The First Musicamp
The first meeting of Musicamp was held at Wilf Budd's farm near Fort Rixon in August 1964. Both Wilf and his wife Rita taught music in Bulawayo, and they found that students who stayed on the farm for a few days to play music together made great progress. This progress was noticed by other teachers whose pupils joined in these musical holidays, and it was suggested that an organisation be formed to provide these facilities for a wider range of interested students. Accordingly the National Musicamp association was formed. 28 people attended the first Musicamp. The Musical Director was Hugh Fenn, who was conductor of the Bulawayo Orchestra; Leslie Williamson conducted the Camp Choir, Esme Venter helped with chamber groups and Wilf Budd organised the Jazz Section; also there, to demonstrate African music, was Alport Mhlanga of Kwanangoma College.
The Objectives of Musicamp, as laid out in the Constitution, were: to stimulate interest in music among the youth of this country; to promote musical proficiency through individual and group performances; to foster musical appreciation; to facilitate and enhance the performance and appreciation of music.
Also taking part in that first Musicamp
were David Goldsmith who, in 1971, was the Musicamp Director; and John Hodgson
who took over the choir in 1966. Visitors included the President of the Association,
Lady Molly Gibbs, and Robert and Dorothy Sibson.
The final concert of the first Musicamp was given in the Farmers' Hall at
Fort Rixon; items for the programme were phoned through to Bulawayo, on a
somewhat erratic line, for typing and duplicating, and as a result the programme
contained some unexpected features: Corelli, the programme proudly announced,
would be conducting the "Sonata in B flat for Strings" - some two
and a half centuries after his death; The March Hare joined Purcell's Sailors
Dance, replacing the March and Air; and David "Goldsmidt", it seemed,
would be leading the Carnival of Floats in preference to conducting the Carnival
of Flutes! It was, nevertheless, a splendid and rewarding week.
One of the campers, Tommy Sensky, wrote the following for the Milton School magazine that year:
"…. There was a wide range of instruments, including violin, viola, cello, double bass, piccolo, flute, clarinet, saxophone, bassoon, trumpet and even a baritone (a smaller version of the tuba). There was a small staff of music teachers, two conductors and several ladies who looked after the catering side of the Camp.
The daily activities of the Camp included an orchestral rehearsal for all members, sectional rehearsals for ensembles, lectures on musical subjects and composers and recitals by members of staff. The climax of the Camp was the final concert, where the orchestra and ensembles showed their achievements of the past week.
The Musicamp, apart from being most enjoyable, was also profitable for several reasons. Firstly it provided an opportunity to practise which is not normally available to such an extent elsewhere. Daily practice amounted to three or four hours or more. Practising alone, this would be quite some achievement, but playing with others makes it no longer formal or tedious, and consequently more enjoyable. Concerted playing, in my opinion, is always enjoyable for all instrumentalists. It is difficult, however, to give a concrete reason for this. Perhaps it is the satisfaction obtained in hearing all the instruments blend from one score, or perhaps it is the change and variety offered by orchestral playing.
Secondly, the Camp offered experience in orchestral playing, usually quite different from solo playing. A different technique is required, and orchestral playing is usually more difficult because all the instruments do not follow the melody indefinitely and therefore cannot always rely upon it. One must learn to follow the conductor in order to play at his time and not one's own, as one does in a solo. Then one must learn to observe the conductor's dynamics and blend in with the other instruments. There is also the problem of rests. One must get used to counting rests for several minutes and coming in at the right time, overcoming the distracting influence of the rest of the orchestra. Experience in all these can be gained in such ensemble playing.
Thirdly, a better appreciation of music and instruments is gained. Playing in a group with other instruments, one can get to know the limits and difficulties of orchestral and each instrument, thus enhancing the beauty of its playing to the ear.
Finally, the Musicamp was a great source
of inspiration to all who attended. Listening to better musicians than oneself
one can set a goal, some standard to reach, towards which all one's activities
aim. This is very important, not only in music, but in all ages as well. Without
a goal, there can be little if any effort. The Camp was a tremendous success
in the minds of all who attended … and it is hoped that it will become
an annual event …"
