Umngqokolo (2018)
for solo alto flute
Dedicated to Justinian Tamusuza
Written for Marietjie Pauw
Publisher: Bardic Edition
Available from Goodmusic Publishing
Score BDE 1230
Duration: 10'30"
CD Recording
Recorded by Marietjie Pauw on ‘Too Late for the Prayers’ (AOI CD 02)
Video
Marietjie Pauw (2019) https://www.youtube.com/watch?v=__1xXwqSgio
Première
First performance: Sunday 27 January 2019; Hoofstraat Conceptual, Riebeek-Kasteel, South Africa; Marietjie Pauw alto flute.
Programme note
I think the flute came into its own in the 20th century, when it embarked on a new life as a solo instrument. While there had been some solo pieces in the 18th century, Debussy’s Syrinx, Varèse’s Density 21.5 and Berio’s Sequenza 1 redefined the instrument’s unique palette of colours and opened up new soundworlds for modern composers. Notable among these is Justinian Tamusuza (b. 1951, Uganda) whose Okwanjula Kw’ Endere – the first part of An African Festivity for Flute – is probably the most significant solo flute piece by an African composer. It was this piece that inspired me to write a solo work for alto flute, but whereas Tamusuza found his customary inspiration in the Kiganda traditional music of Uganda, I found mine in the bow music of the Xhosa in the Eastern Cape. Overtones, which are a feature of this music, became the essence of my piece titled Umngqokolo. ‘Umngqokolo’ is a style of gruff overtone singing researched and documented by Dave Dargie in his 1988 book Xhosa Music, the most important source of information about ‘umngqokolo’.
for solo alto flute
Dedicated to Justinian Tamusuza
Written for Marietjie Pauw
Publisher: Bardic Edition
Available from Goodmusic Publishing
Score BDE 1230
Duration: 10'30"
CD Recording
Recorded by Marietjie Pauw on ‘Too Late for the Prayers’ (AOI CD 02)
Video
Marietjie Pauw (2019) https://www.youtube.com/watch?v=__1xXwqSgio
Première
First performance: Sunday 27 January 2019; Hoofstraat Conceptual, Riebeek-Kasteel, South Africa; Marietjie Pauw alto flute.
Programme note
I think the flute came into its own in the 20th century, when it embarked on a new life as a solo instrument. While there had been some solo pieces in the 18th century, Debussy’s Syrinx, Varèse’s Density 21.5 and Berio’s Sequenza 1 redefined the instrument’s unique palette of colours and opened up new soundworlds for modern composers. Notable among these is Justinian Tamusuza (b. 1951, Uganda) whose Okwanjula Kw’ Endere – the first part of An African Festivity for Flute – is probably the most significant solo flute piece by an African composer. It was this piece that inspired me to write a solo work for alto flute, but whereas Tamusuza found his customary inspiration in the Kiganda traditional music of Uganda, I found mine in the bow music of the Xhosa in the Eastern Cape. Overtones, which are a feature of this music, became the essence of my piece titled Umngqokolo. ‘Umngqokolo’ is a style of gruff overtone singing researched and documented by Dave Dargie in his 1988 book Xhosa Music, the most important source of information about ‘umngqokolo’.
