"Raak getref en tog onaangetas gelaat." Parodierende toonsetting in Roelof Temmingh se Met apologie
Date
2022
Authors
Journal Title
Journal ISSN
Volume Title
Publisher
LitNet
Abstract
In sy toonsetting van D.J. Opperman se “Met apologie” maak Roelof Temmingh van verskeie
tegnieke gebruik om die reeks parodiërende gedigte musikaal te vertolk. Hierdie artikel ondersoek die verhouding tussen teks en musiek in Met apologie deur die siklus aan die hand
van stilistiese kenmerke en musikale intertekstuele verwysings te bestudeer. Temmingh se
vermoë om in uiteenlopende style te komponeer is ’n belangrike faktor in hierdie bespreking. Hy
verwys byvoorbeeld na die musiek van Claude Debussy, Anton Webern, Paul Hindemith en
Dmitri Sjostakowitsj, asook na kabaretstyl om die stemming en parodiërende (of selfs satiriese)
kommentaar van Opperman se teks te verklank. Temmingh se toonsetting vertolk egter nie net
die strekking van Opperman se teks nie, maar resoneer ook met wyer aspekte van die oeuvres
van digters wat nageboots word. Die liedsiklus bied verskeie vertolkings van die sentrale
karakter: die weduwee Viljee. Sy word soms as tragies, soms as komies, soms as eroties en
soms as kranksinnig uitgebeeld.
Roelof Temmingh’s song cycle Met apologie for mezzo soprano and piano (1992) represents one of the most outstanding contributions to the already extensive genre of the Afrikaans art song. It sets to music a series of poems by the same title, published by the Afrikaans poet D.J. Opperman in 1964. In his poems Opperman presents nine parodies in the style of Afrikaans poets from the generation known as the “Dertigers”, based on a common subject, about a widow taking her dog for a Sunday afternoon walk on the beach. The poets parodied in the cycle are C.M. van den Heever, I.D. du Plessis, W.E.G. Louw, N.P. Van Wyk Louw, Uys Krige, Ernst van Heerden, Elisabeth Eybers and S.J. Pretorius. Opperman’s procedure is reminiscent of the musical genre theme and variations, to the extent that the “theme” is to be read out prior to rendering the “variations”. “Raak getref én tog onaangetas gelaat” (“Aptly struck, yet left unscathed”) are the words by which the critic Rob Antonissen describes the manner in which Opperman depicts the targets of his parodies.
Roelof Temmingh’s song cycle Met apologie for mezzo soprano and piano (1992) represents one of the most outstanding contributions to the already extensive genre of the Afrikaans art song. It sets to music a series of poems by the same title, published by the Afrikaans poet D.J. Opperman in 1964. In his poems Opperman presents nine parodies in the style of Afrikaans poets from the generation known as the “Dertigers”, based on a common subject, about a widow taking her dog for a Sunday afternoon walk on the beach. The poets parodied in the cycle are C.M. van den Heever, I.D. du Plessis, W.E.G. Louw, N.P. Van Wyk Louw, Uys Krige, Ernst van Heerden, Elisabeth Eybers and S.J. Pretorius. Opperman’s procedure is reminiscent of the musical genre theme and variations, to the extent that the “theme” is to be read out prior to rendering the “variations”. “Raak getref én tog onaangetas gelaat” (“Aptly struck, yet left unscathed”) are the words by which the critic Rob Antonissen describes the manner in which Opperman depicts the targets of his parodies.
Description
CITATION: Holder, A. & Ludemann, W. 2022. "Raak getref en tog onaangetas gelaat." Parodierende toonsetting in Roelof Temmingh se Met apologie. LitNet Akademies, 19(2):129-159, doi:10.56273/1995-5928/2022/j19n2b5.
The original publication is available at https://www.litnet.co.za
The original publication is available at https://www.litnet.co.za
Keywords
Temmingh, Roelof
Citation
Holder, A. & Ludemann, W. 2022. "Raak getref en tog onaangetas gelaat." Parodierende toonsetting in Roelof Temmingh se Met apologie. LitNet Akademies, 19(2):129-159, doi:10.56273/1995-5928/2022/j19n2b5.