century, CTB has worked with leaders in their fields, such as Baroque violinists Antoinette Lohmann and Pauline Nobes; violinists David Juritz, Darragh Morgan and Zoe Beyers; countertenor Christopher Ainslie; male soprano Philipp Mathmann; recorder player Stefan Temmingh; mandolin player Alon Sariel and conductor Arjan Tien.

Apart from CTB's annual concert series in their home, St Andrew's Presbyterian Church (Cape Town), the ensemble regularly accompanies opera and oratorio performances, and performs in festivals throughout South Africa. CTB also has an active outreach component, which includes an annual education tour to the West Coast (the Matzikama Music Week), the Sunshine Concerts (an outreach programme for people unable to attend concerts because they are elderly, indigent or disabled in some way), as well as a regular collaboration with the Keiskamma Music Academy (Eastern Cape).

Since 2011 CTB has gradually moved towards playing on period instruments. Currently it is the only period ensemble in South Africa that regularly plays in orchestral format, performing most of its annual concerts on period instruments. In 2013 CTB, in collaboration with the Cape Consort, gave the first South African period performance of Handel's Messiah. During November 2016 CTB played for Cape Town Opera's first production to use a period instrument orchestra: Monteverdi's L'Orfeo, directed by Jaco Bouwer and conducted by Erik Dippenaar. In December 2016 CTB was nominated for a kykNET Fiesta award for a programme titled Handel in the Drawing Room presented during the 2016 Klein Karoo Klassique festival. In September 2017 CTB successfully launched the first annual Cape Town Baroque Festival.

In 2015 CTB set up a collaboration with the early music ensemble Collegium Musicum at the South African College of Music, University of Cape Town, through which two student cadets annually receive hands-on training in period performance in CTB projects. The cadet scheme is generously supported by the Claude Leon Foundation. In July 2015 Erik Dippenaar was appointed Artistic Director of CTB, Michael Maas (former CEO of the Artscape Theatre Centre) as Administrative Coordinator and Cheryl de Havilland as Outreach Coordinator.

www.ctbaroque.co.za

PROGRAMME

  • Marco Uccelini (c.1610 – 1680): Bergamasca
  • Trad. Scottish, Orpheus Caledonius (1733): The bush aboon tranquair
  • Francesco Barsanti (1690 – 1775): The bush aboon tranquair from A Collection of Old Scots Tunes (1742)
  • Francesco Geminiani (1687 – 1762): The bush aboon tranquair from A treatise of good taste in the Art of Musick (1749)
  • Gaspar Sanz (1640 – 1710): Canarios
  • Francesco Barsanti (1690 – 1775): Lochaber from A Collection of Old Scots Tunes (1742)
  • Domenico Scarlatti (1685 – 1757): Sonata in C minor, K.99
  • Gaspar Sanz (1640 – 1710): Zarabanda
  • Tarquinio Merula (1595 – 1665): Ciaconna
  • Trad. Scottish, Orpheus Caledonius (1733): Lady Ann Bothwell's lament
  • Francesco Geminiani (1687 – 1762): Lady Ann Bothwel’s Lament
  • Francesco Veracini (1690 – 1768): Scozzese from Sonata IX, Opus 2 (1744)
  • Niel Gow (1727 – 1807): Lament for the Death of his 2nd wife

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
Die Plaasvervangers (A)

Production: Die Plaasvervangers (A)
Text: Pieter Fourie
Director: Stéphanie Brink

Venue: Wynand Mouton Theatre

Dates and times:
23 March 2010 19h30
24 March 2010 19h30
25 March 2010 19h30
26 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) or Marijda Kamper (051 401 2160)

Die Plaasvervangers is a student production of the Department of Drama and Theatre Arts and is under the direction of Stephanie Brink. The production promises stylized theatre at its best! This piece was chosen in celebration of Pieter Fourie’s 70th birthday as well as the fact that it delivers an important message to our young and floundering democracy of today.

Fourie touches on sensitive political issues stretching from the Anglo/Boer War up to the late eighties and points specifically to the injustices and dangers of Apartheid. The production gives a satirical view on the happenings around the birthday celebrations of the main character namely the Kampmoeder (Camp Mother). This dramatic dark comedy uncovers the falsehood contained in the Afrikaner’s cultural roots. The idea of the big lie, in all its facets, comes to light over 4 generations. Fourie wanted to publicly expose his contempt for the lie that the Afrikaner indulges himself in: the complete uncovering of the hypocritical lie that is the super race, the Afrikaner. The fitting title emphasises the lie as replacement (in Afrikaans: plaasvervanger) for the truth on which the Afrikaner has built his identity in the present. The original rural tour of the production was banned in 1978 because some of Fourie’s insinuations in the play were too extreme for governing bodies, politicians as well as certain critics, who questioned the artistic value of the piece.

The dramatic action centres around the 100th birthday celebrations of the Kampmoeder. She represents the Afrikaner’s idealism and the consciousness of his calling at the beginning of this century. According to legend, the typical Mother of the nation, as is her duty as Afrikaner woman, gave birth to a Boer child in the concentration camp in order to insure the Afrikaner nation’s purity and future. The boy, who was born, becomes a senator and, according to tradition, inherits the family-farm and the duty to raise a new generation of Bonthuyse. The fact is that, unknown to the Kampmoeder, her descendants have left the farm and the brown servant-family has moved into the big farmhouse. But this is not the only secret!

The play opens with the characters in disarray as a result of the lie of what has happened to the farm. The Afrikaner traditions must be reinstated before the celebrations begin! The brown servant-family has four days to restore the house and plant new palms in the place of the lost symbolic ones to complete the fake facade.

Fourie exposes, in a comical way, the lie of each generation of Afrikaner until the Kampmoeder finally reveals the complex intrigue of the original lie – to the great consternation of the pillars of the pre-1994 governments. The play utilizes symbolic scenes and figures as signs of the gradual moral degradation of the Afrikaner nation over the decades.
 

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