Die liedere van S. le Roux Marais : 'n geannoteerde katalogus

Holzapfel, H. W.(Helmuth Wilhelm) (1992)

Proefskrif (D. Phil.) -- Universiteit van Stellenbosch, 1992.

Thesis

AFRIKAANSE OPSOMMING: Die besluit om 'n studie van s le Roux Marais te maak is gestimuleer deur die belangstelling en waardering wat gehore in die bui teland vir die komponis se liedere ui tgespreek het. Die hoeveelheid wetenskaplike navorsing wat tot dusver oor sy musiek gedoen is, is beperk en nie vry van vooroordeel nie. Hierdie studie het tot 'n herontdekking van vele van sy liedere gelei en in sekere opsigte ook tot 'n herwaardering van sy kuns. Besonderhede oor Marais se lewensgeskiedenis was tot dusver slegs onvolledig beskikbaar. Om 'n beter begrip van die komponis se musiek te verkry was di t noodsaaklik om eers sy biograf ie op te teken. Hierdie inligting gee insig in sy werksomstandighede as musiekonderwyser en pianis, as orrelis en koorleier, as skilder en komponis - en ook as mens. 'n Volledige lys van sy werke was ook tot dusver nie opgestel nie. Dit word vir die eerste keer in hierdie proefskrif gedoen. Marais was in die eerste plek 'n liederekomponis. Hy het egter ook 'n aansienlike hoeveelheid koormusiek, etlike stukke vir klavier, vir orrel, sowel as drie operettes gekomponeer. Marais se oeuvre hang nou saam met die ontwikkeling van die Afrikaanse taal. Veral aan die begin van sy loopbaan was hy 'n baie aktuele komponis: heelwat van sy toonsettings het kort na die ontstaan van die betrokke gedigte die lig gesien. Op die manier het hy 'n belangrike bydrae tot die Afrikaanse liedereskat en die Afrikaanse kultuur in die algemeen gelewer. Die katalogus in Hoofstuk 5 is as 'n handleiding bedoel vir diegene wat vinnig en doeltreffend informasie oor 'n spesifieke lied wil he. Elke lied is aan die hand van verskillende hoofpunte ontleed, en die inligting word in 'n tienpuntesisteem met 'n beskrywing weergegee. Die opset van elke beskrywing is ui t die aard van die saak by elke lied verskillend. Ter wille van volledigheid is informasie oor Marais se ander werke as Hoofstuk 6 ingesluit. 'n Samevatting van sy komposisiestyl word in Hoofstuk 7 aangebied en sluit die proefskrif af. Marais was geinteresseerd in kuns in die algemeen. Sy eerste groot lief de was die musiek en hy het meer as 150 werke gekomponeer. Sy tweede liefde was die skilderkuns ~n hy het tussen 120 en 130 skilderye, meestal stillewes en blomstudies, gemaak. Marais was 'n instinktiewe komponis. 'n Ontledende aard, formele tegnieke en woordgetroue verklanking is vreemd aan sy styl. Hy gebruik 'n soort neo-romantiese idioom, en die beste eienskap van sy musiek is sy melodiee. Hulle is byna altyd gelaai met gevoel en warmte. aanspreek. Hulle is daarom verstaanbaar en kan 'n wye publiek Onder sy tydgenote wat dieselfde idioom gebruik het, verteenwoordig Marais se musiek 'n hoogtepunt. Marais is reeds dee! van die kultuurgeskiedenis van Suid-Afrika. Van sy bekendste liedere het volksbesit geword. Solank Afrikaans bestaan, sal sy liedere gesing word.

ENGLISH ABSTRACT: The decision to embark on a research project on s le Roux Marais was influenced and stimulated by the interest and appreciation expressed by overseas audiences for this particular South African composer's songs. The existing research on his music is very limited and not devoid of prejudice. This study has led to a rediscovery of many of his songs, and to a certain extent, to a new appreciation of his art. In order to gain a deeper understanding of the composer it was necessary to write a more detailed biography than the rather inadequate ones available. This research offers insight into his work as music educator, pianist, organist, choir master, painter and composer - and also about him as a person. For the first time a complete list of his works is given in this dissertation. He was primarily a composer of songs. He did, however, also compose a fair amount of choral music, several pieces for piano, for organ, and three operettas. Marais' works are closely associated with the development of the Afrikaans language. At the beginning of his career it was especially noticeable that he was a very up to date composer: many of his songs appeared shortly after the specific poems were written, and in this respect he made an important contribution to the Afrikaans culture. The catalogue in Chapter 5 is meant to serve as a guide for those who need relevant information about specific songs. The structure of every song is analysed according to specific aspects, and the information is presented according to a ten point system, followed by a discussion, since each song is essentially different. For the sake of completeness information about Marais' other works is included in Chapter 6. Chapter 7 draws conclusions regarding his compositional style and completes the dissertation. Marais was interested in the arts in general. Music was his first big love and he composed more than 150 works. His second love was painting. He painted between 120 and 130 works, mostly still-life presentations and flower studies. Marais composed by instinct rather than by design. An analytical nature, formal techniques, or word-painting are not major elements of his style. His idiom can be described as neo-romantic, and the most outstanding characteristic of his music is his melodies. They are almost always full of feeling and warmth. They are, therefore, easily understandable and readily accessible to a wide public. Marais was foremost among his contemporaries who used the same idiom. Marais is already part of the cultural history of South Africa. So much so that some of his songs have become an integral part of South Africa's national heritage. As long as the Afrikaans language exists, his songs will be sung.

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