Audio Restoration prepared a recording of Nikola Petrovic, “My heart is a Violin”

Nikola Petrovic was born in 1918 in Osijek, Yugoslavia. He gave his first public concert at the age of seven. After studying on a state bursary, he pursued a career which has included posts as leader of the Belgrade Opera Orchestra, The Ljubljana Symphony Orchestra, The Suisse Romande and The National Symphony Orchestra of the SABC. A superb soloist, he has pursued a parallel career in light music, performing in the music halls of Copenhagen as a Star soloist, and as a featured artists in the famous “Champs-Elysees” spectacular. Here a selection of his favourite “Lollipops” is accompanied (variously) by Francois du Toit and Melanie Horne (Piano).

"My heart is a violin" was appropriately placed as the first item in this selection of favourite violin music. In such hands the violin is assuredly close to the heart. Delicate and wistful, a slight tendency to treat the theme rhythmically, followed closely by dialogue between violin and piano brings the main tune back to a satisfying close.

"Danube Waves", known to countless budding pianists of yesteryear under its German title “Donauwellen”, by Ivanovici came to light in the early fifties as a vocal number “The Anniversary Song”. It’s a poignant tune contrasting with a more animated section before returning to a close.

In "Sleepy Shores" the melodic lines in the violin part are carried over a firm backing by the accompanying piano part.

In "Dark Eyes", the G string,  from the lower range of the violin, is made to sing out this somber tune full of pathos and yearning. A short pizzicato section presents itself before violin and piano plunge into a lively two four section of the real gipsy stuff.

"Memory" (from CATS) has a lovely, warm melody. Nikola handles it with exquisite good taste. The well-controlled emotional style does ample justice to the excellent tune.

"Nocturne (op. 9 No. 2)" from the standard repertoire of any pianist worthy of the name, this transcription for violin and piano loses nothing and presents the piece in an entirely new guise. The violin cadenza which brings the piece to a close is of special interest.

In "Sole Mio", often heard in its vocal version, the violin opens in true Grapelli style.  Completely divorced from the regular beat,  Nikola drifts casually into tango rhythm.  For the reprise the piano takes the lead, with violin responding in lightly articulated fashion.

"Schön Rosmarin" is possibly the most loved of Fritz Kreisler’s pieces for the medium, his “Liebesfreud” and “Liebesleid” notwithstanding. It sparkles like champagne and Nikola gives it a well controlled, conventional rendering.

The above recording was done by Clive Gaunt and Des Scheepers, and it was Recorded at P1,  Cape Town in 1987. The Producer was Dave Williams.

- Maryna Barnard, SABC Audio Restoration

Francois en Lucille se gesamentlike sangloopbaan strek sedert 1968.


As sangpaar en as soliste verskyn in die tydperk 9 langspeelplate: hulle tree byne 3000 keer op die verhoog op en onderneem ook twee Europese konsertreise. Plaaslik het hulle in drie televisiereekse opgetree en in 1991 verskyn hulle eerste opname van geestelike liedere.

Hiervan sê Francois en Lucille:

“Dit is voorwaar ‘n voorreg om na soveel jare ons talente op die wyse te kan gebruik uit erkentlikheid teenoor ons Skepper vir geleenthede deur die jare en vir ‘strome van seën’ in ons private sowel as ons professionele lewens. Ons dank ook aan die duisende luisteraars wat deur die jare aan ons bly glo het en in besonder aan Johan Coetzer wat hierdie plaat geinisieer het”.

Regisseur/Programmering/Akoestiese klavier: Harold Schenk
Opname-ingenieur: Cesar D’Almeida
Musikante: Tromme en perkussie: Stef Kruger (kitaar); Blackie Swart (trompet)
Ondersteunende stemme : Coleske-broers.
Opname datum: Junie 1991

Maryna Barnard, SABC Audio Restoration

“Erogenous Botch Under Cover”

Sound Restoration prepared a George Thatcher recording titled “Erogenous Botch Under Cover.”


George Thatcher first came to South Africa in 1979 as principal bass trombonist in the Cape Town Symphony Orchestra.

In 1981 he went to South America to play in the Orchestra Municipal de Caracas and a year later returned to play bass trombone in the National Symphony Orchestra. George is an extremely creative and versatile musician and the compositions on this record deserve recognition.

Before coming to South Africa, he played trombone in the Al Hirt Orchestra, Disneyland Band and the Los Angeles Philharmonic Orchestra.

While in South Africa, he played in many jazz groups and he was a very popular and much respected session musician.

The producers of this recording was Simon Lomberg, Ekkie Eckhart and Fanie van Staden. The record was recorded by Welti Welthagen, and the recording was done in M2, Broadcast Centre, Auckland Park in January 1987.

Maryna Barnard, SABC Audio Restoration Section

Audio Restoration 2

The Audio Restoration Section, one of the oldest departments in the SABC,  was established during the 1950s, recording local music to broadcast to the local people.

The department is now responsible for digitising the collection and redistributing the music to all the libraries in the country. In diversifying its facilities, it now also offers further services to the SABC and its clients, including CD duplication and audio restoration facilities.


Maryna Barnard, Bags Farrell, SABC Audio Restoration Section

Audio Restoration 1

The Audio Restoration Section of the Media Library is responsible for the restoration and re-mastering of audio. The Audio is obtained from recordings of local artists, recorded in various SABC Studios around the country, between the years 1950 and 1986. These recordings were made by the SABC to promote local talent, as well as provide local content for broadcast purposes. 

Most of the audio is sourced from vinyl records. These are washed, cleaned and then recorded into a sophisticated computer for digitizing, electronic cleaning and transfer to CD.

All the necessary data, e.g. song titles, composers, artists and writers, is captured. We then design covers and sleeves for the CD, which contains this captured data. If necessary, the CD will also be duplicated here.

When the process is finished, the master CD is stored, the duplicates are distributed and the CD is used for broadcasting as and when necessary.
- Maryna Barnard, Bags Farrell, Sound Restoration Unit