| Bosman di Ravelli | |
|---|---|
 Bosman di Ravelli sketch by Maggie Laubscher | |
| Background information | |
| Birth name | Jan Gysbert Hugo Bosman |
| Born | (1882-02-24)February 24, 1882 Piketberg, South Africa |
| Died | May 20, 1967(1967-05-20) (aged 85) Somerset West, South Africa |
| Occupation(s) | Concert pianist, composer, writer |
Bosman di Ravelli (born Jan Gysbert Hugo Bosman; February 24, 1882 – May 20, 1967) was a South African concert pianist, composer, and writer. He was known for his contributions to South African music, particularly the Afrikaans art song, and for his performances across Europe in the early 20th century.
Early life and heritage
Bosman di Ravelli was born in Piketberg, South Africa, to Izak Daniel Bosman of Bottelary in Stellenbosch and Hermina Elizabeth Boonzaaier from the Winkelshoek farm in Piketberg. He came from a musically inclined family; his sister, a talented pianist, was a student of Professor F.W. Jannasch, and Bosman received his first music lessons from her. He initially pursued studies in modern and classical languages at Victoria College in Stellenbosch but left without completing his course. Inspired by the performances of Cape pianist Apolline Niay and German pianist-composer Albert Friedenthal, Bosman decided to pursue a career in music, against his parents' wishes.
Creation of stage names
Bosman was known for adopting various stage names throughout his life. His first was the Italianate "Vere di Ravelli," which he began using during his second concert tour in 1902. He created this name from elements of other names he encountered in his life and readings. By 1912, he had adopted another transformed appellation, "Gian Bonzar," derived from his mother's maiden name, Boonzaaier. This use of pseudonyms reflected his "little madness" and his desire for anonymity in his writings.
Studies in Europe
Bosman departed for England on October 1, 1899, aboard the "Briton" and continued to Leipzig, Germany, where he enrolled in the Leipzig Conservatoire. Despite his limited musical background, he was accepted as a student and studied under Professor Alexander Winterberger, a pupil of Franz Liszt, and his assistant, Dufour. Additionally, he learned from the renowned Chopin interpreter, Vladimir de Pachmann, whose performances he attended regularly. Bosman’s charming personality, sharp intellect, and the pro-Boer sentiments in Europe at the time helped him make influential friends who supported his early career.
He made his public debut in Leipzig in 1902, adopting the stage name "Vere Bosman di Ravelli." This marked the beginning of his emergence in European musical circles.
Return to South Africa (1905–1910)
In September 1905, Bosman returned to South Africa to establish himself as a professional pianist in his homeland. His concerts included works by Chopin, Liszt, Rimsky-Korsakov, Grieg, and Rachmaninoff. Although he toured the country extensively with other artists, such as singers Annie Visser and Elsa Leviseur, the financial success of these endeavors was limited.
During this period, Bosman advocated for the development of a music academy in South Africa, but the lack of support prevented this vision from being realized. He also sought to compose music in a distinctly South African idiom. He set Afrikaans poetry to music, using verses by Totius (Die howenier), Eugene Marais (Winternag), and Jan Celliers (Die veldwindjie), works that were published in 1908 in the collection "Drie Liederen." These compositions marked the first attempts at creating Afrikaans art songs, contributing significantly to the early development of South African music. Bosman was also a vocal critic of the sentimental Sankey and Moody hymns, promoting instead the original psalms and hymns in church music.
After visiting Zululand, he became fascinated with Zulu music's subtle rhythms and incorporated these elements into his compositions, Zulu Wedding Chant and Zulu Funeral Chant, both composed in 1910. He also wrote articles on music for Die Brandwag magazine, including "Fantasie o'er die lewe van die komponis Chopin" (1910) and "Griekse en Gregoriaanse kerkmusiek" (1912).
Return to Europe and World War I
Disillusioned by the lack of support for his musical ambitions in South Africa, Bosman returned to Europe in 1910, where he resumed his career as a concert pianist. He performed across England, France, Germany, and Italy, gaining recognition, particularly for his interpretation of Chopin. In 1919, he fell seriously ill with Spanish flu and, while recuperating in Locarno, Switzerland, developed a deep love for Italy. For the next 22 years, Florence, near the Boboli Gardens, became his permanent residence.
During this period, Bosman created various personas, not only on stage but in his literary work. He adopted pseudonyms like "Louis de Vere" and "The Marquis Louis de Vere de Ravelley," showcasing his fascination with creating new identities and adding a layer of mystique to his already complex persona. His writings included autobiographical elements, sometimes blurring the lines between reality and fiction.
During World War II, he was interned in a camp near Salzburg, Austria, for three years. Before this, a mistaken report of his death circulated in South Africa due to confusion with his brother, who had passed away in Munich in 1938.
Final years and return to South Africa
In 1955, a severe injury to his right arm ended his career as a concert pianist. Moreover, he began to suffer from increasing deafness. Bosman returned to South Africa in 1956, settling in Strand. Three years later, he was awarded honorary membership in the South African Academy for Science and Art for his contributions to Afrikaans music. Bosman never married and continued to be recognized for his lasting influence on South African music until his death in 1967.
As a writer and composer
Bosman was an intellectual, with a particular talent for languages. In addition to mastering several European languages, he had a reading knowledge of Greek, Arabic, Chaldean, Syrian, and Persian. His scholarly works included compiling an Arabic-English glossary for the study of the Koran and translating an Arabic travel book from the 12th century. His own writing included various articles, such as his series on Chopin for Die Brandwag and his book of English poetry, In an Italian Mirror (1921). His unfinished autobiography, Music's Exile, was published in parts in Vita Musica (1963-1964).
Legacy and recognition
Bosman di Ravelli was the first South African-born pianist to gain international recognition. As a pioneer of the Afrikaans art song, he set a precedent for future composers. His writings were among the earliest articles on music published in Afrikaans, and his advocacy for a distinctly South African musical identity laid the foundation for the country's cultural development. W.E.G. Louw described him as retaining a "courtly, elegant demeanor" until his death.
Publications and works
- Fantasie o'er die lewe van die komponis Chopin, six articles in Die Brandwag (1910).
- Griekse en Gregoriaanse kerkmusiek, Die Brandwag (1912).
- In an Italian Mirror (1921), a book of poetry.
- St. Theodore and the Crocodile (1964).
- Music compositions: Three Afrikaans songs set to poetry by Totius, Eugene Marais, and Jan Celliers; Zulu Wedding Chant and Zulu Funeral Chant for piano (1910).
References
- ^ Malan, J.P. (1980). South African Music Encyclopedia. Vol. 1. Oxford University Press. p. 216-218.
- ^ Muller, Stephanus (2010). Markovic, T.; Mikić, V. (eds.). Orientalizing Europe, Europeanizing Africa: The Fantastical Lives and Tales of Jan Gysbert Hugo (The Marquis) (Louis de) (Vere) Bosman di Ravelli, also known as Gian Bonzar. Belgrade: Department of Musicology, Faculty of Music. pp. 142–159. ISBN 978-86-6051-027-5.
- ^ Beyers, C.J. (1981). Suid-Afrikaanse Biografiese Woordeboek Deel IV. Durban en Pretoria: Butterworth & Kie (SA) (Edms.) Bpk., on behalf of the Raad vir Geesteswetenskaplike Navorsing.