Music

Jacqueline Martens (1922-1991) [arr. Robert Maxym 2002] – Suite for Orchestra from the Opera “Children of Africa” (1955).  

This is a music-historical adventure of the highest order, almost 70 years in the making. The world premiere of this work will take place in Cape Town, on September 28th, as part of the Cape Town Philharmonic Orchestra’s “Celebration of Africa” concert, Robert Maxym conducting.

The Composer:
Jacqueline Martens was born in Belgium in 1922. She studied piano and musicology at the Brussels Conservatoire where she gained a Prix Virtuosite (Diplome Superieure) in piano. She and her husband Paul emigrated to South Africa with two young children in 1948 and settled in Durban, where two more children were born.

Despite the challenges of a new country and language, she balanced her roles as wife, mother, teacher, performer and composer. She performed regularly with the Durban Symphony Orchestra and as chamber musician, and as SABC recording artist on piano and harpsichord. A musician of the highest quality.

Jacqueline and Paul dedicated much time teaching music to the underprivileged. They formed the BICA (Bantu, Indian and Coloured Association) Music School, offering their services free of charge. She was a founding staff member of the music faculty at the University of Durban, Westville.

“Children of Africa” was written in collaboration with Pastor Wolfgang Bodenstein, whose moving libretto reveals much of the lives of both black and white peoples during the 19th century.  Jacqueline visited Zulu kraals, where she notated melodies which are included in the opera. Prince Mangosotho Buthelezi (may he RIP) was a frequent, though illegal guest in the Martens’ household for tea, where “Uncle Gatsha” told many stories of his history and culture to the enraptured family.

They moved to Cape Town in 1969 where she lectured in Music Education at UCT College of Music. 

She died in 1991.

The grandson: Peter Martens, prominent South African Cellist
In April, 2000, the composer’s grandson Peter Martens brought me copies of handwritten manuscripts of the full orchestral score and piano-vocal score to his grandmother’s, Jacqueline Martens’ opera “Children of Africa” for evaluation. Upon examination, I realized that a work of immense beauty and significant cultural value had been given over to my custodial hands. Little did I know “how” significant.

Dedicated “to all people of good will”, the opera tells of strife, reconciliation and understanding among peoples of “the eastern foothills of Africa 100 years ago”, at a time when talking about this subject openly constituted a criminal offense in South Africa. The composer ascended no barricades, yet her manuscripts attest to immense courage and vision. Sadly, she did not live to see the new South Africa; without performance possibilities, the score(s) remained undiscovered, un-revisited for decades in the family chest in Cape Town, until Peter found them, brought them to light again, and brought them to me.

The Arranger and Publisher:
Peter and I agreed that I would undertake a musicological reconciliation of orchestral and piano scores, where there were obvious discrepancies, and then the discreet orchestral enhancement of the work. This task was largely completed in 2002. 

Together we had actually made progress towards a co-production of the full opera between Cape Town Opera and Pacific Opera in California during 2001, however the 9/11 terror attacks put paid to any thoughts of such a collaboration.

The Orchestral Suite which resulted out of this “desperate” situation contains instrumental excerpts from important sections of the opera. Every major character is represented instrumentally. The haunting Overture is contained in full, also the closing “Hymn of Africa” with choir. Some of my own “enhancements”, as well as transitional and cadential material not appearing in the opera may be discerned here, but the essential musical material is all Jacqueline Martens’. What a musicological journey this piece has experienced! All credit to this dauntless woman composer and musician.

Maestro Robert Maxym
Maxym Music CC

Ushaka KaSenzangakhona: An epic in music and poetry on Shaka, son of Senzangakhona

National Symphony Orchestra of SABC Robert Maxym, Conductor
Mzilikazi Khumalo, Choral Director
Sony CDCSL 8047 (1997)

The Narrator is Prof. Themba Msimang, a Professor of African Languages at the University of South Africa. He writes in the liner notes that he and Khumalo found they shared an interest in the history of King Shaka, founder of the Zulu Empire. The two became friends, and ultimately Msimang wrote an epic narrative on King Shaka from the Zulu perspective, which Khumalo set to music.

The four parts of the epic have descriptive titles:

PART 1 - The circumstances surrounding the birth of Shaka.

PART 2 - His youth and the difficulties he endured as a result of his rejection by his father's court. Shaka eventually overpowers his enemies and takes the Zulu throne.

PART 3 - His reign which is likened to thunder. His victories are recounted and the section ends with traditional praises dedicated to King Shaka.

PART 4 - The death of King Shaka.