Dis jolig in Worcester, soos dit net in di\u00e9 Bolandse dorpie k\u00e1n \u2013 hierdie keer vir die dorp se h\u00e9\u00e9l eerste musiekfees, die geesteskind van Oliver Cromwell Everson, of net Cromwell, die eksentrieke musiekonderwyser by die plaaslike seunskool.<\/p>\n
Everson het \u2013 net nadat hy hom in 1957 in Worcester kom tuismaak het \u2013 \u2019n koorfees in die Biesenbach-saal gere\u00ebl \u2013 \u2019n eerste vir die dorp.<\/p>\n
Di\u00e9 program het nege kore uit die omliggende gebied ingesluit en hul lof is deur die plaaslike gemeenskap besing, het die akademikus Jeffrey Burkham destyds ges\u00ea.<\/p>\n
Dit is eintlik moeilik om Cromwell Everson mis te kyk. Sy kenmerkende kep en stewige baard het hom maklik tussen die Bolandse boere laat uitstaan \u2013 d\u00edt en die duidelik aweregse denkpatroon wat die kop uitsteek wanneer hy \u2019n gesprek voer, het David Kramer, \u2019n bekende Suid-Afrikaanse kunstenaar, wat by Everson klas gehad het, ges\u00ea. <\/p>\n
Shirley Bell het Everson as \u2019n \u201ceksentrieke, marvelous<\/i>, ongewone en geweldig begaafde\u201d mens beskryf.<\/p>\n
Buiten sy aardige voorkoms en aweregse idees, was Everson ietwat van \u2019n vreemde gedaante in die plattelandse dorpie aangesien sy geskiedenis hom in hierdie politieke era in \u2019n moeilike bootjie geplaas het, het Burkham ges\u00ea. Met \u2019n Afrikaner-ma en Engelse pa het hy die middeweg goed geken. Vir Afrikaners het hy soos die Engelse gedink, en vir die Engelse het hy met sy Beaufort-Wes-Karoo-aksent soos die Afrikaners geklink.<\/p>\n
Everson word vandag steeds deur akademici geprys vir sy vermo\u00eb om \u2019n gemeenskap deur musiek te verenig \u2013 spesifiek klassieke musiek, iets wat nie sommer met \u2019n plattelandse gemeenskap vereenselwig word nie.<\/p>\n
Hy het die Worcester-musiekgroep in 1958 gevorm, met die doelwit om een musiekproduksie per jaar te skep. In hierdie geval het hy nie aan \u2019n skoolmusiekblyspel of \u2019n tweede koorfees gedink nie \u2013 hy het operas in gedagte gehad.<\/p>\n
S\u00f3 is die eerste plaaslike musiekfees gebore, met ses opvoerings van Mozart se Die Zauberfl\u00f6te<\/span> (Die Towerfluit<\/span>) in 1958. Die produksie het sowat 100 gemeenskapslede gelok \u2013 van die tandarts tot di\u00e9 wat in die motorbedryf werk.<\/p>\n Dit was nie net die gemeenskap wat betrek is nie. Everson se kunstenaarsvrou, Hermine, het hul huis in \u2019n kunsateljee omgeskep \u2013 van die sitkamer tot die slaapkamer was vol Egiptiese hi\u00ebrogliewe en pilare vir die tempel.<\/p>\n Hoewel hy van kleins af \u2019n belangstelling in musiek gehad het, is dit hier \u2013 agter \u2019n klavier om \u2019n gemeenskapsproduksie te delegeer \u2013 waar Everson besluit het hy gaan die eerste Afrikaanse opera skryf.<\/p>\n Die sukses van die produksie het hom destyds aangespoor om \u2019n opera met sy eie libretto te skryf, gegrond op die klassieke Griekse tragedie \u201cKlutaimnestra\u201d.<\/p>\n Hy wou die produksie vir die Uniefeesfiering in 1960 gereed h\u00ea, maar het alles wat hy geskryf het iewers in die jaar verwerp omdat dit \u201cmusikaal substandaard\u201d was \u2013 volgens hom het dit gevoel soos \u2019n spul \u201clukrake stukke wat saamgegooi is en onsamehangend was\u201d.<\/p>\n Everson het die Worcester-kamerorkes in 1961 gestig en destyds verskeie oorspronklike stukke, wat sterk invloede van Isreali en Oos-Europese musiek het, geskryf.<\/p>\n Dit het egter in 1963 tot \u2019n skielike einde gekom toe Everson besluit het om al sy tyd aan sy oorspronklike operastuk te bestee. <\/p>\n Sonder Everson het die Worcester-musiekgroep en die Worcester-kamerorkes erg daaronder gely.<\/p>\n \u201cKlutaimnestra\u201d het uiteindelik in November 1967 die lig gesien. Die Biesanbach-saal was van 7 tot 11 November daardie jaar volgepak met mense wat die aardige produksie wou aanskou \u2013 die eerste nie net vir die dorp nie, maar ter w\u00eareld.<\/p>\n Everson het deur \u201cKlutaimnestra\u201d probeer bewys dat Afrikaans tot dieselfde gesofistikeerde musikaliteit in staat is as Europese tale en vergelyk die politieke stryd tussen die Afrikaners en Engelse met die stryd tussen die Griekse Achaeans en Trojans.<\/p>\n N\u00e1 die vyf opvoerings van die avant-garde-opera het die Worcester-musiekgroep ontbind omdat Everson se passie en energie wegbeweeg het van gemeenskapsprojekte en na elektroniese musiek verskuif vir \u2019n doktorsgraad, wat Anton Webern se musiek ontleed, het sy weduwee later ges\u00ea.<\/p>\n Hy het sy doktorsgraad in 1974 van die Universiteit van Kaapstad ontvang.<\/p>\n Everson is \u2019n belangrike deel van Worcester se musieklewe en het nog twee dekades so gebly voordat hy in 1976 die hoof van die Skool vir Opvoerende Kunste by die Natal Technikon in Durban geword het.<\/p>\n Sy invloed op Suid-Afrikaanse musiek is in \u2019n moderne tydperk meestal vergete, maar ten spyte hiervan het hy in 2007 steeds \u2019n ATKV-veertjie vir \u201cKlutaimnestra\u201d ontvang \u2013 16 jaar n\u00e1 sy dood in Durban.<\/p>\n Sy werk bestaan uit vyf sonatas, \u2019n trio, vier liedjie-siklusse, \u2019n klavierstuk en verskeie komposisies vir klavier en kitaar sowel as twee onvoltooide stukke..<\/span> Bronne:<\/span> Die Burger, Cape Argus en Worcester Standard kom uit Burkham se akademiese studie.<\/span><\/i><\/p>\n","protected":false},"excerpt":{"rendered":" Dis jolig in Worcester, soos dit net in di\u00e9 Bolandse dorpie k\u00e1n \u2013 hierdie keer vir die dorp se h\u00e9\u00e9l eerste musiekfees, die geesteskind van Oliver Cromwell Everson, of net Cromwell, die eksentrieke musiekonderwyser by die plaaslike 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