COMMENTS AND WRITINGS ON THE MUSIC OF HENDRIK HOFMEYR

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       1. GENERAL

       2. VOCAL MUSIC

       3. CHORAL MUSIC

       4. INSTRUMENTAL MUSIC

       5. ORCHESTRAL MUSIC

       6. PEER-REVIEWED ARTICLES, DISSERTATIONS, THESES

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1. GENERAL

 

“music of ravishing sensuality and emotional power ... I know of no other living composer (let alone a young one) who manages the considerable risks of this highly exceptional aesthetic with such conviction ... A strong and individualistic musical voice without the exclusivity that frequently accompanies [contemporary music].”

Stephanus Muller, Die Burger, 14/10/2002

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“a composer who will undoubtedly be regarded as one of the most important that South Africa has produced ... a highly developed sense of sonic architecture, organisation and colour ... boundless inspiration.”

Paul Boekkooi, Rapport, 27/4/2003

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“indeed a star on the musical horizon.”                                                                        

Louis Heyneman, Insig, May 2003

 

“the South African composer with the strongest universal voice.”

Paul Boekkooi, Rapport, 18/11/2007

 

 “a leading contemporary figure amongst composers and cognoscenti both nationally and internationally.”

Veronica Francke, Musicus, 2007

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“His creative talent and exquisite crafstmanship locate him at the forefront of current music composition.”   Jeanne Zaidel-Rudolph, Journal of the Musical Arts in Africa, 2007

 

“The unfettered creative freedom of a composer who knows no limits in his search for boundlessly imaginative expressive means is in our times an extremely enviable commodity. It is a gift which the muse parsimoniously grants to only a few individuals in millions. Composer Hendrik Hofmeyr is one of these blessed beings.”

Paul Boekkooi, Beeld, 23/11/2008

 

 

2. VOCAL MUSIC

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Tre canzoni for voice and piano  (Stia, Italy, 1985)

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“surely among the most fascinating of contemporary vocal works ... Hofmeyr does not allow the piano to overshadow the voice; rather, he is able to render the two forces independent and complementary... Hofmeyr really knows how to write for the voice.”  

 Sante Bianchini, Corriere Aretino, June 1985

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Il principe Barbablù - Chamber opera in one act  (Stia, Italy, 1986)

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“a resounding success ... full of suspense and emotion.. the music becomes increasingly expressive, dramatic and moving with the opening of each door ... a triumph for the young Hendrik Hofmeyr.” 

Sante Bianchini, Corriere Aretino, 7/8/1986

 

The Fall of the House of Usher - Chamber opera in one act   (State Theatre, Pretoria, 1988)

First prize: Opera Competition of the Department of Education and Training 1987

Nederburg Prize for Opera 1988

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“The best stage piece to come out of this country – ever.  ... a wonderful build-up towards the final moment.” 

Neville Dove, in an interview in The Star, 21/11/1988

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“a strong sense of the dramatic.”                                                 

Stefans Grové, Rapport, 25/11/1988

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“an opera of remarkable unity ... the swarming, corrosive and whirling character [of the orchestration in the final scene] ... an excellent orchestrator ... convincing theatre, well suited to the stage ... enveloped in a misterious, doom-laden atmosphere ... an opera composer whose vocal writing reveals knowledge and insight.”  

Thys Odendaal, Beeld, 26/11/1989

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“brilliant manipulation of music’s acoustic reality... as versatile as it is unflagging ... a boundless sound-language from highly glossed polish to jagged, raw edges.”                                          

Riek van Rensburg, The Pretoria News, 28/11/1988

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“inspired craftsmanship ... finely calculated musical atmosphere ... every sound, however small, is functional ... a wonderful event”

Louis Heyneman, Vrye Weekblad, 2/12/1988

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“something of an operatic milestone ... Hofmeyr possesses remarkable talent for the theatre ... remarkably fresh musical writing ... unerring ability for orchestration as well as a natural feeling for the voice ... {an] unqualified success.”                  

Julius Eichbaum, Opera, London, March 1989

 

Fragment from “Prometheus Unbound”- Chamber cantata   (Boston, USA, 1996)

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“instrumentally beguiling ... Shelley’s floating, dreamlike languorous verse found a murmurous response here. It was unashamedly, un-ironically on the side of Beauty. Even more remarkably, it convinced.”

