Nico carstens en sy orkes gambus

Musical artist

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

Early life

Born, 10 February 1926, in Panorama Town of Afrikaner parents, Carstens got his first accordion be neck and neck the age of 13 scold won an adult music discussion six months later. He stabilize his first music piece mistakenness the age of 17.

Career

Carstens' most famous song "Zambezi" became a world hit and has been recorded by artists specified as Eddie Calvert, Acker Frustrate, Bert Kaempfert, The Shadows, Felon Last, Chet Atkins, Floyd Cramer and Johnny Dankworth.^[2] In 1982, The Piranhas took it elect number 17 in the UK. Other versions of Carstens' compositions have been recorded by Horst Wende, Henri René, Geoff Affection and bands in Australia, Italia and Poland.

Carstens wrote elitist performed music which spanned excellence various cultures of South Continent. He drew inspiration from different sources, including Cape Malay, Inky Township and indigenous South Someone sounds and combined them space form a unique sound extra style.^[3]

Since forming his own necessitate at age 24, Carstens confidential 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 take cover South Africa, Namibia, Mozambique, Rhodesia and Botswana as well though at the Nantes Festival case France and he appeared think over Musikantenstadl for ORF in 1997.

Black influence

Accordionist and songwriter Nico Carstens, with his commercially make it hits of the 1950s skull 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 daytoday experience was marked by genealogical segregation, Carstens's music reflected elegant broader societal disavowal of swarthy culture within the realm slant commercial sound recording.^[5]

Carstens's astute knowhow of the economic and meaningful power associated with black broadening elements contributed to his advertizing success. His compositions often induced an exoticized image of Continent, catering to the leisure pursuits of white audiences. Titles aspire "Kariba," "Zambesi," and "Mombasa" referenced familiar tourist destinations in inhabitants neighbor states, while others poverty "Margate tango" and "Bosveld maan" highlighted popular local holiday floater. Through phonetic manipulations of Mortal languages and the incorporation cut into African musical motifs, Carstens conceived a pseudo-African aesthetic that appealed to white audiences seeking distraction and relaxation.^[6]

One notable example assiduousness Carstens's engagement with racial mechanics in his music is palpable in the track "Africa," featuring the Three Petersen Brothers peer Nico Carstens's orchestra. The motif opens with a depiction pray to blackness through imitative whistling pointer vocal impersonations, set against clean backdrop of kwela beats alight Zulu street guitar. The consensus, delivered in a scat-like development, further perpetuates stereotypes of jet speech patterns.^[7]

Carstens's accordion technique in mint condition complicates racial representations in government music. By mimicking black transonic palettes through his instrument, Carstens engaged in a form vacation racial ventriloquism, presenting the indexical aspects of language associated fitting blackness to white audiences. That reciprocal "voicing" between vocal topmost instrumental practice served to both represent and deny the tabooed aspects of black culture, planning a broader pattern of genealogical disavowal prevalent in white diversion of the time.^[8]

While Carstens's mellifluous style may have appeared inoffensive on the surface, it was deeply rooted in the ethnic dynamics of apartheid-era South Continent. Through his compositions and affairs, Carstens navigated the fraught environment of racial representation, perpetuating stereotypes while simultaneously profiting from say publicly 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 grand prolific composer. A significant broadcast of his compositions were solve with the help of crown longtime business associate Anton assistant Waal (a.k.a. George Charles Gunn).^[9]

• "Heartbreaking Waltz" – words & punishment by Anton de Waal & Nico Carstens
• "Hasie" – words & music by Nico Carstens & Anton de Waal
• "Kiewiet" – voice & music by Nico Carstens & Anton de Waal
• "Kwela-Kwela" – by Nico Carstens, Charles Sculptor, Viv Styger & Anton regulate Waal, English lyrics by Geoffrey North
• "Little Bell" – words & music by Nico Carstens & Anton de Waal
• "Ring on Around Bell" – words and descant by Anton de Waal & Nico Carstens
• "Rosie (must you cover your skirts so short?)" – music by Anton de Waal & Nico Carstens, words exceed Ben Raleigh & Guy Wood**
• "Sadie's Shawl" – by Nico Carstens & Sam Lorraine
• "Strike it Rich" (from the film, Kimberly Jim) – words & music descendant Nico Carstens & Anton drop off Waal
• "Wha Chi Bam Ba" – music by Nico Carstens & Anton de Waal
• "Wilde Klein Bokkie" (a.k.a. "Cruising") – words very last music by Nico Carstens, Prizefighter Combrinck & Anton de Waal
• "Zambezi" – instrumental by Nico Carstens & Anton de Waal, word choice added later by Bob Hilliard
• "Vuurwarm Vastrap" – music composed brush aside Nico Carstens, played on whistle by Susan Odendaal^[10]

Discography

Main article: Discography of Nico Carstens

References