The seven-note motif which represents Stefans Grové’s first name. This example is in Grové’s own handwriting
Prelude
The harmonic framework of the first movement (Prelude) consists of chords which are derived from the theme and which are transposed. Timbre and motifs play an important role in this composition. Motifs were extracted from the doctorate dissertation entitled Stefans Grové: Concertino vir Klavier en Kamerorkes – ‘n Analise by Tinus Botha. Botha identified different melodic cells in Grové’s Concertino for piano and chamber orchestra; these cells are stated as the motifs in this movement.
Chaconne
Textures and ideas of this movement were stimulated by several conversations with Gerrit Jordaan as well as by his doctorate dissertation: Die interpretasie en uitvoering van Stefans Grové se Afrika Hymnus II. This composition is also an exploration and application of my research on auditory streams, foreground and background material, motifs and figures and musical gestures. The theme of the chaconne is given in unison at the beginning of the movement. This movement is also clearly segmented, like the compositions of Grové. It is important to note that listeners will not necessarily be able to identify the theme in each segment because the theme is deliberately used in such a way that some segments become more textural, rather than thematic.