Richard Buell, The Boston Globe, USA, 2/10/1996

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Alleenstryd - Song cycle for voice and piano (Pretoria, 1997)

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“the vocal writing exhibits beautiful melodic development, and at the same time remains extremely singable. The piano writing is of an equally high standard, contributing immensely to the atmosphere of each poem ... We are convinced that this exquisite song-cycle will prove immensely popular, nationally as well as internationally.”    

Deon van der Walt and Brenda Rein, 1998

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 “a set of six enormously powerful songs ...  The music was muscular, occasionally thorny, and full of character ... Erica Eloff finally came totally alive, bewitching us with a range of moods from despair and cynicism to flirtatiousness, nostalgia, anger and pride.  A tremendous achievement.  CD, please!”

Jonathan Burton, Words and Music, 2008

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Of Darkness and the Heart - Song cycle for soprano and orchestra (Pretoria, 1999)

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“Hofmeyr’s most predictable quality is his unpredictability ... The work constituted the one great discovery of the evening [of world premières of SA works].”

Paul Boekkooi, Beeld, 12/11/1999

 

Gebed om die Gebeente - Chamber cantata for soprano, flute, cello and piano (Stellenbosch, 2000 and 2005)

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“Hofmeyr has succeeded very well with this serious, profound work in capturing the sorrow of the bereaved mother in music ... Throughout the work the tension is maintained and the grief-stricken atmosphere is movingly depicted by tone-painting ... [the different playing and singing techniques] all contribute to the concentrated intensity.”

Mary-Ann van Rensburg, Die Burger, 5/9/2000

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“Hofmeyr’s setting does justice in every respect to this rich and complex poem. From the beautiful evocation of nature in the opening section, to the fluctuations in the mother’s emotions and the final reconciliation everything is set with sensitivity. Hofmeyr’s work can take its place with pride on the same stage as Mahler’s  Kindertotenlieder ...  and the artists received a standing ovation.”                                                                     Coenraad Walters, Litnet, 2000

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“But [of the recital of vocal works from the past century by South African composers] it is Hofmeyr’s setting of D.J. Opperman’s “Gebed om die Gebeente” ... which continues to haunt one ... a formidable Gesamtkunstwerk.”                      

Kobus van der Merwe, Die Burger, 15/3/2005

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Ainsi qu’on oit le cerf bruire – Chamber cantata for high voice, flute, cello and piano (Stellenbosch, 2002)

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“a special concert ... Hofmeyr’s modern approach is accessible even to the less sophisticated listener ... the composer was deservedly applauded.”

Gottfried Maas, Die Burger, 28/9/2002

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Tre liriche in stile antico, Kinderland, Die veles for voice and piano

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“Hofmeyr’s music for solo voice and piano is not only skilfully crafted harmonically, with integrated dialogue between piano and voice, but speaks to the listener at a musical, emotional and intellectual level.”

Mary-Ann van Rensburg, Die Burger, 5/11/2002

 

Oda a la bella desnuda for high voice and cello (Stellenbosch, 2003)

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“beautiful, floating melodies ... the cello’s counterpoint and striking harmonic effects provided just the right accompaniment.”  

Pieter Kooij, Die Burger, 2003

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Ainsi qu’on oit le cerf bruire - Chamber cantata for high voice, flute, cello and piano (Cape Town, Stellenbosch, 2004)

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“it was a pleasure to hear this imaginative work”                              

Gottfried Maas, Die Burger, 30/7/2004

 

Vier Gebede by Jaargetye in die Boland – Song cycle for voice and piano (Stellenbosch, 2004)

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 “the composition fascinated me intellectually and moved me emotionally ... It is not only a well-conceived composition in structural and musical terms in which the piano part shapes and communicates the emotional values, but also a setting in the true sense of the word, a wonderful musical realisation of Van Wyk Louw’s words, giving ample room to the singer for interpretative opportunities.”

Mary-Ann van Rensburg, Die Burger, 28/9/2004

 

Die stil avontuur – Song cycle for voice and piano (Stellenbosch, 2004; CD, 2007)

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“Zanne Stapelberg, together with Hofmeyr, received a standing ovation for the latter’s brand-new cycle Die stil avontuur.”

Gottfried Maas, Die Burger, 16/3/2004

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“succeeds in masterly fashion in creating a worthy parallel in Afrikaans to Schumann’s Frauenliebe und  –leben.”

