Mantis

Programme note

 

In the Bushman Folklore, the Mantis has a place of significance. On the one hand he is regarded as a deity, creator of all things; on the other he is also human.  He manifests himself in many forms and appears to be a character full of contradictions

1    Introduction

This movement is a kind of overture:  Mantis is represented by two motifs: a slow undulating melodic phrase and a brief rhythmic figure.

2    A Dream Dreaming Us

The Mantis appears at the beginning of the world when he is carried over the dark waters by the bee.  The bee becomes so weary in his search for solid ground that eventually he and the Mantis have tp float on the water.  It is then that the bee discovers a big white flower.  He lays the Mantis in the heart of the half-open flower and plants within him the seed of the first Bushman.

3    The First Fire

Originally the Ostrich kept fire hidden under his wings.  Observing this, the wily Mantis hatched a plan to bring the fire to mankind.  He led the Ostrich to a tree full of fruit.  In his greed to reach the juiciest ones higher in the tree, the Ostrich had to stand on tip-toe and flap his wings.  At that moment he dropped the fire.

4    Death and Honey

Mantis as protector, fetches honey to feed the Eland.  Realising the uniqueness of the nectar, Meerkat kills the Eland to steal the honey for his own protection.  When Mantis discovers this, he is so angry that he shoots the Meerkat with arrows.  But it is too late.......

5    Metamorphosis

Mantis plays a trick on the children by transforming himself into a dead Hartebeest.  The children skin it and cut off its head which they take home with them.  On the way, the Mantis comes to life, giving the children a terrible fright.

6    The Son of Mantis

Mantis sends his son out to look for sticks to make arrows.  The son asks the Baboons to help him but, while they are doing so, they realise that they are the intented targets of the arrows.  They kill him and gauge out his eye.

Mantis, searching for his missing son, comes upon the Baboons playing ball with the eye.  Realising that it is his son's, Mantis, after a scrimage snatches the eye (ball), dives into the water and regenerates his son from it.

 Review

 

picImaginative. This is the keyword in describing Cape Town composer Hans Roosenschoon's ballet Mantis. The music is delightful in its changing moods, the orchestration is brilliant.......

(Kooij, Pieter. 8 October 1990, DIE BURGER)

 Now I must admit that to my ear the results of this so called cross-cultural music are often unhappy - the source material is treated either as mere grist to the mill of sophisticated Western technique, or else, it is surrounded by a sentimentalised halo of mood music. Either way, its unique and fragile flavour is dissipated. So I approached Hans Roosenschoon's disc of African inspired pieces with some trepidation, but I was soon won over.

This is much more than just an evocative piece of mood music, though it certainly is that. You can tell Roosenschoon has an acute musical imagination from the way a small detail as a ticking percussion figure is allowed to grow and to engulf the entire texture.

And the subtle way different tempos are layered above one another may remind you of Elliot Carter, except that Roosenschoon's musical processes are too easy to follow for such an august comparison.

There's an emotional directness about this music that is often naive. But unlike so much cross-cultural music it is never pseudo-naive.

(Hewett, Ivan. b/c 13 and 17 June, 1992. New Releases Morgan, Nick (ed.), in SATURDAY REVIEW, BBC RADIO 3)

Odendaal, Thys. 25 July 1988, BEELD

Odendaal, Thys. 31 October 1988, BEELD

Visser, Coenraad. 28 October – 3 November 1988, WEEKLY MAIL

Cloete, Johan. 8 October 1990, THE ARGUS

Irish, Deon. 6 October 1990, CAPE TIMES

Glueck, Germaine. June 1991, Issue no 125, SCENARIA

Van Rensburg, Mary-Ann. 11 September 1999, DIE BURGER

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