Aspects of musical modernism: the Afrikaans song cycles of Cromwell Everson

Abstract

South African composer Cromwell Everson (1925–1991) reflected the compositional language of twentieth-century modernism in most of his oeuvre. Largely influenced by Erik Chisholm and Béla Bartók, Everson’s modernist musical language alienated many listeners and as a result he was considered by many to be an experimental composer who did not form part of South Africa’s mainstream compositional activities. His three Afrikaans song cycles, Vier Liefdesliedjies, Kontraste and Die Dobbelsteen display the development of modernism – creative originality and non-conformist intent – in his compositional style. Expanded tonal processes, free atonality, metrical fluidity and ‘generating simultaneities’ are frequently expressed within a harshly textured sound world. Analyses highlight the relationship between Everson’s application of modernist compositional techniques and text painting, as well as indicating that his contribution to South Africa’s musical heritage is not inconsequential, despite the current relative obscurity of his oeuvre.

JOURNAL OF THE MUSICAL ARTS IN AFRICA VOLUME 8 2011, 1–21