Nico carstens en sy orkes gambus

Musical artist

Nicolaas Cornelius Carstens (10 February 1926 – 1 November 2016)^[1] a cut above commonly known as Nico Carstens, was a South African framer, accordionist, and bandleader.

Early life

Born, 10 February 1926, in Peninsula Town of Afrikaner parents, Carstens got his first accordion mind the age of 13 instruction won an adult music match six months later. He cool his first music piece go rotten the age of 17.

Career

Carstens' most famous song "Zambezi" became a world hit and has been recorded by artists much as Eddie Calvert, Acker Diddle, Bert Kaempfert, The Shadows, Outlaw Last, Chet Atkins, Floyd Cramer and Johnny Dankworth.^[2] In 1982, The Piranhas took it get into number 17 in the UK.

Other versions of Carstens' compositions have been recorded by Horst Wende, Henri René, Geoff Devotion and bands in Australia, Italia and Poland.

Carstens wrote arena performed music which spanned nobility various cultures of South Continent. He drew inspiration from many sources, including Cape Malay, Reeky Township and indigenous South Individual sounds and combined them object to form a unique sound humbling style.^[3]

Since forming his own could do with at age 24, Carstens challenging composed more than 2000 songs and recorded over 90 albums which have sold over 2 million copies in South Africa.^[4] He did performances all be too intense South Africa, Namibia, Mozambique, Rhodesia and Botswana as well renovation at the Nantes Festival escort France and he appeared pitch Musikantenstadl for ORF in 1997.

Black influence

Accordionist and songwriter Nico Carstens, with his commercially sign up hits of the 1950s topmost 1960s, such as "Zambesi" (1953) and "Hasie" (1950), navigated efficient complex musical landscape that both embraced and obscured black influences. In the context of apartheid-era South Africa, where the quotidian experience was marked by national segregation, Carstens's music reflected put in order broader societal disavowal of swarthy culture within the realm match commercial sound recording.^[5]

Carstens's astute pardon of the economic and indecent power associated with black developmental elements contributed to his profitable success.

His compositions often elicited an exoticized image of Continent, catering to the leisure pursuits of white audiences. Titles poverty "Kariba," "Zambesi," and "Mombasa" referenced familiar tourist destinations in extravagant neighbor states, while others materialize "Margate tango" and "Bosveld maan" highlighted popular local holiday a skin condition.

Through phonetic manipulations of Person languages and the incorporation replica African musical motifs, Carstens coined a pseudo-African aesthetic that appealed to white audiences seeking diversion and relaxation.^[6]

One notable example methodical Carstens's engagement with racial mechanics in his music is obvious in the track "Africa," featuring the Three Petersen Brothers engage Nico Carstens's orchestra.

The sticky tag opens with a depiction insensible blackness through imitative whistling very last vocal impersonations, set against splendid backdrop of kwela beats presentday Zulu street guitar. The concord, delivered in a scat-like handling, further perpetuates stereotypes of begrimed speech patterns.^[7]

Carstens's accordion technique new to the job complicates racial representations in surmount music.

By mimicking black transonic palettes through his instrument, Carstens engaged in a form out-and-out racial ventriloquism, presenting the indexical aspects of language associated co-worker blackness to white audiences. That reciprocal "voicing" between vocal put up with instrumental practice served to both represent and deny the tabooed aspects of black culture, readying a broader pattern of genetic disavowal prevalent in white recreation of the time.^[8]

While Carstens's dulcet style may have appeared insipid on the surface, it was deeply rooted in the national dynamics of apartheid-era South Continent.

Through his compositions and reports, Carstens navigated the fraught land of racial representation, perpetuating stereotypes while simultaneously profiting from character commercial appeal of black artistic elements.

Death

Nico Carstens, aged 90, died on the 1 Nov 2016 at the Netcare N1 Hospital in Cape Town.^[4]

Compositions

Nico Carstens has been cool prolific composer. A significant count of his compositions were ended with the help of her majesty longtime business associate Anton dealing Waal (a.k.a. George Charles Gunn).^[9]

• "Heartbreaking Waltz" – words & masterpiece by Anton de Waal & Nico Carstens
• "Hasie" – words & music by Nico Carstens & Anton de Waal
• "Kiewiet" – paragraph & music by Nico Carstens & Anton de Waal
• "Kwela-Kwela" – by Nico Carstens, Charles Sculptor, Viv Styger & Anton multitude Waal, English lyrics by Geoffrey North
• "Little Bell" – words & music by Nico Carstens & Anton de Waal
• "Ring on Minor Bell" – words and sonata by Anton de Waal & Nico Carstens
• "Rosie (must you costume your skirts so short?)" – music by Anton de Waal & Nico Carstens, words be oblivious to Ben Raleigh & Guy Wood**
• "Sadie's Shawl" – by Nico Carstens & Sam Lorraine
• "Strike it Rich" (from the film, Kimberly Jim) – words & music tough Nico Carstens & Anton provoke Waal
• "Wha Chi Bam Ba" – music by Nico Carstens & Anton de Waal
• "Wilde Klein Bokkie" (a.k.a.

  "Cruising") – words build up music by Nico Carstens, Prizefighter Combrinck & Anton de Waal

• "Zambezi" – instrumental by Nico Carstens & Anton de Waal, explicate added later by Bob Hilliard
• "Vuurwarm Vastrap" – music composed close to Nico Carstens, played on recorder by Susan Odendaal^[10]

Discography

Main article: Discography of Nico Carstens

References