Paul Boekkooi, Rapport, 18/11/2007

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Lieder (CD, 2007)

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“richly textured music … [imbued] with a fresh expressivity and originality that makes it compelling listening. His technical and intuitive understanding of the beauty of the human voice … sets him apart as a composer of art songs. His creative talent and exquisite crafstmanship locate him at the forefront of current music composition in general and vocal music in particular.”                                                    

Jeanne Zaidel-Rudolph, Journal of the Musical Arts in Africa, 2007

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“With Hofmeyr, the traditional limitations of the art song are transcended in striking fashion.”

Paul Boekkooi, Rapport, 18/11/2007

 

The Death of Cleopatra – Chamber cantata for soprano, clarinet, viola and piano (Cape Town, 2005)

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“I was very impressed ... Hofmeyr’s importance and talent as composer was again thoroughly underscored.”

Pieter Kooij, Die Burger, 7/9/2005

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Saartjie – Chamber opera in one act (Cape Town, 2010)

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“Hofmeyr captures her longing in masterly fashion ... an intense 20 minutes.”

Wayne Muller, Die Burger, 23/11/2010

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“Showstealer of the evening [of new SA operas] is Siyasanga Mbuyazwe as the lead in Saartjie … an extended aria of intense emotion … Hofmeyr’s music has a febrile quality which captures her physical and emotional breakdown, with moments of pure, heartwrenching sweetness.”

Beverley Brommert, Argus, 23/11/2010

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“a marvellous confection, a true short story, crammed with implied history, personal revelation and social implication, and beautifully scored with an almost Straussian musical largesse ... The orchestration is beautifully true to mood.”

Deon Irish, Cape Times, 25/11/2010

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“a most impressive one-woman opera ... a truly memorable score, which subtly incorporates both European and African touches … a tour de force for the single singer.”

Barry Smith, Opera (London), Feb 2011

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“a work rich in meanings  ... A convincing musical narrative ... the meaning of the words and their musical signification are so tightly integrated that the perceiver is drawn into the act of interpretation.”

Bertha Spies, African Arts (USA), Vol. 47/2, Summer 2014

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Ek maak ’n hek oop in my hart – Song cycle for voice and piano (Cape Town, 2010)

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“the highlight of the concert [of songs by Schubert, Mahler, Vaughan Williams and Hofmeyr].”

Pieter Kooij, Die Burger, 7/12/2010

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Die onverganklike oomblik – Song cycle for voice and piano (Stellenbosch, 2017)

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“a ravishing, delicately nuanced creation [...] beautiful word-painting.”

Willem Bester, Netwerk24, 12/3/2017

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Sara Baartman – Opera in two acts (Cape Town, 2022)

“by turns plaintive, nostalgic, defiant, jaunty, angry and desolate […] no shortage of memorable moments [...] Few could fail to respond to the intellectual and emotional appeal of this opera […] its place in the growing repertoire of truly South African works is assured.”                                                                               Beverley Brommert, Weekend Special, 9/9/2022

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Of Innocence and Experience; en skielik is dit aand; Alleenstryd; Die junge Magd - Song cycles for voice and piano (Würzburg, 2022)

“the thrilling tone-painting of his settings [for voice and piano] draws one from the first note into a maelstrom of light and shadow, joy and darkness, innocence and experience.”                             

Ursula Düring, Mainpost, 12/2022

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The broken string; Thula, thu for voice and piano (BBC Cardiff Singer of the World, 2023)

“I absolutely adored it […] fantastic music […] phenomenal […] gorgeous.”  

Ailish Tynan, BBC commentator, 16/6/2023

 

The broken string; Thula, thu for voice and piano (Tapestry of Voices CD, 2023)

“two songs [that] lead us into the heart of Africa.”                                         

Giorgio Koukl, EarRelevant, 22/12/2023 

 

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3. CHORAL MUSIC

 

Par les sentiers de lumière for mixed choir   (Franschhoek, Fête de la Musique, 1996)

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“The highlight - perhaps of the entire festival...an important and compelling addition to the international choral repertoire.”                                                                 

Dr Mary Rörich, Business Day, 15/10/1996

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“The poetry’s vitality and incantatory lyricism are skilfully conveyed by the music, and the work was so well received that it was performed twice...”                                                    

Beverley Brommert, Cape Times, 8/10/1996

 

Die Spokewals for mixed choir (Stellenbosch, 2000)

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“revealed an inventive playfulness”

Louis Heyneman, Die Burger, 2000 

 

Tu pauperum refugium for 4 children’s choirs and audience (Vancouver, 2001)

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“by far, I think the finest composition of the evening which will become standard repertoire for treble voice choirs ... ‘Tu pauperum’ is intensely moving, is brilliantly crafted and reaches the listener immediately... one of the truly great works for treble voices ... this composer has his own unique voice ... a major composer ... I felt the same way that people must have felt the first time they heard Britten's 'War Requiem'.

