Page 20 - Tributaries Catalogue
P. 20
Glenn notes that the pilgrimage’s hymn in Afrikaans with back-up
sea-to-source path catalysed the vocals, piano, bass guitar, and
thematic storyline of four distinct percussion. Dr Holtzman designed
movements, linked by innovative the work’s structure and composed
water percussion. The work begins the first and fourth movements.
with “Beaches and buoy bells,” a The two inner movements were co-
solo piano tone poem accompanied created with students. In
by whistling, wailing, and Xhosa experimental rehearsals, students
lamentations. The second led more strongly with much loved
movement “A love song for/from Xhosa musical idioms and Jazz
water” is a solo voice ballad in soundscapes. While specific
English and Xhosa, with back-up students engaged in 2 months of
vocals, piano, bass guitar, and extra-curricular rehearsals, many
additional percussion. “A water curious on-lookers gathered at
ritual” follows. This movement is an rehearsals to see the experiments
indigenous/folkloric vocal, including with “saturated sounds.” Since
polyrhythmic African hockets, Xhosa many more students wished to
incantations and praise singing, participate, some rehearsals were
accompanied by percussion and offered as open masterclasses,
piano. The final movement, “Sipping offering exciting ways of learning
the sacred source” is a solo voice beyond the traditional classroom.
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