• October

  • 25

    Oct
    Inaugural lecture of Prof Vladimir Azov

    The Dean of the Faculty of Natural and Agricultural Sciences, Prof Danie Vermeulen, has the pleasure of inviting you to the inaugural lecture of Prof Vladimir Azov in the Department of Chemistry.

    Topic: Molecular Receptors and Devices: From Natural Examples to Functional Artificial Systems.

    RSVP on or before Thursday 18 October to Alet van Rooyen on x9212 or at vrooyenAS@ufs.ac.za 

  • 25

    Oct
    Quartet for the End of Time by Oliver Messiaen

    About the composition
    Olivier Messiaen (1908 - 92)

    Quatour pour le fin du temps (1940 - 41)

    Olivier Messiaen’s Quartet for the End of Time was written in perhaps the most incongruous spot any great score has been composed in: an unheated barrack in Stalag VIII-A, a German prisoner-of-war camp, during the second winter of World War 2. Messiaen wrote this mystical quartet for the instruments available in the camp (clarinet, violin, cello, and piano) in a setting that is arguably among the least conducive for creative work. 
    The quartet is Messiaen's musical depiction of and rumination on Revelation 10:1-7, which the composer included as a heading to the score:

    “I saw a mighty angel descending from heaven, clad in mist, having around his head a rainbow. His face was like the sun, his feet like pillars of fire. He placed his right foot on the sea, his left on the earth, and standing thus on the sea and the earth, he lifted his hand toward heaven and swore by Him who liveth forever and ever, saying: "There shall be time no longer, but at the day of the trumpet of the seventh angel the mystery of God shall be consummated."

    ADMISSION
    R120 (adults)
    *R80 (pensioners)
    *R70 (UFS staff)
    *R50 (students, learners and block bookings of 10+)
    Tickets available at Computicket or online

    *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)


  • 18

    Oct
    Camerata Tinta Barocca presents: FOLK BAROQUE

    Camerata Tinta Barocca presents: FOLK BAROQUE

    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)


  • 17

    Oct
    JN Boshoff Memorial Lecture

    The Acting Dean of the Faculty of Economic and Management Sciences, Prof Philippe Burger, invites you to the 2018 JN Boshoff Memorial Lecture. 

    Speaker: Parks Tau.

    Topic: What is the significance of the Public Service in nation building within a democracy? 

    Refreshments will be served after the lecture. RSVP to Mary Masiloane at MasiloaneM@ufs.ac.za or on 051 401 2435 no later than Friday 12 October 2018.

     

     

  • 11

    Oct
    Inaugural Lecture of Prof Tina Kotze

    The Acting Dean of the Faculty of Economic and Management Sciences, Prof Philippe Burger, has the pleasure of inviting you to the inaugural lecture of Prof Tina Kotzé in the UFS Business School. 

    Subject: The voices of the workplace: A social systems perspective on leadership

    RSVP on or before Wednesday 3 October to Alta Myburgh on x3175 or at myburgha@ufs.ac.za

     

  • 11

    Oct
    Tutu-Jonker Prestige Lecture

    The Faculty of Theology and Religion cordially invites you to this Tutu-Jonker Prestige Lecture by Prof Pumla Gobodo-Madikizela.


    Topic: Traumatic memory, legacies of the past and contemporary ruptures.

    RSVP person and contact details: Mrs Nathlene van Wyk, vanwyknm@ufs.ac.za by 8 October. 


  • 01

    Oct
    Student holiday

    05 October 2018

     

     

     

  • November

  • 26

    Nov
  • 06

    Nov
    Inaugural lecture of Prof Van Huyssteen

    The Dean of the Faculty of Natural and Agricultural Sciences, Prof Danie Vermeulen, has the pleasure of inviting you to the inaugural lecture of Prof Cornie van Huyssteen in the Department of Soil, Crop and Climate Sciences on the subject: The World in a Grain of Sand.

    RSVP on or before Tuesday 30 October to Ronelle Etzebeth on x2222 or at etzebethP@ufs.ac.za 

  • 05

    Nov
    Public Lecture and Film Screening: “On Laughter in the Cinema”

    The Department of Art History and Image Studies warmly invites you to a public lecture, "On Laughter in the Cinema", presented by film scholar, Prof Julian Hanich, from the University of Groningen in the Netherlands.
     