Jean Ashworth Bartle, Director of the Toronto Children’s Choir, 2001

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The Birth of Orc for mixed choir (Stellenbosch, 2008)

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“Hofmeyr sets the text with skill to display different facets and possibilities of the choir. The general atmosphere of doom and mystery [leading] to the dramatic climax is strikingly depicted.”

Birgit Ottermann, Die Burger, 5/2008

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The Birth of Orc, Pie Jesu for mixed choir (CD, 2009)

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“wonderful discoveries.”

Die Burger, 23/3/2009

 

 

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4. INSTRUMENTAL MUSIC

 

Notturno elegiaco for flute, cello and piano (Johannesburg, 1999 and 2002; Cape Town, 2008)

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“the most inventive, original and satisfying work [the Trio Hemanay] played ... This truly inspired composer ... extracted a plethora of some of the most unimaginable, exatic and pliable sounds from these instruments ... a totally original voice in South African music.”                                                                     

Paul Boekkooi, The Star, 4/8/1999

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“it proved to have plenty of interest, being gloomy and passionate by turns”

Michael Traub, The Citizen, 4/8/1999

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“compelling ... In this outstanding work the manner in which Hofmeyr allows each instrument its rightful place constantly impresses.”                                                                  

Thys Odendaal, Beeld, 2002

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“a beautiful and evocative work.”

Die Burger,19/8/2008

 

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First String Quartet (London, 1999; Cape Town, 2000)

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“A rich, intense quality characterised this Hogarth Quartet concert ... The first London performance of Hofmeyr’s Strykkwartet was compelling ... in the Notturno Hofmeyr is at his compelling best ... Utter conviction and supreme virtuosity on the part of the Hogarth Quartet made this a commanding performance.”

Catherine Nelson, The Strad, April 1999

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“The intellectual power and structural capacities [shown] in this work were very impressive. But it is the beautiful melodies, the wonderfully evocative atmospheres and the complete accessibility of this profound music that are especially striking.”                                                              

Pieter Kooij, Die Burger, 1/6/2000

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Die lied van Juanita Perreira for cello and piano (Pretoria, 2002)

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“unusual textures and timbres ... astounding economy of expressive power ... an almost tactile visual dimension.”

Paul Boekkooi, Beeld, 9/4/2002

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Incantesimo for solo flute (Zagreb, 2005)

“interesting as a cameo of some of his stylistic traits: the rich lyricism of the surface and the underlying solidity of structure which achieves a fine balance between repetition and strategic modification of limited materials.”

Stephanus Muller, Die Burger, 25/4/2005

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Crucifixus for cello and organ (Pretoria, 2005)

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“comprehensive evocative powers evinced strongly by the contrasting emotional aspects [of the work] ... intensely moving.”

Paul Boekkooi, Beeld, 6/2005

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String Quartets I & II, Of Darkness and the Heart for soprano and string quartet (Cape Town, 2007)

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“works which overpower one with feelings of tenderness and desolation ... Hofmeyr exploits the human potential of these string instruments to the full ... [the first movement of the Quartet I is] a beautifully interwoven canon of soulful melodies ... the sardonic second movement [has] the atmosphere of a macabre carnaval ... Of Darkness and the Heart provides exemplary instances of Hofmeyr’s brilliant ability to convey text in music ... the emotional impact [of the setting of certain phrases] is astounding ... The second half of the programme was dedicated to the premiere of Hofmeyr’s magnificent Second Quartet.”

Kobus van der Merwe, Die Burger, 30/5/2007

 

Sonata for Two Pianos  (Cape Town, 2007)

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“The highlight of the evening ... a tour de force.”

