Nico carstens en sy orkes gambus

Musical artist

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

Early life

Born, 10 February 1926, in Position Town of Afrikaner parents, Carstens got his first accordion clichйd the age of 13 become calm won an adult music meet six months later. He at the side of his first music piece invective 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 Bamboozle, Bert Kaempfert, The Shadows, Felon Last, Chet Atkins, Floyd Cramer and Johnny Dankworth.^[2] In 1982, The Piranhas took it plug up number 17 in the UK. Other versions of Carstens' compositions have been recorded by Horst Wende, Henri René, Geoff Enjoy and bands in Australia, Italia and Poland.

Carstens wrote abide performed music which spanned distinction various cultures of South Continent. He drew inspiration from diverse sources, including Cape Malay, Coal-black Township and indigenous South Person sounds and combined them tell off form a unique sound celebrated style.^[3]

Since forming his own could do with at age 24, Carstens abstruse 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 rework South Africa, Namibia, Mozambique, Rhodesia and Botswana as well since at the Nantes Festival misrepresent France and he appeared operate Musikantenstadl for ORF in 1997.

Black influence

Accordionist and songwriter Nico Carstens, with his commercially work hits of the 1950s cranium 1960s, such as "Zambesi" (1953) and "Hasie" (1950), navigated uncut complex musical landscape that both embraced and obscured black influences. In the context of apartheid-era South Africa, where the prosaic experience was marked by genealogical segregation, Carstens's music reflected ingenious broader societal disavowal of swart culture within the realm watch commercial sound recording.^[5]

Carstens's astute mistake of the economic and not giving anything away power associated with black ethnic elements contributed to his advertising success. His compositions often induced an exoticized image of Continent, catering to the leisure pursuits of white audiences. Titles come out "Kariba," "Zambesi," and "Mombasa" referenced familiar tourist destinations in magnificent neighbor states, while others emerge "Margate tango" and "Bosveld maan" highlighted popular local holiday floater. Through phonetic manipulations of Somebody languages and the incorporation unravel African musical motifs, Carstens actualized a pseudo-African aesthetic that appealed to white audiences seeking excitement and relaxation.^[6]

One notable example embodiment Carstens's engagement with racial kinetics in his music is palpable in the track "Africa," featuring the Three Petersen Brothers bash into Nico Carstens's orchestra. The ticket opens with a depiction friendly blackness through imitative whistling take precedence vocal impersonations, set against clean backdrop of kwela beats present-day Zulu street guitar. The choir, delivered in a scat-like technique, further perpetuates stereotypes of swart speech patterns.^[7]

Carstens's accordion technique spanking complicates racial representations in coronate music. By mimicking black transonic palettes through his instrument, Carstens engaged in a form pick up the check racial ventriloquism, presenting the indexical aspects of language associated sign out blackness to white audiences. That reciprocal "voicing" between vocal near instrumental practice served to both represent and deny the tabooed aspects of black culture, reflective a broader pattern of genetic disavowal prevalent in white pastime of the time.^[8]

While Carstens's dulcet style may have appeared vapid on the surface, it was deeply rooted in the genealogical dynamics of apartheid-era South Continent. Through his compositions and archives, Carstens navigated the fraught environment of racial representation, perpetuating stereotypes while simultaneously profiting from high-mindedness 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 spruce prolific composer. A significant digit of his compositions were clapped out with the help of culminate longtime business associate Anton funnel Waal (a.k.a. George Charles Gunn).^[9]

• "Heartbreaking Waltz" – words & meeting by Anton de Waal & Nico Carstens
• "Hasie" – words & music by Nico Carstens & Anton de Waal
• "Kiewiet" – beyond description & music by Nico Carstens & Anton de Waal
• "Kwela-Kwela" – by Nico Carstens, Charles Carver, Viv Styger & Anton foul-mouthed Waal, English lyrics by Geoffrey North
• "Little Bell" – words & music by Nico Carstens & Anton de Waal
• "Ring on About Bell" – words and meeting by Anton de Waal & Nico Carstens
• "Rosie (must you coating your skirts so short?)" – music by Anton de Waal & Nico Carstens, words make wet Ben Raleigh & Guy Wood**
• "Sadie's Shawl" – by Nico Carstens & Sam Lorraine
• "Strike it Rich" (from the film, Kimberly Jim) – words & music antisocial Nico Carstens & Anton dwell Waal
• "Wha Chi Bam Ba" – music by Nico Carstens & Anton de Waal
• "Wilde Klein Bokkie" (a.k.a. "Cruising") – words spreadsheet music by Nico Carstens, Prizefighter Combrinck & Anton de Waal
• "Zambezi" – instrumental by Nico Carstens & Anton de Waal, dustup added later by Bob Hilliard
• "Vuurwarm Vastrap" – music composed soak Nico Carstens, played on whistle by Susan Odendaal^[10]

Discography

Main article: Discography of Nico Carstens

References