    In spirit of the theme of laughter, the talk will be followed by a screening of Welcome to Germany (2016), a German comedy about the refugee crisis in Europe (with English subtitles). 

    Enquiries:  Martin Rossouw  at rossouwmp@ufs.ac.za

  • 05

    Nov
    Main end-year examinations
    24 November 2018
  • 15

    Nov
    CHOPIN IN AFRICA – Warsaw to Bloemfontein Lunch Hour Concert

    Ensemble from POLAND:
    Maria Pomianowska, Katarzyna Gacek-Duda , Gwidon Modest Cybulski, Karolina Matuszkiewicz and Wojciech Lubertowicz together with Nicol Viljoen (piano) & Chris van Zyl (cello)

    Maria Pomianowska (Professor of Folk Music at the prestigious Kraków Academy of Music in Poland) and her a quintet of fellow musicians will present a lunch hour concert at the Odeion School of Music on 15 November at the Odeion. This concert is entitled Chopin On 5 Continents – Africa. Pomianowska and her ensemble will join forces with Prof Nicol Viljoen (pianist) and cellist Chris van Zyl (BMus Performance) studying under the tutelage of Prof Anmari van der Westhuizen.

    Pomianowska and her ensemble will mainly play on string folk music instruments known as sukas. Aesthetically and proportionally a suka closely resembles an ancient violin, but is played vertically like a cello and positioned on the lap.

    Pomianowska literally revived the suka from obsolescence with only a dusty painting as the as a point of reference. She was curious to research the connection between her Polish heritage with the South and Central Asian instruments she was studying as part of her own ethnomusicological research.

    Pomianowska remarked: “I reconstructed the instrument and rediscovered the performance technique in collaboration with the musicologist Ewa Dahlig-Turek and the late luthier Andrzej Kuczkowski.  “We reconstructed the instrument, which had not existed for 100 years in our culture. The last generation of suka musicians became extinct during the beginning of the 20th century, and the only information we had available was from ethnographical sources.”

    The suka is played with a bow, and by stopping the strings with the nails - not the fleshy pads - of the left hand fingers.  It is a seemingly awkward technique, but one that Pomianowska says produces a uniquely vocal timbre.

    It is not enough to play Chopin’s music as written, Pomianowska contends, noting that her famous countryman was also renowned as an improviser. “We want to share with him that creation moment,” she says, “to connect on these different levels of emotion and imagination.”

    So what does this have to do with Frédéric Chopin? The Warsaw-born, Paris-trained, composer was a keen student of folk music, and almost certainly heard the suka during summer vacations in his native land. Unlike later musicologist-composers Béla Bartok and Leoš Janáček, Chopin didn’t transcribe folk melodies note for note, but fragments of rural tunes appear in many of his best-loved compositions, and the mazurka was one of his compositional staples.  He wrote at least 59 works for piano based on its lively barn dance beat.

    She is also preparing to take Chopin far beyond his ethnic origins she has transcribed several of Chopin’s mazurkas for her touring quintet, which will be amplified by local artists, pianist Nicol Viljoen and cellist Chris van Zyl, and encapsulate the concert with a distinct South African flavour. Viljoen has a remarkable favour for the Chopin Mazurkas and gave a memorable recital in Krakow in 2015.

    Pomianowska and her ensemble’s concert tour to South Africa is taking place in celebration of Poland’s membership of the UN’s security. The concert at the Odeion School of Music is positioned with the incentive to serve as a catalyst of the planned bi-lateral agreement between the Academy of Music in Kraków and the OSM, which is currently in process.


    This event is fully sponsored by the Embassy of Poland in South Africa. The Odeion School of Music and the University of the Free State would like to extend their gratitude to the Embassy of Poland for this initiative.

    Inquiries:
    Ninette Pretorius
    Officer: Professional Services & Concert coordinator
    Odeion School of Music
    pretoriusn@ufs.ac.za

    or

    Marius Coetzee
    Innovation & Development Manager Odeion School of Music
    coetzee@ufs.ac.za 

    For the Embassy of Poland: 

    Grażyna Koornhof 
    Political & Economic Section
    Embassy of the Republic of Poland Pretoria South Africa
    grazyna.koornhof@msz.gov.pl