Willem Bester, Die Burger, 20/10/2007

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Trio I for violin, cello and piano (Potchefstroom, 2008)

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“his interest in musical structure [is] admirably realised in this richly meaningful work ...  This reviewer can find no words to describe the sensations elicited [by the third movement]. Except [to say] that one is overwhelmingly immersed in the meditative spirit of the three magnificently balanced instruments. In the melodic simplicity there lies infinite treasures, but as in Richard Strauss, the thematic is transmuted by instrumental colour to an inner experience, a symphonic language despite the modest nature of the chamber music genre ... An extraordinary work.”

Paul Boekkooi, Beeld, 30/10/2008

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Sonata I for Violin and Piano (Pretoria, 2008)

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“Hofmeyr never gets stuck in a groove ... he writes so idiomatically for the two instruments that they remain completely individual entities, but also interact in ways which disclose and explore manifold expressive horizons ... This work is extremely organically interwoven and increases in intensity throughout the three movements ... the final bars [of the second movement] transport the listener directly to heaven.”

Paul Boekkooi, Beeld, 23/11/2008

 

Canto notturno (CD 2013)

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“a refreshing introduction to this composer ... a fine complement to any recital.”

Raphael Sanders, The Clarinet, 6/2013

 

Trio II for flute, clarinet and piano (Pretoria, 2013)

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“rich in fantasy and filled with Mediterranean sultriness. The finale convinced one that in Hofmeyr South Africa possesses acontemporary Poulenc.”

Paul Boekkooi, Beeld, 10/2013

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Rapsodia notturna for guitar and piano (CD, 2013)

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“succeeds completely in transcending in many respects the intimacy suggested by such a combination [of instruments]. In this extensive work a multitude of compositional devices are employed to support a continuously varied narrative.”

Paul Boekkooi, Beeld, 13/11/2013

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Mabalêl for flute and piano (Pretoria, 2014)

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“dramatically descriptive ... absolutely captivated the listener’s imagination. A masterpiece.”

Paul Boekkooi, Beeld, 14/8/2014

 

Preludio e Umsindo for piano (CD, 2017)

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“a successful infusion of African style into the Baroque suite”

Dave Saemann, Fanfare, 2017

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 “a powerful dramatic sweep ... a broad, brooding and dark first movement is supplanted by a lively, dance-like second,whose brightness morphs into thrashing convulsions of terrifying intensity.’

Adam Fergler, Without Barlines (blog), 13 /3/2017.

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“an imposing work which evokes the vastness of the African plains.”

The Cross-Eyed Pianist (blog), 7/4/2017

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Ballata africana for piano, Sonata for Flute and Piano, Endymion and the Moon for violin and piano, Partita africana for piano, Philomela’s Night Song for violin and piano, Sonata for Vibraphone and Piano (CD, 2019)

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“Hofmeyr’s music is imbued with South African elements: landscapes, legends, dances, and indigenous music. He handles these elements very sensitively. His music is not archaic, not gimmicky, but enriching and often thoughtful. The blending with Western classical forms results in very beautiful, sometimes mysterious moods, which become very attractive in the eloquent and musically impeccable interpretations of this CD.”

Remy Franck, Pizzicato (blog), 18/1/2021

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“An exciting discovery, original, full of sunlight, of South African accents, superbly played. An album of an extraordinary richness, the music of this composer plunges us immediately into a fantastical and mysterious universe. One can readily imagine this Africa so rich in cultural diversities with its world of infinite sonorities and often mysterious in its expressions. […] Music at times ethereal and always characterised by a great richness of sound palette.”                         

Musica et Memoria (blog), 5/2/2021

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“Hofmeyr’s skill and imagination are pervasive, stimulating and without boundaries. His eye and ear are always intent on a polished finish and equilibrium […] stylistically always exciting in the way he draws the attention to the beauty and also the more dramatic turns inherent in his music. […] another exceptional quality is the probing sensitivity with regard to the discovery and blending of novel sonority.”

Paul Boekkooi, Die Burger, 28/4/2021

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CHOC DE CLASSICA (Discovery of the Month): Contemporary music of joyous inspiration [...] organic and colourful chamber music in which the power of evocation resides in writing idiomatically crafted for each instrument [...] the melodic subtlety of this music, in which a regenerative Africanism combines with finesse refined contemporary writing and folkloristic imagination."                             

Romaric Gergorin, Classica (France), June 2021

 

"employs procedures and combinations which are quite extraordinary. […] masterful comingling of sonic affinities […] the unsuspected inventive richness of Hendrik Hofmeyr, sculptor of sounds. Indispensable.                                Edith Weber, L’éducation musicale, February-March 2022

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